Category: Publishing

Digital University/Library Presses, Part 2: Linköping University Electronic Press

The Linköping University Electronic Press publishes freely available digital conference proceedings, databases, journals, series, reports, and theses. It was established in 1996. As of April 2004, the E-Press became "an independent department within Linköping University Library." The E-Press has five staff members. There is an E-Press Governing Board.

Conference proceedings, journals, series, and reports have editors. The journals are peer reviewed. Two out of four journals appear to have ceased publication. A "news journal" that was related to one of the peer-reviewed journals also appears to be inactive. The other digital publishing programs (e.g., conference proceedings and series) are active. The E-Press ensures the Internet availability of works for at least 25 years after publication. Instructions for how to publish works in the E-Press are available, including how to start new conference proceedings, journals, and series. Site-wide use statistics are available.

Authors sign publishing agreements and retain their copyrights. In accordance with its copyright polices, the E-Press permits specified uses of its works:

  • To read and/or download LiU E-Press papers on-line, without restrictions.
  • To make single printouts of LiU E-Press papers for your own use in research, teaching, or otherwise.
  • To hand over a single printout of an LiU E-Press paper to a colleague in the course of work.
  • To quote short passages in an LiU E-Press paper, as well as the abstract, in order to describe, summarise, or argue against what is said there.
  • To download images, diagrams or cartoons on-line for personal use (i.e. not to spread it to other persons or on homepages).

It’s worth noting that Electronic Transactions on Artificial Intelligence, which appears to have ceased publication, used an innovative peer-review procedure:

  • Open reviewing during three months, where the article is advertised to the community of researchers in its specialized area, and a public, on-line discussion is organized about its contents.
  • Confidential refereeing after the open reviewing period has concluded. Here, leading researchers in the specialized area of the article weigh the article as well as the review discussion and decide whether or not to accept the article.

For more information on the Linköping University Electronic Press, see the FAQ.

Prior postings on this topic:

Digital University/Library Presses, Part 1: ANU E Press

Established in May 2004, the ANU E Press at the Australian National University fosters new scholarly publishing models, such as:

  • the production of electronic editions of academic monographs of interest to both scholarly and general-interest readers
  • web-based dissemination of digitally reformatted publications
  • support for presentation and dissemination of interactive publications and teaching materials
  • the development of technologies that enhance peer review while accelerating dissemination of scholarly publication

The ANU E Press has the following features:

  • open e-publication
  • institution-based repositories with appropriate listings and metadata/discovery mechanisms
  • a centralised repository
  • a low-cost, common-good funding model
  • moderation/peer review
  • copyright preserved by creators
  • facilities for access to and transfer of electronic information, for example, a print-on-demand facility

A representative ANU E Press title is Negotiating the Sacred: Blasphemy and Sacrilege in a Multicultural Society, which is freely available in HTML, PDF, and mobile device formats and can be ordered as a print-on-demand book.

A complete list of titles is available.

For more information, see the Frequently Asked Questions Web page.

More on How Can Scholars Retain Copyright Rights?

Peter Suber has made the following comment on Open Access News about "How Can Scholars Retain Copyright Rights?":

This is a good introduction to the options. I’d only make two additions.

  1. Authors needn’t retain full copyright in order to provide OA to their own work. They only need to retain the right of OA archiving—which, BTW, about 70% of journals already give to authors in the copyright transfer agreement.
  2. Charles mentions the author addenda from SPARC and Science Commons, but there’s also one from MIT.

Peter is right on both points; however, my document has a broader rights retention focus than providing OA to scholars’ work, although that is an important aspect of it.

For example, there is a difference between simply making an article available on the Internet and making it available under a Creative Commons Attribution-NonCommercial 2.5 License. The former allows the user to freely read, download, and print the article for personal use. The latter allows user to make any noncommercial use of the article without permission as long as proper attribution is made, including creating derivative works. So professor X could print professor Y’s article and distribute in class without permission and without worrying about fair use considerations. (Peter, of course, understands these distinctions, and he is just trying to make sure that authors understand that they don’t have to do anything but sign agreements that grant them appropriate self-archiving rights in order to provide OA access to their articles.)

