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Report of the Wyoming Associate Subcommittee of the American Bar Association Committee on the Defence of Indigent Persons Accused of Crime
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The Seizure of Property as Evidence, Its Unlawful Retention, and Suggested Remedies of the Owner
No full textOn the Notion of Scalar Product for Finite-dimensional Diffeological Vector Spaces
No full textIt is known that the only finite-dimensional diffeological vector space that admits a diffeologically smooth scalar product is the standard space of appropriate dimension. In this note, a way to dispense withthis issue is considered, by introducing a notion of pseudo-metric, which, said informally, is the least-degeneratesymmetric bilinear form on a given space. This notion is applied to make some observations on subspaces which split off as smooth direct summands (providing examples which illustrate that not all subspaces do), and then to show that the diffeological dual of a finite-dimensional diffeological vector space always has the standard diffeology and in particular, any pseudo-metric on the initial space induces, in theobvious way, a smooth scalar product on the dual
Comparing Perceived and Actual Cognitive Lateral Bias in University Dance Majors
No full textLateral bias (also referred to as lateral preference) is defined as an “innate bias for one side or the other” (Kimmerle, 2010). “Side” of the body is a reference to whether a movement is right dominant or left dominant in its execution. Although all human beings develop a functional lateral bias that is reinforced by the habits in their daily lives, it has been suggested that dance training increases asymmetry because of its over-emphasis on the right side of the body (Mertz et al., 2011). Despite this hypothesis that dance training could be a proponent of lateral bias toward right dominant movement, dancers are encouraged to be symmetrically proficient in their ability to perform movements that are both right dominant and left dominant to avoid choreographic limitation and injury.
While it is difficult to determine if asymmetries are pre-existing in a dancer, there is strong evidence that dancers have a highly-developed proprioceptive sense that allows them to accurately identify relatively minute differences in their own laterality (Jola et al., 2011). The objective of this research was to determine if university dance students’ perception of their lateral bias correlates with their actual lateral bias. This information will help dance researchers to understand the effect of lateral bias on dance training and performance, as well as assist dance teachers in making informed choices about how to develop well-rounded dancers
The History of U.S. Copyright Law and Disney’s Involvement in Copyright Term Extension
No full textCopyright term extension is often a contentious topic among copyright owners, corporate lobbyists, and opponents of copyright extension. The history of copyright law spans more than 225 years and has always been an ever-evolving process. The Copyright Act of 1790 was the first statute in the United States to identify definite provisions of copyright law and permitted authors the right to their intellectual property for a duration of 14 years. Today, depending on the type of work, copyright terms can reach up to 120 years. Historically, Disney has been exceedingly protective of their intellectual property and is a prominent supporter and lobbyist for copyright term extension (Bernaski, 2014). Disney’s involvement in copyright term extension originates from their goal to prevent their copyrights from entering the public domain, specifically their Mickey Mouse character. This paper examines the history of copyright law in the United States, copyright case law, Disney’s involvement in copyright term extension, various arguments for and against copyright term extension, and the future of copyright law