Evaluating the efficacy of live feed alternatives to reduce Artemia dependence in Trichopodus leerii larviculture

Copyright collectives are critical to the economic health of the music industry, but they are at a curious crossroads. Collective copyright management is used more extensively in the music business than ever before. Expanded collective copyright management for digital streaming is the centerpiece of the Music Modernization Act (MMA)—the most extensive revision to the Copyright Act in two decades. At the same time, major music publishers, who rely heavily on collective licensing revenue, are on a years-long mission to end collective licensing for certain digital streaming rights. These trends reflect changes that streaming technology has caused in music consumption, distribution, and revenue generation.
 Digital streaming has emerged as the dominant music consumption model, accounting for eighty-three percent of music revenues in the United States in 2020. This rapid rise to dominance naturally has profound implications for the future of music licensing. The licensing needs of streaming service providers are unprecedented in scale. Spotify, for example, currently hosts over 70 million recordings, with more than 60,000 new recordings uploaded every day. Most of these recordings encompass two copyrighted works that must be licensed separately: a copyrighted sound recording and a copyrighted underlying musical composition. Streaming services’ need for such a massive number of licenses highlights the value of collectives that enable streaming services to interface with a manageable number of licensors. It also highlights the importance of blanket licenses that permit spontaneous use of millions of works relatively free from infringement liability.
 At the same time, the importance of collective licensing to copyright owners has decreased in the streaming age. Streaming is a highly concentrated market: Spotify, Apple Music, and Amazon Music together control two-thirds of the global streaming market. Thus, it has never been easier for copyright owners to license a handful of platforms that deliver the lion’s share of revenue. Further, technology has markedly reduced the costs of use-tracking and royalty distribution. All streams are automatically logged, and royalties are automatically distributed based on usage data. As a result, the major record labels often directly license millions of sound recordings to streaming services without using a collective.
 Historically, collective copyright management has been valuable for both copyright owners and users of copyrighted works. The primary advantage is reduced transaction costs. Across the globe, there are millions of music copyright owners and millions of businesses that use copyrighted works. In some cases, individual transactions for large numbers of works would be prohibitively costly for both sides. Collective copyright management creates a one-stop shop for licensors and licensees, drastically reducing transaction costs. Collective copyright management further benefits copyright owners by sharing and thereby reducing administrative and enforcement costs. It further benefits users by reducing potential liability for frequent and spontaneous uses, especially through blanket licensing that empowers licensees to make unlimited use of all works in a licensor’s catalog.
 The major concern with collective licensing has long been the monopoly pricing potential of collective copyright control, especially when collective licensing is combined with blanket licensing. If one entity holds the rights to license the majority of popular songs, it can exact monopoly rents from anyone seeking to use music. Radio stations, streaming services, nightclubs, and other music-centric businesses would have no latitude to seek alternatives if the rights to license the music they need were concentrated in one entity. Music licensing, therefore, has long been a heavily regulated market, controlled through a combination of compulsory licensing regimes, statutory limitations and exceptions to exclusive copyright rights, and competition authority oversight.
 The question is whether such heavy regulation is necessary going forward—or, more to the point, whether collective licensing is necessary going forward. Collective licensing has dominated the music public performance rights market for a century. The two major performance rights organizations (PROs)—American Society of Composers, Authors and Publishers (ASCAP) and Broadcast Music, Inc. (BMI)—offer blanket licenses for millions of works, albeit under strict regulation by the Department of Justice (DOJ) to deter market power abuses. But this model increasingly seems like a vestige of the analog age. Today, there is a relative handful of high-value licensees operating globally. Streaming services have the technological infrastructure to work with a huge number of licensors, unlike the radio stations and nightclubs of yore. Because technology enables nearly frictionless virtual licensing and automated usage tracking and royalty distribution, a plethora of music rights and royalty administration businesses have flourished that are capable of administering direct public performance rights licensing and royalty collection on copyright holders’ behalf. The performance licensing that still involves high transaction costs—licensing of radio stations and brick-and-mortar businesses such as stores, fitness studios, and bars—accounts for less than fifteen percent of PRO revenues. Further, as I discuss in Part IV.B, licensing even in those arenas is vulnerable to disruption.
