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The intersection of copyright and the scale and delivery of MOOCs highlights the enduring tensions between academic freedom, institutional autonomy, and copyright law in higher education. To gain insight into the copyright concerns of MOOC stakeholders, EDUCAUSE talked with CIOs, university general counsel, provosts, copyright experts, and other higher education associations. The consensus opinion was that intellectual property questions for MOOC content merit wide discussion because they affect multiple stakeholders and potentially carry significant consequences. Each MOOC provider, for example, establishes a proprietary claim on material included in its courses, licenses to the user the terms of access and use of that material, and establishes its ownership claim of user-generated content. This conflicts with the common institutional policy approach that grants rights to faculty who develop a course. Fair-use exceptions to traditional copyright protection face challenges as well, given a MOOC's potential for global reach. Nonetheless, fair use and MOOCs are not mutually exclusive ideas. MOOCs remain an experiment. Initiating discussions with a wide range of campus stakeholders will ensure clarity of purpose and a common understanding of copyright issues in a MOOC environment.

"The Copyright Advisory Network (CAN) exists to help librarians understand copyright law and appreciate the important role that they can play in serving the public "to advance the progress of science and the useful arts." We use the Network to respond to copyright questions posed by librarians, but perhaps-more importantly, help librarians learn about copyright from a broader perspective, primarily its impact on information policy issues fundamental to our profession, including free expression, equitable access to information, censorship, and intellectual freedom."

"…because of term extensions, we've had to wait almost a century before copyrighted works enter the public domain (in 2019, works from 1923 are finally freely available). Under current copyright terms - life plus 70 years for natural authors, and 95 years from publication for works of corporate authorship - you're unlikely to see any works created in your lifetime enter the public domain. This imposes great (and in many cases unnecessary) costs on creativity, on libraries and archives, on education and on scholarship. More broadly, it imposes costs on our collective culture. Even for the works that are still commercially available, the shrinking public domain increases costs to citizens and limits creative reuse. But at least those works are available. Unfortunately, much of our cultural heritage, perhaps the majority of the culture of the last 80 years, consists of the orphan works described above-works that have no identifiable or locatable copyright holder. Though no one is benefiting from the copyright, they are nevertheless presumptively off limits."

"The Copyright Crash Course was created by Georgia Harper and is currently maintained by UT Libraries. The Course is arranged into several sections that allow users to explore certain areas of copyright law individually or as a group. The Course was originally created with faculty in mind, but can be used by anyone who is interested in understanding and managing their copyrights."

"What this tool can do for you: Help you better understand how to determine the "fairness" of a use under the U.S. Copyright Code. Collect, organize & archive the information you might need to support a fair use evaluation. Provide you with a time-stamped, PDF document for your records [example], which could prove valuable, should you ever be asked by a copyright holder to provide your fair use evaluation and the data you used to support it. [why is this important?] Provide access to educational materials, external copyright resources, and contact information for copyright help at local & national levels."

""Copyright for Librarians" (CFL) is an online open curriculum on copyright law that was developed jointly with Harvard's Berkman Center for Internet and Society."

A Guide to Copyright for UMKC Educators and Students

"Professor Eric Faden of Bucknell University created this humorous, yet informative, review of copyright principles delivered through the words of the very folks we can thank for nearly endless copyright terms."

"The U.S. Supreme Court heard oral arguments on Monday morning in a key copyright-infringement case, with justices asking pointed questions about the resale and reuse of protected works. Many of the questions homed in on possible consequences for individual buyers as well as libraries and other institutions, but did not suggest which way the court was leaning."

Multimedia Literacy guide at UD library- has great information on digital storytelling, copyright, etc.

"The important point to remember is that the fair use guidelines that are used to determine what materials can be used on the local campus do not automatically transfer to online courses offered to the consumer public. To many faculty, these rules seem bureaucratic, but librarians can help navigate the terrain that faculty are not accustomed to dealing with. And, by becoming comfortable with copyright provisions themselves, faculty can ensure that their online students access the same level of resources that on-campus students enjoy."

The bills would create an online library of digital textbooks for the 50 most widely-taken lower division courses at the University of California, California State University and the state's community colleges. The project would get under way when state or private funding becomes available. The digital texts would be "open-source," which means they are not copyrighted the same way traditional texts are, making them much less expensive. The texts are primarily available online; students can typically buy a print-out for around $20, about one-tenth the cost of many traditional textbooks.

"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)

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.