I Can’t Believe It’s Not Icepops!: speakers and abstracts

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11:15-11:45 Lightning talks 1

Beth Pearce, International Baccalaureate – Managing Risk: Copyright Policy and Practice

Beth Pearce is the Associate Manager, Copyright at the International Baccalaureate (IB).

Beth is based in the IB’s Global Centre in Cardiff, which is responsible for assessment development and delivery. Assessment development and delivery poses many complex challenges including security, quality, non-negotiable delivery dates for schools, regulatory compliance and not least, copyright!

The IB assessment division typically produces over 1,300 assessments per annum for its Diploma and Middle Years Programmes, in multiple global territories, across different time zones and in over 80 languages. What this means in terms of content is that approximately 4,000 ‘assets’ or pieces of material are being considered at any one time during rolling production schedules.

Beth was tasked with producing a practical and pragmatic copyright policy for the assessment division, which aims for maximum compliance and minimum infringement, whilst also being mindful of the necessity for risk-based decisions to be made daily in respect of third-party assets used in assessments. Managing risk is not an abstract concept for copyright users. Beth will highlight the steps being taken within the IB’s assessment division to upskill colleagues so that they can view, consider and use third-party content confidently and legally.

Helen Balfour, Murdoch University – Lost in Translation: Communicating the complexity of copyright for compliance at your university.

Transitioning to my role as copyright coordinator was challenging and exciting. My goal when I began was to create, and continue to create, a culture of copyright compliance at my university. I want to share my experience of my first three years as Copyright Coordinator and how my goal was for copyright to be at the forefront of the minds of library and academic staff when creating learning resources or doing research at Murdoch University. To do this I needed simple and easy to follow informational resources and to be proactive in educating my university community. This paper outlines the steps I took to create this culture of compliance and also transitioning into my role as Copyright Coordinator. 

Leslie Lansman, Springer Nature – All Literary Works are Not Created Equal

Protection of the rights of authors in their literary works depends significantly on where the author publishes their work. From Art 15 of the DSM to Plan S, essentially the same work receives vastly different treatment. Here, we will look at a ‘science news’ article published in a journal, in a periodical, in a newspaper, and on an academic blog to see the difference in protection such authors receive.

Irene Barranco Garcia, University of Greenwich, Teaching Copyright by Stealth

I have been Copyright Manager at the University of Greenwich for five years now. I moved to it from my role as Subject Librarian, which allowed me to use my relationship with academic colleagues to introduce the subject of copyright compliance knowing first hand the needs of the academic community. From the beginning I discovered that collaborating with colleagues supporting teaching and learning in the institution was my best shot to develop a robust copyright literacy in my University on a seamless way.

The challenge to move teaching to an online environment during the pandemic made very relevant the need of support activities for academic colleagues who wanted clarity on using content in the virtual classroom but were unsure about the legality. Copyright workshops were offered and advertised using the name of the Enhancement Team and promoted under a You Can Do approach: Let’s investigate how to do all the things you want to instead of learn about Copyright Compliance and how to not break copyright!

My approach have always been to equip colleagues with knowledge and experience to make confident decisions regarding the use of third party content using all the tools available to them such as CC licenses and the exceptions in the law. And if they achieve this, without even noticing it is about copyright, even better!

11:45-12:30 World Café 1

Hannah Pyman, University of Essex – Is play dough ‘virtually’ worthless? Delivering a hands-on session in an online format

Gamified teaching is usually delivered in a hands-on format, and this was certainly the case with Copyright Dough, a game designed by Hannah Pyman and Katrine Sundsbo in 2019. Copyright Dough uses play dough to facilitate discussion around copyright licences and exceptions, but as the pandemic brought a shift online, this game-based approach to teaching had to be reimagined. The challenge with this transformation was to maintain the fun, creativity and engagement that was crucial to Copyright Dough’s success. The pre-recorded video for this session will outline the basic premise of how Copyright Dough has been transformed to an online format, while the live session will allow for questions, discussion, and suggestions for further development in the future.

