Ethics in real life
Ethical standards play a key role in the conduct of individuals and societies. This audio album contains three tracks that examine the basics of ethical theory and practice. It features interviews with leading figures in the field of ethics and examines codes of ethics, corporate businesses and copyright infringement. This material is taken from The Open University course A181 Ethics in real life. Th
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1 Enlightenment, liberty and revolution

The main aim of this course is to provide you with basic historical background on the French Revolution, which marked a watershed in the history and culture of the period 1780–1830. The documents and illustrations associated with it are there to illustrate and bring out the points made. The first exercise is preceded by an extended preamble designed to facilitate your reading and understanding of the first document. This should in turn point a way towards engaging with other documents and i
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4.1 A note on the translations and scores

The German text and a parallel English translation of each of the songs we shall study in this course will be available as attached pdf documents. The styles of translation vary, depending on the style of the original poem. For poems without a regular metre and without a rhyming-scheme, a literal translation of the German is given so that you can follow the original word by word. For poems with regular metre and a strong rhyming-scheme, the translation follows the rhythm and rhyming as closel
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1 Schubert: introduction

This course focuses on a selection of short poems in German that were set to music by Franz Schubert (1797–1828) for a single voice with piano, a genre known as ‘Lieder’ (the German for ‘songs’). These are miniatures, but in Schubert's hands they become miniatures of an exceptionally concentrated kind. Their characteristic distillation of the emotional essence of a poem illustrates Romanticism at its most intimate. Schubert's Lieder, once they became widely known, influenced succeed
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References

Adams, B., Breazeal, C., Brooks, R. and Scassellati, B. (2000) ‘Humanoid robots: a new kind of tool’, IEEE Intelligent Systems, 15, 25–31.
Block, N. (1995) ‘On a confusion about a function of consciousness’, Behavioral and Brain Sciences, 18, 227–47.
Block, N., Flanagan, O. and Güzeldere, G. (eds) (1997), The Nature of Consciousness: Philosophical
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4.2 Naturalism and reductive explanation

There is a widespread commitment among contemporary philosophers and scientists to a naturalistic view of the world. In broad terms, naturalism is the view that everything is scientifically explicable – to put it crudely, that there are no miracles. (Note that I am using ‘naturalism’ here for a metaphysical position – a view about the nature of the world. It is also used for a methodological position – a view about how the world, or some aspect of it, should be
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2.3 Some distinctions

I now want to distinguish consciousness, in the sense outlined above, from some related phenomena. This should help to clarify the concept further and avoid potential confusion. What follows draws in part on distinctions and terminology introduced by the philosopher David Rosenthal (Rosenthal, 1993).

The first distinction I want to make has already been introduced. When I described your experience at the dentist's I spoke both of you being conscious and of your experiences
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2.3 Acts 3 and 4: What does Faustus achieve?

Act 2 points repeatedly to the failure of Faustus's attempt to secure power and autonomy through his pact with Lucifer: in Act 2, Scene 1 Mephistopheles declines his request for a wife, and in Act 2, Scene 3 he refuses to tell him who made the world. Acts 3 and 4 cover the bulk of the twenty-four-year period that Faustus purchased with his soul. How do they make us feel about what he actually achieves through his embracing of black magic? Are we encouraged to feel it was worth it?


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2.5 Scottish identity

Although Bannockburn has figured recently as a mark of ‘Scottishness’ (in part because of the 1995 film Braveheart, which popularised William Wallace and was prominent in nationalist discourse in the years leading to Scottish devolution), Culloden has had a place in the minds and memories of Scots for over two centuries. In that time it has become a signifier of an invented Scotland of mountain scenery, castles and tartan. It is closely tied to the evocative tale of Bonnie Prince C
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References

Anon. (1861) ‘Carte de visite portraits’, The Photographic News, vol.5, no. 150, pp.341–2.
Anon. (1863) ‘Photography and bad taste’, The Photographic News, vol.7, no.240, 10 April, pp. 174–5. Reprinted from the London Review.
Anon. (1884) ‘By the bye – the stronger will’, The Photographic News, vol.28, no. 1346, p.388.

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6.2 Street photography

Many portraits were taken outside the home and in the garden or, in the case of urban dwellers, in the street or back yard. Local studio proprietors could be commissioned to attend at the customer's house, in which case they would impose an additional charge to cover the extra time and effort involved. Itinerant operators regularly patrolled suburban streets and villages in search of speculative work. Their prices undercut those on offer in local studios. Weekdays would find women, children a
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5.5.1 Christening

Image 45 Photographer/Painter: James Pennington, Aigburth. Subject: Unknown woman and child,
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1 Thugga

The ancient city of Thugga is often known by its modern name, Dougga. In this course we will be using the ancient name, Thugga. We are going to start by watching a video sequence, taking occasional notes: it should form about an hour of study time. The next section follows on from the video and introduces further evidence from Thugga.

As you watch, think about how the city compares with other cities you have encountered. Look out for how the buildings and streets are arranged, for build
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1.5 The limits of memory

In unwritten music, a factor which places a constraint on the number of fixed elements – the degree of detail specified by any model – is memory. Whatever is fixed must be memorised; as a matter of necessity, therefore, performers in these traditions have evolved strategies which limit the load placed on their memories. Here is Nettl again:

Dividing music into elements, I hypothesise the need for some of these
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References

Craig, S. and Jassim, H. (1995) People and Project Management for IT, Maidenhead, McGraw-Hill.
Elbeik, S. and Thomas, M. (1998) Project Skills, Oxford, Butterworth-Heinemann.
Gulliver, F.B. (1987) ‘Post-project appraisals pay’, Harvard Business Review, March–April.
Sabbagh, K. (2000) Power into Art, Lo
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The closure meeting

The final meeting is a time for celebrating successful completion. It could have a similar format to the launch meeting, and involve many of the same people. It might include:

  • reviewing the outputs or outcomes;

  • confirming the arrangements for any follow-up work;

  • thanking the team, the sponsor(s) and the stakeholders for their support;

  • presenting the completion report for approval and sign-off.

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1.1 Formal handover

The outputs of a project should be defined at the planning stage, including any conditions that will be required for a smooth transfer. Each outcome should be formally handed over to the sponsor who should confirm their delivery (‘sign them off’) so that there is no dispute about whether outcomes have been completed.

A closure list is likely to have sections to include the following groups of tasks, but each project will have different features to consider. A list of suggested areas
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