 The upshot is that music publishers, especially major publishers, are eager to eschew collective licensing in the digital streaming space so they can negotiate higher direct-licensing fees for streaming. As I discuss in Part III.C.3, publishers’ plans have been derailed for the time being by DOJ consent decrees that prohibit PROs from selectively licensing members’ works. Many licensees, on the other hand, are generally satisfied with how collective licensing currently functions in the performance rights space. The two major PROs are so heavily regulated that their blanket license offerings are comparable to compulsory licenses: The PROs’ pricing and licensing discretion is substantially curtailed under rate court and DOJ oversight. Meanwhile, competition from a new PRO (which poaches some of the legacy PROs’ most valuable catalog) and from a burgeoning music rights administration industry adds further pressure, casting doubt on the long-term viability of the legacy PROs. If the legacy PROs deteriorate and publishers seek direct licenses for performance rights, will licensees lobby for a blanket compulsory performance rights license?
 There is precedent for such a compulsory license, as a new compulsory blanket licensing regime came into effect in 2021, mandated by the MMA, for a related right: the right to make and distribute phonorecords of nondramatic musical works, including by means of “digital phonorecord delivery.” In essence, this is a compulsory license for the right to digitally deliver—via download or stream—a copyrighted song encompassed in a sound recording. The MMA also created a new collective—the Mechanical Licensing Collective (MLC) (so-called because the compulsory license covers what was traditionally called the “mechanical right,” or the right to reproduce musical works in formats used for mechanical playback)—to administer the compulsory license. The MMA comes two decades after the creation of another compulsory right prompted by digital streaming: the compulsory right available to “noninteractive” digital music services (essentially, internet radio webcasters and satellite radio broadcasters) to transmit sound recordings. A bespoke licensing collective, SoundExchange, was created to administer that compulsory license as well. In total, the licensing landscape for the U.S. digital music streaming sector involves six collectives: the MLC, SoundExchange, and four PROs. The only licenses in the streaming landscape not administered by licensing collectives are licenses for the use of sound recordings by “interactive” streaming services, such as Apple Music and Spotify. These direct licenses also happen to be by far the most lucrative licenses in the music business.
 The two compulsory streaming licenses of relatively recent vintage (and their respective collectives) seem entrenched for the foreseeable future. However, uncertainty surrounds the future of streaming performance royalties. Will major publishers seek to direct-license streaming performances and withdraw their rights from PROs? Will they seek instead to phase out streaming performance royalties in favor of a single, all-encompassing musical composition royalty stream managed by the MLC? Or will they maintain the status quo: music composition streaming royalties split into performance and mechanical royalties administered and distributed by five or more different collectives. In the long term, the third possibility seems the least likely due to the inefficiencies and lack of flexibility in the current structure. The other possibilities would not be costless, however, as bypassing the PROs for streaming royalties would markedly weaken—if not ruin—the PROs on which publishers would still rely for non-streaming performance royalties.
 In this Article, I examine the present state of collective copyright management and collective licensing in the United States and identify the factors likely to determine the future of collective copyright management due to new usage tracking technology and the rise of digital streaming. In Part I, I lay the terminological groundwork for subsequent discussion by defining and distinguishing the related concepts of collective licensing, direct licensing, compulsory licensing, blanket licensing, and collective copyright management. In Part II, I lay the necessary doctrinal

