We are getting reports of Facebook blocking users who repeatedly attempt to broadcast their DJ sets containing copyrighted music on Facebook Live. While on nearly all platforms it is technically not allowed to broadcast material you do not own the copyright for, or have permission to use directly from the rights holder (ie nearly every … Continued The post Facebook Blocking DJs For...

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Bradley and Karen discuss types of copyleft generally and introduce the basics of license compatibility and -or-later clauses.

Show Notes:

Segment 0 (00:38)

• This show discusses copyleft and basic issues of license compatibility (04:09)
• Karen mentioned an episode of the old Software Freedom Law Show, Episode 0x08, where Bradley and Karen discussed selecting a FLOSS license and what the various options are. (04:45)
• license compatibility 06:28
• Bradley incorrectly said that the original Emacs license didn't have the word General in it. However, the other explanations appear to be correct. There's a useful history page that someone wrote about the history of GPL. It appears the non-general GNU copylefts existed from 1984-1988. (06:57)
• Karen noted that the Library GPL was renamed to the Lesser GPL which happened in 1999. (09:30)
• Bradley mentioned that when he and RMS worked on the GNU Classpath Exception, Bradley suggested it be called the Least GPL. (10:38)
• GPL doesn't have a choice of law clause. If another copyleft does, it surely is incompatible with the GPL. (14:17)
• AGPLv3 § 13 and GPLv3 § 13 explicitly make themselves compatibility with each other, which Bradley calls compatibility by fiat. (15:40)
• Karen mentioned that the Mozilla Public License § 13 has a section about multiple licensed code (16:50).
• Bradley mentioned that Mozilla Firefox uses a combinatorial license: (GPL|LGPL|MPL), which is a disjunctive tri-license. (19:00).
• Bradley mentioned that the old Software Freedom Law Show Episode 0x17 discussed compatibility of permissively licensed software and copylefted software. (20:22)
• Apache Software License 2.0 was likely the first FLOSS license to have an explicit patent licensing provision (23:40)
• Bradley and Karen discussed the fact that -only vs. -or-later are options with the GPL, while they are not with other copylefts, such as CC-By-SA. (30:11)

Send feedback and comments on the cast to <oggcast@faif.us>. You can keep in touch with Free as in Freedom on our IRC channel, #faif on irc.freenode.net, and by following Conservancy on on Twitter and and FaiF on Twitter.

Free as in Freedom is produced by Dan Lynch of danlynch.org. Theme music written and performed by Mike Tarantino with Charlie Paxson on drums.

The content of this audcast, and the accompanying show notes and music are licensed under the Creative Commons Attribution-Share-Alike 4.0 license (CC BY-SA 4.0).

Karen and Bradley play and discuss John Sullivan's talk entitled Is Copyleft Being Framed? from the FOSDEM 2012 Legal and Policy Issues DevRoom.

Show Notes:

Segment 0 (00:34)

• Dave Neary wrote an article based on his FOSDEM talk, and we're trying our best to fix the audio and have a FaiFCast of his talk, but it may not be salvagable.

Segment 1 (06:35)

• Follow along with John's slides from his FOSDEM talk.

Segment 1 (37:23)

• John referenced the source Black Duck numbers for which there is no methodology posted (38:30)
• Bradley mentioned Chris DiBona's keynote at OSCON 2010. (39:14)
• John mentioned the FLOSS Mole project in his talk. (42:50)

Send feedback and comments on the cast to <oggcast@faif.us>. You can keep in touch with Free as in Freedom on our IRC channel, #faif on irc.freenode.net, and by following Conservancy on on Twitter and and FaiF on Twitter.

Free as in Freedom is produced by Dan Lynch of danlynch.org. Theme music written and performed by Mike Tarantino with Charlie Paxson on drums.

The content of this audcast, and the accompanying show notes and music are licensed under the Creative Commons Attribution-Share-Alike 4.0 license (CC BY-SA 4.0).

Karen and Bradley play and discuss Michael Meeks's FOSDEM 2012 talk, Risks and Benefits of Copyright Assignment from the FOSDEM 2012 Legal and Policy Issues DevRoom.

Show Notes:

Segment 0 (00:35)

Bradley and Karen introduce Michael's talk.

Segment 1 (01:56)

Michael's slides are available from faif.us and from his blog post on the talk.

Segment 2 (26:47)

• Bradley mentioned GNU Mediagoblin as an example of a true upstream multi-copyright-holder AGPLv3'd project. (28:10)
• Bradley mentioned that LibreOffice is “wealthy” as well by Michael Meeks standards, given their successful fundraisers. (29:38)
• Bradley mentioned the Desktop Summit panel that he and Michael were on and Karen moderated. (34:06)
• Bradley and Michael co-authored (with Vincent Untz) the GNOME Copyright Assignment Guidelines. (35:30)
• FSF was previously supportive of MySQL AB back in 2002, but Michael also used to support the Sun JCA. (38:20)

Send feedback and comments on the cast to <oggcast@faif.us>. You can keep in touch with Free as in Freedom on our IRC channel, #faif on irc.freenode.net, and by following Conservancy on on Twitter and and FaiF on Twitter.

