The objective of this study—a substudy to a phase I bioequivalence study—was to compare the effect of standard and concise consent forms on research volunteers’ comprehension of and satisfaction with consent forms, as well as to assess the effect of select volunteer characteristics, such as financial motivations to participate in research, on their comprehension. A 36-item questionnaire measured volunteers’ comprehension, satisfaction, and motivations for participation. Volunteers were randomized to the standard Pfizer consent form or a concise, easier-to-read form. We approached (...) 139 volunteers to participate, and 138 completed the questionnaire . The cohorts did not differ in sociodemographic characteristics. We found that the average comprehension scores for the standard consent form cohort and the concise consent cohort were about the same, and that satisfaction with the consent form was high in both cohorts. Surprisingly, volunteers with a financial motivation had significantly greater comprehension of the study. (shrink)

We address the question: what can experience of narrative film bring to a business student? The medium of narrative film allows discussions of ethical issues, as well as discussions of film as a product in terms of its artistic creativity versus its business goal and its marketing of an underlying ideological position. Hence, we look at films from philosophical (ethical), aesthetic (artistic), and business perspectives. We describe the effort and the outcome of delivering a new course in the business undergraduate (...) program at the College of Business at Stony Brook University in New York, USA. The course was entitled Ethics: Critical Thinking through Film and it was designed to address various business and societal problems through narrative films. A diverse set of films allowed us to discuss questions about problems facing contemporary society, as well as ethical issues arising in business, including workforce ethics, greediness, bribery, whistle-blowing, and fraud. (shrink)

Abstract:Through dismantling the territorial integrity of the modern nation-state, Indigenous sovereignty threatens state imposed hegemonic systems. While these systems exist at the threshold spatially—borders and boundaries—they are the ideological epicenter for controlling human and non-human life, rendering them manageable by the state. These borders are also perpetually liminal spaces, and it is in this liminality that artists intervene through poetics, confronting state rhetorics and exercising sovereignty to address colonial wounds. In 2015 and 2017, two land-based ephemeral art projects were created (...) to challenge the terms by which territory is instrumentalized in order to justify the commodification of both land and humans. In 2015, the artist collective, Post-commodity, set up a land-based art installation, Repellent Fence, intersecting the US/Mexico border in an effort to “stitch” the Americas together again. The gesture of stitching is also employed in Maureen Gruben's Stitching My Landscape from 2017 in which Gruben stitched a segment of ocean ice with vibrant red broad cloth near her home in Tuktoyaktuk, Northwest Territories alongside the Ibyuk Pingo, a national landmark administered by Parks Canada. Both of these projects provide entry points into the various methods by which land is abstracted into an oppressive and singular form. They push back against the rigidity of prescribed borders, instead investigating more fluid entanglements with land.This paper provides a comparative analysis of these projects, examining the ways in which counterpoints are central to them as artistic interventions. Crossing diagonally to the borders that the nation-state has institutionalized produces a moment of reprise to a highly specific end: to heal. Pivotal to these anti-colonial critiques are rejection, dismissal and a refusal to translate. A symbolic reorientation of the ways humans interact with land arises, evoked through a performative gesture of stitching across fragmentations and divides. (shrink)