Stevens & Hartley Present: Jurors, Genomics and Tort Litigation Webinar

On May 15, 2017 LSI Faculty Fellow, Yvonne Stevens and LSI Executive Council Member, Kirk Hartley, among others, presented to a national audience on the implication of genetics — and issues particular to judges and juries — in tort litigation.  Audio CDs from the event, along with presentation materials, are available for purchase here.

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You don’t WannaCry that you missed GET Cyber Day 5-19-17

The link to register for the “Special Session on Cybersecurity” is http://asulawcle.com/get   

CLE $100 (3.5 CLE credits)

Non-CLE $50

The link to register for the “Special Session on Cybersecurity” is http://asulawcle.com/get   

CLE $100 (3.5 CLE credits)

Non-CLE $50

 

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WINNER! March 2017 Starbucks Challenge

Image result for images starbucks gift card

JOSH COVEY

Congratulations!

Note that the Director of Communications, GWG Holdings, Dan Callahan also participated:

http://blogs.asucollegeoflaw.com/lsi/2017/03/27/march-2017-starbucks-challenge/

 

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Dennis Karjala ~ A Tribute

 

Dennis Karjala, 1939-2017

“I was bold in the pursuit of knowledge, never fearing to follow truth and reason to whatever results they led.”

– Thomas Jefferson

Dennis Karjala’s obituary is available here

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LSI Holds 6th Annual Workshop on Regulation and Reimbursement of Molecular Diagnostics

 

By Gary E. Marchant

The Center for Law, Science & Innovation (LSI) convened its 6th Annual Roundtable Workshop on the Regulation and Reimbursement of Molecular Diagnostics on April 12, 2017.  A unique feature of this year’s workshop was that it was co-sponsored by the ASU International School of Biomedical Diagnostics.  As in past years, the LSI workshop was a highly interactive and interdisciplinary discussion of regulatory and reimbursement issues affecting diagnostics, with participants from government, industry, insurers, consulting firms, academia, medicine and patient organizations. It has been an active year on the regulatory front for FDA on diagnostics issues.  The FDA presentation by Alberto Gutierrez and ensuing discussion delved into FDA’s regulatory role for laboratory developed tests, the 21st Century Cures Act, regulation of complex and multiplex tests, next generation sequencing, the Precision Medicine Initiative (aka All of Us), and Parallel Review.  Recent developments with CMS and other payers in the reimbursement of diagnostics, including the clinical laboratory provisions of the Protecting Access to Medicare Act of 2014 (PAMA), were covered in presentations by Louis Jacques and Roger Klein.  Ralph Hall gave a presentation on new draft legislation to be introduced in Congress to create a whole new regulatory approach to molecular diagnostics, which generated an extended and rich discussion.  Other in-depth topics covered in the workshop were regulation of computer software and mHealth devices (David Feigal), reimbursement of cancer diagnostics and experimental exclusions (Kirk Hartley), and the use of whole genome sequencing of pathogen detection (Jeremy Ellis).  Based on the highly engaged discussion, two ideas for group-authored manuscripts on specific diagnostic issues were identified – (i) how to regulate constantly updated algorithm-based diagnostic tests, and (2) developing a more transparent and fair approach to experimental exclusions in coverage.  The 7th Annual Workshop will be held in April 2018.

The agenda and list of participants for the 2017 workshop is posted here: http://conferences.asucollegeoflaw.com/personalizedmedicine/2017-agenda-participants/ and most of the presentations are posted here: http://conferences.asucollegeoflaw.com/personalizedmedicine/2017-presentations/

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3D Printing & Product Liability CLE Webinar Featuring James Beck & Matthew Jacobson

“Shameless Plug – Free CLE Webinar on 3D Printing and Product Liability”

Monday, May 8, 2017

12:00PM EDT

CLE Webinar is Free

Register Here

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LSI 2017 Study Group Board Celebrates @ Montelucia

 

April 29, 2017, Prado, Montelucia

As is now tradition, the LSI Board of Governors and their spouses celebrated the end of the study group (SG) season with drinks and dinner.  By popular vote and stamp of approval, the focus in spring 2018 will shift from Behavioral Economics to Life Sciences.  A list of issues, subject to revision, proposed for SG discussion is available below.

Thank you to all who participated in 2017!