Free as in Freedom is produced by Dan Lynch of danlynch.org. Theme music written and performed by Mike Tarantino with Charlie Paxson on drums.

The content of this audcast, and the accompanying show notes and music are licensed under the Creative Commons Attribution-Share-Alike 4.0 license (CC BY-SA 4.0).

Karen and Bradley discuss the copyright decision in the Oracle vs. Google case.

Show Notes:

Segment 0 (00:33)

• Bradley mentioned the BPM for the human heart is to the Bee Gee's song, STayin' Alive. (01:55)
• FaiF's bandwidth is provided by OSU-OSL. Please donate to OSU-OSL. (09:50)
• Bradley and Karen discuss the copyright decision in the Oracle vs. Google case. (12:26)
• Bradley couldn't find quickly a full telling of the windings/SCO font thing, but this blog mentions it (29:34)

Send feedback and comments on the cast to <oggcast@faif.us>. You can keep in touch with Free as in Freedom on our IRC channel, #faif on irc.freenode.net, and by following Conservancy on on Twitter and and FaiF on Twitter.

Free as in Freedom is produced by Dan Lynch of danlynch.org. Theme music written and performed by Mike Tarantino with Charlie Paxson on drums.

The content of this audcast, and the accompanying show notes and music are licensed under the Creative Commons Attribution-Share-Alike 4.0 license (CC BY-SA 4.0).

Karen and Bradley discuss the LWN article, GnuTLS, copyright assignment, and GNU project governance and other issues related to copyright assignment.

Show Notes:

Segment 0 (00:46)

• Bradley didn't want his words compared to the Ayn Rand's quote from an interview with Phil Donahue where she said I'm not going to die, it's just that world will end. (02:54)
• Bradley discussed the reaction to on 0x36 that occurred in this identi.ca thread. (04:20)
• Bradley and Karen discussed the LWN article, GnuTLS, copyright assignment, and GNU project governance. (11:15)
• Bradley pointed out that every other copyleft license allows for relicensing under newer versions automatically (i.e., they have an automatic -or-later ), and Karen asked whether Sun's CDDL does. Bradley checked later, Karen was correct that CDDL's later version clause (Section 4) is similar to the GPL policy. (23:00) However, Fontana wrote to us on IRC to say CDDL's license upgradeability clause is not entirely like GPL's. The GPL states that if no version number is specified, any version can be used. CDDL does not say this; it seems to assume that it will always be clear what version CDDL code will be distributed under, whereas GPL seems to assume otherwise.
• Bradley mentioned the interview he did with The H Online on GPL enforcement. (41:57)

Send feedback and comments on the cast to <oggcast@faif.us>. You can keep in touch with Free as in Freedom on our IRC channel, #faif on irc.freenode.net, and by following Conservancy on on Twitter and and FaiF on Twitter.

Free as in Freedom is produced by Dan Lynch of danlynch.org. Theme music written and performed by Mike Tarantino with Charlie Paxson on drums.

The content of this audcast, and the accompanying show notes and music are licensed under the Creative Commons Attribution-Share-Alike 4.0 license (CC BY-SA 4.0).

Karen and Bradley listen to and discuss Till Jaeger's talk from FOSDEM 2013, entitled What is a derivative work under European Copyright Law?.

Show Notes:

Segment 0 (00:00:31)

Karen and Bradley introduce the talk.

Segment 2 (00:02:41)

The speaker's that you hear are:

• Tom Marble, introduces the talk, and asks one of the questions.
• Till Jaeger, who gives the talk

The slides for Till Jaeger's talk are available.

Segment 2 (00:49:11)

• Bradley and Karen discuss Till's talk.
• Clarence Thomas spoke the first time in the Supreme Court. Bradley said that he said it did not, but apparently he actually said he did not. (59:49)
• Bradley scanned in his Brussels airport train ticket that had his notes on it, where you can read noa push caa. (01:06:40)
• Bradley mentioned the phrase Elvis has left the building. (01:07:15)

Send feedback and comments on the cast to <oggcast@faif.us>. You can keep in touch with Free as in Freedom on our IRC channel, #faif on irc.freenode.net, and by following Conservancy on on Twitter and and FaiF on Twitter.

Free as in Freedom is produced by Dan Lynch of danlynch.org. Theme music written and performed by Mike Tarantino with Charlie Paxson on drums.

The content of this audcast, and the accompanying show notes and music are licensed under the Creative Commons Attribution-Share-Alike 4.0 license (CC BY-SA 4.0).

Bradley and Karen discuss the talk, copyleft-next: an Introduction by Richard Fontana given at FOSDEM 2013 on Sunday 3 February 2013.