Effects of live, artificial and mixed feeds on the growth and energy budget of Penaeus vannamei

Despite intensive stocking programmes, wild Maraena whitefish Coregonus maraena (Bloch, 1779)-stocks are in danger of extinction in the Baltic sea region. Current aquaculture rearing methods in recirculating aquaculture systems (RAS) are lacking efficient protocols for transitioning larvae from endogenous to exogenous feeding. In this 34-day-experiment the offspring of wild fish was used. Maraena whitefish larvae were weaned at three different temperatures (15.9°C, 17.9°C, 19.7°C) and three feeding regimes, resulting in nine treatments. The first group received pure live feed (freshly hatched Artemia sp. nauplii) for 10 days and a 1:1-mixture of live and dry feed for 3 days. The second group received the live and dry feed mixture for 13 days and the third group directly received a commercial dry feed. All nine treatments were stocked in triplicate with 500 larvae per tank (19 ind. L−1). Feeding started 4 days post hatch. Survival was highest in the pure dry feed groups and lowest in the pure live feed groups. In contrast to growth, which was highest in the live feed groups and lowest in the dry feed group. Higher temperature increased growth in the live feed groups but had no effect on survival in all groups. These results will enhance the weaning of C. maraena in recirculation aquaculture.

Ballan wrasse (Labrus bergylta) are increasingly being relied upon as cleaner fish in salmon farming, but commercial rearing faces major challenges, particularly low larval survival rates. One key constraint is the lack of a standardised weaning protocol, with uncertainty around when and how to transition larvae from live feed (Artemia) to dry diets. This preliminary study evaluated three weaning strategies to identify approaches that improve growth and survival. All larvae were fed enriched Artemia from hatching to day 52, after which treatments diverged: (1) standard weaning (C1; dry feed introduced at day 52 with a short co-feeding period), (2) extended weaning (T1; continued co-feeding of Artemia and dry feed for three additional weeks), and (3) delayed weaning (T2; Artemia-only feeding for three extra weeks followed by a direct switch to dry feed with no co-feeding). Six 50 L tanks, each stocked with 100 larvae, were randomly assigned to treatments (n = 2 per group). Morphometric data (total length, wet weight) and survival were recorded from day 52 to day 101 post-hatch. Survival at day 99 was significantly lower in the standard group (61–72%) compared to extended (90–96%) and delayed (98%) weaning. By day 101, larvae in extended and delayed groups had significantly higher weights than controls. Total lengths followed a similar trend, with extended and delayed larvae significantly exceeding controls. Extended weaning produced the largest larvae, while delayed weaning yielded the highest survival. These findings indicate that prolonging the period of live Artemia feeding, either through co-feeding with dry feed (T1) or by delaying the onset of weaning (T2), improves larval performance compared to the standard protocol. Prolonged access to enriched live feed likely allows larvae to reach a more advanced developmental stage before relying solely on dry diets, thereby reducing mortality and supporting improved growth.

General discussion on “Advanced Biotechnology in Hatchery Production”

Biotechnological advances in finfish hatchery production: a review

Introduction:In recent years, unmanned aerial vehicles (UAVs) have been increasingly used for medical surveillance purposes in mass gathering events. No studies have investigated the reliability of live video transmission from UAVs for accurate identification of distressed race participants in need of medical attention. During the 2022 Montreal marathon, the aim of this study was to determine the proportion of data collection time during which live medical surveillance UAV video feed was successfully transmitted and considered of sufficient quality to identify acute illness.Method:Four UAVs equipped with high resolution cameras were deployed at two predefined high-risk areas for medical incidents located within the last 800m of the race. The video footage was transmitted in real-time during four consecutive hours to a remote viewing station where four research assistants monitored it on large screens. Interruptions in live feed transmission and moments with inadequate field of view on runners were documented.Results:On September 25, 2022, 8,577 athletes registered in the Montreal marathon and half marathon. Out of the eight hours of video footage analyzed (four hours per high-risk area), 91.7% represented uninterrupted live video feed with an adequate view of the runners passing through the high-risk areas. The total interruption time was 22 minutes and 19 seconds, and the field of view was considered inadequate for a total of 17 minutes and 33 seconds. Active surveillance of drone-captured footage allowed identification of two race participants in need of medical attention. Appropriate resources were dispatched, and UAV repositioning allowed for real-time viewing of the medical response.Conclusion:Live video transmission from UAVs for medical surveillance of runners passing through higher-risk segments of a marathon race for four consecutive hours is feasible. Live feed interruptions and segments with an inadequate field of view could be minimized through practice and additional equipment redundancy.

