The traditional way of presenting mathematical knowledge is logical deduction, which implies a monolithic structure with topics in a strict hierarchical relationship. Despite many recent developments and methodical inventions in mathematics education, many curricula are still close in spirit to this hierarchical structure. However, this organisation of mathematical ideas may not be the most conducive way for learning mathematics. In this paper, we suggest that flattening curricula by developing self-contained micro topics and by providing multiple entry points to knowledge by (...) making the dependency graph of notions and subfields as sparse as possible could improve the effectiveness of teaching mathematics. We argue that a less strictly hierarchical schedule in mathematics education can decrease mathematics anxiety and can prevent students from ‘losing the thread’ somewhere in the process. This proposal implies a radical re-evaluation of standard teaching methods. As such, it parallels philosophical deconstruction. We provide two examples of how the micro topics can be implemented and consider some possible criticisms of the method. A full-scale and instantaneous change in curricula is neither feasible nor desirable. Here, we aim to change the prevalent attitude of educators by starting a conversation about the flat curriculum alternative. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Dialogic and the Aesthetic:Some Reflections on Theatre as a Learning MediumAnthony Jackson (bio)A Doll's House will be as flat as ditchwater when A Midsummer Night's Dream will still be as fresh as paint; but it will have done more work in the world; and that is enough for the highest genius, which is always intensely utilitarian.— George Bernard Shaw, "The Problem Play"1People have tried for centuries to (...) use drama to change people's lives, to influence, to comment, to express themselves. It doesn't work. It might be nice if it worked, but it doesn't. The only thing dramatic form is good for is telling a story.—David Mamet, A Whore's Profession2These two assertions, some 100 years apart, were of course meant to be contentious—but they do point to one of the recurring questions about the role that theatrical art plays in modern Western culture and nicely encapsulate the contrasting claims made by practitioners and critics alike for the "work in the world" that drama can do. On the one hand, it is argued that what is conventionally thought of as great dramatic art—while it may be imaginatively rich, aesthetically compelling, and "timeless" in its appeal—will not achieve the social impact that plays such as A Doll's House have done. Such plays have a different function. They can be directly useful to us in the "real world" beyond the theatre walls, perhaps capable of influencing that world or at least influencing the way we think about and operate in the world—but they may not, consequently, have much shelf life. A Doll's House, of course, obstinately refuses to leave both shelf and stage but in this respect may be an exception that proves the rule; the vast majority of "interventionist" dramas rarely outlive their historical moment. (A play such as Spirochete, a [End Page 104] living newspaper written in 1938 in Chicago with the aim of heightening public awareness of the widespread—but barely discussed—problem of syphilis and of the cures available, undoubtedly did much effective work in the world but remains of and for its time.3 )On the other hand, playwright David Mamet casts buckets of cold water over the whole notion of "useful" dramatic art. Let us not delude ourselves, he argues, into thinking drama is good for anything else than telling a story—the value of good dramatic storytelling is important enough as it is. It serves the art form—and possibly those we wish to influence—badly if we insist on trying to change the world using drama as our lever. A genuine work of art, it is often said, cannot be didactic or "instrumental." The novel, play, or poem that sets out to convey information or to preach a message risks surrendering those very qualities we usually value in art—complexity, multilayered meanings, richness of imagination. Jonathan Levy, in his A Theatre of the Imagination, argues that "the impulse to create theatre for children is the impulse to give a gift, without strings. It is this impulse... we should... call upon when we find ourselves in the theatre tempted to teach."4 Further, "when art is used to teach, either the teaching or the art must suffer."5 The implication is clearly that teaching and dramatic art make awkward bedfellows. It has to be one or the other, not both. The late, much missed, Lowell Swortzell took a not dissimilar line in his provocative essay on theatre-in-education, "Trying to like TIE,"6 and many practitioners of children's and young people's theatre have likewise resisted having their work categorized as educational or in any way curriculum driven. The work must have its own justification, as art, as storytelling, offering young people an experience that may complement but that is fundamentally different from anything else they get in school. Even Augusto Boal has at times appeared to reinforce the dichotomy. Arguing for a theatre that can serve the immediate needs of the marginalized, the oppressed, and the disadvantaged, he has negotiated a challenging and productive path through the artistic and socially responsive implications of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:“Destined to Fail”: Carl Seashore’s World of Eugenics, Psychology, Education, and Music by Julia Eklund KozaJune Boyce-TillmanJulia Eklund Koza, “Destined to Fail”: Carl Seashore’s World of Eugenics, Psychology, Education, and Music (Ann Arbor, MI: University of Michigan Press, 2021)This is a difficult book to read not only because of its length but also its content. While reading the history of eugenics and how it played out in the (...) invention of the holocaust, I found myself feeling the nausea that I similarly feel when embarking on Margaret Attwood’s Handmaid’s Tale. I also remembered how I had used the Seashore tests of musical ability in my time teaching in London primary schools. I was faced with a common problem in UK State schools–three places for violin tuition and twenty children seeking them. The Seashore tests appeared to be the answer to the problem. The claims made for them were that they would tell me which children were likely to succeed because they had more musical ability than others. It was only in the process of using them that I realized that this was an unjustified claim. Conversations with John Sloboda revealed two other aspects that might play out in musical success. One was a moment/event which made a person fall in love with a particular instrument and want to learn it. The other was the amount of time a person would put in to practice the instrument, which in many London contexts with high-rise flats and no soundproofing [End Page 83] was extremely difficult. All that the Seashore tests showed was the third aspect involved in engagement with music, which was the ability to recognize the musical patterns of a particular culture. But what this book shows us so clearly is the danger of rating this ability to grasp the musical patterns of the Western classical musical traditions as the totality of musical ability. Beneath this is the belief that some people are innately musical but, more significantly, others are not. In my experience, musicality is a difficult area in our UK culture; people are more likely to say that they are not musical in a way that they would not in relation to any other academic discipline such as English, geography or history. In many educational contexts, I have pointed out that, if a teacher believes that some students are musical and some are not, then it is unethical to have class music lessons for everyone in the curriculum. Helpfully, in the final chapter of the book, some of these shades from the past, that still color contemporary thinking about music education, are clearly set out.To turn to the book itself, the first chapter sets out Seashore’s life as a “Mendelian hereditarian who believed that musical talent is biologically inheritable, differently bestowed, and immutable.”1 The author contextualizes the belief system in which this is rooted, discussing the American Eugenics Society, the best baby contests, and the “great man” narratives of the early to mid-twentieth century (first set out in Galton’s idea of genius). Seashore’s legacy figures in a number of academic fields, including audiology, aesthetics, educational reform, the American Psychological Society, and the National Academy of Sciences. She hopes to initiate a debate about how eugenics has, and still does have, a part in stories of both music education and education generally. She situates her work in a view of “‘the past’ as a dynamic construct created and recreated in the present.”2 She sets up a different way of remembering the past by acknowledging that past, present, and future are culturally constructed and bounded, in which she uses Foucault’s concept of power.3 She considers the role of “solid” science in supporting both eugenics and its responsibility for the Holocaust. I would recommend that anyone embarking on historical musicology read this chapter to understand the complex mechanisms which need to underpin such study.My own academic research has been about deconstructing the patriarchal values that filled my own miseducation in music history. The legacy of Galton’s construction of genius dominated my music education and when I took my professorial... (shrink)

