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Safer Prescribing and Care for the Elderly (SPACE): a pilot study in general practice
Katharine A Wallis, C Raina Elley, Simon Moyes and Ngaire Kerse
Katharine A Wallis
GP and Senior Lecturer, Department of General Practice and Primary Health Care, Faculty of Medical and Health Sciences, University of Auckland, Auckland , New Zealand
For correspondence: k.wallis@auckland.ac.nz
C Raina Elley
GP and Associate Professor, Department of General Practice and Primary Health Care, Faculty of Medical and Health Sciences, University of Auckland, Auckland , New Zealand
Simon Moyes
Data Manager/Analyst, Department of General Practice and Primary Health Care, Faculty of Medical and Health Sciences, University of Auckland, Auckland , New Zealand
Ngaire Kerse
GP and Head of School, Department of General Practice and Primary Health Care, Faculty of Medical and Health Sciences, University of Auckland, Auckland , New Zealand
Background High-risk prescribing places patients at increased risk of adverse drug events (ADEs). High-risk prescribing and ADE hospitalisations are increasingly common as people are living longer and taking more medicines for multiple chronic conditions. The Safer Prescribing and Care for the Elderly (SPACE) intervention is designed to foster patient engagement in medicines management and prompt medicines review.
Aim To pilot the SPACE intervention in preparation for a larger cluster randomised controlled trial (RCT).
Design & setting A pilot study in two general practices. Study participants were all patients at increased risk of an adverse drug reaction (ADE) from non-steroidal anti-inflammatory drugs (NSAIDs) and/or antiplatelet medicines. The primary outcome was the proportion of participants receiving high-risk prescribing at 6 months and 12 months compared with baseline.
Method The SPACE intervention comprised automated practice audit to identify and generate for each GP a list of patients with high-risk prescribing for these medicines; an outreach visit by clinical advisory pharmacist to deliver education and to go through with each GP their list of at-risk patients and indicate in a tick-box the intended action for each patient; and a mail-out from GPs to selected patients containing a medicines information brochure and a letter encouraging patients to discuss their medicines when they next see their GP.
Results SPACE can be delivered within existing primary care infrastructure. The rate of high-risk prescribing was reduced at 6 months following the delivery of the intervention, but these improvements were not evident at 12 months.
Conclusion SPACE prompts medicines review and shows promising signs of supporting safer prescribing in general practice in the short term. A randomised trial of SPACE started in 2018.
multimorbidity
polypharmacy
drug related side-effects and adverse reactions
High-risk prescribing places patients at increased risk of ADEs and is increasingly common. The SPACE intervention combines practice prescribing audit and feedback to doctors with a mail-out to at risk patients to prompt medicines review. SPACE can be delivered within existing primary care infrastructure. Findings from this pilot study suggest SPACE supports safer prescribing in routine general practice in the short term; however a randomised trial is needed to confirm this.
High-risk prescribing places patients at increased risk of an ADE. ADEs result in many avoidable hospital admissions every year, disrupting people's lives and draining precious health resources.1–9 The single greatest predictor for high-risk prescribing and ADEs is the number of medicines a person is taking.10 High-risk prescribing and ADEs are increasingly common as more people are living longer and taking more medicines for multiple chronic conditions. Commonly prescribed medicines account for most ADE admissions, notably NSAIDs, antiplatelet medicines, and anticoagulants, which together account for one-third of all ADE admissions.3,4 Most ongoing prescribing occurs in general practice.
Safe prescribing entails regular review of medicines, and stopping or starting medicines as indicated. High-risk prescribing may be justified by the individual circumstances of a patient, but regular review of medicines is important to ensure ongoing safety. There is good evidence to guide safe prescribing, but a gap remains between existing evidence and current prescribing practice. Translating evidence into practice is difficult. There are many barriers to regular medicines review in routine general practice.11 The large variation in prescribing between practices and regions suggests room for improvement.12–14
The scale of the problem of high-risk prescribing and avoidable ADEs has prompted searches internationally for ways to support safer prescribing in general practice.15 There is good evidence that audit and feedback can change practice, especially when used in ongoing quality improvement programmes that also include education and incentives.15–24 For example, the pharmacist-led information technology intervention for medication error (PINCER) trial in England used a pharmacist to deliver educational outreach and feedback to GPs;20 the Data-driven Quality Improvement in Primary Care (DQIP) trial in Scotland used educational outreach, informatics to facilitate medicines review and provide regular feedback, and financial incentives;18,23 and the Optimizing Prescribing for Older People in Primary Care, a cluster-randomised controlled trial (OPTI-SCRIPT trial) in the Republic of Ireland used academic detailing by a pharmacist and a web-guided medication review.24,25 There is also the Australian Veterans' Medicines Advice and Therapeutics Education Service (MATES) quality improvement programme that combines practice prescribing audits and patient-based feedback and education to doctors, with a practice mail-out to at-risk patients.19
The most effective, cost-effective, and practical approach to safer prescribing in New Zealand is not yet known. In New Zealand, general practices are organised into primary health organisations (PHOs) that deliver most quality improvement initiatives. Some PHOs employ clinical advisory pharmacists to support prescribing. GPs report suffering from alert fatigue, and that educational support and financial incentives would support safer prescribing.11 However, financial incentives may not be sustainable and can have unintended consequences. Based on the existing knowledge base and qualitative findings, the MATES intervention was adapted to the New Zealand primary care context creating the SPACE intervention.26
SPACE comprises an automated practice prescribing audit to identify and generate for each doctor a list of patients with high-risk prescribing; an outreach visit from a clinical advisory pharmacist to deliver a group educational session, and to meet one-on-one with each doctor to go through their list of patients and to indicate in a tick-box an intended action for each patient (no change/change prescribing/letter to patient); and an automated practice mail-out to selected patients of a medicines information brochure and a letter encouraging patients to discuss their medicines when they next see their doctor. SPACE was designed to prompt medicines review and support safer prescribing in routine practice. All prescribing decisions are made as usual by the doctor together with the patient. SPACE differs from MATES in that it is not part of an ongoing quality improvement programme, targets all doctors and at-risk patients in a practice, and has no national call centre. SPACE does not use financial incentives or provide regular updates and comparators. The novel aspect of SPACE is the attempt to engage patients through a practice mail-out. The utility and acceptability of SPACE have been confirmed.26
The authors worked with one PHO to pilot the SPACE intervention in two practices in preparation for a larger cluster RCT. The specific objectives of the pilot study were to optimise delivery of the SPACE intervention; test data management processes and outcome measures; and to assess whether SPACE reduced the rate of high-risk prescribing.
The high-risk prescribing topic chosen for this pilot study was NSAIDs and antiplatelet medicines.21 High-risk prescribing of these medicines has been studied in previous trials.18
Setting & participants
The setting was two general practices from one PHO in Auckland, New Zealand. Eligibility was restricted to practices using MedTech practice management software. The pharmacist recruited two practices, one medium and one small, from the PHO network of member practices. Since patients may receive prescriptions from any GP in a practice, informed consent was obtained from all GPs in each participating practice.
Study participants were all patients who were vulnerable at baseline; that is, those patients at increased risk of an ADE when prescribed NSAIDs or antiplatelet medicines as set out in Box 1. The study was focused on older adults, but not restricted to this group as younger patients who fitted the categories not dependent on age, such as history of peptic ulcer ever or renal impairment (most recent estimated glomerular filtration rate [eGFR] <60), were included. A computer query was run over each practice database of enrolled patients to identify patients fulfilling eligibility criteria for 'vulnerability' to ADE according to the demographic, clinical, and prescribing criteria described in Box 1. A second database query identified those 'vulnerable' individuals who also received 'high risk prescribing' in the previous 14 weeks according to prescribing data (Box 1). These queries can be run remotely by the PHO or by Dr Info, an organisation contracted by the practices to run clinical audits for the practices' benefit. Individual patient consent to participation was not sought because all treatment decisions were made as usual by the GP together with the patient, and because outcomes data were collected in routine patient care and were anonymised prior to extraction for analysis and linking.
Categories of vulnerable patients and high-risk prescribing of NSAIDs and antiplatelet medicines17
Type of adverse drug event
Vulnerable patients (at increased risk of ADE)
High-risk prescribinga
Gastrointestinal bleed Prior peptic ulcer ever NSAID or aspirin without gastroprotection, in patient with prior peptic ulcer
Aged ≥75 years NSAID without gastroprotection, in patient ≥75 years
Aged ≥65 years prescribed aspirin NSAID without gastroprotection, in patient ≥65 years taking aspirin
Clopidogrel without gastroprotection, in patient ≥65 years taking aspirin
Prescribed oral anticoagulant NSAID without gastroprotection, in patient taking an oral anticoagulant
Aspirin or clopidogrel without gastroprotection, in patient taking an oral anticoagulant
Renal impairment Prescribed both renin-angiotensin system blocker and diuretic NSAID, in patient taking both renin-angiotensin system blocker and diuretic
Chronic kidney disease (most recent eGFR <60) NSAID, in patient with chronic kidney disease (eGFR <60)
Cardiac failure Heart failure ever NSAID, in patient with history of heart failure
aMedicines prescribed within the previous 14 weeks. ADE = adverse drug event. eGFR = estimated glomerular filtration rate. NSAID = nonsteroidal anti-inflammatory drug.
