Improved Bounds for rr-Identifying Codes of the Hex Grid

For any positive integer $r$, an $r$-identifying code on a graph $G$ is a set $C\subset V(G)$ such that for every vertex in $V(G)$, the intersection of the radius-$r$ closed neighborhood with $C$ is nonempty and pairwise distinct. For a finite graph, the density of a code is $|C|/|V(G)|$, which naturally extends to a definition of density in certain infinite graphs which are locally finite. We find a code of density less than $5/(6r)$, which is sparser than the prior best construction which has density approximately $8/(9r)$.Comment: 12p

Social interaction of cancer survivors in Malta : a sociological analysis

This research analyzes social interaction of cancer patients in Malta. In particular it applies a qualitative sociological approach to verify how cancer patients interact with family members and society. The research concludes that social interaction of cancer survivors in Malta is characterized by mixed experiences, but at the same time, all cancer patients emphasize the importance of family support. A major finding is that cancer patients do not simply receive support from family members, but also provide it themselves to their relatives. This is not an intended effect of cancer survivorship, but nevertheless it helps strengthen social bonds within families of cancer patients.peer-reviewe

Characterizing extremal digraphs for identifying codes and extremal cases of Bondy's theorem on induced subsets

An identifying code of a (di)graph $G$ is a dominating subset $C$ of the vertices of $G$ such that all distinct vertices of $G$ have distinct (in)neighbourhoods within $C$. In this paper, we classify all finite digraphs which only admit their whole vertex set in any identifying code. We also classify all such infinite oriented graphs. Furthermore, by relating this concept to a well known theorem of A. Bondy on set systems we classify the extremal cases for this theorem

Understanding what it means to be a health practitioner: biographies of care and concern

INTRODUCTION: I am not a health practitioner, although I work in a Health Sciences Faculty. As the faculty’s ‘Education Advisor’, I am intimately involved in the education of health practitioners. I mentor students to learn more effectively and work with teachers to help prepare clinically competent, caring professionals. Perhaps because I am not medically trained, I evaluate graduates through the eyes of a patient-consumer. I am obviously concerned with clinical competence. But I also want to know, ‘will this graduate professional understand me as a person, viewing my health care as integral to who I am as a human being, collaborating with me to ensure my best quality of life?' Growing research informs on how to teach for technical competence, ensuring that graduates display the knowledge and skills prerequisite for accurate diagnosis and appropriate treatment

Addressing ethical issues in peer review - new guidelines available from COPE

Ethical issues related to the peer review process are increasingly complex and can be tricky to navigate and resolve. This Peer Review Week 2017, COPE (the Committee on Publication Ethics) released a revised, updated version of its guidelines for editors, reviewers, and would-be reviewers. These expanded resources include more information for early-career researchers, as well as addressing some of the more prominent recent ethical issues of peer review, such as peer review fraud, confidentiality, and ownership

'I Know That Face' Murundak: Songs of Freedom and the Black Arm Band

‘This black armband view of our history’ was a phrase used by Prime Minister John Howard in a 1996 Sir Robert Menzies Lecture. Howard used the phrase, first coined by historian Geoffrey Blainey, to counter the arguments of opponents who were insisting that the post-contact treatment of the Aboriginal people must be recognised and included in Australian historical discourse and public forms of remembrance. The musical ensemble that is the subject of Natasha Gadd and Rhys Graham’s documentary film, Murundak: Songs of Freedom (2011) developed its name and its intention in protest against Howard’s dismissive rhetoric. This article examines the ways in which the film extends the platform for the Black Arm Band’s performances of cultural-political intervention begun in their highly successful murundak concerts. We argue that the film constructs an alternative Australian history through strategies that authorise the personal memories disclosed by the Aboriginal band members – the film’s protagonists – and enable them to be gathered into a form of collective, social memory. Songs and song-writing provide the focal point for this work of remembrance, and the unifying thread that weaves a regenerative narrative through three major stages of Aboriginal history: the struggle to survive; the process of healing; and reconnection with kin, country and language