5,018 Matching Annotations
  1. Jan 2015
  2. dione.library.uvic.ca dione.library.uvic.ca
    2
    1
    1. A m a l g a m a t e d S e r i a l N u m b e r s T h e s e   s t r i n g s   c a n   b e   c o m b i n e d   t o   m a k e   u n i q u e   b y   a m a l g a m a t i n g   t h e   c h a r a c t e r s   i n   a n   o r d e r l y   s e q u e n c e .   I n   t h e   f o l l o w i n g   e x a m p l e ,   y o u   c a n   m a k e   a   r e f e r e n c e   t o   p e o p l e ,   t h e i r   l o c a t i o n   a n d   t h e i r   d e v i c e s .   T h e   w h o l e   s t r i n g   c a n   b e   u n i q u e   w h i l e   e l e m

      this is an example of using pdf.js and OJS together.

  3. Dec 2014
  4. Oct 2014
    1. 4 where A2 L ( H ) is h ; i H -self-adjoint and invertible and b 2 H . The self-adjointness implies that the spectrum  ( A ) is real. However, we do not assume that A is de nite. If an initial guess x 0 2 H is given, we can approximate x by iterates (2.2) x n = x 0 + y n with y n 2K n ( A ;r 0 ) where r 0 = b A x 0 is the initial residual and K n ( A ;r 0 ) = span f r 0 ; A r 0 ;:::; A n 1 r 0 g is the n th Krylov subspace generated with A and r 0 . We concentrate on minimal residual methods here, i.e., methods that construct iterates of the form (2.2) such that the residual r n : = b A x n has minimal kk H -norm, that is k r n k H = k b A x n

      Nice method you have there.

  5. Aug 2014
    1. The biggest di erence b et w een a \usual" L A T E X st yle suc h as article.sty and the ENTCS pac k age is that the ENTCS macro pac k age requires the title, author's name or names, abstract, k eyw ords and \thanks" all to b e included within the frontmatter en vironmen t.

      Wow, this is pretty bad.

  6. Feb 2014
    1. I t i s u n d i s p u t e d t h a t H o e h l i n g h a s a v a l i d c o p y r i g h t i n h i s b o o k . T o p r o v e i n f r i n g e m e n t , h o w e v e r , h e m u s t d e m o n s t r a t e t h a t d e f e n d a n t s " c o p i e d " h i s w o r k a n d t h a t t h e y " i m p r o p e r l y a p p r o p r i a t e d " h i s " e x p r e s s i o n . "

      It is undisputed that Hoehling has a valid copyright in his book. To prove infringement, however, he must demonstrate that defendants "copied" his work and that they "improperly appropriated" his "expression."

    1. T h i s p r o t e c t i o n i s s u b j e c t t o a n i m p o r t a n t l i m i t a t i o n . T h e m e r e f a c t t h a t a w o r k i s c o p y r i g h t e d d o e s n o t m e a n t h a t e v e r y e l e m e n t o f t h e w o r k m a y b e p r o t e c t e d . O r i g i n a l i t y r e m a i n s t h e s i n e q u a n o n o f c o p y r i g h t ; a c c o r d i n g l y , c o p y r i g h t p r o t e c t i o n m a y e x t e n d o n l y t o t h o s e c o m p o n e n t s o f a w o r k t h a t a r e o r i g i n a l t o t h e a u t h o r . P a t t e r s o n & J o y c e 8 0 0 - 8 0 2 ; G i n s b u r g , C r e a t i o n a n d C o m m e r c i a l V a l u e : C o p y r i g h t P r o t e c t i o n o f W o r k s o f I n f o r m a t i o n , 9 0 C o l u m . L . R e v . 1 8 6 5 , 1 8 6 8 , a n d n . 1 2 ( 1 9 9 0 ) ( h e r e i n a f t e r G i n s b u r g ) .

      Though a work may be copyrightable it does not mean that every element of the work may be protectable.

