Stochastic assembly of sublithographic nanoscale interfaces

We describe a technique for addressing individual nanoscale wires with microscale control wires without using lithographic-scale processing to define nanoscale dimensions. Such a scheme is necessary to exploit sublithographic nanoscale storage and computational devices. Our technique uses modulation doping to address individual nanowires and self-assembly to organize them into nanoscale-pitch decoder arrays. We show that if coded nanowires are chosen at random from a sufficiently large population, we can ensure that a large fraction of the selected nanowires have unique addresses. For example, we show that N lines can be uniquely addressed over 99% of the time using no more than /spl lceil/2.2log/sub 2/(N)/spl rceil/+11 address wires. We further show a hybrid decoder scheme that only needs to address N=O(W/sub litho-pitch//W/sub nano-pitch/) wires at a time through this stochastic scheme; as a result, the number of unique codes required for the nanowires does not grow with decoder size. We give an O(N/sup 2/) procedure to discover the addresses which are present. We also demonstrate schemes that tolerate the misalignment of nanowires which can occur during the self-assembly process

The Exceptions and the Rules in Global Musical Diversity

Global music diversity is a popular topic for both scientific and humanities researchers, but often for different reasons. Scientific research typically focuses on the generalities through measurement and statistics, while humanists typically emphasize exceptions using qualitative approaches. But these two approaches need not be mutually exclusive. Using a quantitative approach to identify musical outliers and a qualitative discussion of the most unusual songs, we can combine scientific and humanities approaches to unite knowledge on musical diversity. Objectively defining unusual music is a delicate task, having historically been subject to Eurocentric approaches. Using the Global Jukebox, a dataset containing almost 6,000 songs from over 1,000 societies coded on 37 “Cantometric” variables of musical style, we designate the unusualness of a song as the frequency of its coded variables relative to their regional frequency. Using quantitative metrics to identify outliers in musical diversity, we present a qualitative discussion of some of the most unusual individual songs (from a Panpipe ensemble from Kursk, Russia), and a comparison of unusual repertoires from Malay, Kel Aïr, and Moroccan Berber musical cultures. We also ask whether unusual music is the result of unusual social organisation or isolation from other groups. There is weak evidence that the unusualness of music is predicted by kinship organisation and cultural isolation, but these predictors are heavily outweighed by the finding that unusual songs are best predicted by knowing the society they come from – evidence that quantitatively supports the existence of musical style

Perceptual and automated estimates of infringement in 40 music copyright cases

Music copyright infringement lawsuits implicate millions of dollars in damages and costs of litigation. There are, however, few objective measures by which to evaluate these claims. Recent music information retrieval research has proposed objective algorithms to automatically detect musical similarity, which might reduce subjectivity in music copyright infringement decisions, but there remains minimal relevant perceptual data despite its crucial role in copyright law. We collected perceptual data from 51 participants for 40 adjudicated copyright cases from 1915–2018 in 7 legal jurisdictions (USA, UK, Australia, New Zealand, Japan, People’s Republic of China, and Taiwan). Each case was represented by three different versions: either full audio, melody only (MIDI), or lyrics only (text). Due to the historical emphasis in legal opinions on melody as the key criterion for deciding infringement, we originally predicted that listening to melody-only versions would result in perceptual judgments that more closely matched actual past legal decisions. However, as in our preliminary study of 17 court decisions (Yuan et al., 2020), our results did not match these predictions. Participants listening to full audio outperformed not only the melody-only condition, but also automated algorithms designed to calculate musical similarity (with maximal accuracy of 83% vs. 75%, respectively). Meanwhile, lyrics-only conditions performed at chance levels. Analysis of outlier cases suggests that music, lyrics, and contextual factors can interact in complex ways difficult to capture using quantitative metrics. We propose directions for further investigation including using larger and more diverse samples of cases, enhanced methods, and adapting our perceptual experiment method to avoid relying on ground truth data only from court decisions (which may be subject to errors and selection bias). Our results contribute data and methods to inform practical debates relevant to music copyright law throughout the world, such as the question of whether, and the extent to which, judges and jurors should be allowed to hear published sound recordings of the disputed works in determining musical similarity. Our results ultimately suggest that while automated algorithms are unlikely to replace human judgments, they may help to supplement them

Global musical diversity is largely independent of linguistic and genetic histories

Music is a universal yet diverse cultural trait transmitted between generations. The extent to which global musical diversity traces cultural and demographic history, however, is unresolved. Using a global musical dataset of 5242 songs from 719 societies, we identify five axes of musical diversity and show that music contains geographical and historical structures analogous to linguistic and genetic diversity. After creating a matched dataset of musical, genetic, and linguistic data spanning 121 societies containing 981 songs, 1296 individual genetic profiles, and 121 languages, we show that global musical similarities are only weakly and inconsistently related to linguistic or genetic histories, with some regional exceptions such as within Southeast Asia and sub-Saharan Africa. Our results suggest that global musical traditions are largely distinct from some non-musical aspects of human history

