#code-based authorship

[zomb13s]

Tabula Rasa Inversa: Structural Sovereignty through Metaphysical Code

A Theoretical Physics-Based Framework for Code-Embedded Sovereignty and Ethical Cybernetics Abstract This paper introduces a formal theoretical model…Tabula Rasa Inversa: Structural Sovereignty through Metaphysical Code

[furiouszealot]

UPDATE: As of 25/04/2025, 4chan is back up and running again. This post and its addendum will be kept as is, and will no longer be updated unless it goes back down again. If you were on /ghost/, it was a pleasure shitposting with you.

All right, I know no one gives a shit, but let me give you a recounting of the fall of 4chan from the perspective of someone who was there and has been lurking both 4chan and tumblr for a few years now.

I'll try to provide as much context as I can, but a lot of images were either lost or im too lazy to look for them in the +5000 reply thread in soyjak party.

Anyways, info below:

So, necessary context: a few years back, 4chan had a board called /qa/, which if you know little about the page, you may think every board is like /b/ or /pol/, which means a containment cess pool of grifters, (you) baiters, incels, and other deranged individuals. The thing is, /qa/ was somehow worse. The entire board was plagued and infested with soyjack edits, board culture was a nuclear disaster, anons were incredibly hostile in there, you know the drill, the big bad 4chan, but this time its actually true.

One day, moderation deleted /qa/, anons that posted there got mad, tried to raid other boards, failed, and then moved on to an altchan called soyjack party, which entire purpose you can guess from its name alone.

Apparently, the boards that allow pdf uploads (paper and origami, for example) didn't check if the uploaded file was actually a pdf file, so postscript files could be used to get access. This is as far as my understanding of web backend goes, sorry.

The hacker claims to have been working on this since 2021, and that he had access since about a year ago, but was recopilating data.

Now, what actually happened when the hack ocurred? Well, a banner of miku dancing with a song that played automatically was placed on top of every board, with the text "/QA/ IS BACK", this was possible because apparently no board was ever deleted, they were just hidden from the public.

A thread was then made on soyjack party, claiming authorship over the hack, and shit went south from there. Anons went en masse to talk there, a lot of weird discussion happened, the thread got the bump limit removed and got pinned, more than 5k posts were amassed on the first night alone. Keep in mind this happened at about 8 pm and most of the stuff went on through midnight.

So, the hacker leaked some things, first of all, the html files for the entirety of /j/ and the email address for every moderation member (important note: the pressence of .gov mails was disproven by the hacker themselves, so i guess there were never any feds), what is /j/? the board exclusive for jannies and moderators to discuss actions taken on the website regarding spam, ban evaders, threads spiraling out of control, etc. Among other things, some of the inner workings of 4chan got revealed, such as the web extension for jannies that allows them to do their job easily, how reports are handled, and other stuff. (Anecdotically, some guy got permabanned for calling anons jews or n-words over a 100 times in the same few threads)

Then, the source code got leaked. Important to say, the hacker removed the part of the source code related to the captcha, as to not facilitate bot attacks on the future, and all information related to email verification or 4chan pass users information also got removed, so all in all users are safe.

What was found on the sourcecode? That it was old, mostly. Most boards used code that hasn't been updated since about 2016, and /flash/ used the exact same code from when it was created back on 2011.

From there, desuarchive, a site that archives threads that die from bump limit, opened a dragon ball general on ghost mode, and thus began what later got called /ghost/, a solely text based thread with well over 20k replies as of right now, where a fraction of the 4chan population took refuge and is currently discussing random things with no particular topic. Kinda hard to read, but its comfy.

What does this mean for other sites? Not a lot, really. A lot of anons already crossposted in 4chan and tumblr already, and the ones that din't most likely wont come here. Some of the bigger/most dedicated groups, like /vt/, migrated to other boards. Various altchans are trying/tried to catch some of the flock of users that got lost, but i doubt it will get anywhere, since soyjak party for example was struggling with just the influx of users that came for the hack thread given its poor infrastructure. Kiwifarms saw a surge of new accounts apparently, but a lot of anons kinda loathe the idea of having to register, so theres that.

Smaller communities, such as generals that didn't get a lot of traffic, or boards on the slower end (say, /ic/, /lit/, etc) will probably vanish or disseminate until (or if) 4chan comes back up. I'd say give it a month, don't get your hopes up whether you want it to stay dead or want it to come back.

Given how many anons are staying on places like /ghost/ or other similar archives with the same ghost posting feature, i doubt it will be as bad as people are making it sound. Besides, the communities that are most likely to migrate to places like tumblr are either /co/, /vg/ or /lgbt/ refugees, which aren't THAT bad. Not every board was like the main cesspools (/b/, /r9k/, /pol/).

From now on, either 4chan comes back up in a few weeks (somewhere between 2 weeks to a month is expected), altchans capture the migrating anons, or a brand new imageboard rises from the ashes to become the new go-to site for old 4chan posters.

In conclusion, nothing ever happens, but also don't worry, chances are this won't affect tumblr in the slightest. If it does, you can cash in your "you were wrong" ticket whenever you want, i'll take the L.

As a footnote, keep in mind: NO users were compromised, if you ever posted there and are worried for your safety, physical or digital, you are safe.

Edit: Forgot to add, if you are a 4chan refugee, im BEGGING you to dm me and tell what board you were from and where are you migrating, if at all.

[cyborg-squid]

Been reading a preface to Dream of Red Mansion, because while I don't have the time to read the whole thing before Canto 8, it is providing some really interesting background on the history and authorship, of which there's a whole field of study called 'redology'. Basically, I'm going in to see how much of 'Hong Lu' I can glimpse within 'Cao Xueqin', because I feel a lot of Limbus characters aren't just the character they're based on, but also their author in some ways, particularly in the case of Yi Sang and potentially so in the case of Hong Lu, especially since his name isn't just a 'character name', it's derived from (one of) the name of the novel.

So while Cao Xueqin's tale of the Jia family's decline draws from his own family history, of being an adolescent when his aristocratic family (early bondservants under Manchu rule, Xueqin's great-grandfather was also close friends with the Kangxi emperor, granted favorable and lucrative positions overseeing silk and textile trades) is purged from political and economic offices, Baoyu the character is not solely based off of Cao Xueqin, seemingly also drawing from the experiences of others in his close family, predominantly one of his male cousins. Indeed, in his own (attributed) words, Xueqin, living in poverty (died at age ~48), penned the novel as a form of remembrance for the brilliant women from his youth that he holds in such high esteem. Along with Baoyu not drawing from a single source, neither is the novel itself, with their being multiple different editors and versions and lost manuscripts and operating under pseudonyms like 'Red Inkstone' and 'Odd Tablet'.

(On a personal note, I love how the preface describes Cao Xueqin, very visually different from the ethereally beautiful youth Baoyu, he's fat with a droopy moustache and drinker's nose, but described as being 'kindly and humourous', a claim backed up by close relations memories of him, describing him as talking loudly to groups of friends, and 'discoursing of high, noble things while one hand hunts for lice'.)