In recent years, unmanned aerial vehicles (UAVs) have been increasingly used for medical surveillance purposes in mass-gathering events. No studies have investigated the reliability of live video transmission from UAVs for accurate identification of distressed race participants in need of medical attention. The aim of this study was to determine the proportion of time during which live medical surveillance UAV video feed was successfully transmitted and considered of sufficient quality to identify acute illness in runners participating in the 2022 Montreal Marathon (Canada). Four UAVs equipped with high-resolution cameras were deployed at two pre-defined high-risk areas for medical incidents located within the last 500 meters of the race. The video footage was transmitted in real-time during four consecutive hours to a remote viewing station where four research assistants monitored it on large screens. Interruptions in live feed transmission and moments with inadequate field of view (FOV) on runners were documented. On September 25, 2022, a total of 6,916 athletes ran during the Montreal Marathon and Half Marathon. Out of the eight hours of video footage analyzed (four hours per high-risk area), 91.7% represented uninterrupted live video feed with an adequate view of the runners passing through the high-risk areas. There was a total of 18 live feed interruptions leading to a total interruption time of 22 minutes and 19 seconds (median interruption time of 32 seconds) and eight distinct moments with inadequate FOV on runners which accounted for 17 minutes and 33 seconds (median of 1 minute 47 seconds per moments with inadequate FOV). Active surveillance of drone-captured footage allowed early identification of two race participants in need of medical attention. Appropriate resources were dispatched, and UAV repositioning allowed for real-time viewing of the medical response. Live video transmission from UAVs for medical surveillance of runners passing through higher risk segments of a marathon for four consecutive hours is feasible. Live feed interruptions and moments with inadequate FOV could be minimized through practice and additional equipment redundancy.

‘It's mostly an accompaniment to something’

The rising popularity of streaming has resulted in a revolutionary change to how digital content, such as sound recordings, cinematographic films, and radio and television broadcasts, is used on the internet. Superseding the conventional method of downloading, using streaming to access digital content has challenged copyright law, because it is not clear whether end-user acts of streaming constitute copyright infringement. These prevailing grey areas between copyright and streaming often make end-users feel doubtful about accessing digital content through streaming. It is uncertain whether exercising the right of reproduction is appropriately suited for streaming, given the ambiguities of “embodiment” and scope of “substantial part”. Conversely, the fair dealing defence in Australia cannot be used aptly to defend end-users’ acts of streaming digital content, because the use of streaming to access digital content rarely falls within the defences specified under fair dealing. When considering a temporary copy exception, end-users are at risk of being held liable for infringement when using streaming to access a website that contains infringing digital content, even if they lack any knowledge about the content’s infringing nature. Moreover, the grey areas in circumventing geo-blocking have made end-users hesitant to access websites through streaming because it not clear whether technological protection measures apply to geoblocking. End-users have a severe lack of knowledge about whether they can use circumvention methods, such as virtual private networks, to access streaming websites without being held liable for copyright infringement. Despite the intricacies between copyright and access to digital content, the recently implemented website-blocking laws have emboldened copyright owners while suppressing end-users’ access to digital content. This is because the principles of proportionality and public interest have been given less attention when determining website-blocking injunctions. This thesis examines the challenges posed to Australian copyright law by streaming, from the end-user perspective. It argues that continuous attempts to adapt traditional copyright principles into streaming, a novel technological advancement, are futile. This thesis compares the Australian position with the European Union and United States to draw lessons from them, regarding how they have dealt with streaming and copyright. By critically examining the technological functionality of streaming and the failure of copyright enforcement against the masses, it argues for strengthening end-user rights. Although it is difficult to reach copyright equilibrium by counterpoising copyright owners’ interests with copyright users’ interests, this thesis argues that deploying an appropriate balance is pivotal to expand end-user rights. This analysis of the current copyright law regime, from the end-user standpoint in respect to novel technologies such as streaming, opens up new terrain for future research, on how copyright law should address new technologies to benefit society.

