29 results
Highly pathogenic avian influenza causes mass mortality in Sandwich Tern Thalasseus sandvicensis breeding colonies across north-western Europe
- Ulrich Knief, Thomas Bregnballe, Ibrahim Alfarwi, Mónika Z. Ballmann, Allix Brenninkmeijer, Szymon Bzoma, Antoine Chabrolle, Jannis Dimmlich, Elias Engel, Ruben Fijn, Kim Fischer, Bernd Hälterlein, Matthias Haupt, Veit Hennig, Christof Herrmann, Ronald in ‘t Veld, Elisabeth Kirchhoff, Mikael Kristersson, Susanne Kühn, Kjell Larsson, Rolf Larsson, Neil Lawton, Mardik Leopold, Sander Lilipaly, Leigh Lock, Régis Marty, Hans Matheve, Włodzimierz Meissner, Paul Morrison, Stephen Newton, Patrik Olofsson, Florian Packmor, Kjeld T. Pedersen, Chris Redfern, Francesco Scarton, Fred Schenk, Olivier Scher, Lorenzo Serra, Alexandre Sibille, Julian Smith, Wez Smith, Jacob Sterup, Eric Stienen, Viola Strassner, Roberto G. Valle, Rob S. A. van Bemmelen, Jan Veen, Muriel Vervaeke, Ewan Weston, Monika Wojcieszek, Wouter Courtens
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- Journal:
- Bird Conservation International / Volume 34 / 2024
- Published online by Cambridge University Press:
- 02 February 2024, e6
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In 2022, highly pathogenic avian influenza (HPAI) A(H5N1) virus clade 2.3.4.4b became enzootic and caused mass mortality in Sandwich Tern Thalasseus sandvicensis and other seabird species across north-western Europe. We present data on the characteristics of the spread of the virus between and within breeding colonies and the number of dead adult Sandwich Terns recorded at breeding sites throughout north-western Europe. Within two months of the first reported mortalities, 20,531 adult Sandwich Terns were found dead, which is >17% of the total north-western European breeding population. This is probably an under-representation of total mortality, as many carcasses are likely to have gone unnoticed and unreported. Within affected colonies, almost all chicks died. After the peak of the outbreak, in a colony established by late breeders, 25.7% of tested adults showed immunity to HPAI subtype H5. Removal of carcasses was associated with lower levels of mortality at affected colonies. More research on the sources and modes of transmission, incubation times, effective containment, and immunity is urgently needed to combat this major threat for colonial seabirds.
Paediatric heart failure – understanding the pathophysiology and the current role of cardiac biomarkers in clinical practice
- Claire McGinn, Frank A. Casey, Chris Watson, Louise Morrison
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- Journal:
- Cardiology in the Young / Volume 33 / Issue 4 / April 2023
- Published online by Cambridge University Press:
- 23 March 2023, pp. 503-513
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Introduction:
Paediatric heart failure is a common clinical syndrome that may be experienced by children with congenital heart disease (CHD) and/or cardiomyopathy. It is characterised by clinical signs/symptoms which reflect the underlying pathophysiology based on one of three main clinical states: Pulmonary over-circulation, pressure overload, and ventricular failure. Current diagnosis relies on clinical assessment and echocardiogram imaging as cardiac biomarkers has been predominantly scientific to date. This review provides a comprehensive overview of paediatric heart failure pathophysiology and considers the available evidence for cardiac biomarkers in this setting.
Methods:A literature review was completed using MEDLINE ALL, EMBASE, and PubMed on 10th November, 2022. Search terms included biomarkers, heart failure, heart defects, congenital heart disease, fontan circulation, single ventricle circulation, cardiomyopathy, and child. This allowed the identification of individual cardiac biomarkers which are the focus of this review. These included NT-proBNP, MR-proANP, MR-proADM, troponin, sST2, galectin 3, and growth differentiation factor-15.
Results:Paediatric studies have established reference ranges for NT-proBNP and troponin for children with structurally normal hearts. Of all the biomarkers reviewed, NT-proBNP appears to correlate most closely with symptoms of heart failure and ventricular dysfunction on echocardiogram. However, there remains limited longitudinal data for NT-proBNP, and no validated reference ranges for patients with CHD and/or cardiomyopathy. None of the other biomarkers reviewed were consistently superior to NT-proBNP.
