Sinti, what would the word consent mean to you? We both, or however many people that are doing something are happy that you're doing that thing and they're both, no one's intimidated about it or not. One person is controlling over the other people that are doing it and so everyone feels quite, like, not forced in to do it whatever that thing might be. That's kind of the defining word of this force, like in any kind of way of defining consent if someone doesn't have it and it happens it's kind of forced upon them and they don't want it. Sexual consent should usually be given during a marriage and just exclusively with that person you're married to that I think that's about to be more appropriate and also with the intention of providing new life as opposed to just doing it. But whatever someone's belief site should always be in a relationship that's stable and it should always be mutual agreement and not impulsive because sometimes people do stuff to things impulsively but they never think to ask the other person it's important that there's a discussion of what. Also quite a simple no is no. It's the very simple definition of it really in any kind of sense. It's not just for sexual relationships it's also for things like photographs when you need to ask before you do something. I think it's like what we said earlier where it's just being comfortable with what's going on and kind of just feeling cool about everything that's going on and what people are posting about you. I think you just go up before you do anything and then assess the consequences of what you're actually going to be and make sure that you're 100% ready.


Mae'r fideo cymryd yn yw'n gyfroedd o'r ffordd yr ysgol rhagorol gen i ddweud o'r Ydw yw'r Ysgol Rhagorol. Mae'n gwybod yw'r rhaid o'r Sattle 2020 cerdd hon. Pryddoedd y Prinsypwn yma yw'r Ysgol Rhagorol, oherwydd Gwyrdd Metasym, Adhaji Adhe, Mark Glind, a Rob Lleonni. Y dyfodol strategiwch â'r ysgol Rhagorol yn ddefnyddio yng nghydfyrdd a'r ysgol Rhagorol. I Thanks to the project we focused on learning analytics and how we can enhance student success through editing, analysing and reflecting on the learning analytics reports. The overarching goal of this project was to examine data available through the VLE, the virtual learning environment, and to help us evaluate and improve staff and student engagement with the VLE. The VLE is then used to implement changes to the current processes and also to provide CPD activities to enhance the quality of the assessment and engagement with our programmes on the VLE. This project can be clearly divided into three distinct parts. Firstly, enhancing the VLE by adding additional reporting functionality through the addition of publicly available Moodle plugins and also the development of our own Moodle plugins. Secondly, we wanted to create reports to help extract key data from the VLE. Finally, we introduced a learning analytics initiative to enhance language learning. Each one of these standalone parts were purposely structured to measure staff and student engagement. Starting with enhancing the VLE. We enhanced the VLE with four plugins. These are additional extra functionality that is provided to the standard VLE. The first one involved installing a commercial analytics plugin which has over 100 different analytic reports. We knew that the license fee for the use of this plugin beyond the lifetime of this project would not be sustainable. Therefore, we installed a second plugin and this is called a configurable reports. This allowed us to build our own reports and we were able to use the reports from the first plugin as inspiration for reports that we would build ourselves. The third plugin is something that we actually did build ourselves in another project and this plugin allowed us to build the capability for students to perform self-assessment of their skills and their competencies within particular modules. This plugin allows staff and students to delete the results from all of these various self-assessments and create a holistic view for themselves of the students' competencies. The fourth plugin and the final plugin was installing a plugin that was publicly available through the Moodle community. Through this project, and that's called the attendance plugin, and through this project we made improvements to the functionality to enable staff to easily monitor classroom attendance so they can integrate that data into any student engagement research that they are conducting within their modules. The next stage was doing some rebuilding behind the scenes because before we could get any meaningful reports on student and staff engagement, we needed to rebuild the back end of our VLE and structure it into different sections. This allowed us to build reports on each section and if we used the analogy of folders, we created a folder for each faculty, a sub-folder for each academic year and indeed within this sub-folder we created more folders for each individual school. Once the structure was in place, we retrospectively moved courses from previous years into the appropriate folder and the end result now is that we can pull reports on the current year as well as the last three academic years which allows us longer tutorial and analysis in addition to the analysis of the current courses. Furthermore, we added a programming and the academic year to the student profile. This is important because it made a big improvement to our reports. We were able to filter data based on the program year and indeed the program name and the academic year. The final thing we did in terms of our rebuild is we enhanced the staff noodle roles to reflect their actual positions