 

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Early Bird Registration – Ends Today! Conference on Governance of Emerging Technologies, May 17-19, 2017, Phoenix, AZ

GET $50 Off GET!

Use Code earlybirdGETs50

Register Here

Offer Ends Today!

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Worldwide Web Watch

April 25, 2017

Fitbit forensics.  It was only a matter of time. According to a BBC article, data from a Fitbit confirmed that the last movements of the victim in question occurred an hour after her husband (now charged in her death) claimed she was last alive.  Fitbits, like smartphones, laptops and GPS systems provide a treasure trove of information and are one of the latest and greatest in technology to provide investigative leads and evidentiary data.

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LSI Movie Corner: Blade Runner

Image result for images movie blade runner

Blade Runner: Great Then, Great Now

1982, directed by Ridley Scott

Review by LSI Faculty Fellow, Brad Allenby

Even successful movies revel in their time, and then pass, dated and limping, into artistic somnolence and decrepitude, and so to their unlamented and unmourned end.  Only a very few movies, such as Casa Blanca or Citizen Kane, not only resist aging, but actually blossom with age, becoming far more than they originally were.

Blade Runner is one such film.  Based on the scifi novel Do Androids Dream of Electric Sheep?  by Philip K. Dick, and released to a mixed critical reception, the film was originally financially successful but not a smash by any means.  Almost immediately, however, it achieved cult classic status, and today appears on many of the “best 100 films” lists; indeed, it is considered by some to be the best science fiction film ever made.  Why?

First, it is a beautiful film.  Oh, it’s noir, all right . . . taking place in that fabled dark and brooding Los Angeles of celluloid, where it rains all the time and, amazingly enough, never seems to be daylight.  Not for nothing do wags ask whether Los Angeles is a film that thinks it’s a city, or whether it’s a city that thinks it’s a film.  But the noir is so stylized, so elegantly displayed, so atmospheric, that just watching it without sound is a sensory pleasure.  And the music is extraordinary: not the cacophonous yet anodyne din and hammer of modern action films, but dreamy, understated and spare: Japanese at times, sparse jazz and drums at times.  Standing alone without any further intellectual depth, the film as a whole is a magnificent work of art.

It is not surprisingly, then, that much of the aesthetic of Blade Runner shows up in subsequent science fiction classics such as the anime Ghost in the Shell – and that elements of Blade Runner themselves reach back to classics such as Fritz Lang’s 1927 Metropolis.  Indeed, the victory roll hairstyle of the female lead, Rachael, is pure femme fatale classic 1940’s homage, as are many of her outfits.  It is incredibly hard to shoot such a stylized film and not have it become rapidly dated, especially one that, like all science fiction films, depends on technology for at least part of its impact, but that’s what we have here (compare, for example, 1968’s 2001: A Space Odyssey, which, although an excellent film, has a pace and aesthetic which cannot help but feel dated).

For the techno-critic, however, another facet of the beauty of the film is the way it raises archetypal questions of technological civilization.  Most obviously, the conflict between bio-engineered super human slaves known as “replicants” and ordinary humans – the blade runner’s job is to track down and kill replicants that escape to Earth – reprises the Frankenstein myth: the technological creation versus the biological human.  And the replicants do seem sometimes to act as monsters – as do the humans that are tracking them down and killing them, a point made obvious by numerous allusions to Frankensteinian aesthetic, especially in the confrontation between the replicant Roy and his designer, Tyrell.  Blade Runner does not simply repeat the Frankenstein story, however, but gives it an ambiguity, and a depth, that the original story, and the technophobic social scientists that keep repeating it, never achieve.  Especially because the film leaves unresolved questions about the replicant status of the alleged humans, most especially Harrison Ford as the blade runner, it advances questions and considerations rather than simplistic resolutions.  Is anyone really human anyway?  You decide.

And in doing so, the second archetypal question arises: what is human?  Why isn’t a replicant – essentially an enhanced human – a “human”?  Is it your actions, or your face, or where you came from (womb or factory), or your emotions and empathy, that make you “human”?  And who gets to decide?  And what happens when past verities that underlie such a definition fail?  These questions, in a blossoming age of human enhancement and lifespan modification, are even more relevant today than they were in 1982.  And again, the film does not answer.  This is a film that does not assume a stupid audience.

Aesthetic: A+

Film: A+

Recommendation:  What are you waiting for?

 

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