Conclusion:Further large paediatric studies of patients with heart failure are needed to validate NT-proBNP in CHD and to evaluate the role of novel biomarkers in specific types of CHD, e.g. single ventricle physiology.
Multicentre randomised controlled trial of a group psychological intervention for postnatal depression in British mothers of South Asian origin (ROSHNI-2): study protocol
- Nusrat Husain, Karina Lovell, Carolyn A. Chew-Graham, Farah Lunat, Rebecca McPhillips, Najia Atif, Saadia Aseem, Jasmin Begum, Penny Bee, Kamaldeep Bhui, Peter Bower, Traolach Brugha, Nafeesa Bhatti, Nasim Chaudhry, Linda Davies, Nadeem Gire, Anharul Islam, Joe Kai, Jill Morrison, Naeem Mohmed, Jyothi Neelam, Atif Rahman, Shanaya Rathod, Najma Siddiqi, Sadia Shah, Tinevimbo Shiri, Waquas Waheed, Ilyas Mirza, Chris Williams, Nosheen Zaidi, Richard Emsley, Richard Morriss
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- Journal:
- BJPsych Open / Volume 8 / Issue 1 / January 2022
- Published online by Cambridge University Press:
- 01 December 2021, e2
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Background
In the UK, postnatal depression is more common in British South Asian women than White Caucasion women. Cognitive–behavioural therapy (CBT) is recommended as a first-line treatment, but there is little evidence for the adaptation of CBT for postnatal depression to ensure its applicability to different ethnic groups.
AimsTo evaluate the clinical and cost-effectiveness of a CBT-based positive health programme group intervention in British South Asian women with postnatal depression.
MethodWe have designed a multicentre, two-arm, partially nested, randomised controlled trial with 4- and 12-month follow-up, comparing a 12-session group CBT-based intervention (positive health programme) plus treatment as usual with treatment as usual alone, for British South Asian women with postnatal depression. Participants will be recruited from primary care and appropriate community venues in areas of high South Asian density across the UK. It has been estimated that randomising 720 participants (360 into each group) will be sufficient to detect a clinically important difference between a 55% recovery rate in the intervention group and a 40% recovery rate in the treatment-as-usual group. An economic analysis will estimate the cost-effectiveness of the positive health programme. A qualitative process evaluation will explore barriers and enablers to study participation and examine the acceptability and impact of the programme from the perspective of British South Asian women and other key stakeholders.
A history of high-power laser research and development in the United Kingdom
- Part of
- Colin N. Danson, Malcolm White, John R. M. Barr, Thomas Bett, Peter Blyth, David Bowley, Ceri Brenner, Robert J. Collins, Neal Croxford, A. E. Bucker Dangor, Laurence Devereux, Peter E. Dyer, Anthony Dymoke-Bradshaw, Christopher B. Edwards, Paul Ewart, Allister I. Ferguson, John M. Girkin, Denis R. Hall, David C. Hanna, Wayne Harris, David I. Hillier, Christopher J. Hooker, Simon M. Hooker, Nicholas Hopps, Janet Hull, David Hunt, Dino A. Jaroszynski, Mark Kempenaars, Helmut Kessler, Sir Peter L. Knight, Steve Knight, Adrian Knowles, Ciaran L. S. Lewis, Ken S. Lipton, Abby Littlechild, John Littlechild, Peter Maggs, Graeme P. A. Malcolm, OBE, Stuart P. D. Mangles, William Martin, Paul McKenna, Richard O. Moore, Clive Morrison, Zulfikar Najmudin, David Neely, Geoff H. C. New, Michael J. Norman, Ted Paine, Anthony W. Parker, Rory R. Penman, Geoff J. Pert, Chris Pietraszewski, Andrew Randewich, Nadeem H. Rizvi, Nigel Seddon, MBE, Zheng-Ming Sheng, David Slater, Roland A. Smith, Christopher Spindloe, Roy Taylor, Gary Thomas, John W. G. Tisch, Justin S. Wark, Colin Webb, S. Mark Wiggins, Dave Willford, Trevor Winstone
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- Journal:
- High Power Laser Science and Engineering / Volume 9 / 2021
- Published online by Cambridge University Press:
- 27 April 2021, e18
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The first demonstration of laser action in ruby was made in 1960 by T. H. Maiman of Hughes Research Laboratories, USA. Many laboratories worldwide began the search for lasers using different materials, operating at different wavelengths. In the UK, academia, industry and the central laboratories took up the challenge from the earliest days to develop these systems for a broad range of applications. This historical review looks at the contribution the UK has made to the advancement of the technology, the development of systems and components and their exploitation over the last 60 years.