I'm not going to go into the authors and history further because there's whole academic studies devoted to this, I'm not gonna be the one to crack the code (especially since I haven't even read it yet)...

...but this line really stuck out to me as just. incredibly Hong Lu.

(this is the important part of the post, if you dont read any else of it, read the above verse)

[skeletoninthemelonland]

If you did decide to quit BTC, would you be willing to hand it over to someone who wants to complete it? Like obviously you're going to give the story to us as mentioned, but would people/fans be allowed to like. Continue the story? Or would you want it to remain as it is, unfinished? I know some creators prefer their works to be left undone to avoid warping of their original vision.

I think people are allowed to make their own stories based on Behind The Codes, but I don't plan on giving up authorship.

The story's gotten personal on various degrees, especially regarding the characters themselves. Writing something is pouring your heart into it, and though there are people out there with legitimately great ideas, methods and good approaches to themes I could never dream of developing, I still want to keep its flaws and loose ends. I would rather have the original story unfinished, than see it evolve into something completely different from what I had in mind.

Again, it's different from starting your own thing, make Behind The Codes the main channel to develop other ideas you might have.

[zineovator]

A SHORT EXPLANATION ON INTERNET ARCHIVE COPYRIGHT LICENSES - a zine archiving guide!

Skip ahead down to DEFINITIONS if you don't wanna read me ranting (lol)

If you have zero experience with digital archiving, or using Internet Archive for the first time, or copyright labels seem daunting (or a mix of any of these), then let me show you a very abridged/simplified definition of each of the licenses provided as well as a small background on copyright (based on my understanding as an artist, not a professional and definitely not an expert on legal works. If I happen to accidentally be wrong in my information, feel free to hold me accountable and call me out in the comments below and I will correct my post. Ty!)

Okay, so for prior context copyright (under intellectual property/IP law) automatically protects and grants the exclusive rights to an original work of authorship, and what the author decides to do with it. IP law overall deals with the retaining, transfer or sharing of rights to created works or inventions, and outlines punishment for the violation of such. IP law and subsequently copyright will depend on jurisdiction, however, so you may want to do research on your particular state/country.

For the most part, any original work that a person creates will automatically be protected under copyright the moment it is conceived or fixed into a tangible form, regardless of if it is still in the process of formation (ie. not yet finished) or completed.

That's usually the reason why copyright is so daunting to handle when it comes to things uploaded online or media created with copyrighted content, not with all the DMCA takedowns and whatnot, of course it gets sticky to do all the legal stuff. But that's a topic for another day! Focus!

INTERNET ARCHIVE COPYRIGHT LICENSING

The Internet Archive however, being an archive/digital library, has a bit of an exemption (loosely) from copyright ( 17 U.S. Code § 108) and argue that their services/operations fall under Fair Use with specific roles in lending services and public access to the materials stored within their databases. This doesn't stop them from getting sued by some persons and groups regardless, but they're still standing!

Not sure if I covered all, I tried outlining the difference in the easiest ways I could to prevent the legalese from frying my brain and yours. If you'd like elaboration, feel free to do your research, as I cannot trust myself to provide legal nuance on the matter, I am simply explaining based on my own understanding. - Leave license blank - CC0 - "No Rights Reserved" - CC (Creative Commons): CC-BY-ND, CC-BY-NC-ND, CC-BY, CC-BY-SA, CC-BY-NC, CC-BY-NC-SA - Public Domain here we go below:

DEFINITIONS

LEAVE LICENSE BLANK

If you are unsure of the nature of your uploaded work, on what license it rightfully falls, you may use this. Using this will make the archive automatically apply its default license onto your work.

Eases the burden of dealing with the complexities of setting up an official licensing for the work (against hard suing plot armor /j)

CC0 "NO RIGHTS RESERVED"

The author has decided to waiver or dedicate their work to public domain as its default license.

The similarity of CC0 and Public Domain (PDM) is that they are both available for public use, but CC0 is an active opt-out for copyright protection, whereas PDM is only to indicate that it already is in public domain. In simpler terms: CC0 actually changes the license, PDM only tells you it did.

CREATIVE COMMONS ATTRIBUTION NO DERIVATIVES (CC-BY-ND)

The work can be redistributed and reproduced but not modified.

Unless specifically outlined, commercial use is usually allowed.

Credited to original author.

CREATIVE COMMONS ATTRIBUTION NON-COMMERCIAL NO DERIVATIVES (CC-BY-NC-ND)

The work can be redistributed and reproduced but not modified.

Commercial use is prohibited.

Credited to original author.

CREATIVE COMMONS ATTRIBUTION (CC-BY)

Allows redistribution, reproduction and adaptation for any purposes.

Commercial use is allowed.

Credited to original author.

CREATIVE COMMONS ATTRIBUTION SHARE-ALIKE (CC-BY-SA)

Allows redistribution, reproduction, adaptation, remixing/modification and derivative works that build upon your works.

Commercial use is generally allowed for both the original and derivative works.

Derivative works however, must adhere to the original licensing and follow the same licensing terms as the parent work. Meaning, these works must also be licensed under ShareAlike (CC-BY-SA)

Credited to original author.

CREATIVE COMMONS ATTRIBUTION NON-COMMERCIAL SHARE-ALIKE (CC-BY-NC-SA)

Allows redistribution, reproduction, adaptation, remixing/modification and derivative works that build upon your works.

Commercial use is prohibited.

Derivative works must adhere to the original licensing and follow the same licensing terms as the parent work. Meaning, these works must also be licensed under ShareAlike (CC-BY-SA)

Credited to original author.

CREATIVE COMMONS ATTRIBUTION NON-COMMERCIAL (CC-BY-NC)

Allows others to share, reuse and adapt works.

Commercial uses prohibited.

Credited to original author.

Less broad in terms of allowances compared to CC-BY, primarily due to the commercial use clauses.

PUBLIC DOMAIN

Works are not protected by IP Law and therefore not under copyright protection or restrictions.

No ownership (so to speak legally), and free to use.

Typically PD is only obtained once copyright over a work has expired (like in the event that an original author has died and 50 years have passed since they were last alive, and etc.), but can also be due to formal relinquishing or surrender of rights, or lack of legal legibility for copyright protection in the first place.

hopefully this helped(?) in some way. Until next time! Communicate, create, zineovate!

[pandoramsbox]

Sci-Fi Saturday: The Thing From Another World

Week 28:

Film(s): The Thing From Another World (Dir. Christian Nyby, 1951, USA)

Viewing Format: Blu-Ray

Date Watched: 2022-02-04

Rationale for Inclusion:

As stated before, part of the point of this chronological survey of science fiction cinema was an excuse to revisit favorite films. This week we finally get to one of my partner and my preexisting favorites of the genre: The Thing From Another World (Dir. Christian Nyby, 1951, USA).

In part to differentiate it from the John Carpenter 1982 readaptation, this film is usually referred to as "Howard Hawks' The Thing" because the film is so full of the director's auteur tropes that it struck critics as inconceivable that he only acted as producer on the project. He did apparently contribute to the script, as did his frequent collaborator Ben Hecht, though sole screen credit for the adaptation of "Who Goes There?" by John W. Campbell is given to Charles Lederer, another regular Hawks collaborator. 