Show Notes:

Segment 0 (00:37)

Bradley and Karen introduce the talk.

Segment 1 (05:37)

The slides Fontana's talk on copyleft-next are available.

Segment 2 (01:06:51)

• Bradley mentioned the issue of Noam Chomsky's points on concision (01:13:23).
• Bradley mentioned the anti-GPL keynote by Tom Preseton-Werner of Github at OSCON 2013. (01:14:53)
• Bradley and Karen discussed the Harvey Birdman Rule. (1:27:45)
• Bradey mentioned a comment he posted about CHR-governed policy meetings. (01:29:00)

Send feedback and comments on the cast to <oggcast@faif.us>. You can keep in touch with Free as in Freedom on our IRC channel, #faif on irc.freenode.net, and by following Conservancy on on Twitter and and FaiF on Twitter.

Free as in Freedom is produced by Dan Lynch of danlynch.org. Theme music written and performed by Mike Tarantino with Charlie Paxson on drums.

The content of this audcast, and the accompanying show notes and music are licensed under the Creative Commons Attribution-Share-Alike 4.0 license (CC BY-SA 4.0).

Bradley and Karen discuss the talk, Copyleft vs. Permissive vs. Contributor License Agreements: A Veteran’s Perspective by Simo Sorce given at FOSDEM 2013 on Sunday 3 February 2013.

Show Notes:

Segment 0 (00:00:38)

Bradley and Karen introduce Simo's talk.

Segment 1 (00:03:02)

The slides from Simo's talk are available, if you want to follow along

Segment 2 (00:59:50)

• Bradley menitoned his blog post about CLA's on Conservancy's website. (01:00:10)

Segment 3 (01:10:22)

Bradley and Karen are still trying to decide what to do about the FOSDEM 2014 talks.

Send feedback and comments on the cast to <oggcast@faif.us>. You can keep in touch with Free as in Freedom on our IRC channel, #faif on irc.freenode.net, and by following Conservancy on on Twitter and and FaiF on Twitter.

Free as in Freedom is produced by Dan Lynch of danlynch.org. Theme music written and performed by Mike Tarantino with Charlie Paxson on drums.

The content of this audcast, and the accompanying show notes and music are licensed under the Creative Commons Attribution-Share-Alike 4.0 license (CC BY-SA 4.0).

Bradley and Karen discuss what plagiarism is (or isn't) and how it interacts with copyleft licenses.

Show Notes:

Segment 0 (00:00:37)

• Please donate to to send Dan to a conference. There's a progress bar on faif.us now.
• You can also donate to support Software Freedom Conservancy, where Bradley and Karen work, by becoming a supporter.
• Karen mentioned her blog post about the supporter program. (00:08:30)
• Bradley mentioned his blog post about the supporter program as well. (00:09:30)

Segment 1 (00:16:16)

• Bradley and Karen pick up on a topic original discussed in Segment 1 of FaiF 0x02. (00:16:50)
• Bradley discussed the Laurie Stearns' article from the California Law Review, entitled Copy Wrong: Plagiarism, Process, Property, and the Law (00:23:50)
• Bradley mentioned The GNOME Foundation Copyright Assignment Guidelines that he co-authored. (00:28:05)
• Bradley mentioned the Doris Kearns Goodwin Plagiarism controversy, and how it would have been simply redressed if the material she reused had been copylefted. (00:29:26)
• Karen mentioned that Flickr made different policies for CC-BY-SA'd works when selling printed versions. (32:30)
• Bradley mentioned that even software freedom advocates just comply with the copyleft licenses and don't work collaboratively, particularly during hostile forks, using Conservancy's Kallithea project as an example. (00:35:25)
• Bradley reiterated a point he made in FaiF 0x08, where he discussed that Linus Torvalds switched to GPL for Linux because he realized non-commercial restrictions weren't appropriate. (00:37:50)
• Bradley mentioned the hostile fork of GCC called egcs. The H-Online years later wrote a long article that discussed the egcs fork egcs fork. (00:39:46)
• Bradley mentioned that plagiarism is ultimately about attribution, and modern DVCS systems makes attribution easy and renders plagiarism impossible (if DVCS logs are accurate). (00:44:15)
• Bradley mentioned that he continually has learned the lesson that if you let your employer keep copyright, you lose everything you had when you switch employers (if the work isn't copylefted). (00:47:00)
• Bradley discussed the methods of attribution required in GPLv3. (00:50:05)
• Bradley mentioned that copyright notices are the primary method of attribution in copyleft licenses, and even non-copyleft ones too. (00:53:19)
• Karen discussed the attribution requirements in text of CC-BY-SA 4.0. (00:53:49)
• Bradley wants to do a whole FaiF show about how CC-BY-SA may not be a true copyleft since it has no source code requirement (00:54:40)
• Bradley mentioned the “fake name” that film directors use when they wish to disavow a work they aren't happy with. The name is, in fact, Alan Smithee, and indeed the 1984 film Dune lists Smithee as a director even though David Lynch is known publicly to be the director. (00:58:40)
• Bradley mentioned the unfair accusations against Red Hat when they stopped publishing their internal Linux Git repository and instead released a more standard ChangeLog. (01:05:30)

Send feedback and comments on the cast to <oggcast@faif.us>. You can keep in touch with Free as in Freedom on our IRC channel, #faif on irc.freenode.net, and by following Conservancy on on Twitter and and FaiF on Twitter.