7 - Copyright and Digital Literacy: Rules, Risk and Creativity
- from Part II - Learning in a Digital World
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- By Chris Morrison, Copyright Support and Software Licensing Manager at the University of Kent
- Edited by Katharine Reedy, Jo Parker
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- Book:
- Digital Literacy Unpacked
- Published by:
- Facet
- Published online:
- 24 September 2019
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- 07 August 2018, pp 97-108
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Summary
Introduction and definitions
Copyright is now an inescapable aspect of learning and research when using digital technologies, and therefore awareness of it is a fundamental part of digital literacy. Rather than being a separate concept that can be considered in isolation, copyright implications arise whenever anyone creates, interacts with or shares content with others. It is therefore woven through all the key aspects of digital literacies and capabilities, with particular relevance for the ethics of sharing.
Copyright has traditionally been seen primarily as a compliance issue for educational and cultural institutions such as libraries, universities, colleges and museums – protecting an institution from claims of infringement by ‘locking down’ processes and procedures. Copyright literacy however seeks to situate the subject in a critical and empowering context. It draws on developments in the field of information literacy, which have been shaped in recent years by theories of critical pedagogy (see for example Elmbourg, 2006; McNichol, 2016; Smith, 2013; see also chapter 1 in this volume). Jane Secker and I recently defined copyright literacy as: ‘Acquiring and demonstrating the appropriate knowledge, skills and behaviours to enable the ethical creation and use of copyright material’ (Secker and Morrison, 2016, 121).
The term was first used in Bulgaria 2012 by Tania Todorova who carried out a survey of librarians’ levels of knowledge and understanding of copyright, calling this ‘copyright literacy’ (Todorova, 2014). The survey was subsequently carried out in 14 countries (Todorova, 2017), high - lighting a need for greater awareness of copyright issues among the library profession. Following the multinational survey, copyright literacy has been recognised as an important area for library and information science education and continuing professional development, though an awareness of and an ability to discuss and communicate copyright issues within educational and cultural institutions extends beyond the library profession. We are all now creators and consumers of artistic, scientific and cultural expression, so copyright and licensing affect the daily lives of everyone in education and research. It governs how we can access and use content in all forms, and it is important for it to be part of the professional skillsets of other learning support staff as well as teachers and indeed students.
Figures, tables and case studies
- Jane Secker, Chris Morrison
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- Copyright and E-learning
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- 08 June 2018
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- 30 June 2016, pp ix-x
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4 - Copyright issues and born digital resources
- Jane Secker, Chris Morrison
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- Copyright and E-learning
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- 08 June 2018
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- 30 June 2016, pp 123-162
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Summary
Introduction
This chapter focuses on what is sometimes called ‘born digital’ content. The term is used to refer to content that is both created and made available in digital format, such as web pages, word-processed documents, academic journals and e-books. It includes content available through subscription databases (behind a paywall) and content made freely available on the open web, but is in contrast with material that is digitized from print (analogue) format for either preservation or access reasons. This chapter will also discuss the copyright and IPR issues associated with institutionally owned digital resources, for example teaching materials that are created specifically for use in online learning, such as online tutorials, online quizzes and other ‘learning objects’, and digital content created by students as part of their course.
In reality a lot of content produced today such as music, images and video is born digital, but this chapter focuses largely on text-based content. While the law does not distinguish between material created in digital or analogue format, the use of born digital content is usually subject to licences that govern what those in educational establishments can do with the content. Those wishing to make the best use of the content for teaching purposes need to understand the relationship between licence agreements and copyright exceptions. In several countries around the world (including the UK) the law now states that copyright exceptions, such as copying for the purposes of non-commercial research and private study, cannot be overridden by licence agreements. The interaction between copyright exceptions and licences makes it more important that teachers understand what they are permitted to do with digital content as they come to use it for their teaching. It is often technically straightforward to incorporate the material into an online course, either through linking to it, or uploading it into the VLE. However, the ease with which people can copy or re-use digital content is not necessarily reflected by a corresponding awareness or comfort with the copyright or licence implications of doing so. The situation may be further complicated as some subscription resources use DRM technology to restrict how the content can be used. The case study in this chapter is from the copyright officer at the University of Auckland. It highlights the Course Reading List Service at the University of Auckland and how this helps to manage copyright compliance.