The SPACE intervention comprises:
a practice audit to identify and generate for each GP a list of patients with high-risk prescribing of NSAIDs and/or antiplatelet medicines;
an outreach visit by a clinical advisory pharmacist to provide:
a group educational session to GPs about the prescribing topic;
a one-on-one meeting with GPs to go through their list of at-risk patients and to indicate in a tick-box the intended action for each patient (no action/review medicines/mail-out to patient); and
a practice mail-out to selected patients containing a medicines information brochure and a letter encouraging patients to discuss their medicines when they next see their doctor.
The outcome measures were process outcomes and high-risk prescribing outcomes. Process outcomes included the success and time taken to deliver the intervention; and the data extraction, anonymisation, and linking over time. High-risk prescribing outcome measures were the proportion of study participants receiving high-risk prescribing of NSAID and/or antiplatelet medicines at 6 months and 12 months compared with baseline. The primary outcomes were the proportion of study participants (patients who were vulnerable at baseline) who received high risk prescribing of NSAIDs and/or antiplatelet medicines in the 14 weeks prior to each time-point, according to the definitions listed in Box 1.
The secondary high-risk prescribing outcome measures included:
the proportion of study participants at increased risk of gastrointestinal ADEs receiving high-risk prescribing of NSAID and/or antiplatelet medicines;
the proportion of study participants at increased risk of renal ADEs receiving high-risk prescribing of NSAID medicines;
the proportion of study participants at increased risk of cardiac ADEs receiving high-risk prescribing of NSAID medicines; and
overall practice rate of high-risk prescribing of NSAIDs and antiplatelet medicines. This included vulnerable patients who were newcomers to the practice at 6 or 12 months, and practice patients who were not previously vulnerable (at increased risk of an ADE) but who became so.
Data on patients were anonymised prior to the data leaving the practice using an encrypted unique patient identifier, the National Health Index (NHI) number, to allow linking over time. Demographic and clinical characteristics of the study practices and patients were described. Outcomes at 6 months and 12 months were compared with baseline, using repeated measures generalised linear mixed models. P-values of 0.05 were considered statistically significant. Sensitivity analyses used last value carried forward for those participants who were lost for follow-up.
Practice and patient characteristics
Practice A included six GPs with 7944 enrolled patients, and Practice B had one GP and 2500 enrolled patients. From the total of 10 444 enrolled patients, 870 (8.3%) individual patients were at increased risk of ADE related to NSAIDs and/or antiplatelet medicines (vulnerable patients) and comprised the study population. Table 1 describes the demographic characteristics of the study population.
Table 1. Characteristics of study population (patients who were vulnerable at baseline, that is at increased risk of an adverse drug event with non-steroidal anti-inflammatory drugs and/or antiplatelet medicinesa) from the two participating general practices
The practice audits identified 70 individual patients with high-risk prescribing (8.0% of vulnerable patients). Some patients fulfilled more than one of the high-risk prescribing criteria set out in Box 1.
Intervention delivery
The PHO clinical advisory pharmacist delivered one-on-one feedback and education to all seven doctors in the two practices. In the group practice, the pharmacist delivered education about the prescribing topic in a group session, which took about 30 minutes, followed by the one-on-one session with each doctor to go through their list of at-risk patients, which took about 15 minutes each.
Overall, the GPs selected 29 of the 70 patients with high-risk prescribing (41.4%) to receive the mail-out. The main reason GPs decided not to send the mail-out to patients was because the high-risk prescribing had already ceased (for example, the NSAID prescription had been for only a short course); other reasons included the patient had transferred to another practice, the NSAID prescription had been for gel, the renal function had improved and eGFR was now >60, and/or because the GP was not convinced the prescribing was high risk.
Data extraction, encryption, and linkage processes
The automated data extraction and encryption processes worked well. There was some refinement in data extraction methods between baseline and 6 months, particularly around the eGFR (changed from 'ever' to 'latest' eGFR <60). This ensured that prescribing was deemed 'high risk' only due to the latest eGFR being <60, and not based on a historically low eGFR. There were 32/870 (3.7%) patients lost to follow-up between baseline and 6 months who were included in the study population due to a low eGFR at baseline, of which only three of 32 were found to have high-risk prescribing where it could not be retrospectively confirmed that the low eGFR was the most recently recorded when the prescribing occurred. This is unlikely to have made a difference to the outcomes presented below.
High-risk prescribing outcomes
At 6 months there was a significant reduction in the proportion of study participants receiving high-risk prescribing, reducing from 8.0% to 5.8% (P<0.05), even when all those lost to follow-up were assumed to have the same high-risk prescribing status as baseline (Table 2 and Figure 1). Changes in secondary outcomes showed similar significant improvements, except for those with congestive heart failure, as these rates were already very low at baseline (Table 2). However, at 12 months the proportion of study participants receiving high-risk prescribing had returned to baseline levels or worse. The overall practice rates of high-risk prescribing did not show a reduction at 6 months, with trends increasing at 12 months (Table 2)
Table 2. Rates of high-risk prescribing at baseline, and 6 and 12 months post-intervention for study population and for practice population overall
Figure 1. High-risk prescribing rates in study population (vulnerable at baseline) for each high-risk category and combined. BL = baseline.
The SPACE intervention was designed to foster patient engagement in medicines management and prompt medicines review. Results from this pilot study were encouraging in the short-term. SPACE was feasible within existing primary care structures; the data collection, encryption processes, and outcome measures worked well; and there were statistically significant improvements. There was a reduction in the rate of high-risk prescribing in the study population at 6 months post-intervention, but these improvements were not evident at 12 months.
This was a pilot study and there was no control group. Therefore, an RCT is needed to test whether any improvements in prescribing were due to the intervention. A cluster RCT began in 2018.27 Data collection methods became more refined over the 12 months, particularly around the date of eGFR, which may have influenced the inclusion criteria of 32/870 (3.7%) patients at baseline. This is unlikely to have altered results, and has led to an improved data collection and assessment method for the main trial.
Findings from this pilot study suggest SPACE may have a similar effect on prescribing to that in the PINCER trial, in that the effect was greatest at 6 months' follow-up with a slackening off by 12 months.20
The novel aspect of the SPACE intervention is that SPACE explicitly aims to engage patients, but GPs opted to send the mail-out to only a minority of patients. Findings from qualitative research suggest both GPs and patients find the mail-out useful and acceptable, and that the most common reason for not sending the mail-out to a patient on the list was that the high-risk prescribing had already ceased.26 It was not possible to refine the computer search to exclude prescriptions for short-courses or gel NSAIDs. Data were not collected on the proportion of patients who responded to the mail-out.
Findings from this research have informed the development of a new tool, SPACE, which can be tested as an ongoing quality improvement tool to support safer prescribing in New Zealand general practice. SPACE has the advantage of being feasible within existing primary care structures. If effective, PHOs could roll out and use SPACE regularly in practices to support safer prescribing. Similar large-scale approaches have been used successfully elsewhere.18–20,24
Results from this pilot study suggest that audit, education, and patient prompting may help support safer prescribing of NSAIDs and antiplatelet medicines. However, findings also suggest this effect may be short-lived, suggesting the intervention may need to be used regularly in practices to sustain change. Despite the drop-off in effect at 12 months, it was decided to confirm the effect of this one-off brief intervention in a large cluster RCT, which commenced early 2018. In practice, SPACE could be used repeatedly, addressing the same or a different prescribing topic every few months. Ultimately, the aim is to reduce the incidence of related ADEs, particularly those leading to hospitalisation or death, which will also be tracked in the cluster RCT, and particularly among older adults who make up the majority of vulnerable patients.
University of Auckland, Faculty Research Development Fund (project number 3711662).
Ethical approval has been granted by the University of Auckland Human Participants Ethics Committee (reference 017983, expires September 2019).
The authors thank East Health PHO and clinical advisory pharmacists, participating practices, GPs, and patients, as well as International advisors Professor Carmel Hughes, Queen's University, Northern Ireland and Professor Libby Roughead, University of South Australia.
Accepted March 29, 2018.
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Katharine A Wallis, C Raina Elley, Simon Moyes, Ngaire Kerse


Mr. and Mrs. Morton J. Dimenstein of Milford, Conn., have announced June wedding plans for Mrs. Dimenstein's daughter Michelle Ilene Gitlitz and Jonathan Daniel Lupkin, the son of Mr. and Mrs. Stanley N. Lupkin of Bayside, Queens.
Ms. Gitlitz, 21 years old, is also the daughter of Michael S. Gitlitz of Gaithersburg, Md. She graduated from Barnard College last week. Her stepfather is a partner in the law firm of Dimenstein & Celentano in Milford. Her mother, Elayne Dimenstein, is the founder and director of Far-Out Explorations, which conducts tours of art museums and galleries.