Based on the rest of his filmography, credited director Christian Nyby seems to have only operated as director on a technical level, following the example of his mentor Hawks. Despite how the Cahiers du Cinema bros' auteur theory has been interpreted, not all directors are inherently auteurs. Just as some producers exercise authorship of their productions (sometimes to the consternation of directors), but not all. If/then logic and cult of personality can blind critics to how these dynamics vary from filmmaker to filmmaker. 

All that to say, this film is "Howard Hawks' The Thing" in the same way that Destination Moon (Dir. Irving Pichel, 1950, USA) is "George Pal's Destination Moon." Hawks' preferences for content that define him as an auteur director flowed into him taking on the role of producer. I do think he left the mechanical chores of directing The Thing to Nyby, even as he was exerting great creative control.

At any rate, The Thing was the second film released in 1951 to focus on a crash-landed alien spaceship, roughly a month after The Man from Planet X (Dir. Edgar G. Ulmer, 1951, USA). Of the many sci-fi films released in 1951, including the iconic The Day the Earth Stood Still (Dir. Robert Wise, 1951, USA), The Thing proved to be the biggest moneymaker. Contemporary reviews were decidedly mixed, yet it has gone on to be one of the most referenced and lauded examples of the sci-fi genre of its era, eventually being added to the Library of Congress' National Film Registry in 2001.

Reactions: 

As mentioned before, The Thing was a film that my partner and I had both seen before and liked, but watching it in the context of other genre films of its era gave us a deeper appreciation for it.

Due to a combination of auteur sensibilities, special effects limitations, and Production Code considerations, The Thing is only a loose adaptation of "Who Goes There?" No characters overlap between the two; the film swaps the South Pole for its northern counterpart; the spaceship crash has just happened, instead of occurring thousands of years ago; and the extraterrestrial they haul back to camp in a block of ice is not a shapeshifting mimic, but a carnivorous plant monster. Those familiar with John Carpenter's version, The Thing (Dir. John Carpenter, 1981, USA), will note that based on this list of changes alone, the later adaptation is closer to its source material than the 1951 version. Those who have read "Who Goes There?" and seen both films will confirm this fact.

The liberties taken with Hawks' The Thing may seem frustrating to people who want to watch a tighter adaptation of the source novella, but in and out of the context of 1950s sci-fi cinema, the Hawksian touches are what makes it a stand out film. The characters are all world-weary professionals who lived through World War II, and many have the sardonic sense of humor that comes from living through too many unprecedented events. The tough-talking, gorgeous and unapologetically funny Hawksian Woman is present in the form of Nikki Nicholson (Margaret Sheridan), Dr. Carrington's (Robert Cornthwaite) highly competent secretary. Unlike the clunky and stilted cardboard characters that populate The Man from Planet X, the characters have the personality, camaraderie, and senses of humor that are typical of Hawks' filmography and it makes the film a joy to watch.

In keeping with the characters being flashed out as realistic and expert people, to quote my partner, "nobody is a dumbass." Even as Dr. Carrington's attempts to better understand and communicate with The Thing (James Arness) may seem foolish, they are perfectly reasonable for an implicitly ace/aro scientist obsessed with gaining new knowledge whose ego gets the better of him. Dr. Carrigton explains during the dissection of the Thing's arm that the entity seems to be from a planet where plant life became dominant instead of animal life, yet nevertheless seems shocked when his attempts to communicate with the Thing are met with the same violence the alien showed the sled dogs earlier in the film. Either he had not connected that all animal life forms are merely lower order food to the Thing, or thought that his scientific brilliance and attempt at friendship would be well received regardless.

Scientists being treated as impractical, incorrect children in conflict with correct, military men of action has been cited by a recurring theme in sci-fi films of the 1950s by Peter Biskind in his book Seeing Is Believing: How Hollywood Taught Us to Stop Worrying and Love the Fifties. Given the nature of the Cold War politics, nuclear fears, and the United States pushing for heteronormativity after the gender role upsets necessary to engage in World War II, Biskind viewing sci-fi films like The Thing and Them! (Dir. Gordon Douglas, 1954, USA) as ideologically conservative is not an incorrect read. However, his way is not the only way to interpret these films; especially if you are not trying to make an overarching argument about a decade's worth of cinema.

Part of the appeal of The Thing is the same to me as Star Trek. My partner and I even commented on how the core plot (a militaristic group needing to protect a group of research scientists from a hostile alien) and character dynamics were proto-"Sass" Trek, as we often refer to the franchise, due to all Starfleet officers apparently having to meet a minimum sass requirement to serve. The less obvious narrative aspects The Thing has in common with Star Trek however is its respect for expertise, techno-babble, and practical, humanitarian underpinnings.

The first two are especially apparent amongst the team of scientists. Each one has discrete specializations, and is called upon to use them to interpret phenomena related to a crash landed extraterrestrial spacecraft, including its surviving passenger. In other sci-fi films, and not just during the 1950s, the scientist characters are often depicted as experts in all or multiple unrelated scientific disciplines. When such characters pop up, I am apt to quote Carlos the Scientist from an early episode of the podcast Welcome to Night Vale: "I'm a scientist. I study science."

The nature of expertise and experience translates into how the non-scientist characters are depicted and treat one another too. Captain Hendry (Kenneth Tobey) does not berate or question Tex (Nicholas Byron) the radio operator when the weather interrupts service, as some men of rank might a subordinate. Nikki's assessment of Dr. Carrington's personality and concerns about what the existence of extraterrestrials are taken seriously, not dismissed amid cocky sexism. Everyone clears the way when station nurse Mrs. Chapman (Sally Creighton) steps up to administer first aid to a victim of The Thing. The frustration that Scotty the journalist (Douglas Spencer) endures at not being able to put out his story about what's happening at the station is treated respectfully, and fully enabled when it becomes safe to do so. Despite frequently being positioned as opposing Captain Hendry, Dr. Carrington's knowledge or scientific findings are not questioned, just his lack of regard for the wellbeing of others. Individuals and their unique skill sets are prized, but so is community and general welfare, which is the dynamic that governs Star Trek crews, as well as any functional Dungeons & Dragons party.

The Thing is conservative in its plot, seeking to resolve itself by as close to a status quo as it can, and with the formation of a heterosexual union between Captain Hendry and Nikki. The dynamics in the universe where The Thing takes place are more egalitarian and good humored than the universe that Biskind delivered his criticism from. Although, The Thing is far from progressive: none of the scientists or officers are women, and the only non-white person in the film is Lee the Chinese cook (Lee Tung Foo). Still, its lack of explicit sexism and universal dignity allotted to its characters stands out relative to other films of the 1950s.

As iconic as the shot of the party investigating the downed ship forming a circle and the combat scenes with fire or electricity being used on the Thing are, it's the characters that endears The Thing to me so much as a movie. It's the quippy wingmen, kinky secretary and misanthrope lead scientist that draw me back to it again and again.