Index
- Jane Secker, Chris Morrison
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- Copyright and E-learning
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- 08 June 2018
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- 30 June 2016, pp 257-270
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Abbreviations and acronyms
- Jane Secker, Chris Morrison
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- Copyright and E-learning
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- 08 June 2018
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- 30 June 2016, pp xxvii-xxviii
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Contents
- Jane Secker, Chris Morrison
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- Copyright and E-learning
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- 08 June 2018
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- 30 June 2016, pp v-viii
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5 - Copyright in the connected digital environment
- Jane Secker, Chris Morrison
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- Copyright and E-learning
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- 08 June 2018
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- 30 June 2016, pp 163-210
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Summary
Introduction
The internet and associated web-based technologies have developed significantly over the last decade, with a seemingly constant stream of new tools to facilitate communication and interactivity. At the same time we have also seen the devices we use to connect to internet services become significantly more sophisticated and embedded in our daily lives. There has also been a shift towards cloud computing services where data processing and storage takes place on the network rather than on the local device. This has been made possible by the increased availability and a reduction in cost of high-speed broadband networks. Recent Ofcom statistics showed that broadband access in the home in the UK grew from 13% in 2003 to 87% in 2015 (Ofcom, 2015). Increased connectivity has changed the ways in which learning can be delivered to students, so anytime, anywhere learning is becoming a real possibility in much of the UK.
This chapter focuses on current internet technologies being used in education, and the associated copyright issues. The terminology used to describe these technologies can be problematic as any attempt to categorize developments in such a fast moving environment tends to sound out of date relatively quickly. The term ‘Web 2.0’, which started to be used after 2004, was intended to describe the development from a read-only web of static pages to one that was inherently interactive, but was immediately criticized by many (including Sir Tim Berners Lee, the inventor of the world wide web) for being too vague or potentially misleading (Naughton, 2012). Similarly, ‘mobile technology’ and ‘cloud computing’ were buzz words in 2009 when the first edition of this book was written, but in the intervening years the technologies have become so well established that they no longer seem that remarkable. However, despite the issues with shifting terminology it is clear that digitally connected tools such as blogs, wikis, apps, social media and social networking services share certain characteristics and have transformed the way that people access information, communicate and interact with the wider world. The focus here is not on these technologies per se, but on any specific copyright questions that arise from their use in an educational context. Suggested further resources are included at the end of the book; for example, Cornish (2015, 176–9) examines some of the copyright issues associated with social media services.
Copyright and E-learning
- A Guide for Practitioners
- Jane Secker, Chris Morrison
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- 08 June 2018
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- 30 June 2016
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Jane Secker and Chris Morrison have completely revised and updated this highly successful text to take into account recent developments in the field and changes to the law in the UK and elsewhere in the world. Through its practically based overview of current and emerging copyright issues facing those working in e-learning, this book will help equip professionals with the tools, skills and understanding they need to work confidently and effectively in the virtual learning environment with the knowledge that they are doing so legally. New and developing services, software and other technologies are being adapted for online learning environments to engage students and academic staff. These technologies present increasing challenges to IPR and legal issues and this book will help librarians and educators to meet them.