Free as in Freedom is produced by Dan Lynch of danlynch.org. Theme music written and performed by Mike Tarantino with Charlie Paxson on drums.

The content of this audcast, and the accompanying show notes and music are licensed under the Creative Commons Attribution-Share-Alike 4.0 license (CC BY-SA 4.0).

Bradley and Karen discuss Conservancy's Debian Copyright Aggregation project. (Note: While it was released just after DebConf16, this episode was recorded well before DebConf16; the discussions about DebConf refer to DebConf15.)

Show Notes:

Segment 0 (00:38)

Note: While it was released just after DebConf16, this episode was recorded well before DebConf16; the discussions about DebConf refer to DebConf15.

• Bradley mentioned his talk at DebConf. This was recorded before DebConf 16, so Bradley is talking about DebConf 15, which was summarized in this blog post and his keynote from DebConf15. A video of that talk is available. (02:00)
• Bradley mentioned this bug about the copyright notice on the Debian website (07:47)
• Ian Jackson asked about bequeathing copyright at Bradley's talk. (15:45)

Send feedback and comments on the cast to <oggcast@faif.us>. You can keep in touch with Free as in Freedom on our IRC channel, #faif on irc.freenode.net, and by following Conservancy on on Twitter and and FaiF on Twitter.

Free as in Freedom is produced by Dan Lynch of danlynch.org. Theme music written and performed by Mike Tarantino with Charlie Paxson on drums.

The content of this audcast, and the accompanying show notes and music are licensed under the Creative Commons Attribution-Share-Alike 4.0 license (CC BY-SA 4.0).

Bradley and Karen interview their own producer, Dan Lynch, on site at Copyleft Conf 2019.

Show Notes:

Segment 0 (00:46)

• Karen now teaches teaches a course at Columbia University. (03:40)
• In addition to being the producer of Free as in Freedom, Dan Lynch was the host of Rat Hole Radio, the co-host of Linux Outlaws, and currently co-hosts Hollywood Outlaws. (04:30)

Segment 1 (5:19)

• Dan helps co-organize Oggcamp which is having its tenth-anniversary event on Saturday 19 October 2019. (08:00)
• Bradley mentioned the phrase from IT Crowd quote: Did you see that ludicrous display last night? (11:08)
• Dan talked about The Manchester Ship Canal. (13:16)
• Dan promoted Hollywood Outlaws where he and his co-host Fab talk about Bosch. (23:18)
• Dan promoted his own podcast about comics called Tales of the Unattested. (23:27)
• Dan Lynch has a personal website, which has his blog. (23:55)
• Bradley referenced the phrase You are no Jack Kennedy which was stated by Bentsen on Wednesday 5 October 1988 during the VP debate between Quayle and Bentsen for the 1988 USA Presidential campaign. Details and background of this are explained by NBC in this story. (26:30)

Segment 2 (28:23)

Bradley and Karen briefly dissect the interview with Dan.

Segment 3 (32:22)

Karen and Bradley mention that they'll discuss the Linux Foundation initiative, “Community Bridge” in the next episode. If you want a preview Bradley and Karen's thoughts, you can read their blog post about Linux Foundation's “Community Bridge” initiative.

Send feedback and comments on the cast to <oggcast@faif.us>. You can keep in touch with Free as in Freedom on our IRC channel, #faif on irc.freenode.net, and by following Conservancy on on Twitter and and FaiF on Twitter.

Free as in Freedom is produced by Dan Lynch of danlynch.org. Theme music written and performed by Mike Tarantino with Charlie Paxson on drums.

The content of this audcast, and the accompanying show notes and music are licensed under the Creative Commons Attribution-Share-Alike 4.0 license (CC BY-SA 4.0).

Bradley and Karen enjoy and discuss Molly De Blanc's keynote at the first annual CopyleftConf, entitled The Margins of Software Freedom, followed by an exclusive interview with Molly!

Show Notes:

Segment 0 (00:37)

• Bradley mentioned (without the title) the film, When a Stranger Calls, which is indeed a real movie, not a TV movie, and was from the late 1970s — although Bradley saw it on TV sometime in the 1980s. (02:15)

Segment 1 (04:11)

A recording of Molly De Blanc's keynote at the first annual (2019) CopyleftConf, entitled entitled The Margins of Software Freedom. Slides for Molly's talk are available on her gitlab account.

Segment 2 (20:11)

Bradley and Karen talk about the keynote and set up the interview.

