181 research outputs found
Data driven approaches for investigating molecular heterogeneity of the brain
It has been proposed that one of the clearest organizing principles for most sensory systems is the existence of parallel subcircuits and processing streams that form orderly and systematic mappings from stimulus space to neurons. Although the spatial heterogeneity of the early olfactory circuitry has long been recognized, we know comparatively little about the circuits that propagate sensory signals downstream. Investigating the potential modularity of the bulb’s intrinsic circuits proves to be a difficult task as termination patterns of converging projections, as with the bulb’s inputs, are not feasibly realized. Thus, if such circuit motifs exist, their detection essentially relies on identifying differential gene expression, or “molecular signatures,” that may demarcate functional subregions. With the arrival of comprehensive (whole genome, cellular resolution) datasets in biology and neuroscience, it is now possible for us to carry out large-scale investigations and make particular use of the densely catalogued, whole genome expression maps of the Allen Brain Atlas to carry out systematic investigations of the molecular topography of the olfactory bulb’s intrinsic circuits. To address the challenges associated with high-throughput and high-dimensional datasets, a deep learning approach will form the backbone of our informatic pipeline. In the proposed work, we test the hypothesis that the bulb’s intrinsic circuits are parceled into distinct, parallel modules that can be defined by genome-wide patterns of expression. In pursuit of this aim, our deep learning framework will facilitate the group-registration of the mitral cell layers of ~ 50,000 in-situ olfactory bulb circuits to test this hypothesis
Analysis and Implementation of E-ticketing with Live Chat
In this paper, idea of developing a system - online event ticketing- is presented along with practical solutions to some of the biggest issue - security. This is a web based application with main aim to simplify the user’s dependability on ticket sellers or outlets or kiosks to buy the event tickets and reduce the fraud of online transactions through modern and secured payment gateways allowing the user to use credit/debit card to complete their payments. User can access the system through website at any time through mobile/laptop or any smart device instead of going to the campus to buy the event tickets. This application would also allow the user to buy tickets individually or buy tickets for group by registering the group through a secured payment gateway – ‘PayPal’. Many events hosted in the college will have different pricing for students, staff, faculty, outsiders. For suppose, a student planning to buy tickets for a cultural event with different pricing levels for him and his parents can create a group with three of them and pay for one student and two outsiders by selecting the payment levels requested during the group registration. These features of the application are incorporated in the application to address the problems of group tickets with different pricing levels and secured payments which is considered as the major challenge for online transactions systems.
Keywords: E-Ticketin
Are CryptoPunks Copyrightable?
Larva Labs’s CryptoPunks NFTs are iconic. Created in 2017, they were among the first NFTs on the Ethereum blockchain. Four years later, they are among the most valuable, selling for anywhere from $200,000 to millions of dollars.
The CryptoPunks collection consists of 10,000 NFTs, each of which is associated with a unique CryptoPunks image. Everyone knows who owns each CryptoPunks NFT. The Ethereum blockchain provides indelible proof. But people disagree about who owns - and who should own - the copyright in the CryptoPunks images. Most CryptoPunks NFT owners believe they should own the copyright in the image associated with their NFT, or at least have the right to use it. Larva Labs believes it owns the copyright in all of the images and entered a licensing deal with United Talent Agency based on its ownership of the CryptoPunks brand and copyrights.
Color me skeptical. I’m not sure anyone owns the copyright in the CryptoPunks images, because I’m not sure they’re copyrightable in the first place. And I suspect Larva Labs is also worried about the copyrightability of the CryptoPunks images. After all, they complain about copyright infringement, but don’t file infringement actions.
In this essay, I explain how copyright works, what it protects, and why. I analyze the copyrightability of the CryptoPunks images. And I reflect on what it means for the CryptoPhunks and V1 Punks NFTs, as well as the NFT market in general. tl;dr: It’s unclear, and that might be a problem for Larva Labs, but might also be an opportunity
Quantification of cortical folding using MR image data
The cerebral cortex is a thin layer of tissue lining the brain where neural circuits perform important high level functions including sensory perception, motor control and language processing. In the third trimester the fetal cortex folds rapidly from a smooth sheet into a highly convoluted arrangement of gyri and sulci. Premature birth is a high risk factor for poor neurodevelopmental outcome and has been associated with abnormal cortical development, however the nature of the disruption to developmental processes is not fully understood. Recent developments in magnetic resonance imaging have allowed the acquisition of high quality brain images of preterms and also fetuses in-utero. The aim of this thesis is to develop techniques which quantify folding from these images in order to better understand cortical development in these two populations. A framework is presented that quantifies global and regional folding using curvature-based measures. This methodology was applied to fetuses over a wide gestational age range (21.7 to 38.9 weeks) for a large number of subjects (N = 80) extending our understanding of how the cortex folds through this critical developmental period. The changing relationship between the folding measures and gestational age was modelled with a Gompertz function which allowed an accurate prediction of physiological age. A spectral-based method is outlined for constructing a spatio-temporal surface atlas (a sequence of mean cortical surface meshes for weekly intervals). A key advantage of this method is the ability to do group-wise atlasing without bias to the anatomy of an initial reference subject. Mean surface templates were constructed for both fetuses and preterms allowing a preliminary comparison of mean cortical shape over the postmenstrual age range 28-36 weeks. Displacement patterns were revealed which intensified with increasing prematurity, however more work is needed to evaluate the reliability of these findings.Open Acces
Originality Proxies: Toward a Theory of Copyright and Creativity
This article contends that a definitive account of originality as a legal construct is not possible and that, as a result, the current low threshold for originality should be maintained. Under this analysis, most photographs, so long as they comply with certain requirements, should be granted protection, at the very least, against exact copying (for example, through digital copying and pasting). Arriving at this conclusion, however, requires a return to first principles, that is, to the copyright concepts of authorship and originality. These concepts saw their most recent articulation by the Supreme Court in the 1991 landmark decision of Feist Publications, Inc. v. Rural Telephone Service Co., which held that the white page phone listings before it did not merit copyright protection. The Court determined that originality is a constitutional prerequisite for copyright protection and that it entails a two-pronged showing: (1) that the work was independently created (that is, that it was not copied), and (2) that the work manifests some minimal degree of creativity. The white page listings failed on the second count; they comprised a factual compilation reflecting insufficient creative spark.