2 - Digitizing text-based content for delivery in a VLE
- Jane Secker, Chris Morrison
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- Copyright and E-learning
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- 08 June 2018
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- 30 June 2016, pp 47-86
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Summary
Introduction
This chapter is concerned with the copyright issues associated with digitizing or scanning text-based works held in paper form for use in online learning. This includes both published material such as books and academic journals (what the CDPA defines as literary works), the images and illustrations that they contain, and potentially unpublished content such as personal correspondence and manuscripts. This chapter only considers images embedded in literary works, and standalone images are discussed in Chapter 3. Digitizing traditional paper resources for online delivery allows distance learners to access the content easily, from the convenience of their chosen digital device. There has also been a growing demand from campus-based students to have access to core readings in electronic format. Library statistics from groups such as SCONUL (Society of College, National and University Libraries) demonstrate that while campus-based students visit academic libraries just as frequently as they traditionally have, they are increasingly accessing readings in digital format (SCONUL, 2015). Library visits are often driven by the growing use of the space for learning and group work. However, significant numbers of students in the UK study part-time, with over 600,000 students in 2013– 14 registered as part-time according to the Higher Education Statistics Agency (HESA, 2015) and far more working while they study and requiring flexible access to learning resources. The trend for electronic access is also related to the different expectations of young people about how they access information, as discussed in Chapter 1. Libraries are responding to increased demands for digital readings and find it relatively easy to produce digital readings in-house, with scanners and multifunctional devices now being inexpensive to purchase. Some libraries are also motivated by a desire to reduce the physical size of the library collection. While many institutions have addressed this by adopting ‘e-first’ policies (if an electronic version is available they will purchase this rather than the print version) when purchasing new content, there is still a place in many libraries for digitization. This is largely an interim reaction to the fact that many publishers have still not digitized their back catalogues.
In the UK, the provision of core readings in scanned format has escalated in the past ten years, largely facilitated by the inclusion of scanning rights in the CLA blanket licences.
Preface to the second edition
- Jane Secker, Chris Morrison
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- Copyright and E-learning
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- 08 June 2018
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- 30 June 2016, pp xi-xiv
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Summary
In a recent conference workshop I asked staff working in higher education to choose from a list of adjectives that might describe copyright and new technologies such as social media, and to consider any words that might apply to both. The exercise revealed that a perception remains that many of those in education regard copyright laws as restrictive, slow to evolve and somewhat out of step with the digital age, while technology is seen as exciting, constantly evolving, and responsive to the user. This perception was one that I had been keen to counteract when first writing this book in 2009. However, the exercise also highlighted that the intersection between copyright laws and new technologies remains an area of considerable interest, but one of much concern to people. During the workshop the group discussed how the two concepts had more in common than it might appear, yet the grey areas, the areas particularly where the law is open to interpretation, worry people. What emerged from the workshop for me was the need to challenge the notion that technology and copyright exist outside the control of society. We need to remind educators that copyright laws and new technologies are intended to serve society, not just to provide financial rewards to the creative industries but also to allow new research and education to flourish. We also need to be mindful that technology is not neutral but a construct of the society we live in and shaped by all sorts of factors, including commercial interests. The quote (often incorrectly attributed to the Canadian philosopher of communication theory, Marshall McLuhan)1 that ‘we shape our tools and then they shape us’ illustrates how both technologies and copyright laws are determined by societal norms. Therefore, if there is a belief amongst educators that either of these are working against society and hindering the free flow of information in the education system, then this needs to be addressed. There are already far too many misunderstandings about copyright, and while it is overly simplistic to view it as a simple set of rules, this book attempts to distil good practice based on practical experiences and equip practitioners with a framework to tackle queries that arise in their day to day work.
Glossary
- Jane Secker, Chris Morrison
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- Copyright and E-learning
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- 08 June 2018
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- 30 June 2016, pp xxix-xxxii
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3 - Using digital media: video, images, sound and software
- Jane Secker, Chris Morrison
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- Copyright and E-learning
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- 08 June 2018
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- 30 June 2016, pp 87-122
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Summary
Introduction
There is a growing demand for non-text-based digital media content, such as images, video and sound recordings, to provide engaging materials for use in both traditional and online learning. However, copyright questions become increasingly complex when education professionals wish to digitize existing analogue content, as it is usually necessary to obtain permission from several rights holders. Meanwhile, producing digital media content in-house is now technically straightforward but can raise a host of copyright and IPR issues. In both cases delivering this type of content using a VLE highlights, but also exacerbates, the copyright issues. This chapter explores the copyright issues associated with the digitization of non-text-based digital media content, starting with using images in education. It goes on to explore using recordings of broadcast material. In the UK, the ERA licence permits broadcasts to be recorded off-air and digitized for educational use. Although a number of restrictions apply, the ERA licence allows subscribing institutions to deliver free-to-air broadcast content via secure digital networks within the UK. This chapter will also consider digitization of commercially available non-text-based material (including recordings that can be purchased specifically for educational use). Often in these situations permission is required from the rights holder and therefore the procedures for identifying the owner and for securing copyright permission are outlined.
