"Concordia Welcomes Amy Buckland as University Librarian"


Since August 2021, Buckland has held the position of assistant deputy minister for collections at Library and Archives Canada (LAC). In this role, she leads a team of 500 staff and manages an annual budget of $50 million. . . . Prior to joining LAC, Buckland was head of research and scholarship at the University of Guelph Library, where she oversaw the collaborative development of a digital infrastructure to support the needs of research teams and new forms of scholarly communication progressively and sustainably.

https://tinyurl.com/mk85rxf9

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"Why Does the U.S. Copyright Office Require Libraries to Lie to Users about Their Fair Use Rights? They Won’t Say."


The problem is that although Section 108 makes clear that the [library] copyright warning notice it requires is not intended to restrict artificially the fair use rights of document users, the code itself doesn’t provide the language for the notice. It specifies that the "warning of copyright" shall be written "in accordance with requirements that the Register of Copyrights shall prescribe by regulation." And the language prescribed by the Register of Copyrights in that regulation is, unfortunately, false and misleading. And worse, libraries are required to include the prescribed language "verbatim."

https://tinyurl.com/y94dy9fn

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Shifting Tides: The Open Movement at a Turning Point


At the turn of 2022 and 2023, we conducted a series of interviews with leading voices in the open movement. We spoke with professional activists who address openness from varied perspectives and work in different fields of open. Some have been engaged in activism for decades, while others are looking at it with a fresh set of eyes. Many of our interviewees lead organizations advancing openness, and we were particularly interested in talking with those who have been exploring new approaches and strategies.

Our research aims to understand the current state of the open movement, as seen through the eyes of people actively involved in its endeavors and leading organizations within the movement. We want to make sense of shared positions and understand whether there are any clear division lines. We are particularly interested in identifying trends that transform the movement and understanding the challenges and needs of activists and organizations as these changes occur. The report signals a shift to what can be best described as a post-copyright approach to openness. However, while our focus is on how the movement is changing, this does not mean that the whole movement is subject to that shift. There still exists a need for copyright advocacy work in the movement, and many organizations maintain the course developed at the outset. Nonetheless, we hope that they, too, will find this report’s insights worth examining.

https://openfuture.eu/publication/shifting-tides/

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UC System: "Re: UCOLASC [University Committee on Library and Scholarly Communication] Statement on Retention of Author Rights in License to Publish Agreements"


As discussed at our joint UCOLASC and Council of University Librarians (CoUL) meeting held on February 15, 2023, the Project Transform Negotiating Team (PTNT) and Project Transform Working Group (PTWG) have learned that many publishers are requiring University of California (UC) authors to sign "License to Publish" (LTP) agreements, which purport to grant exclusive rights to publishers and contravene the spirit of the open access (OA) policies and declarations strongly endorsed by UC faculty.We find this now-common practice to be unacceptable and therefore ask you to prioritize the issue of author rights and act on our behalf when you negotiate with publishers. . . .

UCOLASC urges the Project Transform Negotiating Team (PTNT) to negotiate transformative open access agreements with publishers stipulating that authors only grant "limited" or "nonexclusive" licenses to publishers. Liberal Creative Commons (CC) licenses (e.g., CC BY) should be applied as the default choice, and licenses that restrict commercial and derivative uses of the work (e.g., CC BY-NC, CC BY-ND, and CC BY-NC-ND) should function as originally intended with authors always free to do whatever they want with their own works.

https://bit.ly/43uzuDd

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"’More Than 600,000 Students and Teachers Use Z-Library’"


Pirate eBook repository Z-Library has shared some interesting data concluding that more than 600,000 students and scholars use the site. This is likely an underestimation, as the findings are based on email addresses. The United States is excluded from the analysis, Z-Library notes, due to the criminal prosecution of two alleged operators of the site.

https://bit.ly/4326X86

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Council of the European Union: "Council Calls for Transparent, Equitable, and Open Access to Scholarly Publications"


In its conclusions, the Council calls on the Commission and the member states to support policies towards a scholarly publishing model that is not-for-profit, open access and multi-format, with no costs for authors or readers. Some Member States have introduced secondary publication rights into their national copyright legislation, enabling open access to scholarly publications which involve public funds. The Council encourages national open access policies and guidelines to make scholarly publications immediately openly accessible under open licences. The conclusions acknowledge positive developments in terms of monitoring progress, like within the framework of the European Open Science Cloud (EOSC), and suggest including open science monitoring in the European Research Area monitoring mechanism. The Council conclusions also encourage Member States to support the pilot programme Open Research Europe (to create a large-scale open access research publishing service), the use of open-source software and standards, to recognise and reward peer review activities in the assessment of researchers as well as to support the training of researchers on peer-review skills and on intellectual property rights.

