This guest post from Jane Secker and Chris Morrison originally appeared on the CILIP blog last year to coincide with the publication of the second edition of Copyright and E-learning: a guide for practitioners.
We are re-publishing the blog now in the lead up to the CILIP Copyright Conference on Friday 7th April at which both Jane and Chris are speaking.
About the book
The book covers copyright law and its relationship to e-learning or online learning. It is designed to be read by practitioners and so it tries to offer pragmatic advice on a range of topics issues from digitising orphan works, to lecture recordings, the use of social media and MOOCs. We tried to write the book in a jargon-free easily digestible way, to hopefully make it a practical guide for learning technologists, but also teachers, lecturers and other learning support staff in higher education, schools, further education and even in a workplace learning setting, where online learning is used extensively.
Six tips for practitioners
We’ve taken six key ideas from the book’s conclusion, which we feel are really important to helping you approach any copyright issue:
1. Everything is about risk
Realize that everything is about risk and there are ways of mitigating the risk. For example, devising helpful and timely education and training programmes, but also having institutional policies such as notice and takedown policies on the VLE or any online platform where content can be shared. You will need to decide how comfortable you (and your institution) are towards risk if you decide to rely on copyright exceptions, or are not sure whether a licence covers what you wish to do.
2. Break down any copyright query into its constituent parts
Break down any copyright query into its constituent parts – what type of copyright works does it concern, how will they be used, are there any licences that might apply and finally could a copyright exception come into play? This inevitably requires developing your own technical knowledge to tackle these queries and we’ve provided numerous examples of further resources and training that might help you in the book.
3. Use empathy
Use empathy – in any given situation understanding what someone is actually trying to do when they approach you with a copyright query is helpful. However empathy is important from both sides so try to get the person to think about what the creators and rights holders of a work had in mind too. Ideally this will help you put your copyright support work in context and frame it as a collaborative enterprise.
4. Understand that there is lots of great ‘stuff’ available for free
Understand that there is lots of great ‘stuff’ available for free or under liberal licence terms, such as Creative Commons. Many people are happy to share their work with you provided they are credited, particularly when it’s for educational use, but recognize that there are often good reasons why some content costs money or is not available to you.
5. Recognize that good manners go a long way
Recognize that good manners go a long way – asking nicely, giving credit and building creative networks are a fundamental component of education and research. Over time you can build up your network of contacts, and often knowing the right person to ask will give you access to a wider network of resources which can be used at little or no cost.
6. Remember, you are not alone
Remember, you are not alone. It’s easy, particularly if you are faced with a tricky copyright situation to feel you are expected to know all the answers and this clearly isn’t going to be possible and no one is an island. So build up your support network, both within your organization and externally, and get to know a few copyright experts who can help you out when you get stuck!
Find out more
If you’d like to find out more about the book you can visit our website where we have made the list of further resources available. You can also find out about some of the copyright education initiatives we’d been involved in recently. If you are interested in hearing more about some of the challenges related to copyright and e-learning, you may also wish to listen to the recent podcast we recorded with James Clay. We also plan to make the sixth chapter from the book, on copyright education, available on open access.
About the authors
Since the book was published in June 2016 Jane and Chris have been busy. Jane started a new job at City, University of London after Easter as Senior Lecturer in Educational Development and Chris is completing his Postgraduate diploma in Copyright Law at Kings College London. Jane and Chris are presenting at the CILIP Copyright Conference, Jane is keynoting at CILIP Wales in May 2017 and both Jane and Chris are keynoting at CILIP Scotland conference in June in Dundee. They will be speaking about their research into librarians experiences of copyright in their professional lives.
Work is also continuing apace to develop educational games for copyright education. Copyright the Card Game is being adapted for US law and a prototype of the game has been produced by Paul Bond a librarian at University of Pittsburgh, Johnstown campus. There is also work being undertaken to develop an Irish and Canadian version of the game. Chris and Jane are also demonstrating a prototype of their new game, The Publishing Trap, at LILAC 2017 on 10-12 April in Swansea. This game was the runner-up in the Lagadothon games competition and is aimed at early career researchers to help them understand the choices they make about scholarly communication and sharing their research.
What are the main copyright challenges you face? Let us know in the comments
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Facet Publishing have announced the publication of Copyright and E-learning: A guide for practitioners, 2nd edition
Fully up-to-date with recent changes to copyright law throughout the world, C
opyright and E-learning has been completely revised by co-authors
Jane Secker and Chris Morrison.
The book provides practical advice about a variety of copyright issues for those working in the broad field of online learning. It seeks to challenge the notion that copyright is always an obstacle to teaching with digital technology, or that copyright laws are out of step with the ways in which modern teachers and students wish to work.
Jane Secker said, “As with any book about technology, five years is a long time, and technological developments made much of the contents of the first edition in need of real updating. The book is designed to be read by practitioners and so it offers pragmatic advice on a range of issues from digitising orphan works, to lecture recordings, the use of social media and MOOCs. We wrote the book in a jargon-free easily digestible way, to make it a practical guide for learning technologists, but also teachers, lecturers and other learning support staff in higher education, schools, further education and even in a workplace learning setting, where online learning is used extensively”.
The book is based on best practice developed by leading institutions that are supporting students in a blended learning environment and contains seven case studies illustrating copyright and e-learning in practice throughout the world.
Copyright and E-learning will enable readers to be more confident that they are using technologies legally and they are not exposing their institution to the risk of legal challenges from publishers and other rights holders. It will also help readers to understand how copyright exceptions and licences can help to provide access to resources for their students and provide a framework for dealing with copyright queries and for offering training and support in their institutions.
Guest post by Jane Secker
The second edition of the 2010 book Copyright and E-learning: A guide for practitioners is now available. The book covers the topic that has fascinated me for over a decade and been central to the job I do at LSE: copyright law and its relationship to e-learning or online learning.
This edition of the book benefits from being co-authored by Chris Morrison, who is Copyright Compliance and Licensing Officer at the University of Kent. Chris has not only helped me to improve and update the book, but made the research and writing process more enjoyable. When I first approached Chris to help update the book, I thought that his
unbounded pedantry forensic attention to detail and wealth of knowledge about broader copyright issues might make him a useful proof-reader. I had done a first run through of the book to identify some key areas I wanted to update in light of the Hargreaves Review in 2014 and the new copyright exceptions in UK law. However, overall I felt much of the first edition might remain the same, perhaps with a few changes to take into account new terminology. It quickly became apparent once we started reviewing the content and discussing the book, that we had the opportunity to significantly update it, and make it a far better book. It was also clear I had more than a proof-reader but a co-author. As with any book about technology, 5 years is a long time, and technological developments made much of the contents of some chapters in need of real updating. For example, the term web 2.0 used throughout the first edition, really started to sound very dated.
Much of the intentions behind the first edition remain however. The book is designed to be read by practitioners and so it tries to offer pragmatic advice on a range of topics issues from digitising orphan works, to lecture recordings, the use of social media and MOOCs. We tried to write the book in a jargon-free easily digestible way, to hopefully make it a practical guide for learning technologists, but also teachers, lecturers and other learning support staff in higher education, schools, further education and even in a workplace learning setting, where online learning is used extensively.
Find out more about the book here or read Jane and Chris’ post on the CILIP blog where they provide six practical tips that are important to helping you approach any copyright issue.
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