Thursday, January 14, 2021
Thursday, October 22, 2020
What: Fall kick-off event for the staff of Yeshiva University Libraries and AJL-NYMA
Subject: Outlining the process of fulfilling requests for retrospective theses and dissertations for the Yeshiva Academic Institutional Repository, YAIR.
When: Presented Thursday, October 15, 2020 1PM via Zoom.
Monday, March 16, 2020
Covid-19 | Libraries | Public Health Information
Copyright | Fair Use | Online instruction | Remote learning | Covid-19
Public Statement of Library Copyright Specialists: Fair Use & Emergency Remote Teaching & Research
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March 13, 2020
This Statement is meant to provide clarity for U.S. colleges and universities about how copyright law applies to the many facets of remote teaching and research in the wake of the COVID-19 outbreak. We write this as copyright specialists at colleges, universities, and other organizations supporting higher education in the U.S. and Canada who work every day with faculty, staff, and librarians to enable them to make ethical and legal choices about copyright issues in online teaching.
The United States is in a time of crisis. As of this writing, more than 200 universities and colleges have moved to remote teaching. These moves aim to promote public health by slowing the spread of the disease, while maintaining at least some of the important functions higher education plays in teaching, learning, and research. We have heard concerns that copyright may pose impediments to a rapid shift to remote instruction, or conversely, that copyright is not relevant. While legal obligations do not automatically dissolve in the face of a public health crisis, U.S. copyright law is, thankfully, well equipped to provide the flexibility necessary for the vast majority of remote learning needed at this time.
Copyright law in the United States is made to support teaching, research, and learning. This stems from its Constitutional purpose, which is “to promote the Progress of Science and the useful Arts.” One critical feature of copyright law is fair use, a flexible users’ right that allows the use of copyrighted works without permission. It accommodates a wide variety of circumstances, including new and rapidly evolving situations. In the words of one of our colleagues, April Hathcock, “fair use is made for just these kinds of contingencies.”
To analyze whether a particular use is fair, courts balance four factors. The “heart of the fair use inquiry” lies in the first factor – the purpose and character of the use. Courts favor uses where the purpose is to benefit the public, even when that benefit is not “direct or tangible.”
Even under normal circumstances, courts favor educational uses because of their broad public benefits. While there are no fair use cases squarely addressing copying to help minimize a public health crisis, the other wide variety of public benefits cited by courts leads us to believe that this purpose would weigh extremely heavily in favor of fair use. For example, in the Authors Guild v. HathiTrust case, the court made it clear that providing access to persons with disabilities was a strong public interest that weighed heavily in the fair use assessment. Similarly, other courts have found that allowing reproduction of the Zapruder film documenting Kennedy's assassination was in the public interest, and allowing redistribution of leaked internal memos about problems with electronic voting machines also favored fair use.
The benefit to the public in providing remote coursework is obvious when it enables teaching to continue in the face of social distancing measures or quarantine, or when access to physical library materials is impossible. The public benefit of these measures is without a doubt of at least equal importance as in these cases.
The second factor examines the nature of the work used—is it more factual or creative, published or not? In cases like this, the second factor “has rarely played a significant role in the determination of a fair use dispute.” For remote teaching in the COVID-19 situation, the analysis should be the same. Read more....
Online teaching | Online instruction | Distance learning |Pedagogy
Research | Libraries | Access | Free resources
Investigating solutions for frustrated scholars, nonprofits, independent learners, and the rest of us.
The world of publishing is evolving frantically, while it remains frustratingly fragmented and prohibitively expensive for many. If you’re a student who just left your academic library behind only to discover you are now locked out of the stacks; a startup researching water usage in Africa and keep hitting paywalls; a local nonprofit that studies social change activism, but all the latest papers cost $30 per read… This article is for you.