View Hannah’s video and slides.

Dina Martzoukou, Robert Gordon University – Maddie is Online’: The Copyright series. Ready to bang the gavel?

This session will offer an overview and brief demonstration of the new Copyright series in ‘Maddie is Online’ project (https://maddiesonline.blogspot.com/) (SLIF funding 2020).

‘Maddie is Online’ involves online video cartoon stories with real children voice-overs, addressing everyday life experiences of online connectivity and empowering children with skills that help them deal with challenging online phenomena. Beyond the cartoon stories, the series also offers open educational resources and digital lesson plans that can be incorporated into different school subjects or used at home. The impact of this work focuses on keeping a positive dialogue with children around digital connectivity in an innovative way: initiating conversation and empowering children’s digital citizenship skills, creativity and imagination. Following the ‘Copyright and Ownership’ strand of ‘Education for a Connected World’ framework, the new series explores strategies for protecting personal content and crediting the rights of others, exploring Creative Commons Licenses. Pinachu, the Copyright Alien, visits Earth to teach people good strategies for copying things right and Judge Isaias brings justice on the basis of copy wrong behaviours. Mr Isaias is not afraid to bang his gavel and invites you to be very quiet while the case is presented as otherwise he gets really angry!

View Dina’s additional links and resources.

Claudy Op Den Kamp, Bournemouth University – Aaaaand…Cut! ‘Collagementary’ as a Creative (and IP) Learning Tool (Facilitator: Erica Wine)

Second-year students on the BA (Hons) Film at Bournemouth University take the core unit Film Business, which explores film from the perspective of intellectual property (IP), and in which they learn about licensing, the historical development of intellectual property, and contemporary issues, such as piracy. The stress on IP is considered paramount in the creative and learning opportunities that creative reuse can offer to young filmmakers, and so for the unit’s assignment, students are required to make something new out of material created by others, and consider the intellectual property issues that are involved in that process.

This video will focus on a few results of the assignment, which entails producing a 5-7 mins ‘collagementary’ that is composed either wholly or in part from clips from work created by others, and that adheres to the Channel 4 Fair Dealing Guidelines. It also requires a 1,000-word written critical analysis that seeks to justify the intellectual property decisions that the student has made to produce their video, and in which they need to address the creative repercussions of their intellectual property decisions.

It will highlight that the ‘collagementary’ format has enabled the students in a rather playful manner to identify and explain the processes linking production, distribution, circulation and consumption; explain some of the legal and regulatory frameworks that affect media and cultural production, as well as demonstrate a capacity to work within the constraints imposed by the creative industries—all indispensable tools to young filmmakers.

View Claudy’s video.

Emily Hudson, Kings College London, Studying Quotation Norms
Dr Emily Hudson – King’s College London

This talk relates to a new research project being undertaken by Professor Tanya Aplin and Dr Emily Hudson, both from King’s College London. The project relates to the quotation exception introduced into the UK copyright statute in 2014, and asks whether the introduction of this provision has changed practices in the publishing industry. Anecdotal evidence suggests licensing norms remain strong, with publishers often requiring clearance for the reproduction of images and short passages from other works. However, following introduction of the quotation exception, it may be that many permissions are not required as a matter of law. This project uses qualitative and quantitative techniques to: (1) describe current industry practices; (2) assess the impact on these practices, if any, of the new quotation exception; (3) identify the norms that have developed around quotation, and explore the reasons for these norms and whether they are changing; and (4) consider the desirability of new workflows and legal interpretations for the publishing industry. The talk will provide an overview of the project and invite feedback about the proposed methodology and experiences with licensing of text and images. 

