In this paper, we discuss our approach to developing engaging course content linked to distinct learning outcomes on the topic of academic authorship. Academic authorship is a critical element of research culture and responsible conduct of research (RCR) courses. Drawing on instructional design methods, our online course aims to stimulate critical thinking about ethical authorship practices and to help students develop skills for resolving authorship-related conflicts. The course is scaffolded to facilitate engagement by tying video and podcast-style media, a choice-based (...) interactive simulation, and traditional case study activities, to specific learning objectives. We describe how each instructional technique enhances student engagement and learning for the paired objective, and the benefits of the holistic course design. Finally, we illustrate how RCR instructors can incorporate our materials in full or in part into their own course curricula and encourage others to use our course development approach when designing their own courses. (shrink)

The unified treatment of the Dirac monopole, the Schwinger monopole, and the Aharonov-Bohm problem by Barut and Wilson is revisited via a path integral approach. The Kustaanheimo-Stiefel transformation of space and time is utilized to calculate the path integral for a charged particle in the singular vector potential. In the process of dimensional reduction, a topological charge quantization rule is derived, which contains Dirac's quantization condition as a special case. “Everything that is made beautiful and fair and lovely is (...) made for the eye of one who sees.” Jelaluddin Rumi,Mathnawi [I, 2383]. (shrink)

This article argues, first, that the fundamental structure of the skeptical argument in Kripke's book on Wittgenstein has been seriously misunderstood by recent commentators. Although it focuses particularly on recent commentary by John McDowell, it emphasizes that the basic misunderstandings are widely shared by other commentators. In particular, it argues that, properly construed, Kripke offers a fully coherent reading of PI #201 and related passages. This is commonly denied, and given as a reason for rejecting Kripke's reading of Wittgenstein's text. (...) Second, it is pretty universally accepted that Kripke's Wittgenstein is a `non-factualist' about ascriptions of meaning. The article argues that, when Kripke's discussion is rightly understood and the content of `non-factualism' is clarified, there is an important sense in which the skeptical solution is not committed to non-factualism. (shrink)

This article argues, first, that the fundamental structure of the skeptical argument in Kripke’s book on Wittgenstein has been seriously misunderstood by recent commentators. Although it focuses particularly on recent commentary by John McDowell, it emphasizes that the basic misunderstandings are widely shared by other commentators. In particular, it argues that, properly construed, Kripke offers a fully coherent reading of PI #201 and related passages. This is commonly denied, and given as a reason for rejecting Kripke’s reading of Wittgenstein’s text. (...) Second, it is pretty universally accepted that Kripke’s Wittgenstein is a ‘non-factualist’ about ascriptions of meaning. The article argues that, when Kripke’s discussion is rightly understood and the content of ‘non-factualism’ is clarified, there is an important sense in which the skeptical solution is not committed to non-factualism. (shrink)

Talk of group minds has arisen in a number of distinct traditions, such as in sociological thinking about the “madness of crowds” in the 19th-century, and more recently in making sense of the collective intelligence of social insects, such as bees and ants. Here we provide an analytic framework for understanding a range of contemporary appeals to group minds and cognate notions, such as collective agency, shared intentionality, socially distributed cognition, transactive memory systems, and group-level cognitive adaptations.

CHAPTER ONE Introduction Twenty-five years ago it was pretty widely held among Anglo- American philosophers that it was sheer confusion to suppose that an ...

While positive information in the context of clinical care can lead to placebo effects, negatively framed information can have negative or nocebo effects. Extant literature documents how doctor–patient encounters are fertile ground for suboptimal interactions leading to negative experiences for ethnoracial minority patients. In their _JME_ paper, Blease presents a critical perspective on the potential for patients’ access to their doctors’ clinical notes, ‘open notes’, to engender nocebo effects. 1 In this commentary, we affirm the central claim that nocebo effects (...) could emerge ‘via negative wording or framing of health information expressed by clinicians in documentation’. The advent of electronic health records (EHR) allowed patients the unprecedented opportunity to access personal clinical documentation, giving them a window into decision making around their health. This shift is undoubtedly complex, and thus warrants a more fulsome rendering of the unique challenges faced by ethnoracial minority patients. Herein, we highlight three... (shrink)

Toward the end of Chapter Four, Richard Moran provides a summary statement of some of his chief objectives in earlier portions of his book. He says.