and this gave us more transparency for our reports and also enabled us to enhance our CPD program by improving the communication channels to specific staff through the VLE. So that was the rebuild behind the scenes that needed to take place. After installing the open source reporting plugins to configurable reports, we then set up a building our own reports. Over the course of the project we built over 15 different reports and to give you an indication of some of the type of information that and the use of these reports here are three such reports. We provide a course template for every module page on noodle and this template consists of numerous features that promote universal design. While we provide this template, we could not ensure the extent to which it was adopted by staff. We now have a report that analyzes each element of this template and this report helps to specifically target schools and faculties with CPD relating to universal design for learning and good design practice. The second report allows us to identify what features are being used and indeed what features are not being used by staff, which in turn allows us to identify expertise and case studies from across the university which we use to inform our staff development. The last report is the assessment of learning goals assurance of learning goals and this is a faculty specific report used to support the collation of data required for accreditation for a professional body. We brought existing processes into the VLE, streamlined them and then used this analytics report to extract the data, the relevant data for this professional body. So that is for the assessment or the assurance of learning goals. This brings us to the last part of the project. The first two parts of the project had staff and student engagement applications across the university whereas this last element focuses on language learning with a particular project which we called L2 learning. This project primarily funded through SFI with additional funding provided through this saddle project was developed by DCU staff to support second language learning that's where L2 comes in. It was to support DCU students but also seven partnering institutions by providing an analysis of their conversation exercises with their peers based on audio transcription provided by Zoom. This project encouraged students to engage in their language learning by providing visual representations of their engagement by monitoring conversation flow and as you will see from the screenshot and again the faces are blurred out but it shows you who's talking to who and how much of the conversation that they're leading. We also have looked at the conversation share so who's talking the most and then finally we gave the students the ability to play back the videos to see where their engagement is. So these exercises helped the student engage with their language learning at their leisure independent of the lecture by asking the students to reflect on this exercise again we built in the use of e-portfolios within this project. So they're the three elements of the project so now I want to talk about impact and sustainability of what we've done. Because we built our own reports with this plugin it means that the work is sustainable beyond the lifetime of the project but it's not just the report being available after the project it's the impact that they'll make going forward. The reports that we've created will directly inform our CPD activities in the future so we'll have significant impact. In fact they've already helped us to streamline our processes. For example before this work we spend two weeks manually analysing a sample of 300 modules across the university to get an indication as to whether our course pages were accessible or not. Now in a matter of minutes we can analyse over 2500 modules to examine how accessible all of our modules are. So giving this complete comprehensive picture in a more efficient manner. Equally we can analyse all of the modules on how staff are using it really in the same timeframe. Again speaking about impact the report that I mentioned earlier on for the professional body accreditation it's estimated that this saves staff up to 500 hours for one faculty for a per academic year. Another report that we've created is to design to support external examiners to streamline their work and this report collates sample continuous assessment submissions from all of the modules across the entire programme and collating the assignments and the feedback provided by the lecturers into one place. And after a trial this semester with six programmes it's been rolled out to every programme across the university. And finally the L2L initiative, the language learning initiative. This involves DCUN seven other partner universities across five different countries with over 500 participants so the impact has been enormous and a feedback from the students has been tremendously positive with significant improvement in student engagement. So whether we are talking about adding in plugins and the advantage that we've done or whether we're talking about the reports that we've generated or the CPD and the individual class activities that we're doing each one of them have been incredibly impactful and each one of them now are sustainable and an important point to note with regards to the reports that I mentioned that I started this conversation with these have since been made available to all mobile users worldwide so I expect that the legacy of this project will long continue after funding has run out. A huge thank you for providing this funding to the national forum to facilitate these enhancements and they will definitely contribute to student success. If you would like more information on any element of this project please versus the Teaching Enhancement Unit's webpage within DCU or indeed contact me directly mark.in at dcu.ie