Many educational institutions are now producing digital media content in-house and there are many copyright issues that need to be considered. For example, semi-automated lecture capture systems are now available in many universities in the USA, the UK and other countries (UCISA, 2014). These offer institutions the ability to record and deliver lecture material asynchronously (e.g. after the event for revision purposes) via a computer network. However, copyright issues become a much bigger area of concern when classroom teaching is recorded and made available online. Aside from the need to get permission to include third-party content, the ownership of the resulting video also raises wider IPR concerns in institutions. In some institutions teaching staff have raised concerns over their lectures being recorded and have cited IPR issues (such as their rights as a performer and responsibility for clearing third-party rights) as reasons for objecting. This chapter explores some of these topics, and gives advice for dealing with third-party content and guidance for resolving the ownership of the resulting material.
7 - Conclusion
- Jane Secker, Chris Morrison
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- Copyright and E-learning
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- 08 June 2018
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- 30 June 2016, pp 239-244
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Summary
This book has considered a wide range of copyright issues associated with online learning. It has sought to provide practical advice for those working in education and to give readers a working knowledge of copyright law as it applies in this field. Copyright and e-learning is a compelling and complex subject. Copyright exceptions provide special privileges for research and education, yet despite the best efforts of governments around the world, people still struggle to interpret how the law applies to new technologies. The problems arise from the inherent nature of digital technology and the ease with which it allows information and knowledge to be shared. The very reasons why educators want to teach online – to open up education, to break down geographical and physical barriers to learning – are some of the reasons why those in the cultural industries fear technology. Sharing information in a digital format allows it to be freely distributed and not easily controlled, and therefore attempts are made by commercial publishers and other media organizations to lock information through digital rights management technologies.
There have been many developments in the six years since this book was first published. The law has been updated around the world, most notably in the UK, and there has been a major shift in scholarly com - munications with a continuing growth in the uptake of open access publishing models. We have also seen the embedding of cloud-based and ‘always connected’ technologies, along with the widespread use of social media, changing the way people communicate and share information. We have seen a proliferation of digital devices, the introduction of wearable technologies and the generation of data on a massive scale. In the education field we have seen increased globalization, increasing commoditization of education as a product and ‘experience’, the rise of MOOCs, and in many countries a decline in public sector funding of higher education.
Clearly copyright and e-learning is still an area of considerable interest and concern, and many people are uncertain about what they or their institutions should be doing. Arguably many of the fears and anxieties about copyright stem from people approaching it as a rigid and unhelpful framework that they try to apply as an afterthought. There is much that could be gained if copyright were reframed in the wider context of the practical and philosophical considerations that come into play in any educational establishment.
6 - Copyright education and training
- Jane Secker, Chris Morrison
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- Copyright and E-learning
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- 08 June 2018
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- 30 June 2016, pp 211-238
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Summary
Introduction
As the digital learning environment develops it is becoming increasingly important to offer copyright education and training for teachers, lecturers, librarians, learning technologists, administrative staff, students and researchers. Acquiring and demonstrating the appropriate knowledge, skills and behaviours to enable the ethical creation and use of copyright material has been referred to as ‘copyright literacy’ (Morrison and Secker, 2015). An IPO and NUS study (NUS, 2012) found that students in all disciplines, not just creative subjects, wanted to know more about copyright, and a discussion paper by the UK Government's intellectual property adviser (Weatherley, 2014) recommended that copyright education should be embedded in the school curriculum within a range of subject areas. In some universities an understanding of copyright is being taught to students as part of digital literacy or entrepreneurship programmes, so students understand how to respect others’ intellectual property and protect their own. It can be far easier to infringe copyright in the online environment than in the classroom because digital technology facilitates the copying and sharing of learning materials, and learning activities that previously took place face to face are far more visible and open to scrutiny in a digital space. For example, in the UK higher education sector, the CLA periodically audits institutions by checking their VLE. In Chapter 4 this book discussed the relative ease with which lecturers and students can distribute many born digital files without realizing the legal implications that follow. This chapter describes how copyright literacy can be embedded into existing teaching and training programmes and regarded as part of improving teaching quality and developing open practices for the sharing of teaching materials.
