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\"For the past number of years, academic entrepreneurship has become one of the most widely studied topics in the entrepreneurship literature. Yet, despite all the research that has been conducted to date, there has not been a systematic attempt to analyze critically the factors which lie behind successful business spin-offs from university research. In this book, a group of academic thought-leaders in the field of technology transfer examine a number of areas critical to the promotion of start-ups on campus. Through a series of case studies, they examine current policies, structures, program initiatives and practices of fourteen international universities to develop a theory of successful academic entrepreneurship, with the aim of helping other universities to enhance the quality of their university transfer programs. This book is a valuable resource for researchers and graduate students working on innovation, entrepreneurship and technology transfer, as well as senior managers and policymakers\"-- Provided by publisher.

It has been suggested that individuals with autism will be less responsive to the emotional content of music than typical individuals. With the aim of testing this hypothesis, a group of high-functioning adults on the autism spectrum was compared with a group of matched controls on two measures of emotional responsiveness to music, comprising physiological and verbal measures. Impairment in participants ability to verbalize their emotions (type-II alexithymia) was also assessed. The groups did not differ significantly on physiological responsiveness, but the autism group was significantly lower on the verbal measure. However, inclusion of the alexithymia score as a mediator variable nullified this group difference, suggesting that the difference was due not to absence of underlying emotional responsiveness to music in autism, but to a reduced ability to articulate it.

IT HAS BEEN ARGUED, IN VIEW OF THE SOCIALevolutionary origins of music and the social deficits found in autism, that individuals with autism will be emotionally unresponsive to music. However, a recent study of high-functioning adults with autism has shown that they appear to have a range of responses to music similar to typically developing people, including the deliberate use of music for mood management. In examining why these responses appear unaffected in autism, we explore possible mechanisms for musical mood induction in listeners, hypothesizing that the simulation theory of empathy may illuminate current controversies over the nature of emotion in music. Drawing on these ideas, we put forward suggestions for using a simple associative learning process between musically induced emotions and their cognitive correlates for the clinical treatment of alexithymia, a disorder that is common in autism and characterized by an absence of cognitive insight into one's emotions.

Background Lip enhancement procedures involving dermal fillers are one of the most sought after nonsurgical aesthetic treatments. However, current trends are associated with unnatural results and involve increased risks of complications and compromise to normal function. It appears that lips may be classified according to the presentation of their tubercles and this may be used to guide minimally invasive techniques which aim to preserve individual lip shapes and normal function. Objectives To test the reliability of a classification system based on lip tubercle morphology, named the Lip Classification of Tubercles (LCT). Methods To test the reliability of the LCT, a total of 214 high-definition photographs of patients’ lips with no previous histories of lip treatments were classified independently by 4 experienced aesthetic practitioners on 2 separate occasions 3 months apart; the second followed a more detailed explanation of the classification. Results When inter-rater reliability was calculated for the first attempt, the results were 36% and 43% for upper and lower lips, respectively. The second attempt following an education process resulted in 79% for both lips. When 1 practitioner was considered the standard, the average score for the remaining 3 showed some individual variation but improved significantly from 58% to 85%. Conclusions The LCT is a reliable way to classify lip types based on the morphology of tubercles. Level of Evidence: 3

The reliability of traditional photogrammetric identification techniques using a small number of facial landmarks has recently come in for criticism. However, the transformation of parameters into a new face space in which the error distributions are orthogonal, yields a maximum likelihood solution to the problem of identifying a photographed face from a small, known, population which, in a simulated example, raises the success rate from 20% to 93%. A full transformation yielding simultaneously independent population and error distributions can be derived from raw population and error data using a straightforward computer procedure. Such a transformation facilitates computations for the situation where a single suspect is held in custody and the likelihood ratio of his being identical with a photograph is desired. It seems premature to condemn photogrammetry until the more efficient data-analysis approach outlined in this paper has been applied and tested.