Segment 3 (23:56)

Extended interview with Molly from on site at CopyleftConf 2019!

Segment 4 (34:06)

• Bradley and Karen discuss what ideas Molly's interview got them thinking about.
• Bradley wrote a blog post about Delta's anti-union marketing. (40:50)
• Molly De Blanc is now an employee at the GNOME Foundation and President of the Open Source Initiative (52:53)

---

Send feedback and comments on the cast to <oggcast@faif.us>. You can keep in touch with Free as in Freedom on our IRC channel, #faif on irc.freenode.net, and by following Conservancy on on Twitter and and FaiF on Twitter.

Free as in Freedom is produced by Dan Lynch of danlynch.org. Theme music written and performed by Mike Tarantino with Charlie Paxson on drums.

The content of this audcast, and the accompanying show notes and music are licensed under the Creative Commons Attribution-Share-Alike 4.0 license (CC BY-SA 4.0).



Full Article

Cut/Copy founder Dan Whitford explains how hearing The Avalanches "A Different Feeling" when he first started his career helped open his eyes to how creative and expansive dance music could be.

Many Western governments continue to struggle with free speech. It’s not that they’re necessarily against it, it’s just that they don’t know how to effectively regulate out the offensive stuff.

EMI UNIVERSAL MUSIC GROUP ASCAP CURROPTION

Savastano Will Oversee Audits, Royalty Collection And Processing, Licensing, Copyright Issues, And All Other Copyright And Royalty Duties.

Six months ago, which feels like roughly an eternity at this point, we discussed how Jerry Seinfeld and others won an absolutely ludicrous copyright suit filed against them by Christian Charles, a writer and director Seinfeld hired to help him create the pilot episode of Comedians In Cars Getting Coffee. What was so strange about the case is that this pilot had been created in 2012, whereas the lawsuit was only filed in 2018. That coincides with Seinfeld inking a lucrative deal with Netflix to stream his show.

It's not the most well known aspect of copyright law, but there is, in fact, a statute of limitations for copyright claims and it's 3 years. The requirement in the statute is that the clock essentially starts running once someone who would bring a copyright claim has had their ownership of a work disputed publicly, or has been put on notice. Seinfeld argued that he told Charles he was employing him in a work-for-hire arrangement, which would satisfy that notice. His lawyers also pointed out that Charles goes completely uncredited in the pilot episode, which would further put him on notice. The court tossed the case based on the statute of limitations.

For some reason, Charles appealed the ruling. Well, now the Court of Appeals has affirmed that lower ruling, which hopefully means we can all get back to not filing insane lawsuits, please.

We conclude that the district court was correct in granting defendants’ motion to dismiss, for substantially the same reasons that it set out in its well-reasoned opinion. The dispositive issue in this case is whether Charles’s alleged “contributions . . . qualify [him] as the author and therefore owner” of the copyrights to the show. Kwan, 634 F.3d at 229. Charles disputes that his claim centers on ownership. But that argument is seriously undermined by his statements in various filings throughout this litigation which consistently assert that ownership is a central question.

Charles’s infringement claim is therefore time-barred because his ownership claim is time-barred. The district court identified two events described in the Second Amended Complaint that would have put a reasonably diligent plaintiff on notice that his ownership claims were disputed. First, in February 2012, Seinfeld rejected Charles’s request for backend compensation and made it clear that Charles’s involvement would be limited to a work-for-hire basis. See Gary Friedrich Enters., LLC v. Marvel Characters, Inc., 716 F.3d 302, 318 (2d Cir. 2013) (noting that a copyright ownership claim would accrue when the defendant first communicates to the plaintiff that the defendant considers the work to be a work-for-hire). Second, the show premiered in July 2012 without crediting Charles, at which point his ownership claim was publicly repudiated. See Kwan, 634 F.3d at 227. Either one of these developments was enough to place Charles on notice that his ownership claim was disputed and therefore this action, filed six years later, was brought too late.

And that should bring this all to a close, hopefully. This seems like a pretty clear attempt at a money grab by Charles once Seinfeld's show became a Netflix cash-cow. Unfortunately, time is a measurable thing and his lawsuit was very clearly late.

Why all the secrecy?

If you follow the news in Toronto or if you’re interested in technology, you’ve probably heard of Sidewalk Toronto by now. It’s a joint project of Sidewalk Labs, a sister company of Google, and Waterfront Toronto. This is the tech giant’s first foray into urban development and infrastructure, with Toronto hosting the pilot project. In […]

The post Civic Tech: We tried to get a copy of the Sidewalk Toronto agreement appeared first on Torontoist.

Posting videos on YouTube can be a great way to show off your video editing skills, post video blogs, or even your own mini series. Because YouTube is the largest video sharing site it’s also a great way to promote products, or your website to thousands new potential viewers. But what happens when you post a video and it’s either slapped with a copyright infringement or banned all together, and what are the consequences to your account?