George Wilson; Transparency and Twist in Narrative Fiction Film, The Journal of Aesthetics and Art Criticism, Volume 64, Issue 1, 8 March 2005, Pages 81–95, htt.

Throughout its matrix of atoms, myoglobin has a network of cavities that are inhabited for short lengths of time by ligands released by photolysis from the myoglobin heme. The purpose or effect of this cavity network is not clear. A recently published kinetic scheme that fits data from many native and mutant myoglobin oxygen photolysis experiments can be modified easily into a kinetic scheme that includes kinetic proofreading. Proofreading would provide protection against contaminants and, specifically, might help protect the cell (...) from carbon monoxide poisoning. Here we present a two‐part model: (1) myoglobin represented by a kinetic description, which includes proofreading reactions associated with the cavities, and (2) a reaction–diffusion description of a myocyte model in which the part 1 myoglobin acts as a mobile buffer in simultaneous carbon monoxide and oxygen gradients. The non‐equilibrium nature of part 2 should promote the proofreading function of part 1. A simulation using the model demonstrates that the cavity system can in principle proofread, reducing mitochondrial enzyme contamination. BioEssays 26:422–433, 2004. © 2004 Wiley Periodicals, Inc. (shrink)

In works of literary fiction, it is a part of the fiction that the words of the text are being recounted by some work-internal 'voice': the literary narrator. One can ask similarly whether the story in movies is told in sights and sounds by a work-internal subjectivity that orchestrates them: a cinematic narrator. George M. Wilson argues that movies do involve a fictional recounting (an audio-visual narration ) in terms of the movie's sound and image track. Viewers are (...) usually prompted to imagine seeing the items and events in the movie's fictional world and to imagine hearing the associated fictional sounds. However, it is much less clear that the cinematic narration must be imagined as the product of some kind of 'narrator' - of a work-internal agent of the narration. Wilson goes on to examine the further question whether viewers imagine seeing the fictional world face-to-face or whether they imagine seeing it through some kind of work-internal mediation . It is a key contention of this book that only the second of these alternatives allows one to give a coherent account of what we do and do not imagine about what we are seeing on the screen. Having provided a partial account of the foundations of film narration, the final chapters explore the ways in which certain complex strategies of cinematic narration are executed in three exemplary films: David Fincher's Fight Club , von Sternberg's The Scarlet Empress , and the Coen brothers' The Man Who Wasn't There. (shrink)