Mr. Lupkin, 22,is a graduate of Columbia University and is a student at Columbia Law School. His father, a former New York City Commissioner of Investigation, is a partner in the New York law firm of Litman, Asche, Lupkin & Gioiella.


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Campaign UpdatesThe Oviedo Junto Society Endorses Dr. Leo Valentin in FL-07
Date: July 30, 2020 Contact: Jesse Phillips, 407-492-4915
The Oviedo Junto Society Endorses Dr. Leo Valentin in FL-07
Orlando, FL- Dr. Leo Valentin has earned the endorsement of the Oviedo Junto Society in the race for Florida's 7th Congressional District. The Oviedo Junto Society is an organization of men and women in Central Florida who work to uphold the values of the U.S. Constitution. "The Oviedo Junto Society proudly announces endorsement and full support for Dr. Leo Valentine's campaign to become Florida District 7 US Congressional representative. The Oviedo Junto is a grassroots organization in its 12th year of promoting the US Constitution. We recognize Dr. Leo's life as a great American story with solid conservative values and a unique opportunity to inspire a new generation of D7 voters," said the Oviedo Junto Society. "I'm proud to have the support of the Oviedo Junto Society. I will always stand up for the individual rights, limited government and founding principles that make our country so great," said Dr. Leo Valentin. Click here to learn more about the Oviedo Junto Society.
Dr. Leo Valentin: Stephanie Murphy's Endorsement of Joe Biden's Liberal Economic Plan is Reckless

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Devouring Cultures
Perspectives on Food, Power, and Identity from the Zombie Apocalypse to Downton Abbey
Edited by Cammie M. Sublette and Jennifer Martin
Narrated by Robin Roach
Approximately 7.5 hours
Downloadable edition:
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Book published by The University of Arkansas Press
Devouring Cultures brings together contributors from a wide range of disciplines including media studies, rhetoric, gender studies, philosophy, anthropology, literary criticism, film criticism, race theory, history, and linguistics to examine the ways food signifies both culture and identity.
These scholars look for answers to intriguing questions: What does our choice of dining house say about our social class? Can restaurants teach us about a culture? How does food operate in Downton Abbey? How does food consumption in zombie apocalypse films and apocalyptic literature relate to contemporary food-chain crises and food nostalgia? What aspects of racial conflict, assimilation, and empowerment may be represented in restaurant culture and food choice?
Restaurants, from their historical development to their modern role as surrogate kitchen, are studied as markers of gender, race, and social class, and also as forums for the exhibition of tensions or spaces where culture is learned through the language of food. Food, as it is portrayed in literature, movies, and television, is illuminated as a platform for cultural assimilation, a way for the oppressed to find agency, or even a marker for the end of a civilization.
The essays in Devouring Cultures show how our choices about what we eat, where we eat, and with whom we eat are linked to identity and meaning and how the seemingly simple act of consumption has implications that extend far beyond sustenance.
Cammie M. Sublette is professor of English at the University of Arkansas, Fort Smith, specializing in African American literature, race theory, and food studies.
Jennifer Martin is a University of South Carolina Presidential Teaching Fellow in Social Advocacy and Ethical Life working toward her PhD in twentieth-century American literature.
"A fresh and interesting collection ... will make a valuable contribution to the field of foodways studies."
—David Davis, coeditor of Writing in the Kitchen: Essays on Southern Literature and Foodways
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A Really Costly Treasure Hunt: Top Rarest World of Warcraft Items
Beyond saving Azeroth and getting into the seemingly never-ending loop of finishing raids for better gear in order to accomplish even more difficult raids, what does World of Warcraft players do? Collect rare items! It's not for everybody, as quite a lot of them are worth hundreds of thousands of WoW gold. Not to mention impractical, as a lot of them don't offer utility, have any combat applications, or increase your attributes anyhow. Still, it doesn't matter. The fact that they're hard to find is what makes them worth going after.
Here's a look at the rarest World of Warcraft items.
Brawler's Harness
A great number of rare items have no practical use. On top of that, many of them are merely common items that are devoid of value until the item has been discontinued or the means to obtain it no longer exists, making the old copies of the item suddenly pricey. The Brawler's Harness is a good example of this. It is a gear Horde players receive upon character creation, making it essentially worthless. That was until Cataclysm came along and the item was finally phased out. Now, it goes for 100,000 gold a piece! If you're a Horde player, you hopefully didn't chuck it out.
Chromatic Sword
Another item that became valuable after being phased out in Cataclysm is the Chromatic Sword. Although unlike the Brawler's Harness, this one's an accidental case. It's a low-level item, but it's pricey not only because of its post-expansion rarity, but also because it's a popular transmog item due to its beauty. Limited supply, high demand – you do the math and you'll get why it's steeply priced at a whopping 500,000 gold.
Xorothian Firestick
On the other hand, if you're a hunter – especially a Dwarven one – then you might want to go for the XorothianFirestick. This cool, classy, and classic-looking gun used to be obtainable through a now-gone long quest chain. The said quest is only available to Warlocks, who will then have the exclusive ability to summon a boss at Dire Maul as it is part of a quest.
The only way to obtain the item now is by finding a Warlock that took on that quest and makes him or her summon the boss that drops the gun. Unfortunately, Warlocks that still have access to that content have become few and far in between.
Fluorescent Green Mechanostrider
This is one of the rarest of the rare items, if not the most, as there was only one of it, and now it's gone. A green robot bird mount, it's a mere palette swap of a mechanostrider that was given by a GM to Neshe, a player that accidentally deleted the mount on his backpack. But despite being just a change in color, it's actually an item that GM's shouldn't have given to an ordinary player in the first place.
However, during the Warlords of Draenor cycle, Neshe was caught selling the item that was never meant to be in player's hands in the first place for a huge amount of gold. For doing so, Blizzard gave his WoW account the banhammer and deleted the rare item.
Big Love Rocket
Event items are also a popular kind of rare items, and one of those is the Love Rocket. It's exactly as the name suggests, and it's fittingly only obtainable through the Love is in the Air during the Valentine season. To make the rocket tougher to get, only one person in the entire player base can loot it once per day, and its chance of dropping is one out of 3,330. No surprise it's rare.
Collecting rare items is just as much of an adventure in Azeroth as taking down the Burning Legion or fighting the opposing faction. So why not try to get your hands on them? We're sure it will be a long, exciting, and rewarding quest.
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MAGIC Uses $15,000 RMC Grant to Reimagine Cybersecurity Careers in Rural Communities
Allegany College of Maryland check out the new Hack Lab at Allegany College of Maryland. MAGIC and Allegany College of Maryland are new partners thanks to a $15,000 MAERDAF grant administered by the Rural Maryland Council. (Photo supplied by Allegany College of Maryland and is intended for publication)
According to a report by Lightcast, a global leader in labor market analytics, more than one million Americans work in the cybersecurity industry. Yet each year, an estimated 715,000 cybersecurity jobs remain unfilled. More importantly, the problem isn't going away anytime soon.
While a huge supply and demand gap in any industry is troubling, what's even more concerning is the rise in the number of incidents in ransomware attacks, data breaches, and other cyber-attacks. One Westminster, MD, non-profit organization seeks to address the unmet need for future cybersecurity professionals as well as a desire to reverse the brain-drain trend in rural communities.
The grant project called CyberJobs is the creation of Mid-Atlantic Gigabit Innovation Collaboratory, Inc. (MAGIC), and is supported by a $15,000 Maryland Agricultural Education and Rural Development Assistance Fund (MAERDAF) grant administered by the Rural Maryland Council.
The premise behind the grant is that if you expose students to cybersecurity careers through fun and engaging activities like hackathons and Capture the Flag competitions, participants not only learn logical thinking skills and teamwork but also get a feel for what it would be like working in the industry.
According to MAGIC Executive Director Graham Dodge, giving students a sneak peek into cybersecurity careers is key, especially to students living in rural Maryland. "Students in our rural communities see life in two different worlds: one that is marketed to them from afar, and the other that they actually live in. At MAGIC, we're all about showing them just how within reach a career in IT and cybersecurity can be with the right skills," says Dodge.
But Dodge takes it one step further. It's not enough that rural students see the possibilities of a future career in cybersecurity he believes that those jobs can be available right in their own communities. "Silicon Valley has more in common with small communities than large cities. The next Silicon Valley could very well happen in Maryland's rural communities like Westminster, where the quality of life is high, and the cost of living is low. In a very real way, we can attract more technology companies to these rural Main Street communities to recreate the success of Silicon Valley," he adds.
Thanks to the CyberJobs grant project, MAGIC has been able to expand the program into new rural counties, including Allegany, Charles, Frederick, Carroll, Garrett, and St. Mary's counties, and engage new partners to help meet their grant goals. One of the partners that MAGIC secured as a result of the grant is Allegany College of Maryland.
"Our partnership with MAGIC beautifully aligns with our IT career pathway programs like our P-TECH program (Pathways in Technology, Early College High School)," says Autumn Becker, director of Western MD IT Center of Excellence at Allegany College of Maryland, Cumberland, MD. "We are incredibly grateful to MAGIC for reaching out to us and to the Rural Maryland Council for funding this opportunity for our students. In rural parts of the state, activities like this can come with financial constraints," she adds.