New beginnings at WIPO  On March 4, Daren Tang was nominated director general of the World Intellectual Property Organization (WIPO), the United Nations agency dealing with intellectual property matters. Tang is currently the chief executive of the Intellectual Property Office of Singapore (IPOS) and his six-year term as top WIPO official will start on October … Read More "Does WIPO’s New Leadership Have the Vision to Shake Up Global Copyright Policy-Making?"

The post Does WIPO’s New Leadership Have the Vision to Shake Up Global Copyright Policy-Making? appeared first on Creative Commons.

The 2019 Farmers' Almanac is available for pre-order! (Ships August 13th)

Former Xerox researcher Larry Tesler made computers more user-friendly for generations of people with editing commands also including 'find and replace.'

RANGERS new boy Jordan Jones is keen to emulate Cristiano Ronaldo at Rangers - although with the excitement and trickery the Portuguese superstar showed at Manchester United rather than the goalscoring prowess he has produced with Real Madrid and Juventus.

The EFL and Premier League could both return in early June after what would, by then, have been a three-month enforced break due to the coronavirus pandemic.

In bacteria, the restart of stalled DNA replication forks requires the DNA helicase PriA. PriA can recognize and remodel abandoned DNA replication forks, unwind DNA in the 3'-to-5' direction, and facilitate the loading of the helicase DnaB onto the DNA to restart replication. Single-stranded DNA–binding protein (SSB) is typically present at the abandoned forks, but it is unclear how SSB and PriA interact, although it has been shown that the two proteins interact both physically and functionally. Here, we used atomic force microscopy to visualize the interaction of PriA with DNA substrates with or without SSB. These experiments were done in the absence of ATP to delineate the substrate recognition pattern of PriA before its ATP-catalyzed DNA-unwinding reaction. These analyses revealed that in the absence of SSB, PriA binds preferentially to a fork substrate with a gap in the leading strand. Such a preference has not been observed for 5'- and 3'-tailed duplexes, suggesting that it is the fork structure that plays an essential role in PriA's selection of DNA substrates. Furthermore, we found that in the absence of SSB, PriA binds exclusively to the fork regions of the DNA substrates. In contrast, fork-bound SSB loads PriA onto the duplex DNA arms of forks, suggesting a remodeling of PriA by SSB. We also demonstrate that the remodeling of PriA requires a functional C-terminal domain of SSB. In summary, our atomic force microscopy analyses reveal key details in the interactions between PriA and stalled DNA replication forks with or without SSB.

In bacteria, the restart of stalled DNA replication forks requires the DNA helicase PriA. PriA can recognize and remodel abandoned DNA replication forks, unwind DNA in the 3'-to-5' direction, and facilitate the loading of the helicase DnaB onto the DNA to restart replication. Single-stranded DNA–binding protein (SSB) is typically present at the abandoned forks, but it is unclear how SSB and PriA interact, although it has been shown that the two proteins interact both physically and functionally. Here, we used atomic force microscopy to visualize the interaction of PriA with DNA substrates with or without SSB. These experiments were done in the absence of ATP to delineate the substrate recognition pattern of PriA before its ATP-catalyzed DNA-unwinding reaction. These analyses revealed that in the absence of SSB, PriA binds preferentially to a fork substrate with a gap in the leading strand. Such a preference has not been observed for 5'- and 3'-tailed duplexes, suggesting that it is the fork structure that plays an essential role in PriA's selection of DNA substrates. Furthermore, we found that in the absence of SSB, PriA binds exclusively to the fork regions of the DNA substrates. In contrast, fork-bound SSB loads PriA onto the duplex DNA arms of forks, suggesting a remodeling of PriA by SSB. We also demonstrate that the remodeling of PriA requires a functional C-terminal domain of SSB. In summary, our atomic force microscopy analyses reveal key details in the interactions between PriA and stalled DNA replication forks with or without SSB.

Rationale: Fluorescence molecular endoscopy (FME) is an emerging technique that has the potential to improve the 22% colorectal polyp detection miss-rate. We determined the optimal dose-to-imaging interval and safety of FME using EMI-137, a c-Met targeted fluorescent peptide, in a population at high-risk for colorectal cancer. Methods: We performed in vivo FME and quantification of fluorescence by multi-diameter single-fiber reflectance, single-fiber fluorescence spectroscopy in 15 patients with a dysplastic colorectal adenoma. EMI-137 was intravenously administered (0.13mg/kg) at a one-, two- or three-hour dose-to-imaging interval (N = 3 patients per cohort). Two cohorts were expanded to six patients based on target-to-background ratios (TBR). Fluorescence was correlated to histopathology and c-Met expression. EMI-137 binding specificity was assessed by fluorescence microscopy and in vitro experiments. Results: FME using EMI-137 appeared to be safe and well tolerated. All dose-to-imaging intervals showed significantly increased fluorescence in the colorectal lesions compared to surrounding tissue, with a TBR of 1.53, 1.66 and 1.74 respectively (mean intrinsic fluorescence (Q·μ^f_a,x) = 0.035 vs. 0.023mm^-1, P<0.0003; 0.034 vs. 0.021mm^-1, P<0.0001; 0.033 vs. 0.019mm^-1, P<0.0001). Fluorescence correlated to histopathology on a macroscopic and microscopic level, with significant c-Met overexpression in dysplastic mucosa. In vitro, a dose-dependent specific binding was confirmed. Conclusion: FME using EMI-137 appeared to be safe and feasible within a one-to-three hour dose-to-imaging interval. No clinically significant differences were observed between the cohorts, although a one-hour dose-to-imaging interval was preferred from a clinical perspective. Future studies will investigate EMI-137 for improved colorectal polyp detection during screening colonoscopies.