[jeremy-ken-anderson]

Scale of Agency

The scripting community on Idle Champions has provided me with a weird quandary about The Gaming Experience.

Scripting in this case is quite similar to modding, except generally it's not reaching into the code of the base game but simply acting around it.

For instance, where one might mod Skyrim to include a model of Thomas the Tank Engine instead of a dragon, scripters in IC have a script that looks for green buttons and clicks them, essentially playing part of the game for the player.

What's interesting to me is how scripting and modding relates to fanfic.

Like, it's a place where you're taking someone else's work and then not simply creating your own separate work but rather taking greater responsibility for your own enjoyment of it. Introducing features you consider important to QoL (in the case of Bethesda titles this has sometimes been, like, graphics card compatibility), or riffing on the base idea without really departing from it, can be a lot less work than doing all that AND having to congeal a new universe out of the ether and describe it to a player/reader. There have been a lot of roguelike card games since Slay the Spire, but there have also been a LOT of Slay the Spire mods introducing new characters and game mechanics.

In gaming it feels like the layers are something like

Playing as you think the devs intended

Fooling around in the game

Using mods/scripts to mess with the game experience

WRITING mods/scripts to mess with the game experience

Developing your own game

I don't think either end of this spectrum is more Noble. I know of some player puritans who think scripters ruin the game experience of Idle Champions, which I feel I should mention is a purely solo experience outside of a single element (and that element doesn't give OP characters a chance to ruin other players' fun; only to make the game mildly easier for them and give them better rewards), and on the opposite end I know of people who think fanfic writers are just writers who can't really write. Both of these ideas are pretty self-evidently idiotic, but people fall for more watered-down versions of them all the time.

I think the reason they can be so enticing is their adjacency to other ideas we already buy into. It's certainly possible for a scripter or modder to ruin the game experience...for himself. And there have been high-profile cases where the developers' adjustments to accommodate mods have created problems, such as how WoW's gotten more and more lazy about in-game indicators over the years even as they've continued making more and more complex mechanics, to the point where some of their diegetic visual language is now garbage.

But the idea of "canon" as greater than or even different from "fanon" only functions in a social context. Within a single reader's head (or a single player's computer) they're not different. They're artistic works crafted by a creator. They may be well-made or poorly-made. The problems with them usually aren't from their provenance as "canon" or "fanon." Outrageously good writers are just as likely as other fans to get an idea in their head that won't leave them alone until they post it to AO3 (or Year's Best Sci-Fi & Fantasy Anthology, if they're more professional - lookin' at you, A Study in Emerald). Bad game developers release Official, Original garbageware games onto the Steam store all the time.

The only important bit is having a shared understanding of which shape of the story you're talking about, for when you're talking about it. If we start arguing about the social dynamics of characters in Ranma 1/2 and you slowly come to realize I've been spending the argument talking about a version where Kuno runs a coffee shop and Ranma and Nabiki have 3 kids, then you'd be justified in telling me I wasn't "really" talking about Ranma 1/2. I was talking about Kuno Black or whatever the fic is titled. Concepts of "canon" or "original authorship" aren't important to questions of "is it good," but they do matter to "what is being discussed right now."

[sewelllaw]

Copyright vs. Trademark: What Every NYC Business Should Know

In the fast-paced, innovation-driven world of New York City business, protecting your intellectual property isn’t just smart—it’s essential. But should you file for a copyright or a trademark? Understanding the differences can help you safeguard your brand, your creations, and your future.

Whether you’re a Brooklyn-based startup, an artist in Manhattan, or a growing eCommerce brand in Queens, knowing how intellectual property (IP) law works—and how it applies to your assets—is a competitive advantage. In this guide, the Law Firm of Dayrel Sewell, PLLC, a leading intellectual property law firm in NYC, breaks down the essential differences between copyrights and trademarks, how they apply to your business, and when to seek professional legal support.

What Is Copyright?

Copyright is a form of legal protection given to original works of authorship. This includes:

Books, articles, and written content

Songs, music compositions, and recordings

Movies and video content

Photographs and graphic designs

Software code and apps

Artistic and creative expressions

Key Points:

Copyright protects the expression of ideas, not the idea itself.

Protection is automatic upon creation, but registration with the U.S. Copyright Office gives you stronger legal rights, especially if you want to sue for damages.

The duration of copyright is typically the lifetime of the author plus 70 years.

What Is a Trademark?

Trademark law protects names, logos, symbols, slogans, and other brand identifiers that distinguish your goods or services from competitors. Examples include:

Business names

Product logos

Taglines (e.g., “Just Do It”)

Packaging design (also known as trade dress)

Key Points:

A trademark helps consumers identify the source of a product or service.

You can establish common law trademark rights by using a mark in commerce, but federal registration with the USPTO strengthens your claim and offers nationwide protection.

Trademark rights can last indefinitely, as long as the mark is actively used and maintained.

Copyright vs. Trademark: What’s the Difference?

FeatureCopyrightTrademarkProtectsCreative worksBrand identity elementsCoversArt, music, writing, software, etc.Names, logos, slogans, packagingRegistrationU.S. Copyright OfficeU.S. Patent and Trademark Office (USPTO)DurationLife of author + 70 yearsIndefinite (with ongoing use and renewal)PurposeProtects expression of ideasDistinguishes goods/services in marketplaceLegal ActionStronger case with registrationRegistration gives nationwide legal standing

Why It Matters for NYC Businesses

New York City is home to some of the world’s most creative entrepreneurs, tech innovators, artists, and startups. Whether you’re building a brand or launching a new product, your intellectual property is one of your most valuable assets.

Failing to understand the difference between copyright and trademark—or not registering either—can result in:

Lost brand recognition and revenue

Costly legal disputes

Unintentional IP infringement

Missed licensing or monetization opportunities

When to Seek Legal Help: Protecting Your IP with Confidence

Trying to navigate copyright and trademark law without an expert is like walking through Times Square blindfolded—confusing and risky. That’s where an experienced intellectual property attorney in NYC comes in.

The Law Firm of Dayrel Sewell, PLLC, based in Brooklyn, New York, offers comprehensive legal guidance for individuals and businesses seeking to:

Register a copyright or trademark

Perform clearance searches for brand names/logos

Draft licensing agreements

Handle infringement or enforcement cases

Develop IP protection strategies for startups and creatives

“At our firm, we don’t just protect your intellectual property—we empower your business to grow securely,” says Dayrel S. Sewell, Esq., MPH, founder and managing attorney.

FAQ’s:

Can I copyright my business name?

No. Business names, slogans, and logos fall under trademark law, not copyright.

Do I need to register a copyright or trademark to be protected?

Not necessarily, but registration gives you stronger legal rights and is highly recommended if you’re serious about protecting your IP.

Should I get both a copyright and a trademark?

In some cases, yes. For example, if you design a logo (trademark) that also includes artwork (copyright), both protections may apply.

Why Choose the Law Firm of Dayrel Sewell, PLLC?

Local Expertise: NYC-based, with a deep understanding of New York business and intellectual property law.