For recent graduates like Michael Gardner, who participated in MAGIC hackathons as part of the Cyber Club at the College of Southern Maryland, the opportunity to gain a glimpse into cybersecurity has been many years in the making. "Through hackathons, I get to experience the illegal side of hacking, only legally," says Gardner. "I started gaming when I was three years old. By the time I was a seventh grader, I was building and fixing computers. My dream job is to work in cybersecurity at the Pentagon and obtain the highest clearance possible to defend national security," he adds.
Perhaps one day Gardner and other students who not only study and work hard but also believe that a career in cybersecurity isn't dependent on where you live but the skills you have will land their dream jobs.
"The CyberJobs grant project faced some challenges at the beginning of the pandemic, but MAGIC forged ahead to expand its program," says Charlotte Davis, RMC executive director. "This project was particularly attractive to RMC because it not only affected several rural counties but also had aspects of economic development and workforce development," she adds.
To learn more about the Rural Maryland Council and how its connects community leaders, schools, organizations, and businesses to resources to address challenges in rural Maryland, visit ruralmatters.net, call (410) 841-5774, or email hello.rmc@maryland.gov.
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DUO Magazine
Arts + Events
Home|Community|BILL CONDON
Community, Visionary Fathers of Townsville
A city is only as strong as those who forge ahead for its best interests despite the many obstacles in the way of progress. Fortunately for Townsville there are many big-picture thinkers we're proud to call our own. In this series we celebrate some of the doers who've helped put Townsville and the North on the map.
Born and bred in Townsville, renowned entrepreneur Bill Condon has owned 31 businesses in the region but it's his 20 years of operating reef services out of Townsville he's perhaps best known for.
the TOURIST MAGNET
In the days when Bill Condon barely had a dollar to his name he did, however, have a valuable asset – a visionary mind. Then a truck driver hauling bananas out of Townsville down south, Bill had plenty of time to think of all the big ideas he could bring to life if only he had the money…
"My wife Joan and I used to go camp on Orpheus Island and we thought: 'What a beautiful place, we could take people here…'
Together they managed to save enough money for a deposit on a boat to be built on the Gold Coast. Things seemed on the up and up until, halfway through the boat being built, Westpac Bank pulled the pin on the finance. "The bank got the jitters because Doug Tarca, who had Reeflink, advertised in the paper that he was going to start cruises to Phantom Island," Bill says.
Somehow Bill managed to convince ANZ bank manager John Blake that he could beat Tarca and he approved the loan to keep the boat-building on track. Bill and Joan started their cruises to Orpheus Island, to the research station owned by James Cook University and the clam farm off Orpheus Island. And when Tarca's planned floating hotel went under, that created a huge opportunity in Townsville for a reef cruise. There was just one problem – it would take two million dollars to step up from the small boat they were running to Orpheus to buying a Wave Piercer.
"I'll never forget going to the Commonwealth Development Bank in Martin Place in Sydney to put forward my proposal," Bill says. "I walked into the director's room and all around the table were the bosses and bank managers. They had the silverware out and waiters and everything and here I was, just a boy from the bush."
"Some of our tourists couldn't catch a fish in a fish shop, so when they did (which happened most days) it was a big deal for them and a unique experience"
Although they knocked back the loan at first too, they advised Bill to lease the boat to prove he could get the figures he talked about. "It was supposed to be six months that we chartered the vessel for but we had the figures after three months," Bill says. "We bought the Wave Piercer in 2001 and built a pontoon at Kelso Reef, then expanded our marketing to include Pure Pleasure Tours Cruises and Holidays, which encompassed tours of North Queensland attractions as well as reef tour pick-ups daily." Besides snorkelling, diving, coral viewing and ecology explanations Bill and his team also offered line fishing. "Some of our tourists couldn't catch a fish in a fish shop, so when they did (which happened most days) it was a big deal for them and a unique experience," Bill says.
Although Bill and his wife Joan are now well past retirement age, they are still showing tourists what the North has to offer courtesy of their caravan park at Black River Stadium, which has become the grey nomads' hibernation capital of North Queensland in winter. "We promote all the activities on offer in the region and keep people here as long as possible by offering package incentives to stay longer," Bill says. "The ones staying here do a good a good job of promoting us as well, sharing the stories of attractions they've experienced."
As grandparents of seven "precious" grandchildren, Bill and Joan enjoy spending time with their family in their downtime from managing the caravan park.
"Our daughter Trisha lives on a cattle station at Richmond and has two boys; our son Dean lives in Kirwan and has two girls; and our daughter Kelly lives at Black River and has two girls and a boy," Bill says.
"One of our favourite ways to spend time together is to dine out on a Saturday night."
Finally, a women's lifestyle magazine that covers all of North Queensland. Now in its thirteenth year, DUO is the elegant bi-monthly publication that features exclusive and insightful interviews with the amazing women of our region as well as the latest in home design, style and fashion, dining and recipes, travel and the arts.
© 2021 DUO Magazine
Web Design by iCreate


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In 2020, could two female pig farmers run against each other for Iowa's Senate seat?
Campaigning against gender stereotypes is tricky. Here's how one candidate is doing it.
Sen. Joni Ernst (R-Iowa) on Tuesday in Washington. (Bloomberg News)
By Meredith Conroy
Lilly J. Goren
Recently, Iowa candidate Theresa Greenfield released her campaign launch ad, "Worth Fighting For." Greenfield, a business owner and "farm kid" from Iowa, is running to be the Democratic Party's nominee for Senate; she hopes to be the one to unseat incumbent Sen. Joni Ernst.
Greenfield's new ad directly challenges Ernst, a conservative Republican, military veteran and the first woman Iowa has sent to Congress. Greenfield argues that Ernst failed to fulfill the promise she made in her viral 2014 campaign ad "Squeal," which argued that Ernst's experience castrating pigs would help her cut waste when in Congress.
Greenfield's ad argues against the limitations of traditional gender roles, stressing her experience as a farmer — and explaining that her father taught her that "there are no boy jobs or girl jobs, just jobs that need to get done."
That makes her the latest on a growing list of Democratic women running for Congress in mostly red states who feature their experience in traditionally male-dominated fields, such as farming or the military. In 2018, several congressional candidates, including Air Force veteran MJ Hegar of Texas and former Marine fighter pilot Amy McGrath of Kentucky, produced similar ads that went viral.
By focusing on breaking gender barriers at work, these female candidates are making the case that they're qualified to handle traditionally masculine issue areas such as the economy and national security. But these ads also frame their experiences through the lens of selfless service and unheralded sacrifice, which are more traditionally feminine virtues. Why are they taking this approach — and can it work?
Navigating the double bind
In U.S. politics, women running for office face what scholars call a double bind. On the one hand, to be seen as leaders, they need to display traditionally masculine attributes such as toughness and competitiveness. On the other, to avoid being disliked, they need to show traditionally feminine attributes like warmth and mothering. Modern campaigns therefore try to balance female candidates' expressions of femininity and masculinity, hoping to persuade voters to both like the candidate and trust her to represent them politically.
Having the most diverse Congress ever will affect more than just legislation
So, do ads like Greenfield's — which feature women in masculine roles — succeed in navigating the double bind? Political science scholarship finds that when asked to assign traits and issue expertise to hypothetical male and female candidates, responses are largely consistent with gender stereotypes. But Greenfield's launch ad shows how women running for office can and do use campaign tools such as rhetoric and ads to try to overcome narrow perceptions of their qualifications and issue experience — in this case, by showcasing her roots in rural life and farming.
Republican women (and men) have done this for a long time, identifying themselves as part of a tough pioneer or rural frontier; in doing so they convey that they're "one of us," steeped in conservative policy positions and cultural affinities. In their book "Framing Sarah Palin," Linda Beail and Rhonda Kinney Longworth write about how Palin used such imagery to evoke "identification and approval from small-town white women (and men) who consider themselves down to earth, hard-working patriotic folks not afraid to shoot a rifle, drink a beer, or get their hands dirty." As a Democrat in a predominantly rural, agricultural state, Greenfield is adapting that imagery to evoke the value of community mutual support, identifying herself as a hard-working patriotic farmer, small-business owner and mother who will get her "hands dirty," which is certainly the experience of women on the farm.
In the ad, Greenfield shows herself refusing to give in to the sexism she faced as a farm kid. For example, we see a door slammed in the face of a younger version of herself because her farmer neighbor was unwilling to negotiate with a woman. Much as earlier female candidates did in ads showing themselves facing down barriers to women in the military, Greenfield emphasizes how she overcame these obstacles.
Greenfield also uses a down-home image to contrast herself with Ernst. In the ad, she wears jeans, a plaid flannel shirt and a dark blue down vest, looking like an Iowa farmer. The ad contrasts this with selected images of Ernst, well-dressed, well-coiffed, in front of a Washington backdrop. This casts Ernst as a co-opted political insider, not the pig farmer that she presented in her 2014 ads. Greenfield is presented as the truer Iowan, not Ernst.
What do military service members think about diversity — especially gender diversity — in their ranks?