    2. C e n s u s t a k e r s , f o r e x a m p l e , d o n o t " c r e a t e " t h e p o p u l a t i o n f i g u r e s t h a t e m e r g e f r o m t h e i r e f f o r t s ; i n a s e n s e , t h e y c o p y t h e s e f i g u r e s f r o m t h e w o r l d a r o u n d t h e m . D e n i c o l a , C o p y r i g h t i n C o l l e c t i o n s o f F a c t s : A T h e o r y f o r t h e P r o t e c t i o n o f N o n f i c t i o n L i t e r a r y W o r k s , 8 1 C o l u m . L . R e v . 5 1 6 , 5 2 5 ( 1 9 8 1 ) ( h e r e i n a f t e r D e n i c o l a ) . C e n s u s d a t a t h e r e f o r e d o n o t t r i g g e r c o p y r i g h t b e c a u s e t h e s e d a t a a r e n o t " o r i g i n a l " i n t h e c o n s t i t u t i o n a l s e n s e . N i m m e r § 2 . 0 3 [ E ] . T h e s a m e i s t r u e o f a l l f a c t s — s c i e n t i f i c , h i s t o r i c a l , b i o g r a p h i c a l , a n d n e w s o f t h e d a y . " [ T ] h e y m a y n o t b e c o p y r i g h t e d a n d a r e p a r t o f t h e p u b l i c d o m a i n a v a i l a b l e t o e v e r y p e r s o n . " M i l l e r , s u p r a , a t 1 3 6 9 .

      Census takers do not create; they merely copy the figured from the world around them. All facts-- scientific, historical, biographical, and news of the day-- may not be copyrighted and are part of the public domain.

    3. I t i s t h i s b e d r o c k p r i n c i p l e o f c o p y r i g h t t h a t m a n d a t e s t h e l a w ' s s e e m i n g l y d i s p a r a t e t r e a t m e n t o f f a c t s a n d f a c t u a l c o m p i l a t i o n s . " N o o n e m a y c l a i m o r i g i n a l i t y a s t o f a c t s . " I d . , § 2 . 1 1 [ A ] , p . 2 - 1 5 7 . T h i s i s b e c a u s e f a c t s d o n o t o w e t h e i r o r i g i n t o a n a c t o f a u t h o r s h i p . T h e d i s t i n c t i o n i s o n e b e t w e e n c r e a t i o n a n d d i s c o v e r y : T h e f i r s t p e r s o n t o f i n d a n d r e p o r t a p a r t i c u l a r f a c t h a s n o t c r e a t e d t h e f a c t ; h e o r s h e h a s m e r e l y d i s c o v e r e d i t s e x i s t e n c e . T o b o r r o w f r o m B u r r o w - G i l e s , o n e w h o d i s c o v e r s a f a c t i s n o t i t s " m a k e r " o r " o r i g i n a t o r . " 1 1 1 U . S . , a t 5 8 . " T h e d i s c o v e r e r m e r e l y f i n d s a n d r e c o r d s . " N i m m e r § 2 . 0 3 [ E ] .

      No one may claim originality to facts because facts do not owe their origin to an act of authorship. The distinction is one between creation vs discovery.

    4. T h e o r i g i n a l i t y r e q u i r e m e n t a r t i c u l a t e d i n T h e T r a d e - M a r k C a s e s a n d B u r r o w - G i l e s r e m a i n s t h e t o u c h s t o n e o f c o p y r i g h t p r o t e c t i o n t o d a y . S e e G o l d s t e i n v . C a l i f o r n i a , 4 1 2 U . S . 5 4 6 , 5 6 1 - 5 6 2 ( 1 9 7 3 ) . I t i s t h e v e r y " p r e m i s e o f c o p y r i g h t l a w . " M i l l e r v . U n i v e r s a l C i t y S t u d i o s , I n c . , 6 5 0 F . 2 d 1 3 6 5 , 1 3 6 8 ( C A 5 1 9 8 1 ) . L e a d i n g s c h o l a r s a g r e e o n t h i s p o i n t . A s o n e p a i r o f c o m m e n t a t o r s s u c c i n c t l y p u t s i t : " T h e o r i g i n a l i t y r e q u i r e m e n t i s c o n s t i t u t i o n a l l y m a n d a t e d f o r a l l w o r k s . "

      The originality requirement is the touchstone of copyright protection today.

    5. I n B u r r o w - G i l e s , t h e C o u r t d i s t i l l e d t h e s a m e r e q u i r e m e n t f r o m t h e C o n s t i t u t i o n ' s u s e o f t h e w o r d " a u t h o r s . " T h e C o u r t d e f i n e d " a u t h o r , " i n a c o n s t i t u t i o n a l s e n s e , t o m e a n " h e t o w h o m a n y t h i n g o w e s i t s o r i g i n ; o r i g i n a t o r ; m a k e r . " 1 1 1 U . S . , a t 5 8 ( i n t e r n a l q u o t a t i o n m a r k s o m i t t e d ) . A s i n T h e T r a d e - M a r k C a s e s , t h e C o u r t e m p h a s i z e d t h e c r e a t i v e c o m p o n e n t o f o r i g i n a l i t y . I t d e s c r i b e d c o p y r i g h t a s b e i n g l i m i t e d t o " o r i g i n a l i n t e l l e c t u a l c o n c e p t i o n s o f t h e a u t h o r , " 1 1 1 U . S . , a t 5 8 , a n d s t r e s s e d t h e i m p o r t a n c e o f r e q u i r i n g a n a u t h o r w h o a c c u s e s a n o t h e r o f i n f r i n g e m e n t t o p r o v e " t h e e x i s t e n c e o f t h o s e f a c t s o f o r i g i n a l i t y , o f i n t e l l e c t u a l p r o d u c t i o n , o f t h o u g h t , a n d c o n c e p t i o n . " I d . , a t 5 9 - 6 0 .