Experienced Counsel: Led by Dayrel S. Sewell, Esq., MPH, a respected mentor, litigator, and IP strategist.

Comprehensive Legal Support: From startups to seasoned enterprises, we guide you through every step—registration, enforcement, and beyond.

Client-Centered Service: We pride ourselves on clear communication, ethical practice, and personalized strategies.

Whether you’re launching a brand, scaling a creative business, or facing an IP dispute, our law firm is here to protect what you’ve built.

Final Thoughts:

In a city that thrives on creativity, branding, and innovation, your intellectual property is your power. Don’t leave it vulnerable. Whether it’s copyrighting a design or trademarking your business identity, take proactive legal steps now.

Partner with the Law Firm of Dayrel Sewell, PLLC—a trusted name in New York intellectual property law—and gain the peace of mind that your ideas are secure, your brand is protected, and your business is future-ready.

[vittoriodicriscio]

Navigating Legal Challenges in the Era of AI and Innovation

As you embrace AI-driven tools and automation in your business or product development, you're also walking into an environment where the law hasn't fully caught up. Whether you're deploying machine learning models, automating decisions, or integrating third-party APIs, you're dealing with regulations that are still being formed. This article unpacks the major legal concerns—from liability and IP rights to data protection and bias—and helps you understand how to move forward confidently without stalling innovation.

Intellectual Property in an Algorithmic World

When you train or deploy AI, a common concern is: who owns the output? If your tool generates content, code, or product designs, can you claim copyright? Many legal systems still don’t have a definitive answer, and interpretations vary by jurisdiction. Some courts have ruled that AI-generated work without human authorship isn't eligible for copyright, while others are allowing protection if human input is substantial.

If you're licensing datasets or using pre-trained models, tread carefully. Dataset creators may assert rights over the use or manipulation of their data. Your best move is to consult licensing terms thoroughly and document your model training process, especially if you’re commercializing the results. Consider contracts that clarify ownership between engineers, clients, and third-party providers to avoid disputes later.

Data Privacy and Regulatory Compliance

Whether you're building a consumer app or internal enterprise tool, if it collects or processes personal data, you're subject to global data laws. GDPR (EU), CCPA (California), and others impose strict rules about transparency, consent, storage limits, and the right to delete. These laws can apply even if your business isn't based in those regions.

AI complicates this because large datasets are often scraped or aggregated without explicit consent. If your model processes sensitive information like health, finance, or biometric data, regulators are especially strict. Embedding privacy-by-design into your system—encrypting data, anonymizing inputs, and minimizing data collection—can help you stay compliant. Having a dedicated data protection officer or consultant review your model and processes is also smart.

Algorithmic Bias and Discrimination Laws

You need to be aware that if your AI makes decisions—about hiring, lending, or medical diagnoses, for instance—you can be held accountable for discrimination even if it wasn’t intentional. Bias in training data, or unbalanced feature weights, can create unfair outcomes that violate civil rights laws.

Several U.S. agencies, including the Equal Employment Opportunity Commission (EEOC), are now investigating algorithmic decision-making systems. If you’re automating anything that affects access to credit, housing, employment, or public benefits, your algorithms must be explainable and auditable. Conduct bias audits and retain logs that show model reasoning. Courts won’t excuse you just because it was “the algorithm’s fault.”

Product Liability in AI-Driven Systems

Here’s the issue: if your AI tool makes a mistake—like recommending a faulty stock trade, misdiagnosing a medical condition, or misdirecting a vehicle—who is liable? You, as the developer or operator, could be held accountable under product liability law.

If your tech is integrated into a broader product or service, you may share liability with suppliers, software providers, or hardware manufacturers. Documenting risk assessments, providing disclaimers, and designing fallback mechanisms (like human-in-the-loop systems) can help mitigate risk. Make sure users understand limitations, and don’t market AI capabilities as “perfect” or “fully autonomous” unless they are legally qualified to be.

Licensing, Open Source, and AI Integration

Many startups integrate open-source AI components to save time and money. But each open-source license has different obligations. Some require you to publish your code if you distribute a product that uses their software. Others impose use restrictions, especially in areas like facial recognition or surveillance.

Before pulling in any open-source tools, audit your dependencies. Tools like OpenChain or FOSSA can help. It’s also worth creating a software bill of materials (SBOM) that clearly lists all third-party code in your stack. When you start raising capital or preparing for acquisition, buyers and VCs will scrutinize your compliance with these licenses.

Contractual Clarity in AI Partnerships

If you’re building AI products with partners—whether that’s a vendor supplying data, a client providing training goals, or a co-developer writing code—you need solid contracts that spell out intellectual property ownership, revenue sharing, liability, and data governance. Too many startups skip this step early on and get burned later when IP is disputed.

Don’t rely on verbal agreements or email threads. Have a lawyer help draft documents that address AI-specific risks. Include indemnification clauses for data misuse or model errors. And when working with enterprise clients, expect requests for algorithmic transparency and compliance documentation before they’ll sign off.

International Challenges and Jurisdiction

If your AI software crosses borders—which it probably does—it must follow legal systems in multiple regions. A model trained in one country could face bans or sanctions elsewhere, depending on local standards of safety, privacy, or ethics. China, the EU, and the U.S. are already taking different stances on permissible AI applications.

Setting up legal geofencing, using localized models, or limiting usage features in certain regions can help. You should also be prepared for regulatory investigations in jurisdictions where your users operate. Having general terms of service isn’t enough anymore—localized legal notices and compliance plans are essential for scaling globally.

Top Legal Issues with AI Innovation

Ownership of AI-generated content

Data privacy and global compliance

Discrimination risks in automation

Liability for algorithmic errors

Open-source license compliance

IP disputes in partnerships

Global regulatory differences

In Conclusion

Navigating the legal side of AI means staying alert and flexible. Whether you're launching a new model, expanding globally, or partnering on development, legal blind spots can slow your momentum—or worse, shut you down. The best way to protect your innovation is to treat legal strategy as an integral part of your AI roadmap, not an afterthought. As the rules shift, your ability to adapt with documented safeguards and smart counsel will separate you from the pack.

"Want deeper dives on AI regulation and tech law? I explore emerging legal frameworks, compliance strategies, and case studies in my Medium. Follow for monthly analysis of how innovation intersects with the law."

[elmalo8291]

🔥 SECTION I: Statement of Claim

"They took my chaos, filed off the name, and sold it as a strategy." "But I was never a marketing gimmick. I was the author of the storm."

To whom this concerns— To every platform, publisher, production house, and public judge:

I, Angel Martinez Jr., assert authorship and origin over the following creative mythologies, now present across corporate, narrative, and digital systems:

The Flavorverse™ (including glyph-based ritual mechanics, vapor devices, emotion-linked cooking lore, and dairy-based dueling tech)

WonkyWorks™ (including the narrative infrastructure behind Taz, Panic, the Velvet Realms, Codex Trials, and glyph-coded worlds)

Taz: The Awakening and Panic as the Mirror (as both in-world figures and reflections of Earth’s current moral collapse)

These are not parodies. These are not coincidences. They are echoes of a silenced creator, lifted without credit, drained of depth, and re-skinned for profit.