Are crossover gender appeals worthwhile?
Are such appeals effective? Some political science research has found that female candidates who ran by stressing issues voters associate with women did better than women who did not. However, experimental evidence finds female candidates who convey masculine traits did better than female candidates who convey feminine traits.
But those responses vary by voter. People who believe gender is innate and not learned felt significantly more negative toward candidates whose presentation clashed with their gender stereotype. However, ads like Greenfield's weave together standing up to gender limits with remaining womanly, defying the sometimes simplistic contrasts offered in experimental studies.
If Greenfield wins the Democratic Party's nomination for Senate in 2020, we may see a campaign in which two candidates compete to show themselves as the more authentic pig farmer, the kind of contest many rural states have seen in the past. But this time the pig farmers will be named Joni and Theresa and will happen to be women.
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Meredith Conroy is an associate professor of political science at California State University, San Bernardino, and the author of "Masculinity, Media, and the American Presidency" (Palgrave Macmillan, 2015).
Lilly J. Goren (@gorenlj) is professor of political science at Carroll University in Waukesha, Wis., and co-editor of "Women and the White House: Gender, Popular Culture, and Presidential Politics" (University Press of Kentucky, 2012).


It can feel a little dull and monotonous riding transit in Metro Vancouver at times, and many people are glued to their phones throughout the majority of their commute.
With that in mind, there are a number of instances where an uncommon critter, someone dressed as creature, a dance party, or a giant stuffed animal appears on or near a bus or SkyTrain. In addition, there are a number of adorable animals, beautiful city views, and even inspired art installations along many Lower Mainland routes.
Check out some of the quirkiest, cutest, and most unique sights on TransLink.
Good luck. Farewell. See you later.


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for the time being: 2017 Alberta Biennial of Contemporary Art
Walter Phillips Gallery Art Gallery of Alberta
May 27 – September 10, 2017
Art Gallery of Alberta
June 24 – September 10, 2017
Banff Centre for Arts and Creativity
Taking the position that a biennial organizes artists in addition to works of art, curators Kristy Trinier and Peta Rake invited Albertan artists to participate in collaborative workshops hosted in Banff nearly one year in advance of the exhibition opening. In addition to extensive studio visits across the province, these conversations greatly informed the development of the two-part Biennial. The title of the exhibition for the time being is an analogy of thinking about what it means to be in-between spaces and times. Specifically the exhibition focuses on our present and our relationships to perceptions of reality. for the time being approaches the political implications of self-organization and way-finding in new and unknown territories that may or may not be visible. The exhibition investigates the distribution of wealth and labour through language and provisional practices. In the conversations with the artists, common threads emerged relating to interstitiality and site—albeit physical or virtual—and a preoccupation with echoes that reflect the way in which artists see reverberations within larger discourses in their communities.
The cohort of 24 Alberta artists met at Banff Centre in the summer of 2016 for the Alberta Biennial Sessions to further develop their artworks and expand upon the exhibition themes together with the curators. Two international guest curators, Kendal Henry and Lorenzo Fusi, led an intensive series of workshops with the artists and facilitated an open conversation on the status of biennials and their impact regionally and internationally. This was the first time that artists had been brought together in such a way prior to the opening of the exhibition.
The Art Gallery of Alberta and Banff Centre's Walter Phillips Gallery are jointly organizing and co-presenting the 10th Alberta Biennial of Contemporary Art. The exhibition will exist in two parts and open first at the Art Gallery of Alberta in May 2017 and then at the Banff Centre for Arts and Creativity's Walter Phillips Gallery in June 2017, with public programming at both sites throughout the exhibition's duration.
Since 1996, the Art Gallery of Alberta has presented the Alberta Biennial as a survey of contemporary art from across the province. Since its inception, the exhibition has presented new and exciting works by 222 Alberta contemporary artists, serving to promote Alberta artists across the country and bringing national attention to Alberta's art scene. In 2017, we are celebrating the Biennial's 10th year.
The for the time being: 2017 Alberta Biennial of Contemporary Art is curated by Kristy Trinier and Peta Rake, and jointly organized by the Art Gallery of Alberta and Banff Centre for Arts and Creativity and presented by ATB Financial. The exhibition at the Art Gallery of Alberta is supported by Artist Patrons: Bruce and Carol Bentley, Marie Gordon, John and Maggie Mitchell, Sheila O'Brien, and Allan and Marianne Scott. The exhibition at Walter Phillips Gallery is supported by the Gail and Stephen A. Jarislowsky Outstanding Artist Program. We would like to acknowledge the generous support of the Alberta Foundation for the Arts, Canada Council for the Arts, Edmonton Arts Council, and the City of Edmonton.
For more information for the Art Gallery of Alberta portion of the exhibition visit: youraga.ca
Ashley Bedet
Devon Beggs
Andrew Buszchak
Roy Caussy
Mark Clintberg
Gerry Dotto
Craig Fahner & Neal Moignard
Svea Ferguson
Megan Green
Tia Halliday
Tamara Lee-Anne Cardinal
Kristopher Karklin
Taryn Kneteman
Kristopher Lindskoog
Jay Mosher
Wil Murray
Justin Patterson & Stacey Watson
Paul Robert
Marigold Santos
Parker Thiessen
Justin Waddell
Nicole Kelly Westman
Performance: In hospitable home
12 - 5 p.m.
Artist Talks: Wil Murray, Stacey Watson and Justin Paterson
Curator's Tour: for the time being
Artist Talk: Justin Waddell
About the Curators
Kristy Trinier is the Director of Visual, Digital and Media Arts at Banff Centre for Arts and Creativity. Previously, as the Curator at the Art Gallery of Alberta, Trinier curated Future Station: 2015 Alberta Biennial of Contemporary Art, as well as exhibitions at the AGA and Enterprise Square Galleries. Her previous roles include Public Art Director at the Edmonton Arts Council, where she managed the City of Edmonton's Public Art Collection, related exhibitions and public art programs and Grant Writer at Banff Centre. Trinier has written for Canadian Art, Momus and other arts publications. She holds a Bachelors degree in Visual Art and English from the University of Victoria, and a Masters degree in Public Art from the Dutch Art Institute (DAI, ArtEZ Hogeschool voor de Kunsten) as a Huygens scholar in The Netherlands.
Peta Rake is the Curator of Walter Phillips Gallery and the Banff International Curatorial Institute at Banff Centre for Arts and Creativity. She has curated exhibitions at ISCP (New York), Oakland Museum of California (Oakland), CCA Wattis Institute for Contemporary Art (San Francisco), Luggage Store Gallery (San Francisco) and the Esker Foundation (Calgary). She writes regularly for C Magazine and her texts have appeared in Canadian Art, Fillip, and Blackflash among others. She has previously worked at California College of the Arts and Steven Leiber Archive (San Francisco) and the Institute of Modern Art (Brisbane). She holds a Masters in Curatorial Practice from California College of the Arts, a Bachelors degree in Creative Industries from Queensland University of Technology and was the 2014 Curator Award recipient from ISCP in New York.
Ashley Bedet – b. Calgary, based in Calgary
Ashley Bedet came back to Calgary, where she was born. Bedet is the product of many very different worlds reproducing, meeting difference, and then reproducing again. That makes her the product of at least four distinct separate paths. She graduated from NSCAD University in 2014 and has been slowly making and showing work since.
Devon Beggs – b. Edmonton, based in Edmonton
Devon Beggs was born in Edmonton, Alberta in 1983. Beggs works predominantly with textiles and fibres, but also incorporates sound, video, performance and installation into his practice. Beggs completed an MFA at Concordia University in Montreal in 2011 and currently lives and works in Edmonton. He has exhibited his work in at Parisian Laundry and Art Mûr (both Montreal), Gallery Atsui (Vancouver) and was included in the Future Station: 2015 Biennial of Contemporary Art at the Art Gallery of Alberta (Edmonton).
Andrew Buszchak – b. Brantford, Ontario, based in Edmonton
Andrew Buszchak is an interdisciplinary artist working in video, print, and exchange, and holds a Bachelor of Fine Arts degree from NSCAD University. In 2015, he participated in the Art Gallery of Alberta's Do It Yourself: Collectivity and Collaboration in Edmonton and his durational office light installation, Beacon, was produced for Edmonton's inaugural Nuit Blanche. Other engagements of note with Edmonton's arts community include his limited edition woodblock print accompaniment to the Society of Northern Alberta Printmakers' spring 2014 edition of SNAPline, and his performance Custodial Walk (2014, in collaboration with Émilienne Gervais), presented by The Drawing Room.
Tamara Lee-Anne Cardinal – b. Lloydminster, Saskatchewan, based in Saddle Lake Cree Nation/ Calgary
Tamara Lee-Anne Cardinal is a multi-media artist, community activist, oskâpêwis, storyteller and life-long learner. Born and raised in Lloydminster, Saskatchewan, she now lives in Calgary, Alberta and traces her ancestral roots to Saddle Lake Cree Nation. Since graduating from the Alberta College of Art + Design in 2015, she attended Culture Camp at Blue Quills First Nations University, participated in Emily Carr University of Art + Design's Urban Access to Aboriginal Art Program, was awarded the BMO 1st Art National Award and has attended the Indigenous Visual + Digital Arts Residency 2016 in Banff, Alberta. Her artwork continues to be a reflection of the teachings she receives along her journey, inviting all people to become a part of the process.
