Chapter 10 considers a broad approach in which the application geometry that dictates the flow field is designed from the beginning, to enhance flow control. Examples include airfoil lift control without moving surfaces. This chapter presents a number of approaches. These range from a simple modification of a geometry to rigorous approaches that utilize an adjoint formulation of the Navier–Stokes equations that identifies sensitivity to changes in geometry and seeks those that maximize flow control authority.

This chapter describes lab verification and clinical validation of tests for the detection of SARS-CoV-2. As new SARS-CoV-2 tests were being developed early in the pandemic, extensive lab verification studies to “test the tests” were conducted at ACME POCT at Emory University. Initial testing was performed in a Biosafety Level 3 facility to determine if the assays could detect propagated SARS-CoV-2 in ideal conditions and evaluate the specificity of these tests. We then describe the establishment of a Biorepository to bank SARS-CoV-2 variant samples and use these samples to determine whether tests could detect new variants with equal sensitivity as the original wild-type virus. This chapter also describes the clinical validation of tests using samples collected from individuals at testing centers. The clinical validation core requires careful planning for staffing and personnel training, semi-permanent and mobile clinical sites, defining inclusion and exclusion parameters, and data collection and reporting. Our experience demonstrated the importance of developing strong relationships with academic and private partners to facilitate clinical site setup, marketing, and purchasing.

This chapter introduces the basic concepts of electroencephalography (EEG) and creates a foundation for further concepts. EEGs are graphical representations of continuous synaptic activity occurring in the pyramidal neurons within the superficial cortical surfaces. The EEG shows an arrangement of channels, each consisting of two electrodes, that record electrical potentials from the underlying cortex and display it in the form of waveforms. The appearance of each waveform is governed by three simple rules of polarity. Electrodes are small circular metallic discs that can be affixed to the scalp with glue or collodion and connected to the EEG machine. They are placed using the standardized international 10-20 system. Pairs of electrodes (channels) are displayed in different arrangements called montages which can be used to localize a waveform on the cortical surface. Display parameters such as sensitivity and filter settings may also modify the appearance of the waveforms. Waveforms may be described based on their frequency and rhythm. Features of the normal adult EEG as well as strengths and limitations of electroencephalography are also discussed in this chapter.

This chapter provides a comprehensive framework to understand and quantify structural bottlenecks in a setting of multidimensional sustainable development. First, we formalise the idea of an idiosyncratic bottleneck when thinking in a hypothetical situation where a government has all the necessary resources to guarantee the success of its existing programmes (i.e., the budgetary frontier). Second, we compare the development gaps between the baseline and counterfactual outputs to assess how sensitive are the different indicators when they operate at the budgetary frontier. Third, we combine this information with the historical performance of indicators to develop a methodology that identifies idiosyncratic bottlenecks. Finally, we elaborate on a flagging system to differentiate between idiosyncratic bottlenecks according to the ‘urgency’ to unblock them.

Screening is an important preventive public health activity. This chapter:

• provides examples of effective screening programmes;

• considers what criteria are needed to demonstrate the effectiveness of a programme;

• describes how screening tests can be used to guide action; and

• describes how screening programmes can be evaluated.

The everyday work of a manuscript editor who works independently is variously styled as:

• intellectual labour

• highly skilled work

• technical or craft work

• support for creators or publishers

• piecemeal, gig or cottage industry work

• contracting or labour hire, consulting or supply of communication services.

The mere mention of the term “plagiarism” can strike fear into the heart of an academic editor; likewise “attribution” and “citation”. Editors of fiction and poetry can take no great comfort, either: our Nemesis might be found in the subgenre fan fiction and the saying that “imitation is the sincerest form of flattery”.

So, what exactly is literary appropriation, and what is its relationship to plagiarism?

Important definitions for a professional editor and writer: audience, work/s, authenticity, sensitivity, diversity, accessibility, inclusivity, editorial judgement

In this section we explore the legal, ideological, philosophical and theoretical contexts of Australia and Aotearoa New Zealand. The aim is to provide an overview of some of the important considerations in undertaking an editing assignment in these settings. It is not meant as a substitute for legal advice, nor as a treatise on any preferred political or social ideology, philosophy or theory. My own perspectives and bias will no doubt be evident, so you are advised to take it all with a large grain of salt! In other words, to be a critical reader.

