Analysis of the symbiotic star AG Pegasi

High and low dispersion IUE data are analyzed in conjunction with coincident ground based spectrophotometric scans and supplementary infrared photometry of the symbiotic object AG Pegasi. The IUE observations yield an improved value of E(B-V) = 0.12. The two stellar components are easily recognized in the spectra. The cool component may be an M1.7 III star and the hot component appears to have T (sub eff) of approximately 30000 K. The emission lines observed in the ultraviolet indicate two or three distince emitting regions. Nebular component ultraviolet intercombination lines suggest an electron density of several times 10 billion/cu cm

Analytical and experimental studies of shock interference heating in hypersonic flows

An analytical and experimental study is presented of the aerodynamic heating resulting from six types of shock interference patterns encountered in high speed flow. Centerline measurements of pressure and heat transfer distributions on basic bodies were obtained in four wind tunnels for Mach numbers from 6 to 20, specific heat ratios from 1.27 to 1.67, and free stream Reynolds numbers from 3 million to 25.6 million per meter. Peak heating and peak pressures up to 17 and 7.5 times stagnation values, respectively, were measured. In general, results obtained from semiempirical methods developed for each of the six types of interference agreed with the experimental peaks

Musical Musings: The Case for Rethinking Music Copyright Protection

This Article focuses on the topic of music copyright, but addresses this legal issue from a different vantage point than that of the industry insiders, insightful scholars, and policy makers that have weighed in on the debate. Instead of focusing on the issues regarding wholesale digital reproduction and dissemination of music protected by copyright, this Article focuses on music copyright infringement when the claim is that a given piece of music is substantially similar to another piece of music protected by copyright. Part I of this Article touches on the history of the music industry and copyright in this country, as well as the legal standard developed and used by the federal judiciary in assessing whether a given piece of music infringes upon another musical work. Examination of these histories will help illuminate the shortcomings of the music copyright legal doctrine in the succeeding sections. Part II of this Article discusses the unique attributes possessed by music and why these attributes call for treating music differently than other works of authorship under copyright law. Part III shifts from policy to pragmatics. Not only is the current test for copyright infringement ill-suited based on the unique characteristics of music, the test also has significant practical problems that need to be addressed and remedied. This test--the substantially similar test--is flawed because it assumes that there is only one reasonable way to perceive a piece of music. This flaw is perpetuated by two factual assumptions underlying the analysis: not-so-expert testimony and aurally challenged jurors. Part IV posits a new paradigm for dealing with music copyright when the claim is that a piece of music is substantially similar to a preexisting musical work protected by copyright. Instead of having a regime that restricts musical borrowing, we should have a system that encourages this practice, so long as the second composer pays the first composer pursuant to a compulsory license. Implementing this compulsory license requirement squares with the underlying realities of the music world. Moreover, the beneficial byproducts of such a system are manifest and include predictability, judicial economy, and pecuniary incentives flowing to music copyright holders and the music copyright borrowers

Whatever Happens to Works Deferred?: Reflections on the Ill-Given Deferments of the Copyright Term Extension Act

In contrast to the limited judicial writings on the CTEA, there is a healthy stock of insightful scholarly works on the CTEA festooning the legal journals throughout the country. This article leaps into the scholarly fray and focuses on the domestic policy justifications and assumptions relied upon by Congress in enacting the CTEA. In so doing, this article argues that the CTEA is premised upon a wayward copyright philosophy and unsupported congressional assumptions. The article also posits a modest alternative to the CTEA that would be more consonant with the philosophical tenets of copyright and more apt to achieve the goals Congress set out to accomplish. To those ends, part II of the article provides a fleeting foray into the history and mechanics of our copyright system. Part III discusses the pertinent portions of the CTEA and its legislative history. Part IV discusses why the CTEA represents misguided copyright policy and how its provisions are speculative, at best, in ensuring the public domain will be enriched and nurtured. Part V poses an alternative view of how the statute could have been recast to harmonize with the underlying aims of copyright protection and to better ensure that the stated congressional goals were obtained