Ilya Levental
May 1, 2020; 61:592-594
Commentary

A fundamental feature of the eukaryotic cell membrane is the asymmetric arrangement of lipids in its two leaflets. A cell invests significant energy to maintain this asymmetry and uses it to regulate important biological processes, such as apoptosis and vesiculation. The dynamic coupling of the inner or cytoplasmic and outer or exofacial leaflets is a challenging open question in membrane biology. Here, we combined fluorescence lifetime imaging microscopy (FLIM) with imaging total internal reflection fluorescence correlation spectroscopy (ITIR-FCS) to differentiate the dynamics and organization of the two leaflets of live mammalian cells. We characterized the biophysical properties of fluorescent analogs of phosphatidylcholine, sphingomyelin, and phosphatidylserine in the plasma membrane of two mammalian cell lines (CHO-K1 and RBL-2H3). Because of their specific transverse membrane distribution, these probes allowed leaflet-specific investigation of the plasma membrane. We compared the results of the two methods having different temporal and spatial resolution. Fluorescence lifetimes of fluorescent lipid analogs were in ranges characteristic for the liquid ordered phase in the outer leaflet and for the liquid disordered phase in the inner leaflet. The observation of a more fluid inner leaflet was supported by free diffusion in the inner leaflet, with high average diffusion coefficients. The liquid ordered phase in the outer leaflet was accompanied by slower diffusion and diffusion with intermittent transient trapping. Our results show that the combination of FLIM and ITIR-FCS with specific fluorescent lipid analogs is a powerful tool for investigating lateral and transbilayer characteristics of plasma membrane in live cell lines.

When you run the Copy Files task in SAS Enterprise Guide and there is no connection to a SAS server, it fails with the following error: "ERROR: Target folder does not exist or cannot be accessed."

G Perseghin
Aug 1, 1999; 48:1600-1606
Articles

In bacteria, the restart of stalled DNA replication forks requires the DNA helicase PriA. PriA can recognize and remodel abandoned DNA replication forks, unwind DNA in the 3'-to-5' direction, and facilitate the loading of the helicase DnaB onto the DNA to restart replication. Single-stranded DNA–binding protein (SSB) is typically present at the abandoned forks, but it is unclear how SSB and PriA interact, although it has been shown that the two proteins interact both physically and functionally. Here, we used atomic force microscopy to visualize the interaction of PriA with DNA substrates with or without SSB. These experiments were done in the absence of ATP to delineate the substrate recognition pattern of PriA before its ATP-catalyzed DNA-unwinding reaction. These analyses revealed that in the absence of SSB, PriA binds preferentially to a fork substrate with a gap in the leading strand. Such a preference has not been observed for 5'- and 3'-tailed duplexes, suggesting that it is the fork structure that plays an essential role in PriA's selection of DNA substrates. Furthermore, we found that in the absence of SSB, PriA binds exclusively to the fork regions of the DNA substrates. In contrast, fork-bound SSB loads PriA onto the duplex DNA arms of forks, suggesting a remodeling of PriA by SSB. We also demonstrate that the remodeling of PriA requires a functional C-terminal domain of SSB. In summary, our atomic force microscopy analyses reveal key details in the interactions between PriA and stalled DNA replication forks with or without SSB.

Edinburgh : Young J. Pentland, 1886.

Thomas Staudt, Timo Aspelmeier, Oskar Laitenberger, Claudia Geisler, Alexander Egner, Axel Munk.

Source: Statistical Science, Volume 35, Number 1, 92--111.

Abstract:
Super-resolution microscopy is rapidly gaining importance as an analytical tool in the life sciences. A compelling feature is the ability to label biological units of interest with fluorescent markers in (living) cells and to observe them with considerably higher resolution than conventional microscopy permits. The images obtained this way, however, lack an absolute intensity scale in terms of numbers of fluorophores observed. In this article, we discuss state of the art methods to count such fluorophores and statistical challenges that come along with it. In particular, we suggest a modeling scheme for time series generated by single-marker-switching (SMS) microscopy that makes it possible to quantify the number of markers in a statistically meaningful manner from the raw data. To this end, we model the entire process of photon generation in the fluorophore, their passage through the microscope, detection and photoelectron amplification in the camera, and extraction of time series from the microscopic images. At the heart of these modeling steps is a careful description of the fluorophore dynamics by a novel hidden Markov model that operates on two timescales (HTMM). Besides the fluorophore number, information about the kinetic transition rates of the fluorophore’s internal states is also inferred during estimation. We comment on computational issues that arise when applying our model to simulated or measured fluorescence traces and illustrate our methodology on simulated data.