using the following year-end information, calculate the current ratio and the asset ratio. All right, so we're gonna need the current assets and current liabilities as well as quick asset, assets or asset assets. So let's calculate that first. I'm gonna say current assets. And we have to decide of these, which ones of course are current. And of course cash is current, short-term receivables is current, account receivables current, inventory is current, as well as prepaid expenses. So they gave us all these current assets. Things that would not be current would be if they gave us some like property, plants and equipment. So I'm just gonna put those here. Gonna bring those numbers down, 38, 6, 9,000, 40,000 and two, four. All right, and 17, four. And so the total then would be here. Gonna go and sum that up. I'm gonna underline, home tab, font group and underline and just add those numbers up. Those numbers adding up to the sum equals the sum of this plus this plus this plus this plus this giving current assets of 345. Now let's do current liabilities. So current liabilities then would be just the payable and the other current liabilities. So those are the current liabilities. Long-term liabilities would be like long-term notes and stuff like that. So they didn't give us any of those. So we're just gonna say, all right, so we got that 22, three. And if we sum that up, underline total, the total current liabilities then would be the sum of those. And so if we were to calculate then the current asset ratio, we would just take the current assets divided by the current liabilities. So that's gonna be equal to the current assets, this 345,000 divided by, divided by the current liabilities, 1095. And so that's not quite three because we need to add some decimals. We do that by going to the home tab, numbers and increase in the decimals, 3.15. It's a little bit longer than that, but we're gonna round it to 3.15, which Excel will do automatically like so. Okay, so then the quick ratio or the asset test ratio is the next one we're gonna have. So I'm gonna, so they call it the asset test ratio. And it's a similar ratio, but it's going to be more restrictive in terms of the assets, meaning it's gonna include cash. Well, let's just do the the asset assets, asset assets or quick assets. That's the thing that differs. So we're gonna say that the current assets are gonna be more restricted. We're gonna have cash, we're gonna have short-term receivable, we're gonna have counts receivable, but we're not gonna have inventory and we're not gonna have prepaid expenses. So I'm gonna copy these and say, these are the more restricted assets in our ratio that we will then calculate. And so we're gonna sum those up. Those are our asset or quick assets. And then we're gonna have the, what is it, acid ratio, asset ratio. That's good enough. All right. And that's gonna be the same, it's gonna be the same current liabilities, but we're gonna have the current or quick assets with the asset assets divided by the current liabilities. So that will give us one. We're gonna go up to the home tab. We're gonna go to the numbers and we will add the decimals on that. So note that, of course, the current ratio is always gonna be higher. And that's because we're trying to see how many times we could pay the liabilities off with the current assets. But the quick assets gonna be more kind of restricted. And that's gonna be more, I guess, conservative in that we're gonna restrict the assets to things that are closer to cash, more liquid assets. Next one says that a company's current assets are 23,920. Its quick assets are 1490 and its current liabilities are 12,270. Its asset test ratio equals what? So this one, they actually just gave us the numbers. It's just a matter to know what the ratio is and the ratio for the asset test ratio are going to take the quick assets, which are the more restrictive assets, which don't include inventory. And that, they say, had quick assets of 14,090. It's always gonna be less than the current assets. And we're gonna divide that by the current liabilities, let's say current liabilities, which were 12,270. So we then will take the 14,90 quick assets over divided by 12,270 current liabilities. Then we need to add some decimals. So I'm gonna go up to the home tab, the numbers group and add decimals like so, 1.15. Again, it might be a little bit longer, but we're probably going to most problems will take it to places out like so. Next one says that a corporation's quick assets are 1,111,000. Its current assets are 13,260,000 and its current liabilities are 1,136,000. Its asset ratio equals what? So same thing, we just gotta know what the asset ratio is. So we're gonna take the quick assets. It's gonna include the quick assets, which are less than the current assets, 6,111,000. And we're gonna take the current liabilities, which are quick assets, current assets, and its current liabilities, 8,136,000. And we will then divide those out. So we're just gonna take the quick assets divided by the current liabilities. And it's not one, it's gonna be home tab. I'm going to the home tab, going to the numbers group and we're gonna add some decimals and we get to 0.75. Now this one's interesting, of course, because we have the current liabilities are greater than the quick assets, meaning we can't pay off the current liabilities with our quick assets, it's less than that. Also note that if we're