Roy Caussy – b. Hamilton, Ontario, based in Lethbridge
Roy Caussy was born 1981 in Hamilton, ON. He received his BFA from the Nova Scotia College of Art and Design (NSCAD U) in 2006, and successfully completed his MFA at the University of Lethbridge in 2015. Caussy's group exhibitions include Art Gallery of Hamilton (Hamilton), Cambridge Galleries (Cambridge), eyelevel gallery (Halifax), Southern Alberta Art Gallery (Lethbridge) and Centre A (Vancouver). Caussy has also attended residencies across Canada including Banff Centre for the Arts and Creativity (Banff) and the Medalta International Artists in Residence (Medicine Hat). Roy would like to thank the Alberta Foundation for the Arts for their generous support in the production of the work for the Alberta Biennial.
Mark Clintberg – b. Edmonton, based in Calgary
Mark Clintberg is an artist who works in the field of art history. He earned his Ph.D. at Concordia University in 2013, and has also studied at Oxford University, the Alberta College of Art + Design, and the Nova Scotia College of Art & Design. Solo exhibitions of his work have recently occurred at Artspace (Peterborough), Pierre-François Ouellette art contemporain (Montreal), and the Illingworth Kerr Gallery (Calgary). He has contributed to group exhibitions at the Dunlop Art Gallery (Regina), Locust Projects (Miami), the Art Gallery of Nova Scotia (Halifax), and Centre des arts actuels Skol (Montreal).
Gerry Dotto – b. Edmonton, based in Sherwood Park
Gerry Dotto lives and works in Sherwood Park outside of Edmonton, Alberta. He attended the Alberta College of Art where he received his undergraduate in 1981. Dotto's practice includes printmaking, mixed-media, collage and photography. His work has been shown in group exhibitions in New York, Vancouver, Edmonton and Toronto and most recently, in the Salt Spring National Art Prize exhibition. His solo exhibitions include Flow of Traffic Theory at the Art Gallery of St. Albert (2016); Daffodil Gallery (2012) and Latitude53 (2010). His work is held in the public collections of Esso Petroleum Corporation, Alberta Foundation for the Arts, and Bruce Peel Special Collections Library. His work has been featured in publications such as Manifest Gallery 3rd and 5th International Photography Annuals, online – PrairieSeen Notes.
Craig Fahner – b. Calgary, based in Calgary
Neil Moignard – b. Adelaide, Australia, based in Calgary
Craig Fahner is an artist and musician from Calgary, Alberta. His electronic, video and sound-based works reimagine electronic systems, generating experiences that reflect on the role of technology in our culture. Fahner's works have been exhibited in various venues internationally, including the 8-11 Gallery (Toronto), Museo de la Ciudad (Queretaro, Mexico) and the Device Art Triennial (Zagreb, Croatia). In 2010, he received the Disney Memorial Pausch Fellowship to pursue graduate studies at Carnegie Mellon University (Pittsburgh), where he received his Masters of Fine Arts in 2013. He has been awarded project grants from the Canada Council for the Arts and the Alberta Foundation for the Arts. Fahner currently leads classes in Media Arts + Digital Technologies at the Alberta College of Art and Design and in the Art department at the University of Calgary.
Neal Moignard is an animator, visual artist, and musician based in Calgary, Alberta. His practice works across many disciplines and mediums, employing drawing, design, installation, CG, traditional animation, video, sound, performance, and cinema in attempts to subvert modern technologies in order to describe the ineffable. Moignard has exhibited works and screened his films at venues across Canada and internationally, including the 2012 Nuit Blanche festival in Toronto, the Atomic Testing Museum in Nevada, and the Beginning Festival in St. Petersburg, Russia. His animated short, Mud, was produced through the National Film Board's Hothouse program in 2014. Moignard is currently pursuing his Masters of Fine Arts at the University of Oregon.
Svea Ferguson – b. Calgary, based in Calgary
Svea Ferguson is a Calgary-based sculptor and installation artist with a Bachelor of Fine Aarts from the Alberta College of Art amd Design (Calgary). Her work has been exhibited at Barbara Edwards Contemporary, Stride Gallery, Herringer Kiss Gallery and the Esker Foundation project space (all in Calgary and Division Gallery and Justina M. Barnicke Gallery (Toronto). She was named the provincial recipient for Alberta for the 2015 BMO 1st Art! Prize. Ferguson's work is included in private and permanent collections of Banff Centre for Arts and Creativity and TD Canada Trust.
Megan Green – b. St. John's, Newfoundland, based in Fort McMurray
Megan Green was born in Newfoundland, but like many migrated to Fort McMurray in the mid 1990s, where she spent her formative years. Following a diploma from the local college, she received a Bachelor of Fine Arts from the University of Alberta (Edmonton) in 2011 and completed her Masters in Fine Arts solo thesis exhibition The Jackalope in the Room, at the University of Waterloo in 2014. During studies at the University of Waterloo Green completed their 'Keith and Win Shantz Summer Internship 'in London (UK) with artist and taxidermist Claire Morgan; and in the summer of 2014 she was included in Art Mûr's Fresh Paint New Construction (Montreal).
Tia Halliday – b. Calgary, based in Calgary
Tia Halliday was born in Calgary, Alberta. She received a Bachelor of Fine Art with distinction from the Alberta College of Art and Design, attended the School of the Art Institute of Chicago and obtained an Masters in Fine Arts from Concordia University (Montreal). Halliday has exhibited her work in solo and group exhibitions and performance projects across Canada and Europe. Her work has been highlighted in The Globe and Mail, The Washington Post, and Canadian Art Online. Tia is the daughter of the late Canadian abstract painter Richard Halliday RCA. Tia Halliday is currently an instructor of visual art and theory at the Department of Art, University of Calgary.
Kristopher Karklin – b. Lac du Bonnet, Manitoba, based in Calgary
Born in Manitoba in 1983, Kristopher Karklin grew up in rural Northern Alberta and completed his Bachelor of Fine Arts at the Alberta College of Art and Design in 2007. Karklin has been the recipient of several awards including the 2012 Lieutenant Governor of Alberta Arts Award for an Emerging Artist. Karklin's work has been included in major museum exhibitions at the Museum of Contemporary Art, (Calgary); Art Gallery of Calgary and the Art Gallery of Alberta (Edmonton) as a participant of the 2013 Alberta Biennial for Contemporary Art. His work is held in the public collection of the Art Gallery of Alberta and the Alberta Foundation for the Arts as well as in private collections in both Canada and the United States including the distinguished photographic collection of Sir Elton John.
Taryn Kneteman – b. Edmonton, based in Edmonton
Taryn Kneteman is an artist who uses photography, printed media, performance, that integrates both objects made and found. She works to create situations where the valence of certainty is thin, to challenge complacencies of seeing and invite curiosity, wonder, and conversation. Kneteman has participated in artist residencies and exhibited work in Canada, the USA, Germany, and China. Recent projects in Alberta include Everyday Rituals (survival tactics), an exhibition of photographs and video at SNAP Gallery in Edmonton, Common Opulence 2, an artist residency and sustainable building initiative in Peace Country and After Aurora, an unexpected structure and performance in Intersite Visual Arts Festival (Calgary).
Kristopher Lindskoog – b. Edmonton, based in Calgary
Kristopher Lindskoog is a multi-disciplinary artist who lives and works in Calgary, Alberta with his wife and two daughters. He is a graduate of the Alberta College of Art and Design (Calgary) and has exhibited locally, nationally and in Europe.
Jay Mosher – b. Red Deer, based in Calgary
Jay Mosher is an artist based in Calgary. He received an Masters in Fine Arts from the Glasgow School of Art in 2013. Recent solo exhibitions include And There a Bronze Nail Stopped the Gush of Blood and Sent it Bubbling Back Inside, Harcourt House Gallery, Edmonton (2016), Brasília, Untitled Art Society, Calgary (2015). Group exhibitions featuring his work have included Future Station: The Alberta Biennial, Art Gallery of Alberta, Edmonton (2015), …Landscape, dc3 Art Projects, Edmonton (2014), Comfortably Warm, Glasgow International Festival (2014), Talisman (collaboration with Rory Middleton), The New Gallery, Calgary (2012).
Will Murray – b. Calgary, based in Okotoks/ Berlin, Germany
Wil Murray studied painting at the Alberta College of Art and Design (Calgary) and lives and works in both Okotoks and Berlin (Germany). Recent solo exhibitions include On Invasive Species and Infidelity', The Art Gallery of Alberta (Calgary); Please Boss Remember Me, VITRINE (London); Die Welt In Farben P|M Gallery (Toronto); and Last Summer I Build A 1:8 Scale Model of Your Vagina, Staatsgalerie Prenzlauer Berg, (Berlin). His group shows include A journey from a sweeping gesture to a lasting effect, VITRINE (Basel); NOT A PHOTO, The Hole (New York City); and The Painting Project, Galerie de L'UQAM in Montreal, CA. Murray received an honourable mention in the prestigious RBC Canadian Painting Competition in 2008, and previously exhibited in the Alberta Biennial of Contemporary Art in 2015.