KM Harris
Aug 1, 1989; 9:2982-2997
Articles

Available bowel preparation solutions for colonoscopy continue to represent a challenge for children and their families due to poor taste, high volume, and dietary restrictions with subsequent poor compliance and need to place nasogastric tube for administration.

Low-volume polyethylene glycol (PEG) preparations and sodium picosulphate plus magnesium oxide and citric acid (NaPico+MgCit) are noninferior to PEG 4000 with simethicon for bowel preparation before colonoscopy in children. Given its higher tolerability and acceptability profile, NaPico+MgCit should be preferred in children. (Read the full article)

Endotracheal intubation is a mandatory skill for neonatal trainees. It is a difficult skill to acquire, and success rates of junior doctors are low and falling.

Videolaryngoscopy allows the supervisor to share the intubator’s view of the airway and provide more informed guidance. Teaching intubation using a videolaryngoscope with the screen visible to the instructor results in significantly higher success rates for inexperienced doctors. (Read the full article)

Objectives: Antibiotic combination therapy is used for severe infections caused by multidrug-resistant (MDR) Gram-negative bacteria. Yet, data of which combinations are most effective is lacking. This study aimed to evaluate the in vitro efficacy of polymyxin B in combination with 13 other antibiotics against four clinical strains of MDR Pseudomonas aeruginosa.

Methods: We evaluated the interactions of polymyxin B in combination with amikacin, aztreonam, cefepime, chloramphenicol, ciprofloxacin, fosfomycin, meropenem, minocycline, rifampicin, temocillin, thiamphenicol or trimethoprim by automated time-lapse microscopy using predefined cut-off values indicating inhibition of growth (≤10⁶ CFU/mL) at 24 h. Promising combinations were subsequently evaluated in static time-kill experiments.

Results: All strains were intermediate or resistant to polymyxin B, anti-pseudomonal β-lactams, ciprofloxacin and amikacin. Genes encoding β-lactamases (e.g., bla_PAO and bla_OXA-50) and mutations associated with permeability and efflux were detected in all strains. In the time-lapse microscopy experiments, positive interactions were found with 39 of 52 antibiotic combination/bacterial strain setups. Enhanced activity was found against all four strains with polymyxin B used in combination with aztreonam, cefepime, fosfomycin, minocycline, thiamphenicol and trimethoprim. Time kill experiments showed additive or synergistic activity with 27 of the 39 tested polymyxin B combinations, most frequently with aztreonam, cefepime, and meropenem.

Conclusion: Positive interactions were frequently found with the tested combinations, also against strains that harboured several resistance mechanisms to the single drugs and with antibiotics that are normally not active against P. aeruginosa. Further study is needed to explore the clinical utility of these combinations.

There are plenty of ways to transfer large files between Windows, Mac, iOS, and Android devices, including AirDrop, Google Photos, Bluetooth transfer, and third-party programs.

It’s not that the world is suddenly and cruelly bereft of writers, but let’s be honest: there aren’t too many of them coming to advertising.

MUSIC SAMPLING: "Musical work” means a work consisting of music and includes any graphical notation of such work but does not include any words or any action intended to be sung, spoken or performed with music."

Legal research giant Thomson Reuters has filed a lawsuit against legal research start-up ROSS Intelligence alleging that it surreptitiously stole content from Westlaw to build its own competing legal research product. Thomson Reuters lawsuit against ROSS comes just two days after it ended a related lawsuit against Legal Ease. In that stipulation, LegalEase agreed to an injunction that prevents it from reproducing Westlaw content, using bots to access content, and sharing its Westlaw credentials

Hello, i have a realy mistick thing going with copying libraries in cadence virtuoso,

When i copy straight forwart the whole library it gives me a warning that accsess was denied,but when i go into the library and copy it as a single file, then it goes fine.

another problem is it doesnt show in the massage console  ALL the files which could not be copied.(which is the much bigger problem,becuase i would have to pass threw all the subdirectories to verify if all files are there)

Is there a way to see which files wasnt able to be copied?

Thanks. 

Hello,

I find a strange issue when using design variable -> right-click -> copy from cellview in assembler. Cadence version is IC618-64b. 500.9

In fact, I set the value of variable (e.g., AAA = 100), then after I right-click -> copy from cellview, AAA's is updated to other value. In my opinion "copy from cellview" should only update the missing variable to the list, but not change any variable value. 

Is there any mechanism could change variable value when using "copy from cellview"?

Thanks