Group items tagged

""Textbooks are expensive," noted Peter Tsigaris, professor of economics at Thompson Rivers University in Kamloops, British Columbia. "And almost all the information is available online. If something else exists that is almost a perfect substitute, and is much cheaper, why would you buy something that is a lot more expensive and outdated?" The tipping point for Tsigaris came two years ago when he determined that available online material was "just as good" as any textbook. He experimented with the idea, using resources such as MOOC content in place of a required text. "MOOCs help organize the information for you," said Tsigaris. "For the students' textbook, I use the Saylor Organization, which is based on the Creative Commons [license], and you can take the material without any copyright issues. Plus I added the Khan Academy to my lectures, and PowerPoint slides, so the students had quite a bit of information.""

Simply put, yes. Yes they can. And should!

"The scenarios to the right are intended to help faculty and students evaluate fair use. These scenarios are illustrative, not exhaustive. "

"students using the openly licensed material were able to more efficiently internalize and remember the information conveyed. Students also rated the quality of the print version of the OER higher than the commercial equivalent, although the digital version received a lower ranking. The authors acknowledge that "the open textbook (in its first edition) and the commercial textbook (in its tenth) are written by different authors with differences in the breadth and depth of content coverage, organization, and writing style" and that a text's quality leans on several other factors besides the nature of its copyright."

"panOpen and Learnosity announced today that they have partnered to integrate the full suite of Learnosity's assessment and homework capabilities into panOpen's Open Educational Resources-based learning platform. The first of its kind, this partnership creates a resource that preserves the low cost and flexibility of open content while offering advanced digital tools that have previously been reserved for commercially copyrighted content."

Using Google Images or copying a photo from most websites is much like plagiarism. Hopefully, by educating each other, we can avoid mistakes like this one and promote fair use of photos and other media on the web.

"The blog about the web video series, "Everything is a Remix""

"Fair Use Guidelines Guidelines on the limitations of fair use and when you must seek permission:" (Note: I think Renee Hobbs would say this is bogus - Mathieu)

we really don't own our stuff anymore (at least not fully); the manufacturers do. Because modifying modern objects requires access to information: code, service manuals, error codes, and diagnostic tools. Modern cars are part horsepower, part high-powered computer. Microwave ovens are a combination of plastic and microcode. Silicon permeates and powers almost everything we own.

First, like every other company on the web that stores user data, Instagram has always had an expansive license to use and copy your photos. It has to - that's how it runs its networks of servers around the world. And Instagram's existing terms specifically give the company the right to "place such advertising and promotions on the Instagram Services or on, about, or in conjunction with your Content." Instagram has always had the right to use your photos in ads, almost any way it wants. We could have had the exact same freakout last week, or a year ago, or the day Instagram launched.

In its first big policy shift since Facebook bought the photo-sharing site, Instagram claims the right to sell users' photos without payment or notification. Oh, and there's no way to opt out.

"The technological tools for transforming existing works have not only multiplied and increased in complexity, but they have also been effectively democratized because of their often significantly reduced cost and near-ubiquitous networked availability. Publishers and editors may no longer stand as primary gatekeepers to most creative works; increasingly, works are assessed in the public sphere through online databases like YouTube, and creators are making more works than ever before. Many such works rely heavily on the public domain, fair use, and the rich cultural soil of previous works for their efficacy and quality."

This is an excellent resource. It can help me frame my own social media policy. Thanks!

"Academia has lots and lots and lots of systems in place for assuring that credit is always given where credit is due. If you're writing a paper, there are particular ways to cite internet sources-- even tweets and Facebook posts. But what about on the internet? We know we're supposed to cite sources, but a standardized system hasn't developed, and in the meantime, you could face a lawsuit if you steal someone else's work, even by accident."

"On page 175 of the document, I included a simple diagram titled "The Networked Teacher". It was produced to support my discovery of emerging teacher networks supported by the advancement of social software. Of any idea in the dissertation, this particular theory and diagram may have had the greatest appeal, especially to those who were experiencing this phenomenon. The diagram has been reused, remixed, redistributed and used in hundreds of presentations by educators around the world. Below, I have included the evolution of a simple diagram as evidenced by several linguistic translations and a video inspired by the concept."

Cool example of the power of openness, and how ideas can be remixed for different contexts when the proper copyright licensing is applied from the get-go.

Creating an embedding tool is a tacit acknowledgment that Getty simply can't police the use of its images to the four corners of the Internet. Craig Peters, a senior vice president at Getty, is more explicit about the futility of trying to maintain control of its images.

"The lawsuit said a character in the movie took a line from Faulkner's book, "Requiem for a Nun." "The past is never dead. It's not even past," Faulkner wrote in the book. In the movie, actor Owen Wilson, says: "The past is not dead. Actually, it's not even past. You know who said that? Faulkner. And he was right. I met him too. I ran into him at a dinner party.""

The first step to make a collection open is to apply an open license, but that is where the story begins. Openness to collaboration and to novel forms of user engagement are essential if cultural heritage institutions are to realise the full potential of the internet for access, innovation and digital scholarship.

"Adding plagiarism to an article is one of the quickest ways to make a Wikipedian angry. It undermines the integrity of Wikipedia - contributors only have the right to release their own work under our free license - and it takes a lot of work to clean up. And as a community of writers, we take original authorship very seriously."

"Unfortunately, we had to take down your paper," the notice reads. "Academia.edu is committed to enabling a transition to a world where there is open access to scientific literature. Unfortunately, Elsevier takes a different view." It also mentions that more than 13,000 researchers so far have signed a petition "protesting Elsevier's business practices."