Certain ideas recur in many areas of mathematics. One example is groups of symmetries, which appear in the Galois theory of equations and in Lie groups. Lie groups are of great value in physics, where Noether’s theorem enables us to derive a conservation law for every case in which a function known as the Lagrangian is invariant under a one-parameter Lie group. The importance of this approach can be seen from the fact that the laws of the conservation of energy, linear momentum and angular momentum are all outcomes of Noether’s theorem, though they can of course be derived by simpler methods. The full power of Noether’s approach is shown in its applications to quantum field theory, where it can be used to find conserved currents and charges.

Calculating Fisher's F-ratio is a key step in a number of statistical procedures involving null hypothesis significance testing. This is particularly so in the case of ANOVA (analysis of variance) in its several forms, but even multiple regression includes a test of significance of the overall model which employs an F-ratio. The present paper aims at making the basic ideas behind this common statistic more comprehensible by providing a visual counterpart to, and justification for, its algebraic definition. As an example of how the definition works, consider the following very simple set of data comprising an independent variable consisting of three groups, where the values of the dependent variable are 1, 2, 3 for the first group, 4, 5, 6 for the second group and 7, 8, 9 for the third group. The groups could represent three drug treatments, and the numbers, a measure of clinical outcome for each of nine participants. One might represent this set of data as a row vector thus: (1, 2, 3, 4, 5, 6, 7, 8, 9).

Universal laws are notoriously hard to discover in the social sciences, but there is one which can be stated with a fair degree of confidence: \"all students hate statistics\". Students in the social sciences often need to learn basic statistics as part of a research methods module, and anyone who has ever been responsible for teaching statistics to these students will soon discover that they find it to be the hardest and least popular part of any social science syllabus. A typical problem for students is the use of Fisher's F-test as a significance test, which even in the simple case of a one-factor analysis of variance (ANOVA) presents difficulties. These are two in number. Firstly, the test is presented as a test of the null hypothesis, that is, that there is no effect of one variable (the independent variable, IV) on the other, dependent variable (DV). This highlights the opposite of what one generally wants to prove, the experimental hypothesis, which is usually that there is an effect of the IV on the DV. Students, if they think about the question at all, may be tempted to ask \"why not try to prove the experimental hypothesis directly rather than using this back-to-front approach?\" Secondly, the F-ratio itself is presented in the form of an algebraic manipulation, involving the ratio of two mean sums of squares, and these means are themselves moderately complicated to understand. Even students specializing in mathematics often find algebra difficult, and to non-mathematicians this formula is simply baffling. Instructors do not usually make a serious attempt to remedy this confusion by attempting to explain what the F-ratio is attempting to measure, and when they do, the explanation is not usually very enlightening. Students may struggle with the statement that the F-ratio is the ratio of \"two different estimates of the variance of the population being sampled from, under the null hypothesis\". So what? The result is that students frequently end up applying statistical analysis programs such as SPSS and R, without having the faintest understanding of how the mathematics works. They use the results in a mechanical way, according to a procedure learned by rote memory, and may overlook different tests which might be more appropriate for their data. This might be called the cookbook approach to data analysis, and it is the opposite of the ultimate aim of high quality teaching, which is to provide a deep understanding of principles, which will allow the student to use these principles flexibly in real life challenges, without violating the assumptions of the statistical tests being employed.

Previous music and emotion research suggests that individual differences in empathy, alexithymia, personality traits, and musical expertise might play a role in music-perceived emotions. In this study, we investigated the relationship between these individual characteristics and the ability of participants to recognize five basic emotions (happiness, sadness, tenderness, fear, and anger) conveyed by validated excerpts of film music. One hundred and twenty participants were recruited through an online platform and completed an emotion recognition task as well as the IRI (Interpersonal Reactivity Index), TAS-20 (Toronto Alexithymia Scale), BFI (Big Five Inventory), and Gold-MSI (Goldsmiths Musical Sophistication Index). While participants recognized the emotions depicted by the music at levels that were better than chance, their performance accuracy was negatively associated with the externally oriented thinking subscale from the TAS-20. Our results suggest that alexithymia, previously linked to a deficit in perception of facial and vocal expressions of emotion, is also associated with difficulties in perception of emotions conveyed by music.