Artificial intelligence and medicine

It has been seen that many teachers in universities have become entertainers rather than focusing mainly on value-addition and learning. A lot of time gets devoted to pleasing the students; knowing them personally; building good relations with them; and telling jokes and creating humour; the focus becomes more of good feedback than rigor. Keeping the audience motivated is good for effective teaching; but since a lot of time goes in entertainment less time remains for analysis and conceptualization. What is your preference and why?

Teach only what the student is able to learn. Or better, teach only the most of what you can actively share with your student.

Some eventual arguments:

1. Knowledge is not transmittable.

2. The meaning of knowledge can’t be the same within deep experience or within poor experience.

3. The locus of knowledge to be learned is in between, let’s say, the master of dance and the student, both in action. The beginner dancer dances better because of the help of the master.

In this example, the new knowledge seems to be "in between" (master vs learner). It is not completely the deep knowledge of the Master since he reduces his possibilities to adapt them to the beginner, and it is neither the actual possibilities of the beginner since he dances better only because he is helped by the master. So there is some knowledge enacted "in between" by both of them. What is then the nature of this knowledge that is short of what the teacher knows and beyond what the beginner already knows?

4. Etc.

Comment: The term expert is used here in a very wide sense: it just means that the teacher knows better and more than the student. For example, one doesn't need to be an expert mathematician to teach math at the primary level. At the university level, at least, you would need to be an expert to teach math.

No gravitational wave was measured yet, no graviton was detected accordingly. On the other hand no space- time curvature was observable. There is no successful experiment to validate the current theories. What is the nature of the mysterious gravity? What is the velocity of this effect ?

When I want to plot the MEP of a molecule using GaussView 6.0, I saw the attached message. Does anyone know how to solve it?

I have a dataset with two variables: X and Y. X is a treatment, and Y is a response. I want to model Y = X using a general additive model where I then choose one distribution from about 8 choices. I was going to use AIC to select the model. However, a couple of statisticians suggested that this was inappropriate. I am not sure if I am missing something or asked the question poorly.

Y is continuous, so my choices of model are the following: Normal, Gamma, Inverse-Gamma, LogNormal, Weibull, Exponential, Pareto2, zero adjusted inverse Gaussian, and several others.

I have no prior experience with the data. There is no literature to draw from to better understand these data. As far as I know there is no theoretical basis to think that the Weibull distribution will give a better fit than the Exponential.

I would like to write a journal article focused on Emir Abd al-Qadir's (Abdelkader's) rapier, which already appears in the 12,000-word manuscript I am almost finished writing as a chapter titled "Barriers to Reparations in Albert Camus' 'The Guest': Race, Earth, Science," by Nancy Ann Watanabe, in "Imperial Indebtedness," a scholarly book edited by a New York professor who has a contract with a University Press. As discussed in my book chapter, Abdelkader's rapier is one of the valuable objects requested by Algeria in a written list of reparations to the French government. To be developed as a totally separate topic of discussion. Emir Abd al-Qadir and his rapier, often referred to as "Abdelkader's Rapier," form the basis of my new hypothesis that Abdelkader and his rapier constitute a primary referent in "The Guest"; indeed, I will argue, sufficient evidence may be gathered to make a case for identifying the unnamed Arab in "The Guest" as a symbol or emblem of Emir Abd al-Qadir. While it is true that Nobel Laureate in Literature Camus wrote "The Guest" as a narrative based on his experience as an Algerian-born Frenchman on the eve of the Algerian War of Independence, it will not be necessary for me to prove he had Emir Abd al-Qadir in mind when he wrote "The Guest." The journal article's theoretical framework will be based on the New Criticism principle of the authorial fallacy, i.e., the literary critic should focus on presenting textual evidence, not on the author's expressed intentions. My premise is "The Guest" as an imaginative literary work of art has a life of its own, separate from the author who created it. Nevertheless, if my research shows that Camus possessed a good deal of knowledge about Emir Abd al-Qadir, then I will incorporate this factual information to further support the article's main argument.

Since I have not found any journal articles or book chapters to support my hypothesis that "The Guest" has a symbolic dimensionality that accommodates an interpretation identifying the unnamed Arab and his knife with Abdelkader and his rapier, I am open to receiving any information available to Research Gate scientists, humanists, and social scientists who share their knowledge and experience on this discussion thread.

This discussion explores the transformative role of AI and machine learning in the film industry, focusing on how these technologies serve as collaborative tools rather than mere utilities. We will examine AI’s applications in various stages of film production, from script analysis and set design to character creation, visual effects, and post-production enhancements. By analyzing real-world examples and emerging research, the discussion will delve into the creative partnership between human filmmakers and intelligent systems, highlighting the balance between automation and artistic control. Additionally, we will address the ethical and creative implications of using AI in storytelling, as well as the potential it holds for reshaping the future of film design and production.