VLSI design and implementation of 2-D Inverse Discrete Wavelet Transform

This paper proposes a JPEG-2000 compliant architecture capable of computing the 2 -D Inverse Discrete Wavelet Transform. The proposed architecture uses a single processor and a row-based schedule to minimize control and routing complexity and to ensure that processor utilization is kept at 100%. The design incorporates the handling of borders through the use of symmetric extension. The architecture has been implemented on the Xilinx Virtex2 FPGA.

What is the Point of Copyright History?:Reflections on Copyright at Common law in 1774 by H. Tomás Gómez-Arostegui

Copyright history has long been a subject of intense and contested enquiry. Historical narratives about the early development of copyright were first prominently mobilised in eighteenth century British legal discourse, during the so-called Battle of the Booksellers between Scottish and London publishers. The two landmark copyright decisions of that time – Millar v. Taylor (1769) and Donaldson v. Becket (1774) – continue to provoke debate today. The orthodox reading of Millar and Donaldson presents copyright as a natural proprietary right at common law inherent in authors. Revisionist accounts dispute that traditional analysis. These conflicting perspectives have, once again, become the subject of critical scrutiny with the publication of Copyright at Common Law in 1774 by Prof Tomas Gomez-Arostegui in 2014, in the Connecticut Law Review ((2014) 47 Conn. L. Rev. 1) and as a CREATe Working Paper (No. 2014/16, 3 November 2014).

Taking Prof Gomez-Arostegui’s extraordinary work in this area as a point of departure, Dr Elena Cooper and Professor Ronan Deazley (then both academics at CREATe) organised an event, held at the University of Glasgow on 26th and 27th March 2015, to consider the interplay between copyright history and contemporary copyright policy. Is Donaldson still relevant, and, if so, why? What justificatory goals are served by historical investigation, and what might be learned from the history of the history of copyright? Does the study of copyright history still have any currency within an evidence-based policy context that is increasingly preoccupied with economic impact analysis?

This paper provides a lasting record of these discussions, including an editorial introduction, written comments by each of the panelists and Prof. Gomez-Arostegui and an edited transcript of the Symposium debate.

ULTRAVIOLET EMISSION LINES of Si II in QUASARS - INVESTIGATING the Si II DISASTER

The observed line intensity ratios of the Si ii λ1263 and λ1307 multiplets to that of Si ii λ1814 in the broad-line region (BLR) of quasars are both an order of magnitude larger than the theoretical values. This was first pointed out by Baldwin et al., who termed it the "Si ii disaster," and it has remained unresolved. We investigate the problem in the light of newly published atomic data for Si ii. Specifically, we perform BLR calculations using several different atomic data sets within the CLOUDY modeling code under optically thick quasar cloud conditions. In addition, we test for selective pumping by the source photons or intrinsic galactic reddening as possible causes for the discrepancy, and we also consider blending with other species. However, we find that none of the options investigated resolve the Si ii disaster, with the potential exception of microturbulent velocity broadening and line blending. We find that a larger microturbulent velocity () may solve the Si ii disaster through continuum pumping and other effects. The CLOUDY models indicate strong blending of the Si ii λ1307 multiplet with emission lines of O i, although the predicted degree of blending is incompatible with the observed λ1263/λ1307 intensity ratios. Clearly, more work is required on the quasar modeling of not just the Si ii lines but also nearby transitions (in particular those of O i) to fully investigate whether blending may be responsible for the Si ii disaster.

Session organiser/chair: The architecture of coal and other energies

Coal ignited the industrial revolution. An organic sedimentary rock that energized the globe, transforming cities, landscapes and societies for generations, the importance of ‘King Coal’ to the development and consolidation of modernity has been well-recognised. And yet, as a critical factor in the production of modern architecture, coal—as well as other forms of energy—has been mostly overlooked.

From Appalachia to Lanarkshire, from the pits of northern France, Belgium and the Ruhr valley, to the monumental opencast excavations of Russia, China, Africa and Australia, mining operations have altered the immediate social and physical landscapes of coal-rich areas. But in contrast to its own underground conditions of production, the winning of coal, especially in the twentieth-century, has produced conspicuously enlightened and humane approaches to architecture and urbanism. In the twentieth century, educational buildings, holiday camps, hospitals, swimming pools, convalescent homes and housing prevailed alongside model collieries in mining settlements and areas connected to them. In 1930s Britain, pit head baths—funded by a levy on each ton produced—were often built in the International Style. Many won praise for architectural merit, appearing in Nicholas Pevsner’s guides to the buildings of England alongside cathedrals, village manors and Masonic halls as testimonies to the public good.

The deep relationships between coal and modernity, and the expressions of architecture it has articulated, in the collieries from which it was hewn, the landscape and towns it shaped, and the power stations and other infrastructure where it was used, offer innumerable opportunities to explore how coal produced architectures which embodied and expressed both social and technological conditions. While proposals on coal are preferred, we also welcome papers that interrogate the complexity, heterogeneity and hybridity of other forms of energy production and how these have also interceded into architectural form at a range of scales.