dealing with these big numbers and you're talking about ratios, of course, you can, we can knock off these three zeros in a ratio if we wanted to do it a little bit faster, if we have a time constraint. It'd just be 6,111, knock off the three or divide by 1,000 to both sides, you know, eight. So we have here, we've got the 8,136, and if we divide that out, then we should come up with the 6,111 divided by the 8,136. Once again, adding the decimals home tab, numbers group, adding decimals and we get to 0.75 once again. Next one, company had cash sales of 95,525, credit sales of 84,200, sales returns and allowances of 2,200 and sales discounts of 3,975. Net sales for the period would be what? So it's important here not to confuse net sales and net income. So net sales, remember, is basically the sales minus the contra sales accounts kinda, which includes sales returns and allowances and discounts. So we're gonna, if we were to calculate this, then we could take the sales amount and they gave us two sales numbers so we can subcategorize that and say we had cash sales which is part of sales of 95,525 and we had the credit sales, credit sales of, that's the 84,200, that gives us total sales and so sales is the sum of the cash plus the credit sales. So that's our sales amount. Now we have the sales returns and allowance, returns and allowance, it's gonna abbreviate like so. That's gonna reduce sales. So that I'm gonna put that in as a negative. In this case, reducing the sales 2200 and the sales discount. Sales discount, that's gonna be the discounts we gave to our customers, negative 3975 and that gives us net sales. Not net income, net sales. I'm gonna go ahead and sum these up and as we do sum that equals SUM, it's this number minus this number minus this number because those are in there as negatives if we were to put it into a calculator. Giving us the 173,550. Now note that these amounts here are contra sales accounts that basically act like expenses in that they're gonna reduce the net income as well as the net sales at the end of the day but they're basically kind of contra sales and they're up in the sales area. Next one says that a company's net sales were 7,6900. Its cost of goods sold was $243.30 and its net income was 55,900. Its gross margin ratio is what? Okay, so to do that, we have to figure out first the gross margin. The gross margin will be the sales minus the cost of goods sold. So our most important relationship generally if we sell stuff inventory. So we're gonna take the sales number which they gave us to be 716900. We're gonna take the cost of goods sold number which they gave us to be 243030. That subtraction problem will give us the gross profit. That's the gross profit and we'll subtract those out. That's gonna be the sales 7169 minus the cost of goods sold 24330. That gives us the gross profit. I'm gonna underline that. Home tab font group underline. Now to figure out the gross profit margin we're gonna take the gross profit divided by the sales. So I'm usually put that next to the gross profit and I'm gonna say that equals the gross profit divided by the sales. And I'm gonna go ahead and go to the home tab. We're gonna go to the numbers group and add decimals on that. Like so and we could also, it's often in the form of a percentage if we move the decimal two places to the right we would then get a percentage and if we want one more decimal depending on how it would be formatted 66.1 or as many as we want, we only need one apparently. And there we have it. So basically for every sales that we make we're kind of going away with every dollar we're going away with 66 cents basically. That's gonna be the gross profit ratio.


To another edition of Barnes Takeout, my name is Kaelin Jewel. I am senior instructor in adult education at the Barnes Foundation. And today I wanted to talk about a fabulously weird painting that is in gallery number 18 on the second floor. And it's a picture that I think a lot of people walk right by or really right under because it's above the doorway. So it's this picture that we have here. It's by an Italian artist named Giorgio DiCerico and it was painted in 1935. The title is Alexandros. But I want to draw your attention just for a second to the kind of layout of the galleries that we see here. Of course, we've got the symmetrical arrangement on either side of the doorway. These pictures are arranged according to what they look like. That is what Dr. Barnes had wanted. We also have the inclusion in the very background. If we zoom in, you can see that we've got the painting by Henri Rousseau that Nancy Ierson, my colleague, talked about in a previous takeout. So when we are in gallery 18, there are a number of things to look at. And one of them is the inclusion of blue across the entire ensemble. And if we zoom in to the blue scene above the doorway in this DiCerico picture, we can get a sense of part of the aspect that Dr. Barnes really loved about this picture. So let's look at it more closely. And again, this is really nice to be able to look at this painting so closely because it's so hard to see in the gallery. We never really get to see it this close. So when we are looking at this picture, we see a beach landscape. We've got a tall, thin figure here who is wearing a loincloth. She's holding on to a sword. He's got strappy sandals on. In the background, we've got a female figure who is wearing a sort of loosely wrapped garment tied around her waist. She's leaning on a vessel, a ceramic vessel here. She's got nice blonde hair that's really kind of beautifully rendered. That's a really kind of nice color. And then we can see it sort of similar to the blonde