It is widely held in theories of narrative that all works of literary narrative fiction include a narrator who fictionally tells the story. However, it is also granted that the personal qualities of a narrator may be more or less radically effaced. Recently, philosophers and film theorists have debated whether movies similarly involve implicit audio-visual narrators. Those who answer affirmatively allow that these cinematic narrators will be radically effaced. Their opponents deny that audio-visual narrators figure in the ontology of movies (...) at all, and many have argued that the ‘effaced’ literary narrator is an illusion as well. In this paper, I attempt to sort out the central issues that arise in these debates, defending the existence of effaced narrators in both literature and film. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:George M. Wilson EDWARD SAID ON CONTRAPUNTAL READING Edward Said's rich and powerful new book, Culture and Imperialism,1 offers, as one strand of its multifaceted discussion, methodological reflections on the reading and interpretation of works of narrative fiction. More specifically, Said delineates and defends what he calls a "contrapuntal" reading (or analysis) ofthe texts in question. I am sympathetic to much ofwhat Said aims to accomplish in (...) tiiis endeavor, but I am also puzzled about some key aspects of his proposal. I will begin by presenting a brief sketch of my understanding of what a contrapuntal reading involves, and I will tiien explain some of the doubts and puzzlement I feel. Unfortunately, there is much that Said says about even diis limited topic that I will have to by-pass, but I hope to say enough to initiate some helpful discussion of the issues. I should note that aldiough the topic of "contrapuntal reading" recurs with significant emphasis throughout his book, Said's direct explication of the enterprise is scattered across several chapters, and the relevant remarks tend to be, in each instance, fairly brief. Given this state of affairs, I have tried to extract a reasonably unified account from a wide range of passages, and I hope to have done so as sympadietically and accurately as possible. Nevertheless, die fact remains that what follows is my reconstruction of the view diat Said adumbrates. Contrapuntal readings are meant to interweave, mutually qualify, and above all, superimpose die legitimate claims ofinternal or intrinsic readings of a work, on the one hand, and the claims ofvarious forms of external critique, on the odier. Such readings rest upon the fact that any literary fiction refers to or depicts a complex of materials that have been drawn from the actual world, e.g., actual people, places, institutions, and practices. These items are taken up and variously deployed Philosophy and Literature, © 1994, 18: 265-273 266Philosophy and Literature within the wider imaginative project of the work. It is crucial to this deployment tiiat the intended audience can be expected to bring to the text a set of background "attitudes" concerning die relevant real world materials, and tiiat diese beliefs, concerns, ideological presuppositions, etc., are elaborated widiin die work's embedded patterns. Thus, die text is anchored in what Said calls "a structure of reference and attitude," and diis structure constitutes die base from which a contrapuntal reading chiefly proceeds. Reading contrapuntally, interpreters move back and forth between an internal and external standpoint on the work's imaginative project, with special attention to the structure of reference and attitudes it contains. From an internal standpoint, interpretation aims at explanation of the work's narrational, rhetorical, and linguistic strategies, an explanation that respects the strategies and die density of the textual elements tiiey implicate. It is important that the internal standpoint articulate die work's vision as compellingly as possible, not only because diis has an obvious interest of its own, but because the persuasiveness ofcommentary from an external standpoint depends upon giving full credit to the sophistication of the text. (We will return to diis point shortly.) An external standpoint examines the problematic seductiveness of die work's capacity to guide its audience's responses and seeks to define die limited degrees of freedom widiin whatever complexity it establishes. By reminding us of information about the structure of reference that die work ignores, distorts, or minimizes and by reminding us that the structure of invoked attitudes has plausible alternatives that the work has effectively excluded, die external standpoint situates the text critically within a wider field of imaginative possibilities. As Said formulates the point, we read from an external perspective "... with an effort to draw out, extend, give emphasis and voice to what is silent or marginally present or ideologically represented" in die work" (CUfI, p. 66). In elaborating the account above, I have spoken of "intrinsic readings " of narrative fictions, and it will help to fill in my sketch if I specify the fairly standard conception I have in mind. Said does not address diis as a separate topic, but I believe that die following remarks are fully compatible with what he seems... (shrink)

If a person's head moves, she may or may not have moved her head, and, if she did move it, she may have actively performed the movement of her head or merely, by doing something else, caused a passive movement. And, if she performed the movement, she might have done so intentionally or not. This short array of contrasts (and others like them) has motivated questions about the nature, variety, and identity of action. Beyond the matter of her moving, when (...) the person moves her head, she may be indicating agreement or shaking an insect off her ear. Should we think of the consequences, conventional or causal, of physical behavior as constituents of an action distinct from but ‘generated by’ the movement? Or should we think that there is a single action describable in a host of ways? Also, actions, in even the most minimal sense, seem to be essentially ‘active’. But, how can we explain what this property amounts to and defend our wavering intuitions about which events fall in the category of the ‘active’ and which do not? (shrink)

I was also told of her heroic behavior in the battle of Vegas. Some of the tales I heard were difficult to believe.