Whatever Happens to Works Deferred?: Reflections on the Ill-Given Deferments of the Copyright Term Extension Act

In contrast to the limited judicial writings on the CTEA, there is a healthy stock of insightful scholarly works on the CTEA festooning the legal journals throughout the country. This article leaps into the scholarly fray and focuses on the domestic policy justifications and assumptions relied upon by Congress in enacting the CTEA. In so doing, this article argues that the CTEA is premised upon a wayward copyright philosophy and unsupported congressional assumptions. The article also posits a modest alternative to the CTEA that would be more consonant with the philosophical tenets of copyright and more apt to achieve the goals Congress set out to accomplish. To those ends, part II of the article provides a fleeting foray into the history and mechanics of our copyright system. Part III discusses the pertinent portions of the CTEA and its legislative history. Part IV discusses why the CTEA represents misguided copyright policy and how its provisions are speculative, at best, in ensuring the public domain will be enriched and nurtured. Part V poses an alternative view of how the statute could have been recast to harmonize with the underlying aims of copyright protection and to better ensure that the stated congressional goals were obtained

Musical Musings: The Case for Rethinking Music Copyright Protection

This Article focuses on the topic of music copyright, but addresses this legal issue from a different vantage point than that of the industry insiders, insightful scholars, and policy makers that have weighed in on the debate. Instead of focusing on the issues regarding wholesale digital reproduction and dissemination of music protected by copyright, this Article focuses on music copyright infringement when the claim is that a given piece of music is substantially similar to another piece of music protected by copyright. Part I of this Article touches on the history of the music industry and copyright in this country, as well as the legal standard developed and used by the federal judiciary in assessing whether a given piece of music infringes upon another musical work. Examination of these histories will help illuminate the shortcomings of the music copyright legal doctrine in the succeeding sections. Part II of this Article discusses the unique attributes possessed by music and why these attributes call for treating music differently than other works of authorship under copyright law. Part III shifts from policy to pragmatics. Not only is the current test for copyright infringement ill-suited based on the unique characteristics of music, the test also has significant practical problems that need to be addressed and remedied. This test--the substantially similar test--is flawed because it assumes that there is only one reasonable way to perceive a piece of music. This flaw is perpetuated by two factual assumptions underlying the analysis: not-so-expert testimony and aurally challenged jurors. Part IV posits a new paradigm for dealing with music copyright when the claim is that a piece of music is substantially similar to a preexisting musical work protected by copyright. Instead of having a regime that restricts musical borrowing, we should have a system that encourages this practice, so long as the second composer pays the first composer pursuant to a compulsory license. Implementing this compulsory license requirement squares with the underlying realities of the music world. Moreover, the beneficial byproducts of such a system are manifest and include predictability, judicial economy, and pecuniary incentives flowing to music copyright holders and the music copyright borrowers

The Potential Energy Landscape and Mechanisms of Diffusion in Liquids

The mechanism of diffusion in supercooled liquids is investigated from the potential energy landscape point of view, with emphasis on the crossover from high- to low-T dynamics. Molecular dynamics simulations with a time dependent mapping to the associated local mininum or inherent structure (IS) are performed on unit-density Lennard-Jones (LJ). New dynamical quantities introduced include r2_{is}(t), the mean-square displacement (MSD) within a basin of attraction of an IS, R2(t), the MSD of the IS itself, and g_{loc}(t) the mean waiting time in a cooperative region. At intermediate T, r2_{is}(t) posesses an interval of linear t-dependence allowing calculation of an intrabasin diffusion constant D_{is}. Near T_{c} diffusion is intrabasin dominated with D = D_{is}. Below T_{c} the local waiting time tau_{loc} exceeds the time, tau_{pl}, needed for the system to explore the basin, indicating the action of barriers. The distinction between motion among the IS below T_{c} and saddle, or border dynamics above T_{c} is discussed.Comment: submitted to pr