Objective: To explore the experiences of people with a “terminal illness”, focusing on the patients’ perspective of euthanasia and assisted suicide.Method: A qualitative study using narrative interviews was conducted throughout the UK. The views of the 18 people who discussed euthanasia and assisted suicide were explored. These were drawn from a maximum variation sample, who said that they had a “terminal” illness, malignant or non-malignant.Results: That UK law should be changed to allow assisted suicide or voluntary euthanasia was felt strongly (...) by most people. Those who had seen others die were particularly convinced that this should be a right. Some had multiple reasons, including pain and anticipated pain, fear of indignity, loss of control and cognitive impairment. Those who did not want to be a burden also had other reasons for wanting euthanasia. Suicide was contemplated by a few, who would have preferred a change in the law to allow them to end their lives with medical help and in the company of family or friends. The few who opposed a change in UK law, or who felt ambivalent, focused on involuntary euthanasia, cited religious reasons or worried that new legislation might be open to abuse.Conclusion: Qualitative research conducted on people who know they are nearing death is an important addition to the international debate on euthanasia and assisted suicide. Those who had seen others die were particularly convinced that the law should be changed to allow assisted death. (shrink)

Playing with correct intonation is one of the major challenges for a string player. A player must learn how to physically reproduce a target pitch, but before that, the player must learn what correct intonation is. This requires audiation- the aural equivalent of visualization- of every note along with self-assessment whether the pitch played matches the target, and if not, what action should be taken to correct it. A challenge for successful learning is that much of it occurs during practice, (...) typically without outside supervision. A student who has not yet learned to hear correct intonation may repeatedly practice out of tune, blithely normalising bad habits and bad intonation. The real-time reflective nature of intonation and its consistent demand on attention make it a ripe target for technological intervention. Using a violin augmented to combine fingerboard sensors with audio analysis for real-time pitch detection, we examine the efficacy of three methods of real-time feedback for improving intonation and pitch learning. The first, aural feedback in the form of an in-tune guide pitch following the student in real-time, is inspired by the tradition of students playing along with teachers. The second is visual feedback on intonation correctness using an algorithm optimised for use throughout normal practice. The third is a combination of the two methods, simultaneously providing aural and visual feedback. Twelve beginning violinists, including children and adults, were given four in-situ 20-30 minute lessons. Each lesson used one of the intonation feedback methods, along with a control lesson using no feedback. We collected data on intonation accuracy and conducted interviews on student experience and preference. The results varied by player, with evidence of some players being helped by the feedback methods but also cases where the feedback was distracting and intonation suffered. However interviews suggested a high level of interest and potential in having such tools to help during practice, and results also suggested that it takes time to learn to use the real-time aural and visual feedback. Both methods of feedback demonstrate potential for assisting self-reflection during individual practice. (shrink)

Policy and technological transformation have coalesced to usher in massive changes to educational systems over the past two decades. Teachers’ roles, subjectivities and professional identities have been subject to sweeping changes enabled by sophisticated forms of governance. Simultaneously, students have been recast as ‘learners’; like teachers, learners have become subject to new forms of governance, through technological surveillance and datafication. This paper focuses on the intersection of the metrics driven approach to education and the political as a way to re-think (...) the future of schooling in more explicitly philosophical terms. This exploration starts with a critical examination of constructions of teachers, learners and the digital data-driven educational culture in order to explicate the futures being generated. The trajectory of this future is explored through reference to the techno-educational models currently being developed in Silicon Valley. Drawing on Deleuze’s notion of control societies we contribute to the ongoing philosophical investigation of the datafication of education; a necessary discussion if we are to explore the future implications of schooling in a technologically saturated world. We present consideration of the past, present and future, as three ways of considering alternatives to a datafied education system. Alternative conceptualisations of the future of schooling are possible which offer ways of understanding and politicising what happens when we impose data-driven accountabilities into people’s lives. (shrink)

Extensive training with a musical instrument results in the automatisation of the bodily operations needed to manipulate the instrument: the performer no longer has to consciously think about the instrument while playing. The ability of the performer to automate operations on the instrument is due to sensorimotor mechanisms that can predict changes in the state of the body and the instrument in response to motor commands. But how strong are these mechanisms? To what extent can we alter the structure of (...) the instrument before they disappear? We performed an exploratory study to understand whether and how sensorimotor predictions survive instrument modification. We asked seven professional violinists to perform repertoire pieces and sight-reading exercises on four different violins: their own, a cheap violin, a small violin, and a violin whose strings had been put on in reverse order. We performed a series of quantitative investigations on performance intonation and duration, and on bowing gestures and errors. The analysis revealed that participants struggled adapting to the altered instruments, suggesting that prediction mechanisms are a function of instrument configuration. In particular, the analysis of bowing errors, intonation, and of performance duration suggested that the performance with the reverse violin was much less fluent and precise than the performer's own instrument; the performance with the small violin was also sub-standard though to a lesser extent. We also observed that violinists were differently affected by instrument modifications, suggesting that the capability to adapt to a new instrument is highly personal. (shrink)

Self-assembly processes of crystallization, micelle formation and virus assembly, by their creation of geometric order from disordered components, represent first-order phase transitions that arise through the formation of partially ordered intermediates. The self-assembly of protein subunits into the geometric shells of polyhedral viruses may proceed through formation of reverse micelles, and be driven by condensation of encapsidated nucleic acid complexed with the amino terminal polypeptides of the coat proteins. Restructuring of subunits on the fluid, micellar surface, analogous to processes on (...) the surfaces of growing crystals, then leads to symmetrical, icosahedral capsids. Such a pathway for viral assembly is attractive because it utilizes only physical properties inherent to the system, and it shares many characteristics that we know to be associated with those two other preeminent examples of self-assembly, micelles and crystals. BioEssays 27:447–458, 2005. © 2005 Wiley periodicals, Inc. (shrink)