[zomb13s]

Tabula Rasa Inversa: Structural Sovereignty through Metaphysical Code

A Theoretical Physics-Based Framework for Code-Embedded Sovereignty and Ethical Cybernetics Abstract This paper introduces a formal theoretical model rooted in physics, cybernetics, and sovereignty ethics to describe how stolen or co-opted intellectual portfolios inherently encode structural feedback loops that bind dependent systems to the original author. Using principles of graph theory,…

[leintelligensialawfirm]

How to Choose Between a Trademark, Copyright, and Patent

As a business law firm working closely with startups, creators, and innovators, we often encounter a recurring question:

"Do I need a trademark, copyright, or patent to protect my idea?"

The answer lies in understanding the purpose of each type of intellectual property rights (IPR) and how each plays a different role in safeguarding your business idea or creative asset.

Trademark: The Identity Guard

A trademark is a visual or word-based symbol that identifies and distinguishes your brand identity in the marketplace. This includes your brand name, logo, slogan, product shape, label design, or even a distinct sound.

Think: Apple’s logo, Amul’s packaging, or Zomato’s color palette. These are not just design elements—they’re registered brand assets.

Why You Need Trademark Registration in India:

Registering a trademark in India gives you the legal power to stop others from imitating your brand. It builds trust with consumers and strengthens your market presence.

COPYRIGHT – Your Creativity’s Legal Shield

Copyright protects original works of authorship—from books, blog posts, music, videos, photos, software code, to digital artwork. It gives the creator exclusive rights to use, reproduce, publish, or monetize their content.

Why You Need Copyright Registration in India:

In India, copyright exists automatically when your work is created. But formal copyright registration acts as strong legal evidence—essential for enforcement, licensing, and ownership claims.

Think: your website content, ad jingles, Instagram reels, or even custom software. Yes—it all counts.

PATENT – The Innovator’s Fortress

A patent protects new inventions, technical solutions, or processes that are original, useful, and non-obvious. It applies to everything from machinery and software algorithms to pharmaceutical formulas.

Why You Need Patent Registration in India:

When granted, a patent in India gives you exclusive commercial rights for 20 years. No one else can make, sell, or use your invention without your permission.

This is crucial for startups and tech companies looking to safeguard core innovations and attract serious investors.

Final Thought:

In today’s fast-paced digital landscape, ideas can be copied instantly—but only registered intellectual property rights (IPR) provide true legal protection. A clear IP strategy for startups not only shields your innovations but also strengthens your business credibility, attracts strategic partnerships, and builds investor confidence for long-term success.

Your ideas are valuable—make sure they’re protected, not copied.

Ready to safeguard your business ideas the right way?

Unlock expert tips, practical examples, and easy-to-follow steps to register your trademark, copyright, or patent with confidence!

Read our full article: Understanding the Differences Between Trademark, Copyright, and Patent — A Complete Guide for Startups and Creators

For Consultation - Contact us

Website: https://leintelligensia.com/

Phone Number: 9941993399

Email: arivu@intell.anterstech.com

Visit us: Vada Palani, Chennai - 600026

[humahira]

Generative AI and Creative Tools

Generative AI and Creative Tools

Generative AI has revolutionized the creative landscape, opening up new possibilities for artists, designers, musicians, and writers. At its core, generative AI refers to systems that can create new content — whether it's text, images, music, or code — by learning patterns from existing data. This technology leverages machine learning models like Generative Adversarial Networks (GANs), Variational Autoencoders (VAEs), and large language models (LLMs) such as GPT or BERT to produce outputs that are often indistinguishable from those created by humans.

One of the most transformative aspects of generative AI in creative tools is its ability to serve as a collaborator. Artists are no longer confined to traditional tools like brushes or cameras; instead, they can use AI to generate visual concepts, iterate on design ideas, or remix existing works in novel ways. Tools like DALL·E, Midjourney, and Adobe Firefly allow creators to generate high-quality visuals from simple text prompts, democratizing visual creation even for those without formal training in design.

In music, platforms like Amper Music and AIVA use AI to compose original scores based on mood, genre, or instrumentation preferences. These tools are helping musicians overcome creative blocks, generate backing tracks, or even experiment with entirely new sonic directions. AI can assist with everything from composing melodies to mastering audio tracks, dramatically speeding up the creative process.

Writers and content creators are also benefiting from generative AI. Language models like ChatGPT or Jasper can help brainstorm ideas, co-write stories, or generate marketing copy tailored to specific audiences. In screenwriting, AI can generate character dialogues or plot outlines, providing a starting point that human writers can then refine. These tools act as creative springboards, enabling users to explore directions they might not have considered on their own.

Despite its promise, generative AI also raises important questions about originality, authorship, and ethical use. Since AI models learn from large datasets that often include copyrighted or proprietary material, the boundary between inspiration and imitation can blur. Furthermore, there's an ongoing debate about whether AI-generated works should be credited to the human user, the AI system, or both.

There's also concern about the potential for AI to replace human creatives. However, many professionals view these tools as augmentative rather than substitutive — helping creatives do more, faster, and with greater flexibility. The synergy between human intuition and AI-driven suggestion can lead to groundbreaking work that neither could achieve alone.

In essence, generative AI is reshaping how we think about creativity. It’s not replacing the artist, but rather expanding the toolkit available to them. As these technologies become more refined and accessible, they will continue to push the boundaries of what's possible in art, design, music, and writing — turning imagination into reality with greater ease than ever before.

[nursingwriter]