Volume 30, Issue 1, February 2025, Page 104-111.

The clinical years of medical student education are an ideal time for students to practise and refine ethical thinking and behaviour. We piloted a new clinical ethics teaching activity this year with undergraduate medical students within the Rural Clinical School at the University of New South Wales. We used a modified teaching ward round model, with students bringing deidentified cases of ethical interest for round-table discussion. We found that students were more engaged in the subject of clinical ethics after attending (...) the teaching sessions and particularly appreciated having structured time to listen to and learn from their peers. Despite this, we found no change in student involvement in managing or planning action in situations that they find ethically challenging. A key challenge for educators in clinical ethics is to address the barriers that prevent students taking action. (shrink)

We discuss the concepts of Weyl and Riemann frames in the context of metric theories of gravity and state the fact that they are completely equivalent as far as geodesic motion is concerned. We apply this result to conformally flat spacetimes and show that a new picture arises when a Riemannian spacetime is taken by means of geometrical gauge transformations into a Minkowskian flat spacetime. We find out that in the Weyl frame gravity is described by a scalar (...) field. We give some examples of how conformally flat spacetime configurations look when viewed from the standpoint of a Weyl frame. We show that in the non-relativistic and weak field regime the Weyl scalar field may be identified with the Newtonian gravitational potential. We suggest an equation for the scalar field by varying the Einstein-Hilbert action restricted to the class of conformally-flat spacetimes. We revisit Einstein and Fokker’s interpretation of Nordström scalar gravity theory and draw an analogy between this approach and the Weyl gauge formalism. We briefly take a look at two-dimensional gravity as viewed in the Weyl frame and address the question of quantizing a conformally flat spacetime by going to the Weyl frame. (shrink)

Flat Physicalism is a theory of through and through type reductive physicalism, understood in light of recent results in the conceptual foundations of physics. In Flat Physicalism, as in physics, so-called "high level" concepts and laws are nothing but partial descriptions of the complete states of affairs of the universe. "Flat physicalism" generalizes this idea, to form a reductive picture in which there is no room for levels, neither explanatory nor ontological. The paper explains how phenomena that (...) seem to be cases of multiple realization of special sciences kinds by physical kinds are fully explains in a reductive physicalist way. Finally, the paper exemplifies the fruitfulness of this reductive approach by showing how it can account even for a case of high-level anomaly in a deterministic universe (for example anomaly of the mental, should this turn our to be a fact about the world) - a result that may be called Anomalous Physicalism. (shrink)

From the perspective of art education, the worst-case philosophical scenario is the hedonist-subjectivist account of art. If we measure art by the pleasure we gain from it, it may seem senseless to attempt teaching the reception of art. David Hume's ‘Of the Standard of Taste’ provides an argument for the art-education enthusiast, explaining that—even on a subjectivist account—art education crystallises our own preferences. While I refer to a historical debate and provide a close reading of an 18th-century essay, my goal (...) is to offer a philosophical solution to an ongoing dilemma; I use Hume's essay to ground the justification of art education. (shrink)

Given the range of threats currently facing humankind – pandemics resulting from zoonotic infections, catastrophic climate change, and populist post-truth political hate-mongering – this collection...