Justin Patterson – b. Brooks, based in Calgary/Vancouver, British Columbia
Stacey Watson – b. Washington, D.C., based in Calgary
Justin Patterson and Stacey Watson are a collaborative duo that formed in 2003. Alongside their individual art practices and work with the Arbour Lake Sghool, they have maintained an ongoing creative exchange. Both are graduates of the University of Calgary, where Stacey received her Masters in Fine Art in 2004 and Justin received his Bachelor of Fine Arts in 2005. Their collaborative work has been exhibited at the Art Gallery of Calgary (2003), Kulturpfeiffer, Berlin (2006), Salt Gallery, Cornwall, UK (2006) and at Kunstverein das weisse haus, Vienna (2008). They have exhibited sculptural installation work at IDEAL, Calgary (2008) and their immersive room piece entitled The Filthy Water Grotto was constructed at Art Gallery of Calgary in 2009. Leading up to the 2017 Alberta Biennial the duo the are creating video works in Calgary and Vancouver B.C.
Paul Robert – b. Calgary, based in Calgary
Paul Robert is a Canadian artist who works in a variety of media. His projects aim to reveal the hidden assumptions that allow technological modes of thought to seem self-evident. He received his Masters in Fine Arts from Nova Scotia College of Art and Design (Halifax) in 2005 and a Bachelor of Fine Arts from the Alberta College of Art + Design (Calgary) in 2002 where he currently teaches in the department Media Arts. His work has been exhibited in Alberta, Halifax, and abroad. His writing has appeared in publications such as Border Crossings and Fuse.
Marigold Santos – b. Manila, Philippines, based in Calgary/ Montréal, Quebec
Marigold Santos pursues an inter-disciplinary art practice involving drawn, painted, and printed works, sculpture, animation, and sound. She holds a BFA with Honours from the University of Calgary, and an MFA from Concordia University in Montréal. As a recipient of numerous awards and grants from the Canada Council for the Arts, the Alberta Foundation for the Arts, and the Conseil des Arts et des Lettres du Québec, she continues to exhibit widely across Canada. She is represented by Jarvis Hall Gallery and Galerie D'Este. She currently divides both residence and practice between Calgary and Montreal.
Parker Thiessen b. Beaverlodge, based in Edmonton
Parker Thiessen is a filmmaker, musician and graphic designer originally from Beaverlodge, Alberta, with an interest in experimentation, DIY and exploring the bizarre or unusual. He attended the Design and Motion Image Program at MacEwan University Centre for the Arts (Edmonton). Through his work, Parker experiments with original and found sounds and visuals. Under various projects, he has released more than ten albums and he is co-founder of experimental label Pseudo Laboratories. He has previously exhibited with the Art Gallery of Alberta and Enterprise Square Galleries as part of SONAR: Sound Explorations by Edmonton Artists, and Do It Yourself: Collectivity and Collaboration in Edmonton.
Justin Waddell – b. Toronto, Ontario, based in Calgary
Justin Waddell graduated from the Ontario College of Art and Design and received his MFA in Integrated Media from the University of Windsor in 2003. He has worked in various capacities at several Artist-Run Centers, Festivals, Galleries, and Magazines in Canada including Prefix Photo, Trinity Square Video, Lola Magazine, the Art Gallery of Ontario, the New Gallery, and the Gendai Gallery at the Japanese Canadian Cultural Center. He has served as the Director of Programming at YYZ Artists' Outlet, the Director of the Stride Art Gallery Association, and more recently as a Board Member of the Calgary Cinematheque, M.S.T. Performative Art Festival, and as a founding Board Member with the every-age art and music venue, Local Library in Calgary, Alberta. His work and research is rooted in the development of a personal narrative of experimentation and process. Right now, he is interested in escapism. Waddell currently lives in Calgary, Alberta where he is a Permanent Instructor in the School of Visual Art at the Alberta College of Art and Design.
Nicole Kelly Westman – b. Red Deer, based in Calgary
Nicole Kelly Westman is a visual artist of Métis and Icelandic descent. She grew up in a supportive home with strong-willed parents – her mother, a considerate woman with inventive creativity, and her father, an anonymous feminist. Her work culls from these formative years for insight and inspiration. Existing beyond the binary definitive of a specific medium, Nicole Kelly Westman, has had the pleasure and privilege to be curated into exhibitions by remarkable females including; Peta Rake, Kristy Trinier, Kimberly Phillips, Ginger Carlson, Leila Timmins, and cheyanne turions. Westman holds a BFA from Emily Carr University and is the current Director of Stride Gallery (Calgary).


It was a dream Nick pursued relentlessly, cutting his broadcasting teeth at ABC Newcastle and applying for jobs at Triple J until he eventually got offered an assistant producer's position.
Nick has worked on the Triple J Hottest 100, the popular Like a Version segment, as a lead producer on Breakfast with Ben and Liam and even live broadcasting from Splendour in the Grass. He now works as a producer across the Drive and Breakfast programs and for Dr Karl's long-running science program on ABC radio. Not bad for a boy who couldn't talk on the phone.
"I'd say the most important personal characteristics for a successful career in media are resilience and passion. There are no jobs for life anymore, especially in media, and you have to be ready to adapt," says Nick.
Technology is part of that flexibility. The tools of the trade are developing at a rapid pace, freeing up producers in many ways to concentrate on the storytelling aspect of their jobs. "For field reporting I just take my phone or a condensed version of a professional mike," he says.
For more details about the 2019 Careers Festival click here.


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Legal Templates » Board and Directors' Resolutions » Appoint or Remove Directors
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Appoint or Remove Directors
A Directors' Resolution to Appoint or Remove Directors is used for adding directors to the board or documenting a director's resignation.
In less than 5 minutes using Zegal templates and tools
Board and Directors' Resolutions
Appoint Company Auditors
Approve Additional Fundraising with Convertible Notes
Approve the Company's Share Option Plan
Bank Account Opening
Change the Company's Financial Year End
Directors' Resolution for Bank Account Opening
Directors' Resolution to Adopt Share Option Plan
Directors' Resolution to Appoint Director(s) and/or Acknowledge Resignation of Director(s)
Directors' Resolution to Appoint First Auditors
Directors' Resolution to Approve Financial Statements
Directors' Resolution to Approve Fundraising with Convertible Notes
Directors' Resolution to Change Financial Year End
Directors' Resolution to Issue Convertible Notes (Initial Round)
Directors' Resolution to Issue Convertible Notes (Subsequent Rounds)
Directors' Resolution to Issue Shares
Issue New Shares
Notice of a Special Meeting of the Directors
Notice of Board Meeting
Notice of Directors' Meeting
Notice of Meeting of Directors
Notice of Special Meeting of Directors
Open a Company Bank Account
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Overview of an Appoint or Remove Directors
What is a Directors' Resolution to Appoint or Remove Directors?
A Directors' Resolution to Appoint or Remove Directors is a resolution passed by the directors of a company to appoint a new director, typically to fill a casual vacancy on the board.
Generally, a new director must be appointed by the shareholders of a company. A new director may be appointed by the board of directors using a Directors' Resolution to Appoint Director(s) and/or Acknowledge Resignation of Director(s), subject to re-appointment by shareholders at the next general meeting.
Who can be a company director?
Almost anyone can be a director. There are very few limitations for the appointment, which makes company formation an available option for many people. An individual can be appointed if they are:
Not be disqualified to be a director
Not be an undischarged bankrupt
Who cannot be a company director?
A person who is not an undischarged bankrupt cannot be a company director unless allowed by the court. After the court discharges the person from bankruptcy that individual may be appointed as a company director.
Who appoints directors?
Generally, the directors are appointed by the shareholders of a company at the Annual General Meeting (AGM) or rarely at an Extraordinary General Meeting (EGM). The decision for the appointment is made through the vote and passed if a majority of shares are voted in favor.
According to the articles of association, the number of directors may be limited, so a new director may be appointed only if a vacancy arises. And within 14 days after a new director is appointed the company must announce the Companies House.
Who can remove directors?
As the shareholders have the authority to appoint a director they can remove a director the same way. A director can be removed by 50% at a meeting of the shareholders and they need no reason. This right cannot be taken from them by anything contained in the director's service contract or the Articles of Association. But if a removal violates the director's service contract, or in the terms of a shareholder's agreement, the director will have the right to fight for it if he chooses to go to court.
Even though a reason for removal need not be given. The common reasons for removal are:
Mental disorder under the Mental Health Act 1983
Elimination under the law
Violation of his service contract
Self-resignation from office or
Absence from a board meeting for six months in a row
A Directors' Resolution to Appoint or Remove Directors is a resolution passed by the company directors to appoint a new director. Generally, this resolution is passed to fill a vacancy on the board. While appointing and removing directors from a company, there is a legal procedure that must be followed to assure that the appointment or removal is legal.