that we have of the figure. In the distant background, we've got a temple, sort of nondescript temple, the artist's signature up at the top. We also have this group of three, what look to be kind of like gears, but these are actually pieces of ancient Greek architecture. They are column drums. So imagine a column that is toppled over and toppled over in a triangular pattern around this tall, thin figure. But the painting really seems to be all about this horse. This horse is fabulous. He's huge. He's stocky. He's rooted into the ground. We've got his forehobs placed firmly upon the ground. And we can see that here. We also see that his tail seems to be anchoring him into place. We've got his fabulous blonde mane sort of flowing in the breeze. And we've also got a really interesting facial expression. These eyes, and this eye that you can see here, is really quite human-like. And those of you who might be familiar with horses might think that this doesn't really look like a horse's eye. It looks more like a human's eye, sort of a strange inclusion there. So what is going on with this picture? I mentioned the title is Alexandro. So that's a reference to the male figure in the picture. And it's a reference specifically to the historical figure, Alexander the Great, who is most well-known. He's well known for lots of things. But he's most well known for conquering the known ancient Greek world at the time in the 4th century BC. And he made it as far in his conquering. He made it as far east to what is modern-day India. And when we see him here in this picture, he doesn't look like he's a conqueror. He looks sort of thin. He looks like he maybe could blow over. He has very pale. He kind of looks like he is a statue. The woman in the background is sort of curious. People are always kind of confused and curious as to what she's doing here. She's probably meant to be a representation or a personification of Greece, of ancient Greece. But the painting seems to be all about this horse, as I mentioned. So we've got this horse here with this fabulous hair, stocky build, and he seems very still. He seems very rooted into the ground, as I mentioned. And if we look into the ancient texts that describe this figure of the human figure of Alexander the Great, we know that there are lots of ancient writers who wrote about him and made descriptions of him, and especially descriptions that included his warhorse Busephalus, who we think he has rendered here, that Dekiriko has rendered in this picture.  And there is a very well known text written by Plutarch, who was an ancient Greek author writing in the second century, and he wrote a so-called Life of Alexander, and in that he describes Alexander meeting Busephalus for the first time. And in this short passage, he describes Busephalus as really being scared of his own shadow. And so Plutarch says that Alexander took Busephalus by the reins. So let's zoom in here. So we have Alexander holding Busephalus by the reins of his bridle and turning him towards the sun, which is what is described in the ancient text. And that seems to be what we have happening here. So that Busephalus is no longer seeing his shadow dancing on the ground. And it's after this moment that we have Alexander effectively taming this horse and being able to partner with him to conquer the known and sort of unknown parts of the ancient world. So if we try to think about this within the context of Georgia de Chirico, the ancient, all of these ancient references make total sense with what we know about de Chirico's own interest in the ancient world. Georgia de Chirico was an Italian painter. He was born in the Greek city of Volos, and his kind of Greek and Italian heritage are something that you see bubble up into his paintings very often. This is a picture that was purchased in 1935 by Dr. Barnes along with another painting in the collection called Horses of Tragedy, which is in gallery 23. And in 1935, we know that Georgia de Chirico painted a whole series of pictures for a solo exhibition at the Julian Levy Gallery in New York City. And this was part of that. Dr. Barnes actually wrote the introduction for that exhibition catalog, which was only really a paragraph long. So it's not like this long whole thing. But in this picture, we see Georgia de Chirico referencing his ancient past and the antiquity of the place where he was born. Also this idea of travel and of conquest. And de Chirico with this exhibition in New York, this was the first time de Chirico had had a solo exhibition in New York. And it was also the first time that de Chirico himself went to New York City and to the United States. And so perhaps de Chirico is thinking of himself as sort of an Alexander the Great like figure who is getting ready to set off on his war horse, cross the Mediterranean and enter into new territory. It's possible he's thinking this. We don't know for sure because de Chirico does not tell us. So it's an interesting painting to try to think about and try to decipher. And there's all kinds of different things that we can kind of uncover when we spend time looking at it. So thank you for joining me today with this fabulously bizarre painting. I hope that you come back to the barns and look at it in the gallery. And remember it's located over the door. So it's a little bit hard to see. All right, be sure to join us for another barn's takeout and take care. Bye-bye. I'm Tom Collins, Newbauer family executive director of the barns foundation. I hope you enjoyed barns takeout. Subscribe and make sure your post notifications are on to get daily servings of art. Thanks for watching and for your support of the barns foundation.