Monday, March 2, 2020
Tuesday, February 25, 2020
Antiquities | Judaica | Codex
Lost 1,000-year-old Hebrew Bible found on dusty Cairo synagogue shelf
While attempting to document Egyptian synagogues, an Israeli historian stumbles upon a massive, well-preserved 616-page codex that was written in 1028
Wednesday, February 19, 2020
Wayback Machine | Wikipedia | Fact-checking
The Internet Archive Is Making Wikipedia More Reliableby Klint Finley 11.013.2019
Now, thanks to a new initiative by the Internet Archive, you can click the name of the book and see a two-page preview of the cited work, so long as the citation specifies a page number. You can also borrow a digital copy of the book, so long as no else has checked it out, for two weeks—much the same way you'd borrow a book from your local library. (Some groups of authors and publishers have challenged the archive's practice of allowing users to borrow unauthorized scanned books. The Internet Archive says it seeks to widen access to books in “balanced and respectful ways.”)
Thursday, February 6, 2020
Open and Shut?: Interview with Kathleen Shearer, Executive Directo...: In October 1999 a group of people met in New Mexico to discuss ways in which the growing number of “eprint archives” could co-operate. ...
Tuesday, February 4, 2020
Institutional repository | Scholarly Communication | Faculty authors | Student research
Yeshiva Academic Institutional Repository [YAIR]: A spotlight on our collections
In May of 2018, Yeshiva University Libraries launched YAIR, the official institutional repository, of Yeshiva University. The plan had been in the pipeline for several years. With the adoption of a new strategic plan, plans were quickly put into place. At the helm was Head of Library Web and Digital Services Hao Zeng, who chose a cost-effective, open source platform, D-Space, to host scholarly output of both faculty and students. Stephanie Gross, Scholarly Communication Librarian, took on the outreach and processing of material to be posted. Teamwork has been essential and has included collaboration with staff from Archives as well as Metadata Services.
The collection began primarily as an open-access showcase for both faculty publications and student theses and dissertations. The idea behind making all work open access is to allow scholars and researchers across the globe to read intellectual and creative output by Yeshiva University’s community without charge. As the project has progressed, other repository collections have been created. For instance, back issues of student publications have been scanned, annotated and posted. Some have been out-of-print (and out-of-view) for over decades. This summer, these publications were added: The Azrieli Papers, Gesher, Nahalah, Chronos, The YU Clarion, Derech HaTeva, Kol Hamevaser, The Orthodox Forum, Science and Ethics, The Exchange (SSSB), Horeb, Kol, Kol Hamevaser, Perspectives in Psychology, Prism, Ten Da’at and Yeshiva University Undergraduate Research Abstracts. Consultations with faculty advisors and department chairs have provided positive feedback. Just recently, faculty members from the Sephardic Studies faculty as well as the Belz School of Music expressed interest in contributing articles and book chapters to the repository.
Tuesday, January 7, 2020
Audiobooks | Trends | Reading
Audiobooks are having a moment. As they soar in popularity, they are becoming increasingly creative – is the book you listen to now an artform in its own right, asks Clare Thorp.
|llustrated poetry collection The Lost Words was brought to audio in the form of recordings made in the British countryside (Credit: Penguin)|
Audiobooks are in the midst of a boom, with Deloitte predicting that the global market will grow by 25 per cent in 2020 to US$3.5 billion (£2.6 billion). Compared with physical book sales, audio is the baby of the publishing world, but it is growing up fast. Gone are the days of dusty cassette box-sets and stuffily-read versions of the classics. Now audiobooks draw A-list talent – think Elisabeth Moss reading The Handmaid’s Tale, Meryl Streep narrating Charlotte’s Web or Michelle Obama reading all 19 hours of her own memoir, Becoming. There are hugely ambitious productions using ensemble casts (the audio of George Saunders’ Booker Prize-winning Lincoln in the Bardo features 166 different narrators), specially created soundscapes and technological advances such as surround-sound 3D audio. Some authors are even skipping print and writing exclusive audio content. Read more...