https://bit.ly/3MS2leY

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"Supreme Court Rules against Warhol Foundation in Copyright Fight over Prince Images"


The Supreme Court on Thursday ruled that silkscreens pop artist Andy Warhol made of rock star Prince infringed on the copyright held by a prominent photographer who captured the original image. . . . Sotomayor wrote that the images "share substantially the same purpose, and the use is of a commercial nature. " The Warhol foundation had "offered no other persuasive justification for its unauthorized use of the photograph, " she added.

https://cutt.ly/t6BHEre

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"Major YouTube Copyright Lawsuit Nears Trial With Almost Everything On the Line"


Maria Schneider’s lawsuit against YouTube alleges several types of mass copyright infringement and repeat infringer failures. The trial begins next month, with proposed jury instructions already running to 243 pages. YouTube believes it will win, but the stakes are rarely this high. In addition to damages, the plaintiffs want YouTube to disclose details of files that remain on the site after identical copies were removed due to DMCA notices. And that’s not all.

https://bit.ly/3pMnw9m

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"Springer Nature Doublespeak"


Let’s take a close look at what SN says in its advice on this matter to authors:

"Springer Nature only ever assesses manuscripts on their editorial merit. If primary research manuscripts contain Rights Retention Strategy (RRS) language, they will not be rejected on the grounds of its inclusion, and we will not remove that text before publication if it is included in a section that is a normal part of the published primary research article."

The information gets off to a good start. Assessing manuscripts on editorial merit alone is something any author would want to be reassured about. Equally, authors will be pleased to learn that, even if they include rights retention language, SN will not amend the author’s text by removing the RR statement that the author included in the text they created and provided at no charge to SN for publication. So far, so good. The information continues:

"Authors should note, however, that manuscripts containing statements about open licensing of accepted manuscripts (AMs) can only be published via the immediate gold open access (OA) route, to ensure that authors are not making conflicting licensing commitments, and can comply with any funder or institutional requirements for immediate OA."

This is where things start to get tricksy. Translation &mdash: if the author assigns a prior licence to their AAM and submits the manuscript to a SN subscription journal that also offers an Open Access (OA) option (sometimes known as a hybrid journal), then the publisher will only accept it if the author pays for OA publication (sometimes known as ‘gold’ OA). Mind you, SN is not rejecting the manuscript outright; it’s just that they will ONLY accept it if the author pays. So by extension, if they don’t pay, SN won’t publish the paper, which amounts to a rejection. However hard I try, I can’t seem to tally "only be published via the immediate gold open access (OA) route" with "only accepting manuscripts on their editorial merit." The wording is slippery here. Like those politicians, SN doesn’t ACTUALLY state that if you don’t, won’t or can’t pay, they will reject your paper. But in practice, that is exactly what they imply. This is pure smoke and mirrors.

https://bit.ly/44rWrbr

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"What Can I Do with This? Indicators of Usage Rights in the User Interface "


With the continued push towards open access (OA) and the complicated nature of copyright law, users are often left wondering what they can do with the scholarly articles they find. Creative Commons (CC) licenses are the predominant mechanism for communicating usage rights; however, finding the CC license information — or being confident that there is not any — can be a challenge. Today we report on a project to investigate how publisher platforms represent CC licenses for OA and non-OA journal articles. We looked at how publishing platforms indicate usage rights for articles in results displays as well as in full-text formats.

https://bit.ly/3HwTZq1

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"Generative AI and Copyright Policy From the Creator-User’s Perspective"


As scholars Mark Lemley and Bryan Casey persuasively argue in their paper Fair Learning, we should generally permit generative AI tools that in effect learn from past works in ways that facilitate creation of new, distinct ones. While some claim that generative AI systems are simply engines for ‘collage’ or ‘plagiarism,’ copying previous expressions into new works, this isn’t an accurate description of how most tools work. Instead, generative AI extracts information that then is used to inform generation of new material; for instance, by looking at many pictures of dogs, it can extract information about what dogs look like, and can then help a user draw dogs, or by looking at many pieces of art labeled as Surrealist, it can help a user create new works in the style of Surrealism. In effect, these are tools that aid new creators in their learning and building on past works.