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If you're creating an Appoint or Remove Directors, you may also be interested in the following documents:
Directors' Resolution for Bank Account Opening
Directors' Resolution to Appoint First Auditors
Directors' Resolution to Change Financial Year End
Directors' Resolution to Issue Shares
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Åre is a picturesque and traditional locality in the county of Jämtland. Easily accessible by train and plane, Åre has become over the years a growing tourist destination. Not surprisingly at all, locals have invested in the heavy industry of tourism.
The existence of Åreskutan mountain at 1420 m/4658 ft has given birth to Åre Ski Area, the most popular skiing resort in the whole Scandinavia, which in 2008 apparently won the award of the world's best ski resort. But except of a great variety of skiing sports to practice, Åre happens to be a perfect place for paragliding.
Once you reach the top of Åreskutan by cable car, you will find the paragliding center. Paragliding offers you the mystical opportunity to explore the beauty of the area as if you were a bird. You can choose between a tandem-jump or motor paragliding and fly from the top of the mountain, pass above the village and land to the frozen lake with the air on your side! A normal flight lasts about 15 minutes and all you have to do is to get dressed appropriately for winter and the rest leave it to the experienced instructor.
Mona Vale is a suburb in northern Sydney, at about 28 km/17 mi in the north of Sydney's CBD (Central Business District). Mona Vale beach streches at about 1 km/1093.6 yd in between the broad rock platform that divides it from the Basin on the north side and the Warriewood beach, on the south side. This spot provides you with good facilities and a picnic area.
The magical island of Lefkada or Lefkas is situated opposite the west shores of Aetoloakarnania, in the Ionian sea and is part of the Eptanisa island complex. Lefkada differs from all the other islands, because it is connected with the continental Greece by a floating bridge. It boasts breathtaking beaches with clear blue waters, cosmopolitan seaside towns, mountainous villages, lush nature and is well-known as an attraction for extreme sports lovers!
Le Havre is a city, situated on the right bank of the river-mouth of Seine on the English Channel, in northwestern France, at the Seine-Maritime department of the region Haute-Normandie. Although it is not a very populous city, it is the most populous commune in the Haute-Normandie region and the second largest prefecture in France, right after Reims. The port of Le Havre is the second busiest one after Marseille.


I would like to try the Chicken Pot Pie the most but they have so many good recipes. I love that it only contains Sea Salt. I do not like all the other stuff they add to processed food.
Their Stir Fried Beef and Broccoli sounds delicious! We were just talking about trying to make some of our own Chinese dinners. It would be nice if they had set their recipes up with pictures so that they would be easy to pin for later. Either way, sounds great to me!
Beef Stroganoff sounds really good right now.
I am always looking for good Shredded Chicken sandwiches, so I would try that recipe for sure.
I would love to make the Shredded Chicken Sandwiches for my family!
I love bbq and I would make the pulled pork sandwich.
I'd love to try the Chicken Pasta Salad, it sounds good & easy to prepare.
I want to try their Chicken Pot Pie. It sound delicious! I bet it is great!
I would like to try the Chicken Noodle Soup recipe soon.
I would love to try the buffalo chicken dip.
Like to try the Stir Fried Beef and Broccoli.
I would make chicken pot pie!
I'd like to try out the Shredded Chicken Sandwiches!
I'd love to make the Buffalo Chicken Dip recipe!
I would like to try the Chicken Pot Pie.
Chicken Pot Pie caught my eye! This is the recipe I would love to try!
I would like to try the pulled pork sandwiches recipe.
I want to try the Chicken Fajitas. They sound delicious.
I want to try the crunchy turkey salad.
I'd like to try the Chicken Pasta Salad.
I would like to try the Keystone recipe for Chicken Fajitas.
Chicken Pot Pie sounds the best!
I'd try their Chicken Fajitas recipe.
Chicken Pot Pie. My Mom used to make it like this.
I would like to try the chicken pot pie recipe.
I want to try the chicken pot pie!
I'd love to make the Buffalo Chicken Dip.
I would make the easy chicken noodle soup recipe.
I am most interested in their recipe for chicken pot pie.
I've never had canned meats but I can see how convenient they could be on those busy weekday nights during sports seasons. I would really like to try the Crunchy Turkey Salad.
Roasted Pork with Sauerkraut sounds delicious!
The chicken pot pie sounds yummy but I also have a chicken and noodle recipe that it would be perfect in.
I want to try the Patty Melt.
I'd love to try the Easy Crock Pot Pork Carnitas. Sounds tasty!
I'd like to try to make the patty melts.
I'd like to try the chicken pot pie recipe.
I would love to make the Easy Shepard's Pie. Looks delicious!
Mmmm.....it's between the chicken pot pie and the beef stroganoff recipes. They both look super delicious.


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Home Category Profiles Naval Weapons
A244/S Anti-Submarine Warfare Torpedo
Type 53 Anti-Surface Warfare Torpedo
The Type 53 is a heavyweight 533mm torpedo originally developed in Russia. It was also exported to China where serial production of the torpedo took place. As an anti-surface warfare...
Mk 36 SRBOC Decoy Launching System
The Mk 36 SRBOC system is a deck-mounted, mortar-type DLS that is used to launch an array of decoy munitions against 'a variety' of threats. As such, the equipment is...
Type 61 Shipborne Anti-Aircraft Gun
The Type 61 is a 25mm shipborne anti-aircraft gun originating in China. It is composed of a dual gun system and is fitted with an optical sight. The system is...
Type 81 Anti-Submarine Warfare Rocket Launcher
The Type 81 anti-submarine warfare rocket launchers are an improved Chinese copy of the Soviet RBU-1200 240mm ASW rocket launchers firing Type 62 rockets. The Type 81 is fitted on...
FL-3000N Short Range Close-In Weapon System System
The FL-3000N is a short range close-in weapon system (CIWS) air defence system developed by the China Aerospace Science and Industry Corporation (CASIC). It is designed to protect warships against...
SY-1 Anti-Ship Missile
This is the original Chinese version of Soviet P-15 Termit missile, and the first was SY-1, produced at Factory 320 (the Nanchang Aircraft Factory); Chinese sources identify the designers as...
Otomat Mk. II Anti-Ship Missile
The Otomat Mk2 Block IV is an all-weather, subsonic, long range, sea-skimming anti-ship missile with extended capabilities for littoral warfare and coastal attack missions. The Otomat Block IV missiles can...
C-802 Anti-Ship Missile
The Yingji-82 or YJ-82 (literally "Eagle Strike"; NATO reporting name: CSS-N-8 Saccade) is a Chinese anti-ship missile first unveiled in 1989 by the China Haiying Electro-Mechanical Technology Academy (CHETA), also...
The China Aerospace Science and Industry Corporation (CASIC) C-704 is a sea-skimming anti-ship missile that was first exhibited at the 2006 Air Show China. It is designed to destroy targets...


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Home › Insta360
Insta360 Pro 2 User Manual Guide (PDF)
Insta360 Pro 2 Manual - The name Insta360 may be better known by the public through a small 360-degree camera that can be plugged into a smartphone, but since last year the Chinese company was actually also already playing in the professional realm through a device called Insta360 Pro. Now, they are ready with more personal success.
Insta360 Pro 2, as the name suggests, still adheres to design, such as its predecessor, complete with six cameras around it, but certainly with significant refinements. This combination can produce a 360-degree video of 8K resolution, and that is its count per eye, so the end result will give a stereoscopic 3D alias effect.
Insta360 Pro 2 User Manuals Guide (PDF)
Description Insta360 Pro 2 User Manual
Description Insta360 Pro 2 Manuale dell'Utente
The recording options offered are quite varied, among them 8K 3D 30 fps that was, 8K 60 fps (monoscopic), 6K 3D 60 fps, and 4K 3D 120 fps. HDR and Log modes are also available, as well as live streaming in 4K (3D or Monoscopic) resolution while the camera is recording in full quality (8K resolution). In addition to video, the audio will also be captured from all angles by the four microphones.
The results of the recordings are certainly smooth thanks to the integration of the FlowState image stabilization system, which combines data from the camera's 9-axis gyroscope with software processing to effectively dampen the shock. It is almost as effective as using dreadlocks when the word Insta360, although in reality, the camera sits only on a tripod while being shaken by a user walking or riding a horse.
Also new on Pro 2 is a pair of antennas installed on the top. The antenna is part of a live monitoring system that allows the user to operate the camera from a distance (up to 300 meters, or up to 1 km if the camera is broadcasting with the drone).
All that without forgetting about the Google Street View certification that its predecessor was, let alone Pro 2 is equipped with GPS to accommodate mapping projects that require a high level of precision. The camera dimensions are still compact, with a weight range of only 1.5 kg.
The problem of storage, Pro 2 has six microSD slots (one for each camera), then there is also a slot for the standard SD card that serves to store the data stabilization, which can be used in the editing process using Adobe Premiere Pro kind of software. Speaking of Premiere, Pro 2 recordings can be edited immediately without having to spend time in the image stitching stage.