14:00-14:30 Lightning talks 2

Anita Walz, Virginia Tech – Copyright & OER “Lite”! An shortened introduction to copyright and open licenses for authors and curators who have sharing in mind

Lengthy, detailed copyright and open-licensing instructional sessions commonly generate glazed-over responses, limited retention, and worse — precious lost momentum and time when starting a new OER project. This presentation shares an applied approach to copyright and open licensing based on frequently asked questions of novice OER collection curators and prospective OER creators. The session integrates important “ah ha” moments, such as “copyright is a default, even if you don’t add a (c)” and “just because something is free on the web does not mean it is in the Public Domain” as well as playful and relevant childhood examples regarding acceptable conditions for borrowing others’ bicycles and the light-hearted examples regarding the value of sharing. The method follows a sequence of inquiry common to conscientious OER collection curators and authors who value making and sharing their original educational works for others’ use. Two adaptable contributor/release documents related to the process will also be shared with attendees.

Kyle K. Courtney, Harvard University – Controlled Digital Lending 2.0: Less Licensing, More Preservation and Access

Examining the expansion and use of CDL method as it continues to empower libraries, archives, museums, and other cultural institutions to provide access to materials to their users in the digital space. While CDL is relatively new, the recent COVID crisis highlighted the need for further exploration of CDL, which has, in effect, become a more normalized practice. CDL has emerged as one of several tools available to institutions to meet their users’ needs, along with interlibrary loan, document delivery, and other access programs. And CDL preserves the “power of the print.” Without ILL, document delivery, and CDL, there would only be licensing. Many licensing agreements are short sighted, and not in the best interest of users or the public at large. And current licensing threatens the purpose, values, and mission of libraries, archives, and museums. It undermines the ability of the public to access the materials purchased, prevents preservation, ILL, and, perpetuates pricing models that vastly outstrip budgets.

Monica VanDieren, Robert Morris University – Learning through Gaming: finding a better understanding of copyright through play

In preparation for writing a thesis, students are often required to take a research methodology course in which they develop skills in researching the literature, collecting and analyzing data, and presenting technical results to various audiences. Especially relevant to writing and presenting the thesis, is an understanding of copyright laws. This topic is often left out of Research Methods textbooks which tend to focus on literature reviews and data collection and analysis. Yet many students have the misconception that “all educational use is fair use” concerning copyright law (Chou, Chan, Wu, 2007), and many faculty self-report “limited knowledge” and having no formal instruction in copyright (Smith et. al., 2006).

To address this issue, we have modified Copyright the Card Game. Copyright the Card Game is a training game designed to teach professionals about copyright law (Morrison, 2015). In this lightning talk, we present our adaptation of this game which is student-focused, involves chance, creativity, and strategy, and results in a winner. Additionally, this game emphasizes the Four Factors of Fair Use (https://copyright.columbia.edu/basics/fair-use.html) and incorporates Creative Commons Licensing. This game has been beta-tested over several years at Robert Morris University and includes original artwork by a Media Arts undergraduate student.

Jenny Greene, Bangor University – “Mission Impossible”? Copyright the card game … online? .. interactive?… in Welsh?

Bangor University library staff have been asked to deliver a Copyright Session for the Coleg Cymraeg Cenedlaethol.

We are planning to make this session a Welsh Language, condensed/adapted version of the ‘Copyright the Card Game’ and thought that the delegates at Ice-Pops might find it interesting to learn how we set about the process of adapting the ‘game’ into a format that could be delivered interactively online.

We launched the Welsh Language version of ‘Copyright the card game’ last year and have recently delivered an adapted version of the game (in English) to an audience of researchers. We are confident we can combine these two sessions, with additional adaptations to develop a format for interactive online delivery.

The audience/participants would be teaching staff appointed by the ‘Coleg’, to deliver Welsh medium education in Welsh Universities. The Welsh Language Coleg’s online teaching sessions are delivered by live, simultaneous webcam links to multiple Universities across Wales.

Our session at Ice-pops would describe the methodology and practicality of creating and delivering this type of session. Hopefully we will also by then be able to include feedback relating to the success of the session.

