In the original publication of the article under the Acknowledgements section, a contributor name was missed out. The corrected statement should read as follows.

A 4-dimensional periodic table of chemical elements is presented. The 120 elements in the n = 8 system are located on vertices of a 4D-cubic lattice and specified by Cartesian coordinates based on the four quantum numbers. Each quantum number is represented by a vector along a different spatial direction in 4D Euclidean space. The 4D PT has a fixed topology governed by Euler–Poincare-type equation and the chemical elements have a fixed connectivity with neighboring elements within the 4D PT. Various (...) geometric transformations by rotations and elongations of vectors enable morphing of one PT to another in a continuum while preserving the 4D topology. The 4D structure exhibits principles of complementarity and zero-cyclic sum in chemical elements. Complementarity enables the extension to n = 9 elements and beyond. The 4D PT of elements extends to isotopes and also to molecules and compounds with the same underlying principles. (shrink)

Good People, by Singaporean playwright Haresh Sharma, unmasks racial and religious tensions between Singapore’s increasingly diverse racial groups and the attendant ramifications on the healthcare ecosystem and the doctor-patient relationship. Drawing upon Michel Foucault’s notion of heterotopia, this paper argues that, in Good People, Sharma employs theater as a site of resistance by calling into question state and medical authority. First, state authority is challenged through the play’s scrutiny of the ideological principle of multiculturalism and its usefulness in fostering (...) meaningful cross-cultural exchanges and acceptance of different cultural and religious beliefs in the clinic. Second, the play destabilizes medical authority by surfacing the complex relationship between the doctor’s unconscious biases, racial and religious prejudice, and clinical judgment, thereby casting doubt on medicine’s claims of objectivity. In doing so, this paper argues, the play resists simplistic binary categorizations of the behaviors and motivations of the characters into good/bad or right/wrong, instead raising questions about power, knowledge, and contesting truths within the confines of the cultural space of a hospice. (shrink)