1. Copyright Crash Course By Mario A. Ortiz EDTC 6340.64

8. ask whether they own the copyright or whether the work was work for hire.

9. ask whether they have conveyed away any of their rights, and if so, to whom.The author is usually the owner

10. Copyrights don't manage themselves well There are many aspects to effective management of your copyrights When you commercialize your works you can reserve the right to publicly archive your work are any costs involved? When you don't commercialize your works Think about how you like to use others works; give others the rights you yourself think are reasonable. Copyright's bloated bundle gives you the exclusive rights to make copies (any and all copies), to distribute your work (to the public or to even offer it to the public), to display and perform your work publicly - for your lifetime plus 70 additional years.

13. It has a policy on the use of copyrighted materials

14. It provides accurate information to faculty, students and staff about copyright

15. Its systems will not interfere with technological controls within the materials I want to use

16. The materials I want to use are specifically for students in my classFor additional information refer to : http://copyright.lib.utexas.edu/teachact.html#checklist

17. Fair use of copyrighted materials Why is fair use like this, and does it have to be this way? copyright owners and users and their lawyers agree that fair use is so hard to understand that it fails to provide effective guidance for the use of others' works today. In fact, no one strategy for acquiring legal authority to use others' works is enough today. We would all appreciate a clear, crisp answer to that one, but far from clear and crisp, fair use is better described as a shadowy territory whose boundaries are disputed, more so now than ever, since it applies in the online environment.

18. Bibliographies http://copyright.lib.utexas.edu/copypol2.html www.google.com http://creativecommons.org/licenses/ https://turnitin.com/static/index.php