University of texas libraries’ copyright crash course


Published on

This PowerPoint presentation was for a review of the University of Texas Libraries' Copyright Crash Course.

Published in: Business, Technology
1 Like
  • Be the first to comment

No Downloads
Total views
On SlideShare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide

University of texas libraries’ copyright crash course

  1. 1.  Millions of digitization projects › Google, Amazon, Yahoo and Microsoft and others are partnering with cultural institutions to bring collections to the public. › Foundations are providing financial support for these projects.Source: (2012) 2
  2. 2.  Digitizationcreated historic interest via the public domain › Technological innovation has increased the potential to share and to inform. › Laws have locked down most of the works of the 20th century providing motivation for authors to create and distributors to distribute.  Policy of overprotection  Slow legislative changes Source: (2012) 3
  3. 3.  Digitizationcreated historic interest via the public domain (continued) › Search tools (e.g. Google Book Search) have improved for the public domain. › Best practices are being outlined by libraries for approved searches (i.e. following copyright guidelines). Source: (2012) 4
  4. 4.  Somecommon assumptions are wrong › Materials found on the internet are not all public domain. › Generating something on a tangible medium is copyrighted without notice. Source: (2012) 5
  5. 5.  Thesaving grace: implied and express licenses to use internet materials › Publishing materials to the internet implies a certain expectation that others will read, download, print and distribute your work similar to a letter to a newspaper editor. › The implied license is still vague on what all a reasonable internet author would expect. › A Creative Common license spells out what the author wants, including conditions for sharing. Source: (2012) 6
  6. 6.  Liability for posting infringing works › RIAA lawsuits have determined that as individuals we are liable for coping or distributing copyrighted works without the proper permissions. › Universities and libraries are also liable and must monitor their networks and investigate infringement allegations. Source: (2012) 7
  7. 7.  The role of fair use › Educational, research and scholarly uses are no longer clear cut fair uses regardless if analog or digital. › Best practices are to find materials that are clear in expressing rights, to search Creative Commons for licensed works, or to limit usage to materials intended for educators or students. Source: (2012) 8
  8. 8.  Collective rights organizations › Copyright Clearance Center (CCC) maintains license registry on books and journal articles.  has information for international agencies.  Copyright Licensing Agency (CLA), CLARA and Very Extensive Rights Data Information (VERDI) are examples of foreign collectives. Source: (2012) 9
  9. 9.  Collective rights organizations (continued) › Only a select organizations copyright, license and maintain image archives for educational use as most are devoted to commercial use.  Artists Rights Society, Media Image Resource Alliance (MIRA) and Allan Kohls Art Image for College Teaching are examples of educational collectives. › Freelance writers, music performance, play rights, news archives, and movies have their own collectives and archives. Source: (2012) 10
  10. 10.  Contacting the owner › Wake Forest University has created a site with links to many publishers. › The Literacy Marketplace (for books) and Ulrichs International Periodicals (for journals) are sources that can help to identify a publisher. › Written, telephone or electronic communication are acceptable methods of contact. Source: (2012) 11
  11. 11.  Changed owner and authority › For a fee, the Copyright Office offers online services (e.g. professional searches) to locate the real copyright owner. › Verify that an author has the appropriate copyright when unsure (e.g. materials produced for a business or organization). › Obtain written permission, which clearly outlines what the permissions are from the author, creator or publisher. Source: (2012) 12
  12. 12.  Changed owner and authority › Explore all options when having difficulty identifying owner or obtaining a response from an owner. › Unsuccessful efforts with obtaining permissions doesnt remove the liability of copyright infringement. Source: (2012) 13
  13. 13. Harper, G. (2001, 2007). Copyright crash course. University of Texas Libraries. Retrieved from Source: (2012) 14