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

2.  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: http://copyright.lib.utexas.edu/ (2012) 2

3.  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: http://copyright.lib.utexas.edu/ (2012) 3

4.  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: http://copyright.lib.utexas.edu/ (2012) 4

5.  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: http://copyright.lib.utexas.edu/ (2012) 5

6.  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: http://copyright.lib.utexas.edu/ (2012) 6

7.  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: http://copyright.lib.utexas.edu/ (2012) 7

8.  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: http://copyright.lib.utexas.edu/ (2012) 8

9.  Collective rights organizations
› Copyright Clearance Center (CCC)
maintains license registry on books and
journal articles.
 Copyrightlaws.com has information for
international agencies.
 Copyright Licensing Agency (CLA), CLARA
and Very Extensive Rights Data Information
(VERDI) are examples of foreign collectives.
Source: http://copyright.lib.utexas.edu/ (2012) 9

10.  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 Kohl's 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: http://copyright.lib.utexas.edu/ (2012) 10

11.  Contacting the owner
› Wake Forest University has created a site
with links to many publishers.
› The Literacy Marketplace (for books) and
Ulrich's International Periodicals (for journals)
are sources that can help to identify a
publisher.
› Written, telephone or electronic
communication are acceptable methods of
contact.
Source: http://copyright.lib.utexas.edu/ (2012) 11

12.  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: http://copyright.lib.utexas.edu/ (2012) 12

13.  Changed owner and authority
› Explore all options when having difficulty
identifying owner or obtaining a response
from an owner.
› Unsuccessful efforts with obtaining
permissions doesn't remove the liability of
copyright infringement.
Source: http://copyright.lib.utexas.edu/ (2012) 13

14. Harper, G. (2001, 2007). Copyright crash course.
University of Texas Libraries. Retrieved from
http://copyright.lib.utexas.edu/index.html
Source: http://copyright.lib.utexas.edu/ (2012) 14