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Die vier Beiträge des vorliegenden Sammelbands befassen sich mit verschiedenen Schnittstellen des Schweizer Datenschutzrechts, dabei kommen so unterschiedliche Themen zur Sprache wie die Schnittstelle zwischen dem neuen Schweizer DSG und der DSGVO, die Abgrenzung und das Zusammenspiel zwischen kantonalem Datenschutzrecht und bundesrechtlichen Regelungen zum Kindesrecht, die datenschutzrechtlichen Aspekte der schulinternen Logopädie und Sozialarbeit – insbesondere die Verknüpfung von allgemeinen Datenschutzgesetzen, Berufsgeheimnissen und kantonalen Spezialgesetzen sowie das Datenschutzrecht für künstliche Intelligenz in der öffentlichen Verwaltung, wobei hier insbesondere datenschutzrechtliche Fragen der KI-Technologie an konkreten Use-Cases erörtert werden.

We study three dimensional $\mathcal{N}=2$ supersymmetric abelian gauge theories with various matter contents living on a squashed sphere. In particular we focus on two problems: firstly we perform a Picard-Lefschetz decomposition of the localised path integral but, due to the absence of a topological theta angle in three dimensions, we find that steepest descent cycles do not permit us to distinguish between contributions to the path-integral coming from (would-be) different topological sectors, for example a vortex from a vortex/anti-vortex. The second problem we analyse is the truncation of all perturbative expansions. Although the partition function can be written as a transseries expansion of perturbative plus non-perturbative terms, due to the supersymmetric nature of the observable studied we have that each perturbative expansion around trivial and non-trivial saddles truncates suggesting that normal resurgence analysis cannot be directly applied. The first problem is solved by complexifying the squashing parameter, which can be thought of as introducing a chemical potential for the global $U(1)$ rotation symmetry, or equivalently an omega deformation. This effectively introduces a hidden "topological angle" into the theory and the path integral can be now decomposed into a sum over different topological sectors via Picard-Lefschetz theory. The second problem is solved by deforming the matter content making manifest the Cheshire Cat resurgence structure of the supersymmetric theory, allowing us to reconstruct non-perturbative information from perturbative data even when these do truncate., Comment: 38 pages, 9 figures. Added reference to arXiv:1805.12137. Added discussions, comments, and comparisons between the results of this important earlier work and ours

First we compute the $\mbox{S}^2$ partition function of the supersymmetric $\mathbb{CP}^{N-1}$ model via localization and as a check we show that the chiral ring structure can be correctly reproduced. For the $\mathbb{CP}^1$ case we provide a concrete realisation of this ring in terms of Bessel functions. We consider a weak coupling expansion in each topological sector and write it as a finite number of perturbative corrections plus an infinite series of instanton-anti-instanton contributions. To be able to apply resurgent analysis we then consider a non-supersymmetric deformation of the localized model by introducing a small unbalance between the number of bosons and fermions. The perturbative expansion of the deformed model becomes asymptotic and we analyse it within the framework of resurgence theory. Although the perturbative series truncates when we send the deformation parameter to zero we can still reconstruct non-perturbative physics out of the perturbative data in a nice example of Cheshire cat resurgence in quantum field theory. We also show that the same type of resurgence takes place when we consider an analytic continuation in the number of chiral fields from $N$ to $r\in\mathbb{R}$. Although for generic real $r$ supersymmetry is still formally preserved, we find that the perturbative expansion of the supersymmetric partition function becomes asymptotic so that we can use resurgent analysis and only at the end take the limit of integer $r$ to recover the undeformed model., 42 pages, 5 figures, typos fixed

Pathology of the rhinencephalon has been a subject of interest in the fields of neurodegenerative diseases, trauma, epilepsy and other neurological conditions. Most of what is known about the human rhinencephalon comes from comparative anatomy studies in other mammals and histological studies in primates. Functional imaging studies can provide new and important insight into the function of the rhinencephalon in humans but have limited spatial resolution, limiting its contribution to the study of the anatomy of the human rhinencephalon. In this study we aim to provide a brief and objective review of the anatomy of this important and often overlooked area of the nervous system. RESUMO As patologias do rinencéfalo tem sido assunto de interesse para os estudiosos das doenças neurodegenerativas, do traumatismo cranio-encefálico, epilepsia e outras doenças neurológicas. A maior parte do conhecimento sobre a anatomia do rinencéfalo vem de estudos de anatomia comparativa com outros mamíferos e estudos histológicos em primatas. Estudos de imagem funcional, apesar de proporcionarem informações úteis e interessantes a respeito do funcionamento do rinencéfalo em humanos, sofrem de resolução espacial limitada, e portanto contribuem de maneira restrita ao estudo dos limites das áreas anatômicas. Neste artigo buscamos proporcionar ao neurologista e neurocientista interessado uma revisão prática e objetiva da anatomia desta área importante e muitas vezes esquecida do sistema nervoso.

performance artists, per se, but rather artists who used whatever was at their disposal (neon and steel were also part of their vocabulary) to actualize something of interest. Other artists, however, do align themselves with the practices of technology (video, film) or performance (theatre, opera, dance) and become identified with these artistic forms as inseparable from their identities as artists.

The music for Einstein on the Beach was written in the spring, summer and fall of 1975. Bob Wilson and I worked directly from a series of his drawings which eventually formed the designs for the sets. Prior to that period, we had reached agreement on the general thematic content, the overall length, its divisions into 4 acts, 9 scenes and 5 connecting "knee plays." We also determined the makeup of the company-4 principal actors, 12 singers, doubling when possible as dancers and actors, a solo violinist, and the amplified ensemble of keyboards, winds and voices with which my music is usually associated. The three main recurring visual themes of the opera (Train/Trial/Field with Spaceship) are linked to three main musical themes. The overall thematic divisions of the opera are as follows