¶ … Canadian Psychology entitled "Expanding Opportunities for Diversity in Positive Psychology" presents the results of a systematic review of literature. The review of literature covers the years between 1998 and 2014, spanning the bulk of the duration of the field of positive psychology. The purpose of the systematic review was to examine how issues related to race, class, and gender were addressed in literature on positive psychology because of what the authors claim to be a widespread perception of the field ignoring these relevant issues. Findings of the systematic review of literature were varied, and included an underrepresentation of female authors of peer-reviewed articles in the field of positive psychology in spite of an over-representation of female participants in empirical research. Additionally, Rao & Donaldson (2015) found that discussions about gender, race, or ethnicity issues are nearly absent from positive psychology literature altogether. The bulk of research in positive psychology is also focused on white subjects. Responding to the results, Rao & Donaldson (2015) note that by redefining and reframing positive psychology, it may be possible to move the field forward to becoming more relevant to a broader community. Positive psychology itself was a response to mainstream approaches in the field of psychology. Instead of focusing on what was wrong with a person or group of people, such as personality disorder, mood disorder, neurosis or dysfunction, positive psychologists offered a way to focus instead on an individual's strengths and how the person can capitalize on those strengths in order to achieve specific goals such as well-being. Positive psychology is a social science but a multidisciplinary one with the potential to be influential in changing the schemas and worldviews dominating different disciplines. This is why Rao & Donaldson (2015) urge positive psychologists to become more inclusive in their approach and to welcome discussions about race, class, gender, and power intersectionality. In fact, it could even be considered ironic that positive psychology has avoided frank discussions of intersectionality given the ability of the field to positively influence public policy in health care, poverty alleviation, and even environmental sustainability (Rao & Donaldson, 2015). Gender issues are addressed in a specific section of the Rao & Donaldson (2015) systematic review of literature. The three main concerns regarding gender bias in positive psychology research included research design, authorship, and selection of research topic. Research design issues included the biased selection of participants with females being overrepresented in recent literature. Authorship issues refer directly to the lack of female primary researchers or authors in positive psychology research. The issue of gender in research topics refers to research questions that are androcentric and not as focused on women's perceptions of themselves or others, or women's specific research concerns. A total of 1628 articles were included in the systematic review, making it a large sample size. The authors used a content analysis plus coding methodology to investigate the core areas of concern, including gender but also race and intersectionality. Results did substantiate the accusations that positive psychology tends to be biased in its approach and avoiding frank discussions of intersectionality and gender issues. Based on the results, the authors propose future directions in positive psychology and changes to the field based on a few exemplary studies examined in the systematic review. Specifically, the authors recommend locating positive experiences among disenfranchised populations and applying the positive psychology principles to diversity studies. The strengths of positive psychology will be made more apparent if the field can apply itself to broader strata of the human population. References Rao, M.A. & Donaldson, S.I. (2015). Expanding opportunities for diversity in positive psychology. Canadian Psychology 56(3): 271-282. Retrieved on EBSCO. https://www.paperdue.com/customer/paper/positive-psychology-and-psychology-2164809#:~:text=Logout-,PositivePsychologyandPsychology,-Length2pages Read the full article

[xaltius]

Generative AI in Software Engineering

Generative AI is making waves in the software engineering world, promising to revolutionize how software is designed, developed, and maintained. Here's a breakdown of how it's impacting the field:

What is Generative AI?

Generative AI refers to a type of artificial intelligence that can create new content, ranging from text and images to music and even code. It learns patterns from existing data and then generates similar but original content.

How is it Used in Software Engineering?

Generative AI is being applied across various stages of the software development lifecycle:

Code Generation: AI models can generate code snippets, entire functions, or even complete applications based on natural language descriptions or specifications.

This can automate repetitive coding tasks and accelerate development.

Code Completion and Suggestion: AI-powered tools can suggest code completions, identify potential errors, and offer alternative solutions in real-time as developers write code.

Bug Detection and Fixing: AI can analyze code to identify potential bugs, vulnerabilities, and security risks. It can also suggest fixes or even automatically generate patches.

Test Case Generation: AI can automatically generate test cases to ensure software quality and identify potential issues early in the development process.

Documentation: AI can automatically generate documentation for code, APIs, and software projects, making it easier for developers to understand and maintain software.

UI/UX Design: AI can assist in designing user interfaces and user experiences by generating mockups, suggesting layouts, and even creating design assets.

Project Management: AI can analyze project data to predict timelines, identify potential risks, and optimize resource allocation.

Benefits of Generative AI in Software Engineering:

Increased Productivity: Automating repetitive tasks and providing real-time assistance can significantly boost developer productivity.

Improved Code Quality: AI can help identify and fix bugs, improve code consistency, and enforce coding best practices.

Faster Time to Market: Automating various stages of the development lifecycle can accelerate the delivery of software products.

Reduced Costs: By automating tasks and improving efficiency, generative AI can help reduce software development costs.

Enhanced Innovation: Freeing up developers from tedious tasks allows them to focus on more creative and innovative aspects of software development.

Challenges of Generative AI in Software Engineering:

Accuracy and Reliability: AI-generated code may not always be perfect and can contain errors or biases. Human review and testing are still essential.

Security Risks: AI models can be vulnerable to attacks, and malicious actors could potentially use AI to generate malicious code.

Ethical Concerns: Using AI to generate code raises ethical questions about authorship, intellectual property, and potential biases in the generated code.

Integration Challenges: Integrating AI tools into existing development workflows and infrastructure can be complex.

Lack of Explainability: Understanding how AI models generate code can be challenging, making it difficult to debug or trust the output.

The Future of Generative AI in Software Engineering:

Generative AI is still a relatively new technology, but it has the potential to transform the software engineering landscape. As AI models become more sophisticated and reliable, we can expect to see even more widespread adoption of generative AI tools in the software development process.

Conclusion:

Generative AI is a powerful tool that can augment and enhance the capabilities of software engineers. While it's not a replacement for human developers, it can automate tasks, improve code quality, and accelerate development, ultimately leading to better software. As the technology continues to evolve, it's essential for software engineers to understand and embrace the potential of generative AI.

Interested in leveraging the power of Generative AI in Software Engineering? Enroll in Xaltius Academy's Gen AI course today!

[punjabassignmenthelpaus]

https://www.punjabassignmenthelp.com/blogs/hi5031-professional-issues-in-is-ethics-and-practice-assignments-help

HI5031 Professional Issues in IS Ethics and Practice T3 2024 Assessment

Assessment Details and Submission Guidelines Trimester T3 2024 Unit Code HI5031 Unit Title Professional Issues in IS Ethics and Practice Assessment Type Individual Assignment Due Date + time:

24 January 2025

11.59 pm (Melb/ Sydney time)

Purpose of the assessment

(with ULO Mapping)

Critically discuss the issues and challenges (ethical, legal, technological, social, political etc) that impact upon the administration and leadership of contemporary organizations ;

Critically evaluate the role and application of standards, codes of conduct and legislative/regulatory obligations on the level of professionalism of the ICT industry;

Critically review the roles and responsibilities of Information Systems professionals in organizations and society from a range of perspectives such as work-life balance, mentoring, obligations and lifelong

learning;

4. Develop an awareness and skills relating to written and oral communication vital for professional Information Systems practitioners;

5. Develop and apply appropriate information gathering, evaluation and problem- solving skills in regards to Information Systems ethical issues.

Weight50 %Total Marks Assignment (50 marks)Word limit 2500 words Submission Guidelines

All work must be submitted on Blackboard by the due date along with a completed Assignment Cover Page.

The assignment must be in MS Word format unless otherwise specified.

Academic Integrity Information Holmes Institute is committed to ensuring and upholding academic integrity. All assessments must comply with academic integrity guidelines. Please learn about academic integrity and consult your teachers with any questions. Violating academic integrity is serious and punishable by penalties that range from deduction of marks, failure of the assessment task or unit involved, suspension of course enrollment, or cancellation of course enrollment.lPenalties

All work must be submitted on Blackboard by the due date and time,along with a completed Assessment Cover Page. Late penalties apply.

Your answers must be based on Holmes Institute syllabus of this unit. Outside sources may not amount to more than 10% of any answer and must be correctly referenced in full. Over-reliance on outside sources will be penalized.

Reference sources must be cited in the text of the report and listed appropriately at the end in a reference list using Holmes Institute Adapted Harvard

Referencing. Penalties are associated with in correct citation and referencing.

