This module introduces the project Copyright for Librarians. This module is a draft.
The emergence of the Internet and the digital world has changed the way people access produce and share information and knowledge Yet people in Africa face challenges in accessing scholarly publications journals and learning materials in general At the heart of these challenges and solutions to them is copyright the branch of intellectual property rights that covers written and related works This book gives the reader an understanding of the legal and practical issues posed by copyright for access to learning materials in Africa and identifies the relevant lesson best policies and best practices that would broaden and deepen this access This book is based on the work of the African Copyright and Access to Knowledge ACA2K research network launched in late 2007 as a network of researchers committed to probing the relationship between copyright and learning materials access in eight African countries Egypt Ghana Kenya Morocco Mozambique Senegal South Africa and Uganda
This resource guide is a compendium of the individual handbooks that were prepared for the AgShare university partners. It is subdivided into sections, such as lecture materials, student readings, websites, and video.
Mr. Rens is the Legal Lead for Creative Commons South Africa, and currently resides in San Francisco where he works on issues around access to knowledge, collaborative creative works and the Digital Divide.
Bodo Balazs, economist, assistant lecturer, researcher at the Budapest University of Technology and Economics, Department of Sociology and Communications, Center for Media Research and Education since 2001. Fulbright Visiting Researcher at Stanford Law School. Project lead for Creative Commons Hungary.
His academic interests include sociocultural impacts of new media, media regulation, online communities. Leader of the development of several commercial internet applications as well as numerous academic research projects dealing with digital archives, e-learning and online communities.
This document is a code of best practices that helps educators using media literacy concepts and techniques to interpret the copyright doctrine of fair use. Fair use is the right to use copyrighted material without permission or payment under some circumstances—especially when the cultural or social benefits of the use are predominant. It is a general right that applies even in situations where the law provides no specific authorization for the use in question—as it does for certain narrowly defined classroom activities.
This guide identifies five principles that represent the media literacy education community’s current consensus about acceptable practices for the fair use of copyrighted materials, wherever and however it occurs: in K–12 education, in higher education, in nonprofit organizations that offer programs for children and youth, and in adult education.
This document is a code of best practices that helps creators, online providers, copyright holders, and others interested in the making of online video interpret the copyright doctrine of fair use. Fair use is the right to use copyrighted material without permission or payment under some circumstances.
The objective of Code v1 and Code v2 is to introduce and defend a particular way of understanding regulation, and to describe the trend that we should expect regulation in cyberspace to take.
While Lawrence Lessig himself has strong views about preserving important liberties that cyberspace originally protected, this book does not push any particular set of values. Unlike Lessig's other books, The Future of Ideas, and Free Culture, this book has no particular political agenda.
Every collection needs a place where a physical copy of the results is kept safe, and a way to keep track of what rights collaborating scholars have, and a means of extending some of those rights to others. An undefinitive beginning of a guide to something that's usually simple, but can get complex.
This course provides an introduction to the technology and policy context of public communications networks, through critical discussion of current issues in communications policy and their historical roots. The course focuses on underlying rationales and models for government involvement and the complex dynamics introduced by co-evolving technologies, industry structure, and public policy objectives. Cases drawn from cellular, fixed-line, and Internet applications include evolution of spectrum policy and current proposals for reform; the migration to broadband and implications for universal service policies; and property rights associated with digital content. The course lays a foundation for thesis research in this domain.
Fusion provides guidance for third sector, user-led health organizations on setting up legal frameworks for collaboration. It provides a useful overview of models of consortium as well as some consortium monitoring tools.
This module presents clear information that the copying of copyrighted music for rehearsal and performance is clearly illegal. There are circumstances for small quantity copying use in classrooms but it is clear that copying music for choral ensembles to rehearse and perform is illegal. This applies to all situations including churches.
copyrighteous is where I post scraps of text on a variety of topics. It's a grab bag of short reflections and ideas (usually humorous) and longer reviews and responses to things I read or have been thinking about. The more critical pieces tend to focus on issues of free software, intellectual property and copyright, and issues of free access to knowledge.
The purpose of this site is to encourage librarians to discuss copyright concerns and seek feedback and advice from fellow librarians and copyright specialists. The Network is sponsored by the American Library Association Office for Information Technology Policy.
A blog entry that discusses and shares video from a Web seminar entitled "Yes, You Can Use Copyrighted Materials! Conquering Copyright Confusion." The Web seminar covered the NCTE Code of Best Practices for Fair Use in Media Literacy Education.
Use this chart to understand the rights issues which may arise in content you wish to use in your OER, and the tools you can refer to in order to deal with the flagged issues.
Remember to repeat this process for each piece of contnet you wish to use as there may be multiple layers of content from different sources
This toolkit provides a variety of resources designed to assist trainers in preparing and offering a workshop that introduces participants to copyright as it relates to distance education. It describes the basic features of copyright, identifies institutional issues and concerns, and outlines ways to deal with them. It is appropriate for academic staff involved in writing and presenting course materials; administrative staff involved in publishing, purchasing, selling, and presenting courses and course materials; and institutional staff involved in setting up procedures and policies on courses and course materials through central administration, the library, or a learning resources centre.
This series of three modules (subsequent modules are linked at the bottom of this page) is intended to provide an overview of U.S. Copyright Law, both as it is written in law and as it functions in the courts. The evolution of copyright law in response to new technologies, the specifics of U.S. Copyright Law, and significant copyright court cases are all discussed. This first module is a basic overview of U.S. Copyright Law: what it is, the types of works it covers, and the protections it guarantees creators.
This series of three modules (see bottom of page for links to modules 1 and 3) is intended to provide an overview of U.S. Copyright Law, both as it is written in law and as it functions in the courts. The evolution of copyright law in response to new technologies, the specifics of U.S. Copyright Law, and significant copyright court cases are all discussed. This second module focuses on the history of U.S. Copyright Law, highlighting the motivations that have structured copyright law over time and changes in the law which have significantly affected both its scope and content.
A copyright is the limited protection of the expression of an original idea. These expressions, as defined by Section 102 in Title 17 of the United States Legal Code, include literary, musical, dramatic, choreographic, pictorial, graphic, sculptural, audiovisual, and architectural works in any tangible form. It is important to note that it must be tangible -- copyright law protects the physical representation of ideas. Interesting dilemmas arise from this definition -- for example, one person might have the copyright for the musical notation for a particular song, while another person (or, oftentimes, several different people) might have a copyright for their particular sound recording of the song.