      In Burrow-Giles the court defined authors, in a constitutional sense, to mean "he to whom anything owes its origin, originator, maker" and emphasized the creative component of originality.

    6. I n T h e T r a d e - M a r k C a s e s , t h e C o u r t a d d r e s s e d t h e c o n s t i t u t i o n a l s c o p e o f " w r i t i n g s . " F o r a p a r t i c u l a r w o r k t o b e c l a s s i f i e d " u n d e r t h e h e a d o f w r i t i n g s o f a u t h o r s , " t h e C o u r t d e t e r m i n e d , " o r i g i n a l i t y i s r e q u i r e d . " 1 0 0 U . S . , a t 9 4 . T h e C o u r t e x p l a i n e d t h a t o r i g i n a l i t y r e q u i r e s i n d e p e n d e n t c r e a t i o n p l u s a m o d i c u m o f c r e a t i v i t y : " [ W ] h i l e t h e w o r d w r i t i n g s m a y b e l i b e r a l l y c o n s t r u e d , a s i t h a s b e e n , t o i n c l u d e o r i g i n a l d e s i g n s f o r e n g r a v i n g , p r i n t s , & c . , i t i s o n l y s u c h a s a r e o r i g i n a l , a n d a r e f o u n d e d i n t h e c r e a t i v e p o w e r s o f t h e m i n d . T h e w r i t i n g s w h i c h a r e t o b e p r o t e c t e d a r e t h e f r u i t s o f i n t e l l e c t u a l l a b o r , e m b o d i e d i n t h e f o r m o f b o o k s , p r i n t s , e n g r a v i n g s , a n d t h e l i k e . " I b i d . ( e m p h a s i s i n o r i g i n a l ) .

      In The Trade-Mark Cases the Court addressed the constitutional scope of writings saying for a particular work to be classified "under the head of writings of authors," the Court determined, "originality is required"; independent creation plus a modicum of creativity.

    7. O r i g i n a l i t y d o e s n o t s i g n i f y n o v e l t y ; a w o r k m a y b e o r i g i n a l e v e n t h o u g h i t c l o s e l y r e s e m b l e s o t h e r w o r k s s o l o n g a s t h e s i m i l a r i t y i s f o r t u i t o u s , n o t t h e r e s u l t o f c o p y i n g . T o i l l u s t r a t e , a s s u m e t h a t t w o p o e t s , e a c h i g n o r a n t o f t h e o t h e r , c o m p o s e i d e n t i c a l p o e m s . N e i t h e r w o r k i s n o v e l , y e t b o t h a r e o r i g i n a l a n d , h e n c e , c o p y r i g h t a b l e .

      See Sheldon v. Metro-Goldwyn Pictures Corp., 81 F. 2d 49, 54 (CA2 1936)

    8. O r i g i n a l i t y i s a c o n s t i t u t i o n a l r e q u i r e m e n t . T h e s o u r c e o f C o n g r e s s ' p o w e r t o e n a c t c o p y r i g h t l a w s i s A r t i c l e I , § 8 , c l . 8 , o f t h e C o n s t i t u t i o n , w h i c h a u t h o r i z e s C o n g r e s s t o " s e c u r [ e ] f o r l i m i t e d T i m e s t o A u t h o r s . . . t h e e x c l u s i v e R i g h t t o t h e i r r e s p e c t i v e W r i t i n g s . " I n t w o d e c i s i o n s f r o m t h e l a t e 1 9 t h c e n t u r y — T h e T r a d e - M a r k C a s e s , 1 0 0 U . S . 8 2 ( 1 8 7 9 ) ; a n d B u r r o w - G i l e s L i t h o g r a p h i c C o . v . S a r o n y , 1 1 1 U . S . 5 3 ( 1 8 8 4 ) — t h i s C o u r t d e f i n e d t h e c r u c i a l t e r m s " a u t h o r s " a n d " w r i t i n g s . " I n s o d o i n g , t h e C o u r t m a d e i t u n m i s t a k a b l y c l e a r t h a t t h e s e t e r m s p r e s u p p o s e a d e g r e e o f o r i g i n a l i t y .

