Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.

Creative and collaborative approaches to copyright education


Published on

Presentation given by Jane Secker and Chris Morrison at ECIL 2017, St Malo, France 18th September

Published in: Education
  • Be the first to comment

Creative and collaborative approaches to copyright education

  1. 1. Creative and Collaborative Approaches to Copyright Literacy: experiences from the UK Jane Secker and Chris Morrison City, University of London & University of Kent ECIL 2017: 18-22 September, St Malo, France
  2. 2. “Excited - like the idea that copyright is a gateway. Should enable access to culture, rather than barrier” “Warm and Fuzzy” “Love it! It's kept me in the lifestyle to which I have become accustomed”
  3. 3. “Confused, cautious, faintly nauseous!” “Frustrated, confused. Can I risk it? Can my organisation risk it?” “Worried, anxious” “Like the receiver (and thrower) of a hot potato”
  4. 4. Copyright literacy is…. “acquiring and demonstrating the appropriate knowledge, skills and behaviours to enable the ethical creation and use of copyright material.” Secker and Morrison, 2016, p.211
  5. 5. • Slide to illustrate the key is embedding copyright literacy throughout our institutions • Institution logo from the Publishing Trap with copyright literacy logo? Embedding Copyright Literacy
  6. 6. Phenomenography
  7. 7. Copyright as an experience Category 4: Copyright is an opportunity for negotiation, collaboration and co-construction of understanding Category 1: Copyright is a problem Category 2: Copyright is complicated and shifting Category 3: Copyright is a known entity requiring coherent messages
  8. 8. Category 1: copyright is a problem “It’s not like other areas where I can help people and people want an answer…. I have done this job for years and I didn’t used to get these sorts of queries.” Focus Group participant, January 2016
  9. 9. Category 2: copyright is complicated “For non-copyright queries the answer is yes or no, or a series of instructions. For copyright queries the actual answer is maybe, maybe – and that is why it is different - you can’t give them the answer they want.” Focus Group participant, January 2016
  10. 10. Category 3: copyright is a known entity “….the internet has made that all the more important hasn’t it? Otherwise you are laying open the institution to getting into trouble with publishers if they don’t adhere to what they are supposed to be doing.” Focus Group participant, January 2016
  11. 11. Category 4: copyright is an opportunity “I always think when I am explaining [copyright] to people I would like to be more aggressive … in terms of these are our collections and we manage them properly and in so doing so we might make them openly available because it is within our gift to do and no one is being affected if we put 100 year old census data online.” Focus Group participant, January 2016
  12. 12. Critical copyright literacy Education not training Balance between content and approach Getting comfortable with uncertainty Avoiding binaries ?
  13. 13. The role of the copyright officer
  14. 14. Headline findings …. 66% of institutions in the UK have a designated copyright officer (higher in Higher Education) 74% are paid more than £30K per annum They are 4 times more likely to be a librarian than to have legal training 63% of them are based in the Library 65% of institutions have other staff also involved in copyright matters
  15. 15. What do they do? Providing advice and support for staff Writing printed or online guidance Advising on/obtaining copyright permissions Providing advice and support for students / visitors / library users Running workshops and training Advice on collective licensing for the organisation 73 61 60 56 50 46
  16. 16. Training and support No compulsory copyright training in 78% of institutions Training delivered to staff, researchers, PhD students, other students Workshops, lectures, guides and web pages most popular type of support Copyright specialists relied on external training and peer group support
  17. 17. Building confidence and resilience
  18. 18. Communities of practice
  19. 19. Empowering the UK Copyright Literacy Community Licences Exceptions
  20. 20. Copyright the Card Game v2.0 Works usages licences exceptions
  21. 21. The Publishing Trap
  22. 22. Further reading Morrison, C and Secker J. (2015) Copyright Literacy in the UK: a survey of librarians and other cultural heritage sector professionals. Library and Information Research. 39 (121) Morrison, C & Secker, J. (2017). Understanding librarians’ experiences of copyright: findings from a phenomenographic study of UK information professionals. Library Management, 38 (6/) Secker, J and Morrison, C. (2016) Copyright and E-learning: a guide for practitioners. Facet publishing: London. Chapter 6: Copyright education and training available online. Todorova, Tania et. al. (2017) Information Professionals and Copyright Literacy: A Multinational Study. Library Management, 38 (6/7). Todorova, T., Trencheva, T., Kurbanoğlu, S., Dogan G., & Horvat, A. (2014) A Multinational Study on Copyright Literacy Competencies of LIS Professionals. Presentation given at 2nd European Conference on Information Literacy (ECIL) held in Dubrovnik. October 2014. Retrieved March 13, 2015 from @UKCopyrightLit
  23. 23. Image Credits Slide 1, 2,, 19, 20, 23: Taken by Jane Secker / Chris Morrison CC-BY Slide 3: Photo by Amber Litzinger CC-BY Slide 4: Panic by Nate Stelner Public Domain Slide 7: Phenomena by Nick Ares CC-BY Slide 13: Critical Copyright Literacy: images from Open clipart Slide 14: Lego police officer by Martin @pokipsie Rechsteiner CC-BY Slide 18: Brene Brown book cover / You Tube image all rights reserved. Photo of Jane Secker in the Coliseum CC-BY Slide 22: Copyright the Card Game at CILIP Wales Conference © Whole Picture used with permission Slide 24: Kitchener Wants You by Alfred Leete, modified by Chris Morrison