Soil respiration in a northeastern US temperate forest: a 22‐year synthesis

To better understand how forest management, phenology, vegetation type, and actual and simulated climatic change affect seasonal and inter‐annual variations in soil respiration (Rs), we analyzed more than 100,000 individual measurements of soil respiration from 23 studies conducted over 22 years at the Harvard Forest in Petersham, Massachusetts, USA. We also used 24 site‐years of eddy‐covariance measurements from two Harvard Forest sites to examine the relationship between soil and ecosystem respiration (Re). Rs was highly variable at all spatial (respiration collar to forest stand) and temporal (minutes to years) scales of measurement. The response of Rs to experimental manipulations mimicking aspects of global change or aimed at partitioning Rs into component fluxes ranged from −70% to +52%. The response appears to arise from variations in substrate availability induced by changes in the size of soil C pools and of belowground C fluxes or in environmental conditions. In some cases (e.g., logging, warming), the effect of experimental manipulations on Rs was transient, but in other cases the time series were not long enough to rule out long‐term changes in respiration rates. Inter‐annual variations in weather and phenology induced variation among annual Rs estimates of a magnitude similar to that of other drivers of global change (i.e., invasive insects, forest management practices, N deposition). At both eddy‐covariance sites, aboveground respiration dominated Re early in the growing season, whereas belowground respiration dominated later. Unusual aboveground respiration patterns—high apparent rates of respiration during winter and very low rates in mid‐to‐late summer—at the Environmental Measurement Site suggest either bias in Rs and Re estimates caused by differences in the spatial scale of processes influencing fluxes, or that additional research on the hard‐to‐measure fluxes (e.g., wintertime Rs, unaccounted losses of CO2 from eddy covariance sites), daytime and nighttime canopy respiration and its impacts on estimates of Re, and independent measurements of flux partitioning (e.g., aboveground plant respiration, isotopic partitioning) may yield insight into the unusually high and low fluxes. Overall, however, this data‐rich analysis identifies important seasonal and experimental variations in Rs and Re and in the partitioning of Re above‐ vs. belowground

Soil respiration in a northeastern US temperate forest: a 22‐year synthesis

To better understand how forest management, phenology, vegetation type, and actual and simulated climatic change affect seasonal and inter‐annual variations in soil respiration (Rs), we analyzed more than 100,000 individual measurements of soil respiration from 23 studies conducted over 22 years at the Harvard Forest in Petersham, Massachusetts, USA. We also used 24 site‐years of eddy‐covariance measurements from two Harvard Forest sites to examine the relationship between soil and ecosystem respiration (Re). Rs was highly variable at all spatial (respiration collar to forest stand) and temporal (minutes to years) scales of measurement. The response of Rs to experimental manipulations mimicking aspects of global change or aimed at partitioning Rs into component fluxes ranged from −70% to +52%. The response appears to arise from variations in substrate availability induced by changes in the size of soil C pools and of belowground C fluxes or in environmental conditions. In some cases (e.g., logging, warming), the effect of experimental manipulations on Rs was transient, but in other cases the time series were not long enough to rule out long‐term changes in respiration rates. Inter‐annual variations in weather and phenology induced variation among annual Rs estimates of a magnitude similar to that of other drivers of global change (i.e., invasive insects, forest management practices, N deposition). At both eddy‐covariance sites, aboveground respiration dominated Re early in the growing season, whereas belowground respiration dominated later. Unusual aboveground respiration patterns—high apparent rates of respiration during winter and very low rates in mid‐to‐late summer—at the Environmental Measurement Site suggest either bias in Rs and Re estimates caused by differences in the spatial scale of processes influencing fluxes, or that additional research on the hard‐to‐measure fluxes (e.g., wintertime Rs, unaccounted losses of CO2 from eddy covariance sites), daytime and nighttime canopy respiration and its impacts on estimates of Re, and independent measurements of flux partitioning (e.g., aboveground plant respiration, isotopic partitioning) may yield insight into the unusually high and low fluxes. Overall, however, this data‐rich analysis identifies important seasonal and experimental variations in Rs and Re and in the partitioning of Re above‐ vs. belowground

Music as a coevolved system for social bonding

Why do humans make music? Theories of the evolution of musicality have focused mainly on the value of music for specific adaptive contexts such as mate selection, parental care, coalition signaling, and group cohesion. Synthesizing and extending previous proposals, we argue that social bonding is an overarching function that unifies all of these theories, and that musicality enabled social bonding at larger scales than grooming and other bonding mechanisms available in ancestral primate societies. We combine cross-disciplinary evidence from archaeology, anthropology, biology, musicology, psychology, and neuroscience into a unified framework that accounts for the biological and cultural evolution of music. We argue that the evolution of musicality involves gene-culture coevolution, through which proto-musical behaviors that initially arose and spread as cultural inventions had feedback effects on biological evolution due to their impact on social bonding. We emphasize the deep links between production, perception, prediction, and social reward arising from repetition, synchronization, and harmonization of rhythms and pitches, and summarize empirical evidence for these links at the levels of brain networks, physiological mechanisms, and behaviors across cultures and across species. Finally, we address potential criticisms and make testable predictions for future research, including neurobiological bases of musicality and relationships between human music, language, animal song, and other domains. The music and social bonding (MSB) hypothesis provides the most comprehensive theory to date of the biological and cultural evolution of music

The extracellular surface of the GLP-1 receptor is a molecular trigger for biased agonism

Ligand-directed signal bias offers opportunities for sculpting molecular events, with the promise of better, safer therapeutics. Critical to the exploitation of signal bias is an understanding of the molecular events coupling ligand binding to intracellular signaling. Activation of class B G protein-coupled receptors is driven by interaction of the peptide N terminus with the receptor core. To understand how this drives signaling, we have used advanced analytical methods that enable separation of effects on pathway-specific signaling from those that modify agonist affinity and mapped the functional consequence of receptor modification onto three-dimensional models of a receptor-ligand complex. This yields molecular insights into the initiation of receptor activation and the mechanistic basis for biased agonism. Our data reveal that peptide agonists can engage different elements of the receptor extracellular face to achieve effector coupling and biased signaling providing a foundation for rational design of biased agonists