Abstract:This report summarizes research into the current application of fair use to meet the missions of U.S. academic and research libraries. Sixty-five librarians were interviewed confidentially by telephone for around one hour each. They were asked about their employment of fair use in five key areas of practice: support for teaching and learning, support for scholarship, preservation, exhibition and public outreach, and serving disabled communities. Interviewees reported a strong commitment to obeying copyright la… Show more
“…This gap is being filled now. Since 2004, studies have been conducted, among others, with filmmakers, media literacy teachers, film and communication professors, as well as librarians (Ad Hoc Committee on Fair Use and Academic Freedom, 2010; Adler et al, 2010; Aufderheide, 2007; Aufderheide and Jaszi, 2004, 2007, 2011). These studies have substantially solidified conclusions drawn by legal scholars and cultural studies scholars from legal theory, historical analysis, and anecdote.…”
Section: Copyright Fair Use and Communities Of Practicementioning
As digital opportunities emerge in the visual arts—to produce multimedia art and digital scholarship, publish online, and hold online museum exhibitions—old copyright frustrations have worsened in a field where getting permissions is routine. A national survey of 2828 visual arts professionals, combined with 100 in-depth interviews of visual arts practitioners throughout the United States, explored how visual arts professionals use the US copyright doctrine of fair use. Results showed widespread lack of confidence and misconceptions about fair use; resulting exaggerated risk assessment; personal and social relations within the community that deter reliance on fair use; and consequent delays, deformations, and failure to execute mission.
“…This gap is being filled now. Since 2004, studies have been conducted, among others, with filmmakers, media literacy teachers, film and communication professors, as well as librarians (Ad Hoc Committee on Fair Use and Academic Freedom, 2010; Adler et al, 2010; Aufderheide, 2007; Aufderheide and Jaszi, 2004, 2007, 2011). These studies have substantially solidified conclusions drawn by legal scholars and cultural studies scholars from legal theory, historical analysis, and anecdote.…”
Section: Copyright Fair Use and Communities Of Practicementioning
As digital opportunities emerge in the visual arts—to produce multimedia art and digital scholarship, publish online, and hold online museum exhibitions—old copyright frustrations have worsened in a field where getting permissions is routine. A national survey of 2828 visual arts professionals, combined with 100 in-depth interviews of visual arts practitioners throughout the United States, explored how visual arts professionals use the US copyright doctrine of fair use. Results showed widespread lack of confidence and misconceptions about fair use; resulting exaggerated risk assessment; personal and social relations within the community that deter reliance on fair use; and consequent delays, deformations, and failure to execute mission.
“…If, as Charbonneau and Prieh found, only 49% of these experts felt confident in their ability to answer the questions assigned them (2014), they might fall into the same use of restrictive guidelines and risk management that Adler, Butler, Aufderheide, & Jaszi pinpointed as impairing "the accomplishment of the academic and research libraries' mission" (2010, p1). In addition to the administrative support of academic and research librarians making decisions on copyright called for by Adler, Butler, Aufderheide, & Jaszi (2010), information school graduates need to have been provided a solid grounding in information law before graduation (Gathegi and Burke, 2008). This is especially important for the large number of respondents whose work straddled departments or who retained positions as the only librarian at a small institution, where on the job training could be even more scarce.…”
This article will detail the results of a survey distributed within the United States of America to professionals working in academic, public, school/media, and special libraries that asked respondents to rate their daily copyright and intellectual property knowledge needs vs. their actual knowledge and education in this area. The results were then compared with an analysis of course content in current ALA accredited LIS programs in the U.S. gathered from online course descriptions to determine whether there is evidence pointing to a need to alter the curriculum of LIS programs to better prepare graduates for the copyright and intellectual property demands they will face on the job. The combined data will inform Library Science colleges and educators as to whether an instruction deficit exists in their current curricula and will give these colleges and educators data to support the development of new programs.
“…Consequently, librarians selected only the "safe" materials that did not necessarily serve researchers' needs, or they postponed digitization projects altogether. 6 The majority of materials available through the Europeana.eu portal (which brings together digitized content from 1,500 European museums, archives, and libraries) is in the public domain, which suggests that the participating institutions concentrated their first digitization efforts on materials for which copyright is not an issue. 7 Some studies of institutions have attempted to obtain the necessary permissions to digitize materials in which third parties own the copyright.…”
This article reports the findings of a study of the impact of copyright on what U.S. archival repositories select for digitization and the extent to which they seek authorization from rights holders. Based on the website content of 96 repositories, 66 survey responses, and 18 interviews, the findings reveal a wide range of practice. While American repositories are generally conservative in that they digitize holdings that present no copyright complications, there is evidence of a shift from an item-level copyright analysis approach to a bolder risk-assessment approach that may better achieve the archival mission to make holdings available for use. The article identifies tools to support a risk-assessment approach and suggests areas of further research to identify best practices.
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