A range of external bodies provide copyright education services for staff in educational establishments. Professional bodies for librarians such as the Chartered Institute of Library and Information Professionals (CILIP) and Aslib offer copyright training courses and have done so for many years, and several independent consultants also work in this area. Other organizations offer copyright training that focuses on particular types of resources; for example, Jisc Digital Media, the BUFVC and the Open University offer copyright courses for those producing multimedia content. There are also a range of training opportunities available for those in the cultural heritage sector, for example from bodies such as the Archives and Records Association and the Collections Trust.
1 - E-learning and copyright: background
- Jane Secker, Chris Morrison
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- Copyright and E-learning
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- 30 June 2016, pp 1-46
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Summary
Introduction
This chapter considers copyright in the digital environment, and its relationship to recent developments in education. It provides an overview of the major differences between copyright laws in several Englishspeaking countries in the world and how they apply to online learning. The focus of this book is on the UK, but it briefly discusses copyright laws in the USA, Australia, Canada and New Zealand. While the book does not replace any legal advice that those developing online learning might need to obtain, it considers how copying can be undertaken for educational purposes. This chapter focuses on various exceptions to copyright law (activities such as copying that can be done without the rights holder's permission) and the impact of copyright issues on face-to-face teaching. The chapter also defines e-learning (or online learning) for the purposes of this book. This definition includes the use of the internet, intranets and secure computer networks such as VLEs, course management systems and other online learning environments. This chapter considers the different effects copyright law has on teaching in the digital environment when compared with the classroom. It also explores new developments in scholarly publishing, including the open access movement and opensource software, along with the development of open licensing schemes such as Creative Commons. This chapter includes the first case study in the book, from Brunel University, where the institution appointed a copyright officer in response to the copyright challenges they were facing.
Recognizing the copyright dilemma
Much of what teachers wish to do in an online learning environment is similar to what they have traditionally done in the classroom. They give students learning activities such as reading, critiquing a work of art or consulting a manuscript source. Students may work individually or in groups. However, online technologies provide huge opportunities to broaden the reach of education by allowing students to participate in learning regardless of their geographic location. Digital technology also allows students to work together asynchronously at a time and place convenient to each learner. Used effectively, e-learning is far more than simply the use of an online document repository, it can be an engaging, online, interactive learning environment. Many of the copyright challenges to e-learning relate to the creation of an online library of resources.
Introduction
- Jane Secker, Chris Morrison
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- Copyright and E-learning
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Summary
Material on the subjects of copyright and e-learning is essential reading for those working in education today. Whether you are a staff development officer, a teacher or an administrator, digital technology and the internet will have impacted on the way in which you work. This impact has been felt in both formal and informal learning in school classrooms and staff development units, in almost all educational establishments in the last 15 years. Information and communication technologies (ICTs) have offered teachers new ways of finding, creating and distributing content to learners, extending the physical classroom to include some form of digital space in which teachers can place resources. Educational technologies provide students with new ways of completing assignments, new types of assignments and new ways of interacting with their teachers and peers; learners who study at a distance from their institution can discuss ideas using online forums or can work together on projects using a collaborative writing tool such as a wiki. The development of ICTs has provided students with access to learning and resources at a time and place convenient to them. Those working in student and staff support, in libraries, IT, training and educational development have perhaps seen the greatest changes, with the creation of new roles and responsibilities specializing in educational technologies. Increasingly both learners and teachers are working in what is described as a new learning environment, a description that makes reference to the digital or virtual space.
The classroom of the 21st century often has integrated technology such as smartboards, wireless networks, recording and lecture capture tools. Our learners increasingly use technology in the classroom, bringing with them laptops, smartphones and tablets with in-built cameras and recording devices, leading them to have different expectations, skills and experience from students of the past. Thus, as the teaching and learning environment changes, so too does the way we teach. However, in this new and exhilarating world of online teaching and learning, copyright is often an issue that is overlooked, or perhaps considered as an afterthought. Whereas online learning is seen as fun and exciting, copyright is perceived as being boring and restrictive; it can be perceived as a barrier that stops teachers putting into practice their teaching innovations. For those charged with offering copyright advice, it can sometimes seem as though they are the person inhibiting exciting new developments.