Use the discussions presented here as a sounding board and a starting point for development of your own approach to editing and editorial practice, and to underpin a sound rationale for the editorial decisions you make.

There are many definitions of what might constitute literary appropriation. On the side of generosity and openness is the idea of using a well-known literary work as inspiration for a reworking, or re-imagining, so as to offer a new or extended perspective or meaning. An intellectual or scholarly approach might be to explore intertextuality or commentary, whereby elements of one work are explicitly or implicitly referenced in another. A more critical interpretation might be that of a hostile takeover of minoritised languages and cultures in post-colonial societies. This section explores some interpretations of literary appropriation.

If there is to be a singular conclusion to this book, it is that we live in increasingly uncertain times and thus, as editors, it behoves us to embrace uncertainty in all aspects of our work – or, at least, to learn to live with it. Embracing uncertainty in the professional context can be empowering: it enables us to be flexible and open to new ideas, to new ways of thinking and doing things, to be innovative. Learning to live with uncertainty can also help to build our personal resilience. If the concept of resilience appears to be an overused cliché, that is understandable because it is increasing in importance to life as we know it in the 21st century.

As stated earlier in this Part of the guide, it can be helpful to determine the defined standard, or benchmark, for the author’s perspective, action or statement, whether that is for a fictional character or plot, or in a non-fiction work (see Identifying the explanatory framework within a text). Once you have clarified that and the author’s intention, the next step is to consider whether there are any potential legal consequences.

As an editor, you should have a basic understanding of copyright, libel, defamation and related legislation, sufficient to be able to identify when a legal reading is needed. However, you should not be expected to provide that legal reading, regardless of how familiar you are with the legislation.

How might we go about reading and assessing the worthiness of manuscript or published work?

Commentators have long responded to accusations that Shakespeare’s portrayal of Shylock in The Merchant of Venice was anti-Semitic. Nabokov’s Lolita, considered by some critics to be one of the best works of the 20th century, is also described as an erotic novel advocating paedophilia. Atwood’s The Handmaid’s Tale is considered both a warning about the dangers of encroaching religious and patriarchal fundamentalism, and a depiction of feminism as a new form of misogyny.

In your view, do these books represent literary value? Why, or why not?

The introduction to this part of the book briefly describes the state of play in Australia when I entered the profession of book editing in 1989. Although there was much discussion among members of the local society of editors about the role of the editor as “gatekeeper”, to my knowledge few publicly discussed social injustice as a lived experience. But as a fledgling editor, the dawning of understanding about what that editorial gatekeeper role meant virtually gave me wings! I soon realised that if I could establish myself as an editor in good standing I would have the power to influence virtually every single reader of the books I was editing, including their authors. That was a powerful moment. I had never before in my life felt as though I held any real power – in any sphere.

Writers have a responsibility to reflect the standards of the society in which they are creating their works and earning their living. They have the good fortune of being able to “speak” directly to their readers, and thereby to inform and educate them (however subtly that might occur), as well as to entertain and inspire.

The people they write about in non-fiction works and the characters they create in works of fiction represent real people in society in one way or another: good, bad, mediocre or indifferent, or a mixture of some or all of those qualities.

As humans we all deserve to be depicted as we are and as we choose to be identified: authentically and respectfully, and not as caricatures or stereotypes. The considerable body of published research and other literature illustrates just how harmful stereotypes can be. For example, negative racial stereotypes, including internalised racism, have been directly associated with actual harm to people’s economic/material, physical, intellectual, emotional and spiritual wellbeing.

In Chapter 3 I propose that a literary work “is any text produced for publication or broadcast, and in any genre or format”. This definition offers no assessment of the value or quality of that text because I do not subscribe to the notion that literary works – including in the misnamed genre known as “literary fiction” – are somehow “high brow” or of a higher quality, standard or value than works in other genres. Thus, all mention in this guide of “literary texts” should be read in reference to the full gamut of:

• fiction genres – including “genre fiction”, historical fiction, contemporary fiction, young adult fiction, science fiction, fantasy, romance etc.

• non-fiction genres – including creative non-fiction, memoir, auto/biography, textbooks, guidebooks, dictionaries and reference works etc.

• long-form and short-form texts published electronically and online, including websites, blogs and social media.