https://bit.ly/3GVNhK5

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"Rights and Retention Strategy: a Primer from UKRN"


One of the largest publishers, Springer Nature, noted in April 2021 that in some cases they will effectively ignore rights retention language in manuscripts and require a transfer of copyright. This could create a conflict for the publisher once the manuscript has been editorially accepted. However, having already asserted and documented a CC-BY licence, you have the rights you need to reuse the manuscript. If concerned, you could seek confirmation from the editor that you can retain your rights before submitting your manuscript.

https://doi.org/10.31219/osf.io/2ajsg

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Paywall: "Which Nationals Use Sci-Hub Mostly?"


Considering the result, the author argues that academic users in South American countries may use Sci-Hub more frequently than their counterparts in the rest of the world. Moreover, users in the Global North also rely on Sci-Hub to complete their research as well. The new evidence on Google Scholar proves the universal use of Sci-Hub across the world.

https://doi.org/10.1080/0361526X.2023.2193613

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"The Smithsonian Puts 4.5 Million High-Res Images Online and Into the Public Domain, Making Them Free to Use"


"Anyone can download, reuse, and remix these images at any time — for free under the Creative Commons Zero (CC0) license," write My Modern Met’s Jessica Stewart and Madeleine Muzdakis. "A dive into the 3D records shows everything from CAD models of the Apollo 11 command module to Horatio Greenough’s 1840 sculpture of George Washington."

http://bit.ly/3KBhZsV

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"The Politics of Rights Retention"


This article presents a commentary on the recent resurgence of interest in the practice of rights retention in scholarly publishing. Led in part by the evolving European policy landscape, rights retention seeks to ensure immediate access to accepted manuscripts uploaded to repositories. The article identifies a trajectory in the development of rights retention from something that publishers could previously ignore to a practice they are now forced to confront. Despite being couched in the neoliberal logic of market-centric policymaking, I argue that rights retention represents a more combative approach to publisher power by institutions and funders that could yield significant benefits for a more equitable system of open access publishing.

https://hcommons.org/deposits/item/hc:52287

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"Z-Library Plans to Let Users Share Physical Books through ‘Z-Points’"


Z-Library appears to be shrugging off a criminal investigation as if nothing ever happened. The site continues to develop its shadow library and, following a successful fundraiser, now plans to expand its services to the physical book market. Z-Library envisions a book "sharing" market, where its millions of users can pick up paperbacks at dedicated "Z-Points" around the globe.

https://cutt.ly/i7bAHGU

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"Stable Diffusion Copyright Lawsuits Could Be a Legal Earthquake for AI"


In January, three visual artists filed a class-action copyright lawsuit against Stability AI, the startup that created Stable Diffusion. In February, the image-licensing giant Getty filed a lawsuit of its own. . . . There’s a real possibility that the courts could decide that Stability AI violated copyright law on a massive scale. . . . Building cutting-edge generative AI would require getting licenses from thousands—perhaps even millions—of copyright holders. The process would likely be so slow and expensive that only a handful of large companies could afford to do it. Even then, the resulting models likely wouldn’t be as good.

http://bit.ly/3K8FRno

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"Controlled Digital Lending Takes a Blow in Court"


The implications of this ruling are potentially profound, and, given the strong lean in the publisher’s favor, they are potentially troubling for libraries and the rights of those who seek to engage with content in our evermore digital and digitized world if the decision stands through the forthcoming appeals. For the significant amount of content that exists in print form and for which there is no publisher-sanctioned digital version available, that content has become effectively walled off from the digital world until it passes into the public domain—essentially for longer than anyone reading this blog is alive. Those who live in close proximity to and have access to world-class institutions with sizable print collections can get access to much of this content. For the vast majority of library users, this will not be the case. Their access will be significantly curtailed, but to paraphrase the ruling, this public interest is secondary to the interests of publishers in exercising their monopoly.

http://bit.ly/40GaNC4

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"In a Swift Decision, Judge Eviscerates Internet Archive’s Scanning and Lending Program"


"At bottom, IA’s fair use defense rests on the notion that lawfully acquiring a copyrighted print book entitles the recipient to make an unauthorized copy and distribute it in place of the print book, so long as it does not simultaneously lend the print book," Koeltl wrote in a March 24 opinion granting the publisher plaintiffs’ motion for summary judgment and denying the Internet Archive’s cross-motion. "But no case or legal principle supports that notion. Every authority points in the other direction."

https://cutt.ly/54AdZfY

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Millions of Digitized Books May Be Destroyed: "Press Conference Statement: Brewster Kahle, Internet Archive"


Here’s what’s at stake in this case: hundreds of libraries contributed millions of books to the Internet Archive for preservation in addition to those books we have purchased. Thousands of donors provided the funds to digitize them.