14:30-15:15 World Café 2

Kat Sundsbo, University of Essex – The Open Access Mystery

Creating the Open Access Mystery: an online role-playing game 

How does one network and engage with others once workshops and conferences move online? This short presentation will give a brief overview of the making of the Open Access Mystery, a whodunnit style role playing game that was created to bring some fun into a lockdown world as well as addressing key issues in scholarly communications.

This presentation will also cover how YOU can play this role-playing mystery with colleagues, friends or students. There’s also a chance to win a limited edition OA Mystery t-shirt…!


Will Cross, NC State University Libraries – Scribbling in the Margins of the Scholarly Communication Notebook for More Playful and Open Copyright Instruction (Facilitator: Hannah Pyman)

How can we connect the robust and inspiring body of materials on display at IcePops and across the field with students currently in graduate programs? How can we build a welcoming, inclusive, and invitational community of practice where students, scholars, and practitioners can share ideas, compare notes, and try out crazy ideas? We’re hoping the answer will be the Scholarly Communication Notebook: https://lisoer.wordpress.ncsu.edu/notebook/

Designed as a repository and community hub for OER and open practices, the SCN offers a space for the unexpected collaboration, exploration, and remix permitted by open licenses. With funds from IMLS, we’re stocking the SCN with creative, non-traditional OER made by people across the field and around the world.

This World Cafe will briefly introduce the SCN and offer several examples of featured copyright literacy resources and practices including a Jeopardy-style quiz show for copyright literacy, a guide for supporting accessibility in scholarly communication, and an Interactive Fiction video game for exploring copyright and scholarly communication in the dystopian world of 202X. Join us to learn more about the SCN and see how you can sketch your own inspiring ideas for copyright education and literacy. Colored pencils, puffy unicorn stickers, and spray paint most welcome!

Emilie Algenio, University of Texas at Arlington Libraries – Have a Thirst for Adventure? Travel the Uncharted Path of Teaching Copyright to Archivists
Emilie Algenio, Copyright/Fair Use Librarian, Texas A&M University Libraries. Photo by Chad Becker.

For a copyright librarian who is a staff of one serving a large population, one way to extend capacity is to develop copyright expertise and knowledge in other librarians and library staff. The presenter extended her capacity by filling a demand to teach copyright to Special Collections staff. The latter must have a working knowledge of copyright law to address issues that arise during everyday business. Examples include accepting a new collection, answering patron questions, and deciding what to digitize for a digital collection. Copyright librarians who are educators and inform practice are challenged by this context, such as the range of copyright literacy among the staff, balancing patron requests with copyright issues and access, and the ubiquity of technology.

Come hear a copyright librarian’s journey in leading an educational program for a Digital Archivist, a Curator, and a Reading Room Coordinator. Together, they became the first copyright literate cohort at the Cushing Memorial Library and Archives, and part of wider efforts to make inroads within this subset of the librarian profession. Instructional approaches include dedicated face-to-face classroom time, using events and guest speakers to extend learning, answering questions collectively, and co-authoring a policy for Special Collections.

Kathy Anders, Texas A&M University Libraries – Composing Copyright: Negotiating Copyright, Fair Use, and Creative Commons in the Creation of a Composition OER

Recently our library and English Department decided to adapt two OER writing textbooks to assign in two lower-division courses. While there was some initial expectation of copyright juggling in the form of obtaining permissions or checking licenses to incorporate existing OER material into the new OER textbooks, the process of negotiating copyright proved to be far more complex than was originally anticipated. As the teams moved through the process of adapting existing material and creating new text, there were three significant areas where copyright emerged as important:

  • Educating composition instructors about copyright and Fair Use in OER textbook creation
  • Negotiating Creative Commons licenses in both the text selection process and final OER licensing
  • Incorporating copyright as an element of information literacy learning into the OERs themselves

This presentation will focus on how each of these elements figured into the process of working with composition instructors to create writing OER textbooks. Attendees will learn what experiences types of education they might need to offer to OER creators who do not have previous copyright knowledge. They will also consider how teaching OER creators about copyright can lead to the integration of copyright education itself into OER texts.