I considered the MIT addenda, but thought it might be too institution-specific. On closer reading, it could be used without alteration.

How Can Scholars Retain Copyright Rights?

Scholars are often exhorted to retain the copyright rights to their journal articles to ensure that they can freely use their own work and to permit others to freely read and use it as well. The question for scholars who are convinced to do so is: "How do I do that?"

The first thing to understand is that copyright is not one right. Rather, it is a bundle of rights that can be individually granted or withheld. The second thing to understand is that rights can either be granted exclusively to one party or nonexclusively to multiple parties.

What are these rights? Here’s what the U.S. Copyright Office says:

  • To reproduce the work in copies or phonorecords;

  • To prepare derivative works based upon the work;

  • To distribute copies or phonorecords of the work to the public by sale or other transfer of ownership, or by rental, lease, or lending;

  • To perform the work publicly, in the case of literary, musical, dramatic, and choreographic works, pantomimes, and motion pictures and other audiovisual works;

  • To display the copyrighted work publicly, in the case of literary, musical, dramatic, and choreographic works, pantomimes, and pictorial, graphic, or sculptural works, including the individual
    images of a motion picture or other audiovisual work; and

  • In the case of sound recordings, to perform the work publicly by means of a digital audio transmission.

A legal document, typically called a copyright transfer agreement, governs the copyright arrangements between you and the publisher and determines what rights you retain and what rights you transfer or grant to the publisher. The publisher may offer a single standard agreement or may have more than one agreement.

Whereas the publisher has had its agreement(s) written by copyright lawyers, you are not likely to be a copyright lawyer. This puts you at a disadvantage in terms or understanding, modifying, or replacing the publisher’s agreement. Therefore, it is very helpful to have documents written by copyright lawyers that you can use to modify or replace the publisher’s agreement with, even if the organization providing such documents does so under a disclaimer that it is not providing "legal advice."

Ordered by increasing level of difficulty in getting publisher acceptance, here are the basic strategies for dealing with copyright transfer agreements:

  • If the publisher has multiple agreements, choose the one that has the author assigning and/or granting specific rights to the publisher (e.g., ALA Copyright License Agreement). Don’t choose the agreement where the author assigns, conveys, grants, or transfers all rights, copyright interest, copyright ownership, and/or title exclusively to the publisher (e.g., ALA Copyright Assignment Agreement).
  • If the publisher has a single agreement that assigns, conveys, grants, or transfers all rights, copyright interest, copyright ownership, and/or title exclusively to the publisher:

Of course, other strategies are possible. For example, you could use another type of open content license instead of the Science Commons Publication Agreement and Copyright License. However, you might want to keep it simple to start.

For more information on copyright transfer agreements, see Copyright Resources for Authors and Scholars Have Lost Control of the Process.

For a directory of publisher copyright and self-archiving policies, see Publisher Copyright Policies & Self-Archiving.

By the way, DigitalKoans doesn’t provide legal advice and the author is not a lawyer.

The Caravan Project: One Book, Five Distribution Formats

BusinessWeek reports that Peter Osnos, founder and Editor-at-Large of Public Affairs, is working with Borders, selected independent bookstores, six nonprofit publishers, and Ingram Industries to experiment with a new book publishing model. The idea is this: publish the book in five formats (audio, chapter, hardcover, digital, and print-on-demand) and let customers decide which one(s) they want. Larger publishers have reservations about the Caravan Project’s experiment. The article states that "going this far this fast unnerves publishers," and it quotes Al Greco (of the Book Industry Study Group): "they are terrified of being Napsterized."

Source: Lowry, Tom. "Getting Out Of A Bind." BusinessWeek, 10 April 2006, 79-80.