The publishers are now demanding that those millions of digitized books, not only be made inaccessible, but be destroyed.

This is horrendous. Let me say it again—the publishers are demanding that millions of digitized books be destroyed.

And if they succeed in destroying our books or even making many of them inaccessible, there will be a chilling effect on the hundreds of other libraries that lend digitized books as we do.

This could be the burning of the Library of Alexandria moment—millions of books from our community’s libraries mdash;gone.

http://bit.ly/3JHMjli

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"At Hearing, Judge Appears Skeptical of Internet Archive’s Scanning and Lending Program"


Over the course of a 90-minute hearing on the parties’ cross motions for summary judgment, Koeltl appeared skeptical that there was sufficient basis in law to support the Internet Archive’s scanning and lending of print library books under a legally untested protocol known as controlled digital lending, and unconvinced that the case is fundamentally about the future of library lending, as Internet Archive attorneys have argued.

http://bit.ly/3FFjVyS

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"AI and Copyright: Human Artistry Campaign Launches to Support Musicians"


The fast rise of AI technology has opened up a world of brain-busting questions about copyright and creators’ rights. . . . A new coalition to meet those challenges called the Human Artistry Campaign was announced at the South by Southwest conference on Thursday, with support from more than 40 organizations, including the Recording Academy, the National Music Publishers Association, the Recording Industry of America and many others.

bit.ly/402Nt1G

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U.S. Copyright Office: "Copyright Registration Guidance: Works Containing Material Generated by Artificial Intelligence"


As the agency overseeing the copyright registration system, the Office has extensive experience in evaluating works submitted for registration that contain human authorship combined with uncopyrightable material, including material generated by or with the assistance of technology. It begins by asking "whether the ‘work’ is basically one of human authorship, with the computer [or other device] merely being an assisting instrument, or whether the traditional elements of authorship in the work (literary, artistic, or musical expression or elements of selection, arrangement, etc.) were actually conceived and executed not by man but by a machine." [23] In the case of works containing AI-generated material, the Office will consider whether the AI contributions are the result of "mechanical reproduction" or instead of an author’s "own original mental conception, to which [the author] gave visible form." [24] The answer will depend on the circumstances, particularly how the AI tool operates and how it was used to create the final work.[25] This is necessarily a case-by-case inquiry.

If a work’s traditional elements of authorship were produced by a machine, the work lacks human authorship and the Office will not register it.[26] For example, when an AI technology receives solely a prompt [27] from a human and produces complex written, visual, or musical works in response, the "traditional elements of authorship" are determined and executed by the technology—not the human user. Based on the Office’s understanding of the generative AI technologies currently available, users do not exercise ultimate creative control over how such systems interpret prompts and generate material. Instead, these prompts function more like instructions to a commissioned artist—they identify what the prompter wishes to have depicted, but the machine determines how those instructions are implemented in its output.[28] For example, if a user instructs a text-generating technology to "write a poem about copyright law in the style of William Shakespeare," she can expect the system to generate text that is recognizable as a poem, mentions copyright, and resembles Shakespeare’s style.[29] But the technology will decide the rhyming pattern, the words in each line, and the structure of the text.[30] When an AI technology determines the expressive elements of its output, the generated material is not the product of human authorship.[31] As a result, that material is not protected by copyright and must be disclaimed in a registration application.[32]

In other cases, however, a work containing AI-generated material will also contain sufficient human authorship to support a copyright claim. For example, a human may select or arrange AI-generated material in a sufficiently creative way that "the resulting work as a whole constitutes an original work of authorship." [33] Or an artist may modify material originally generated by AI technology to such a degree that the modifications meet the standard for copyright protection.[34] In these cases, copyright will only protect the human-authored aspects of the work, which are "independent of" and do "not affect" the copyright status of the AI-generated material itself.[35]

bit.ly/40oOkJA

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