Since Feist was handed down, a vast body of academic work has focused on how the decision should apply outside its immediate factual predicate to other sorts of works. One group of scholars has focused on the degree to which fact-driven works, such as maps, site plans, and many compilations, should be afforded-post-Feist-the protections of copyright law. For some, there was concern that socially useful works that could be characterized as too factual would be produced at suboptimal levels in the face of uncertain protection. A second group of scholars has addressed the ways in which Feist should be applied to works closer to what we might loosely deem the arts. As Professor Robert Gorman noted, Feist does not address—obviously, the Court had no cause to—the question of how the ‘creative spark’ standard is to be applied to works of art, music and literature. A number of the scholars taking up this latter question have expressed the opposite concern from the first group. They have cautioned that too many nominally creative works are granted the exclusivity rights of copyright and that these sorts of works ought to undergo more robust scrutiny on originality grounds.
Situating photography on the fact-art continuum suggested by Feist, and theorizing whether the opinion might lead to an under- or oversupply of works in this medium, is not readily accomplished. Photography has always walked a fine line between merely reflecting reality and reflecting artistic imprint. Daguerreotypemania, for example, captured public attention through its ability to provide portraiture at a level of exacting detail beyond anything previously imaginable. At the same time, many of the first photographers were former painters whose richly stylized work was seen as reflecting artistic sensibilities. Even the Supreme Court\u27s seminal photography decision of 1884, Burrow-Giles Lithographic Co. v. Sarony, potentially set up a dichotomy between graceful photographs, which would be protected under copyright, and those in which accuracy was the highest merit, which might not be. A tension is also apparent in today\u27s world, where precise digital imaging is relied upon to perform surgery safely. At the same time, modern digital photography clearly has opened up many new avenues for creativity. Indeed, some commentators argue that it is digital photography\u27s extreme susceptibility to creative manipulation, rather than its reflection of reality, that will come to be its hallmark.
This article proceeds in three Parts. In Part I, it discusses the originality standards that furnish the basis for judicial assessments of originality today. This Part traces the origins of the proxy approach to originality. In Part II, the article sets forth the contemporary legal settings in which questions about originality in photography typically arise—copyright infringement suits over commercial photographs. This Part develops the three proxies which function as methods for making originality determinations. Finally, Part III draws upon the standards and cases discussed in the foregoing Parts to draw conclusions and raise questions about how the originality doctrine should be applied to photography and other artistic works. Diverging from recent proposals in the scholarly literature, the article argues against a heightened burden of proof for originality in works of authorship
Compendium of U.S. Copyright Office Practices, Third Edition
The Compendium of U.S. Copyright Office Practices, Third Edition (the “Compendium” or “Third Edition”) is the administrative manual of the Register of Copyrights concerning Title 17 of the United States Code and Chapter 37 of the Code of Federal Regulations. It provides instruction to agency staff regarding their statutory duties and provides expert guidance to copyright applicants, practitioners, scholars, the courts, and members of the general public regarding institutional practices and related principles of law.
The Compendium documents and explains the many technical requirements, regulations, and legal interpretations of the U.S. Copyright Office with a primary focus on the registration of copyright claims, documentation of copyright ownership, and recordation of copyright documents, including assignments and licenses. It describes the wide range of services that the Office provides for searching, accessing, and retrieving information located in its extensive collection of copyright records and the associated fees for these services. The Compendium provides guidance regarding the contents and scope of particular registrations and records. And it seeks to educate applicants about a number of common mistakes, such as providing incorrect, ambiguous, or insufficient information, or making overbroad claims of authorship. The Compendium does not cover every principle of copyright law or detail every aspect of the Office’s administrative practices. The Office may, in exceptional circumstances, depart from its normal practices to ensure an outcome that is most appropriate.
The Compendium does not override any existing statute or regulation. The policies and practices set forth in the Compendium do not in themselves have the force and effect of law and are not binding upon the Register of Copyrights or Copyright Office staff. However, the Compendium does explain the legal rationale and determinations of the Copyright Office, where applicable, including circumstances where there is no controlling judicial authority
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