      This Court defined the crucial terms authors and writings.

    9. T h e k e y t o r e s o l v i n g t h e t e n s i o n l i e s i n u n d e r s t a n d i n g w h y f a c t s a r e n o t c o p y r i g h t a b l e . T h e s i n e q u a n o n o f c o p y r i g h t i s o r i g i n a l i t y . T o q u a l i f y f o r c o p y r i g h t p r o t e c t i o n , a w o r k m u s t b e o r i g i n a l t o t h e a u t h o r . S e e H a r p e r & R o w , s u p r a , a t 5 4 7 - 5 4 9 . O r i g i n a l , a s t h e t e r m i s u s e d i n c o p y r i g h t , m e a n s o n l y t h a t t h e w o r k w a s i n d e p e n d e n t l y c r e a t e d b y t h e a u t h o r ( a s o p p o s e d t o c o p i e d f r o m o t h e r w o r k s ) , a n d t h a t i t p o s s e s s e s a t l e a s t s o m e m i n i m a l d e g r e e o f c r e a t i v i t y . 1 M . N i m m e r & D . N i m m e r , C o p y r i g h t § § 2 . 0 1 [ A ] , [ B ] ( 1 9 9 0 ) ( h e r e i n a f t e r N i m m e r ) . T o b e s u r e , t h e r e q u i s i t e l e v e l o f c r e a t i v i t y i s e x t r e m e l y l o w ; e v e n a s l i g h t a m o u n t w i l l s u f f i c e . T h e v a s t m a j o r i t y o f w o r k s m a k e t h e g r a d e q u i t e e a s i l y , a s t h e y p o s s e s s s o m e c r e a t i v e s p a r k , " n o m a t t e r h o w c r u d e , h u m b l e o r o b v i o u s " i t m i g h t b e . I d . , § 1 . 0 8 [ C ] [ 1 ] .

      The sine qua non of copyright is originality.

    10. T h e r e i s a n u n d e n i a b l e t e n s i o n b e t w e e n t h e s e t w o p r o p o s i t i o n s . M a n y c o m p i l a t i o n s c o n s i s t o f n o t h i n g b u t r a w d a t a — i . e . , w h o l l y f a c t u a l i n f o r m a t i o n n o t a c c o m p a n i e d b y a n y o r i g i n a l w r i t t e n e x p r e s s i o n . O n w h a t b a s i s m a y o n e c l a i m a c o p y r i g h t i n s u c h a w o r k ? C o m m o n s e n s e t e l l s u s t h a t 1 0 0 u n c o p y r i g h t a b l e f a c t s d o n o t m a g i c a l l y c h a n g e t h e i r s t a t u s w h e n g a t h e r e d t o g e t h e r i n o n e p l a c e . Y e t c o p y r i g h t l a w s e e m s t o c o n t e m p l a t e t h a t c o m p i l a t i o n s t h a t c o n s i s t e x c l u s i v e l y o f f a c t s a r e p o t e n t i a l l y w i t h i n i t s s c o p e
    11. T h i s c a s e c o n c e r n s t h e i n t e r a c t i o n o f t w o w e l l - e s t a b l i s h e d p r o p o s i t i o n s . T h e f i r s t i s t h a t f a c t s a r e n o t c o p y r i g h t a b l e ; t h e o t h e r , t h a t c o m p i l a t i o n s o f f a c t s g e n e r a l l y a r e . E a c h o f t h e s e p r o p o s i t i o n s p o s s e s s e s a n i m p e c c a b l e p e d i g r e e . T h a t t h e r e c a n b e n o v a l i d c o p y r i g h t i n f a c t s i s u n i v e r s a l l y u n d e r s t o o d . T h e m o s t f u n d a m e n t a l a x i o m o f c o p y r i g h t l a w i s t h a t " [ n ] o a u t h o r m a y c o p y r i g h t h i s i d e a s o r t h e f a c t s h e n a r r a t e s . " H a r p e r & R o w , P u b l i s h e r s , I n c . v . N a t i o n E n t e r p r i s e s , 4 7 1 U . S . 5 3 9 , 5 5 6 ( 1 9 8 5 ) .

      The most fundamental axiom of copyright law is that "no author may copyright his ideas or the facts he narrates." Harper & Row, Publishers, Inc. v. Nation Enterprises, 471U. S.539,556 (1985).