The 2021 Concordia Library Research Forum will take place on the 27th and 28th of April. There is an excellent lineup of presentations and posters (like always) addressing library or archive research (completed or in-progress).Continue reading “19th Annual Concordia Library Research Forum”
There’s a good read about a few oligopolistic publishers that proposed unethical surveillance technologies for academic libraries. I thought that the original article, while addressing a lot and from a variety of people, was missing some perspective from librarians on the subject. I wrote some points about this third-party potential for breaching confidentiality in a library and an ethical approach from librarians on my other blog.
A Learning Technology Specialist at UBC was rightly critical of Proctorio so the company is suing him. Considering the ethical, technical or other transgressions of automated test proctoring/surveillance tools like Proctorio, it’s worth thinking about how this situation is unfolding. He’s set up a GoFundMe campaign for some support and if successful, proceeds would go to the BC Civil Liberties Association.
There’s a good blog post, In Defence of Ian Linkletter, which explains the situation.
I think it’s worth noting, in Linkletter’s message about the suit, he explains: “This kind of lawsuit, in which a company like Proctorio sues an outspoken critic like me, is sometimes referred to as a Strategic Lawsuit Against Public Participation: or “SLAPP”. SLAPP lawsuits are a threat to freedom of expression.” [emphasis mine]
Read Shea Swauger’s article, Our Bodies Encoded: Algorithmic Test Proctoring in Higher Education. It identifies deep concerns about algorithmic test proctoring. Right now, with the COVID-19 pandemic forcing everyone to quickly adapt to different ways of doing things, students are facing their final exams. Within universities, I know many people at all levels that are working incredibly hard to find ways to support students and help them successfully complete what they set out to do. Students ought to inform themselves on this issue and listen carefully to all of the options, which the university is providing them.Continue reading “Think about Algorithmic Test Proctoring”
If you have an interest in learning more about the Creative Commons and open access licensing issues. This year, the Creative Commons began offering an online certificate program, which helps you learn about all things CC. It started as a sort of beta offer but has matured. The certificate originally targeted educators and librarians, which got my interest so I signed up certificates.creativecommons.org
I went into the course feeling like I knew a lot about the Creative Commons. But I want to recommend it because it turned out that not only did I learn a fair amount, I got a better understanding of what I thought I knew.
I’ve put a few of the things that I worked on during the program on this blog.
- Timeline Leading to the Formation of the Creative Commons
- Briefly, about Copyright Law & CC Licences
- Tips on NC, SA, & ND attributes in Creative Commons Licences
- What Makes a Creative Commons Licence and How is it Useful?
- Using CC Licences for Collections & Remixes
The course spans ten weeks and has regular assignments and discussions. I wouldn’t say that the assignments were especially difficult but they require some reflection, creativity, and time. I decided to use/learn different tools or applications for each one so that probably made it a bit more difficult than necessary but it was also fun to try.
The Creative Commons has opened up the course to more people and is accepting applications for the start of 2019. You should look into it if you have any interest in open access issues and the Creative Commons.
This short presentation helps distinguish the idea of a collection of work versus “remixing” and adapting work. This presentation is available as a LibreOffice odp file here.
Here are three things about various attributes that can be found in Creative Commons licences, which I find are not necessarily obvious, but good to know (details on the CC site).
First, when a CC licence has a NonCommercial (NC) designation, it means, roughly, that employing the work for a commercial use is not permitted. But it’s not quite that straightforward. The work’s creator wants other people to use the work (according to whatever permissions they’ve granted) but does not intend anyone acquiring the work through its Creative Commons licensed version, to profit from it.
There’s an interesting distinction though between use and user. You can’t make a blanket assumption about the use of the work based on the person or organization using it. Even a for-profit company for example, could use an NC designated work for a variety of things so long as they’re not selling it for profit (which would then qualify as commercial use).
The ShareAlike (SA) designation results in something like a viral impact. When someone licences a work with SA then other people that for example make something new with it, also have to release their new work with an SA designation in kind. This is beneficial in that those adopting it, potentially increase the availability of new works and ensure that work continues to be shared (nourishing the commons). This is akin to the requirements in Free software licences like the GPL, which have contributed to an extremely large Free and open source software ecosystem.
And finally, if the NoDerivatives (ND) aspect is present in a CC licence, it’s actually more permissive than it might sound. It does not prohibit making derivatives entirely. The Creative Commons pus a lot of emphasis on the commons, an effort in large part to increase what we can all share access to. So in that sense, ND has more to do with the act of sharing a derivative than of making it. That’s to say, you can make a derivative work of an ND-licensed work but you don’t have the permission to distribute that derivative.
International Open Access Week spans 22 – 28 of October this year. It’s a great time to find out more about open access initiatives that you can both benefit from and participate in.
Open Access enables people to learn from a much greater commons of research and knowledge than would otherwise be possible. It’s a movement very much inline with the missions of libraries and with the research life cycle. Without open access we’re left with a scholarly ecosystem dependent on a few powerful commercial interests. Those commercial interests tend to control or prevent access except for the parties able to pay the most. A detriment to access-to-knowledge and research.
At Concordia, my colleagues and I have been organizing a screening of the film, Paywall: the Business of Scholarship. We’re following it up with a discussion/Q&A session so that people can get a better sense of what’s happening at Concordia.
Here is a nice article about OA at Concordia. More about our event here, it’s on Tuesday evening, doors open at 5 (film starts at 5:30) and it’s FREE, so come. I’ve discovered that a lot of other universities are holding a similar event so if you miss it at Concordia, you can probably find it somewhere else nearby.
Find out more about open access by following these links:
- Tri-Agency Open Access Policy on Publications
- Scholarly Publishing and Academic Resources Coalition (SPARC)
- CAUT Open Access Policy Statement
- Budapest Open Access Initiative
- Berlin Declaration on Open Access to Knowledge in the Sciences and Humanities
- Creative Commons on open access
- About Concordia’s open access repository, Spectrum. | Concordia University Press (OA)
- A Very Brief Introduction to Open Access
- Harvard Open Access Project
- Appel de Jussieu
- Joint statement about open access by COAR and UNESCO
Copyright gives the people that create various works, certain legal controls over those works. As the name suggests, it limits copying (thus various forms of usage) to those authorized to do so. Depending on jurisdictions, it also codifies things such as moral rights.
The Creative Commons licences simplify an author’s ability to authorize copying and use of their work. CC licences leverage the control that copyright establishes and an author can use these licences to, in a sense, automate control. Rather than negotiate requests from every party that wants to use, derive new works, or copy the work, an author can clearly state what they’d like to be able to happen with the work upon expressing it to the public. Then anyone can use it as the author has intended.
Because the CC licenses are not just written with legal use in mind but also for a layperson or machine, it’s relatively easy for creators to take advantage of these licences without entering into a more complicated process.