Patterning is a recurrent feature of glacial systems, which characterizes as much subglacial and supraglacial environments as the flow of ice itself. Some examples include bedforms developing at the contact between ice and bed, spatial organization in subglacial and supraglacial drainage networks, the narrow corridors of fast flowing ice known as ice streams that form the arterial drainage system of large ice sheets, and temporal switches between slow and fast flow regimes in glacier and ice stream flow. This thesis focusses on two types of glacial patterns, namely ice streams and channelization in supraglacial drainage networks. Ice flow within ice sheets is far from uniform, with the narrow bands known as ice streams flowing at velocity two order of magnitude larger than the rest of the ice sheet. In the Siple Coast region of West Antarctica ice streams experiance weak topographic confinement, thus suggesting that they may originate spontaneously from an otherwise uniform flow as a fingering instability. Motivated by observations suggesting that the marked contrast in velocity between ice streams and surrounding ice is due to a transition from frozen, thus sticky bed underneath slow flowing regions, to molten, thus well lubricated bed under ice streams, we investigate the role of basal thermal transitions in relation to the onset of ice streams. Our findings suggest that basal transitions from frozen to molten bed (or vice versa) can undergo an instability potentially leading to the onset of streaming. An asymptotic analysis for short wavelenght perturbations shows that, at wavelengths of few ice thicknesses, such instability is controlled by the interplay between strain heating and heat advection from the region upstream of the transition. We also find that the background structure of the ice sheet is key to pattern formation. In particular, in the case of ice flowing from molten to frozen regions we find an instability at the ice sheet thickness scale or smaller, which is not resolved by most ice sheet models. Observations reveal that ice streams experience significant temporal variability on a variety of time scales, ranging from decadal to multi-millennial ones. As much as spatial patterning, such variability holds implications for the future of ice sheets, sea level change, and the interpretation of geological records. Recent work \citep{robel} shows that the switch between steady streaming conditions and self-sustained oscillations with multi-millennial periodicity can be understood as a Hopf bifurcation. Little is presently known about shorter scale variability, which however appears more likely to originate from external forcing. In chapter \ref{ch:stoch} we explore the effects of a specific type of forcing, i.e. stochastically-varying climatic conditions, on the temporal dynamics of ice stream flow. We find that data-based climate fluctuations alter the deterministic dynamics substantially, and are capable of introducing widespread, short-scale oscillations even in ranges of the parametric regime where the deterministic dynamics predict steady streaming. We thus conclude that noise-induced transitions may play a role in the observed temporal dynamics of ice stream flow. In part \ref{drain} we turn to patterning in drainage networks on the surface of glaciers. Supraglacial drainage networks route meltwater originating on the surface of glaciers towards moulins and crevasses, through which it eventually reaches the base of the ice. Therefore, understanding the physical controls on the structure of the drainage network has implications for how surface melt influences the motion of ice. Here we focus on the physical controls on the formation of evenly spaced channels on the surface of glaciers. In particular, we find that the flow of meltwater on bare ice is capable of carving evenly spaced channels as a result of a morphological instability. We show that in certain conditions the network is shaped solely by the hydrodynamics of meltwater regardless of ice thermal conditions, which justifies widely-observed regular patterns in drainage networks. Finally, comparison of our results with the geometrical feature of supraglacial networks reported in the literature shows good agreement between model's predictions and observations.