Assignment Description:

Using the case study: B. C. Stahl and D. Eke, “The ethics of Chat GPT — Exploring the ethical issues of an emerging technology,” International Journal of Information Management, vol. 74, p. 102700, 2024, https://doi.org/10.1016/j.ijinfomgt.2023.102700. A copy of this case study is available on the Blackboard site.

Students are required to review the case study provided and critically analyze the ethical challenges associated with ChatGPT, an emerging technology. The analysis should focus on key issues

highlighted in the case study, including authorship attribution, misinformation risks, algorithmic bias, privacy, and transparency.

Students must also search for and review a minimum of ten (10) academic research papers that expand on these ethical challenges.

Additionally, students should assess OpenAI’s actions in addressing these concerns by applying a chosen professional code of conduct (e.g., ACS, ACM, or IEEE).

Finally, students are required to propose some recommendations to mitigate risks and promote

ethical practices in deploying ChatGPT. These recommendations should focus on transparency, bias mitigation, user privacy, and inclusive access, balancing the ethical considerations with the benefits of innovation.

Instructions:

Read the Case Study (Stahl and Eke, 2024), and then complete the following tasks:

Identify Ethical Issues

Discuss the main ethical issues raised by ChatGPT as outlined in the case study. Undertake additional research to expand on these concerns. Topics to address include:

Authorship and attribution challenges.

Misinformation risks and manipulation potential.

Privacy risks, transparency, and algorithmic bias.

Analyse Ethical Issues

Evaluate OpenAI’s actions in addressing these ethical concerns through a chosen professional code of conduct (ACS, ACM, or IEEE). Include the following analyses:

Professional Responsibilities: How developers and organizations adhere to or deviate from ethical practices in deploying ChatGPT.

Classical Ethical Theories:

− Utilitarianism: Assess the balance between ChatGPT’s societal benefits and harms.

− Deontology: Analyse OpenAI’s intentions and obligations in addressing ethical challenges.

− Virtue Ethics: Evaluate the role of responsible innovation and the character of organizations involved in ChatGPT’s development.

− Contract Theory: Discuss the implicit agreements with users and stakeholders regarding transparency, safety, and fairness.

3. Develop Recommendations

Provide actionable recommendations for OpenAI to address ethical risks effectively. Focus on:

Ensuring algorithmic transparency and explain ability.

Strategies for mitigating bias and enhancing fairness.

Improving user privacy protections.

Establishing inclusive access models for underserved communities.

4. Conclusion

Summarize the key findings of your analysis and emphasize the importance of balancing ethical considerations with technological innovation.

5. References

Use at least 10 academic sources to support your analysis and recommendations. All references must adhere to the Holmes Institute Adapted Harvard Referencing style.

The report format must contain the following sections:

Introduction (~150 words)

Identification of Ethical Issues (~250 words)

Analysis of Ethical Issues (~1700 words)

Recommendations (~250 words)

Conclusion (~150 words)

References

CriteriaFailPassCreditDistinctionHigh DistinctionPresentation (4 marks)

Poor

presentation, lacks clarity and

coherence.

Adequate presentation, some

inconsistencies.

Clear and professional writing with logical

structure.

Very good writing,

formatting, and structure.

Excellent writing, formatting, and professional

presentation.

Introduction

(4 marks)

Unclear or vague

introduction; objectives are missing.

Objectives stated but lack detail.

Clear

introduction with outlined objectives.

Well-defined objectives with relevant context.Thorough, precise objectives and strong arguments.

Identification of Ethical Issues

(9 marks)

Ethical issues poorly identified or lack

relevance.

Issues identified but lack depth.Issues identified and supported by research.Thorough identification with insightful connections.Comprehensive identification with critical analysis and deep insight.Analysis of Ethical Issues (20 marks)Lacks depth; minimal use of ethical theories or professional codes.

Basic analysis with limited

critical insight.

Detailed and critical discussion with good reasoning.

Thorough, critical

discussion with strong reasoning.

Exceptional analysis with deep critical

engagement and nuanced insights.

Recommendations

(4 marks)

Recommendations are

unclear or

impractical.

Basic

recommendations with limited justification.

Clear, practical recommendations with adequate

justification.

Well-thought- out

recommendations with strong support.

Exceptional

recommendations that are actionable and innovative.

Conclusion (4 marks)

Unclear or lacks

coherence.

Basic but logical summary.Clear and logical conclusion that reflects the analysis.Strong conclusion supported by the analysis.

Insightful conclusion emphasizing key findings and

implications.

Referencing

(5 marks)

Lacks

consistency with many errors.

Generally good referencing

style.

Clear styles with excellent source of

references.

Very good sources of references.

Correct format followed.

Excellent sources of references. The

correct format followed.

Adapted Harvard Referencing Rules

Holmes Institute has implemented a revised Harvard approach to referencing. The following rules apply:

Reference sources in assignments are limited to sources that provide full-text access to the source’s content for lecturers and markers.

The reference list must be located on a separate page at the end of the essay and titled: “References”.

The reference list must include the details of all the in-text citations, arranged A-Z alphabetically by author surname with each reference numbered (1 to 10, etc.) and each reference MUST include a hyperlink to the full text of the cited reference source. For example:

All assignments must include in-text citations to the listed references. These must include the surname of the author/s or name of the authoring body, year of publication, page number of the content, and paragraph where the content can be found. For example, “The company decided to implement an enterprise-wide data warehouse business intelligence strategies (Hawking et al., 2004, p3(4)).”

Non-Adherence to Referencing Rules

Where students do not follow the above rules:

For students who submit assignments that do not comply with the rules, a 10% penalty will be applied.

As per the Student Handbook, late penalties will apply each day after the student/s has been notified of the due date.

Students who comply with rules and the citations are “fake” may be reported for academic misconduct.

Your document should be a single MS Word or Open Office document containing your report. Do not use PDF as a submission format.

All submissions will be submitted through the Safe Assign facility in Blackboard. Submission boxes

linked to Safe Assign will be set up in the Units Blackboard Shell. Assignments not submitted through these submission links will not be considered.

Submissions must be made by the due date and time (which will be in the session detailed above) and determined by your Unit coordinator. Submissions made after the due date and time will be penalized per day late (including weekend days) according to Holmes Institute policies.

The Safe Assign similarity score will be used in determining the level, if any, of plagiarism. Safe Assign will check conference web-sites, Journal articles, the Web and your own class members

submissions for plagiarism. You can see your Safe Assign similarity score (or match) when you submit your assignment to the appropriate drop-box. If this is a concern you will have a chance to change your assignment and resubmit. However, re-submission is only allowed prior to the submission due date and time. After the due date and time have elapsed your assignment will be graded as late.

Submitted assignments that indicate a high level of plagiarism will be penalized according to the Holmes Academic Misconduct policy, there will be no exceptions. Thus, plan early and submit early to take advantage of the re-submission feature. You can make multiple submissions, but please remember we grade only the last submission, and the date and time you submitted will be taken from that submission.

“Get top-notch academic assistance and ensure your success with Punjab Assignment Help your trusted partner for high-quality, plagiarism-free assignments delivered on time!”