Recently, there has been a growing focus in solving approximate pattern matching problems in the streaming model. Of particular interest are the pattern matching with k-mismatches (KMM) problem and the pattern matching with w-wildcards (PMWC) problem. Motivated by reductions from these problems in the streaming model to the dictionary matching problem, this paper focuses on designing algorithms for the dictionary matching problem in the multi-stream model where there are several independent streams of data (as opposed to just one in the streaming model), and the memory complexity of an algorithm is expressed using two quantities: (1) a read-only shared memory storage area which is shared among all the streams, and (2) local stream memory that each stream stores separately. In the dictionary matching problem in the multi-stream model the goal is to preprocess a dictionary D={P_1,P_2,...,P_d} of d=|D| patterns (strings with maximum length m over alphabet Sigma) into a data structure stored in shared memory, so that given multiple independent streaming texts (where characters arrive one at a time) the algorithm reports occurrences of patterns from D in each one of the texts as soon as they appear. We design two efficient algorithms for the dictionary matching problem in the multi-stream model. The first algorithm works when all the patterns in D have the same length m and costs O(d log m) words in shared memory, O(log m log d) words in stream memory, and O(log m) time per character. The second algorithm works for general D, but the time cost per character becomes O(log m+log d log log d). We also demonstrate the usefulness of our first algorithm in solving both the KMM problem and PMWC problem in the streaming model. In particular, we obtain the first almost optimal (up to poly-log factors) algorithm for the PMWC problem in the streaming model. We also design a new algorithm for the KMM problem in the streaming model that, up to poly-log factors, has the same bounds as the most recent results that use different techniques. Moreover, for most inputs, our algorithm for KMM is significantly faster on average.

Percentage weight gain); SGR (Specific Growth Rate); ADG (Average Daily Growth); FCR (Feed Conversion Ratio); EPA (Eicosapentaenoic Acid); DHA (Docosahexaenoic Acid) Essential fatty acids are unsaturated fatty acids that must be provided preformed in the diet [9].The active forms in n-3 family are eicosapentaenoic acid (EPA 20:5 n-3) and docosahexaenoic acid (DHA 22:6 n-3).In general, warm water fishes require polyunsaturated n-6 fatty acids or a mixture of n-3 and n-6 fatty acids, while cold water species require n-3 forms [10].Coldwater fishes have a higher requirement for n-3 PUFAs, whereas warm water fishes tend to have a greater requirement for n-6 fatty acids [11].This is because; n-3 structure permits a greater degree of unsaturation, which is necessary

The growth, survival and specific growth rate (SGR) of the larvae of Clarias anguillaris fed live zooplankton feed (pure Moina micrura and mixed zooplankton) and 40% crude protein dry artificial diet, were determined. Growth and survival were not significantly different (P > 0.05) for the first six weeks of culture for larvae fed pure Moina or mixed zooplankton. Specific growth rate was also similar in both cultures. However, when live feed was replaced with dry artificial diet as from the 7th week of culture, growth and survival were significantly higher (P < 0.05) for treatments that continued to depend on live zooplankton feed. Results of this study indicate that larval fish can be reared indoors with live zooplankton up until the sixth and even the 11th week without significant mortality. Key words: Clarias anguillaris, larval rearing, live zooplankton, nutrition Journal of Aquatic Sciences Vol.17(1) 2002: 69-73

Current feeding protocols used in commercial hatcheries of Mediterranean fish species are, for a species-dependent period after hatching, based on live feeds which have often raised issues of biosecurity, stability, availability, price and nutrients content. Instead, dry feeds can offer stability in nutritional value, price and supply. The aim of the present study was to evaluate an alternative feeding protocol by co-feeding live and dry feed at first feeding red seabream larvae (on 3 days post-hatching—3 dph, DF3) and to compare it to a standard feeding protocol (i.e., dry feed introduced on 22 dph, DF22). Larvae productivity and functional development of the digestive system were evaluated under actual production conditions in a commercial hatchery. Additionally, post-larvae efficiency during pre-growing was evaluated under controlled laboratory conditions. The results obtained showed that the experimental protocol (DF3) promoted larval growth without affecting larval survival and the efficiency of the digestion processes. After pre-growing, DF3-produced juveniles showed a decreased incidence of spinal cord malformations, while the initially gained growth advantage was maintained. The present study shows the feasibility of an alternative feeding protocol for red seabream intensive larviculture and points out the critical role that larval rearing may have for later production stages.