1 00:00:00,000 --> 00:00:02,910 Welcome to the second panel of copyright day or second 2 00:00:02,910 --> 00:00:07,110 presentation, I'm Janet Brennan Croft. I'm the associate 3 00:00:07,140 --> 00:00:12,870 University Librarian for Content Discovery, I have been, more or 4 00:00:12,870 --> 00:00:15,060 less officially, depending whether it was actually in my 5 00:00:15,060 --> 00:00:18,180 title or not, copyright librarian at two other 6 00:00:18,180 --> 00:00:22,650 libraries. So that's part of where this is coming from. Try 7 00:00:22,650 --> 00:00:27,330 this. Yes. Okay. I always have to say I'm not a lawyer. Okay. 8 00:00:28,170 --> 00:00:31,590 This is not legal advice. If you need legal advice, talk to an 9 00:00:31,590 --> 00:00:36,090 actual lawyer. I am a librarian, an author, a teacher, and 10 00:00:36,090 --> 00:00:40,470 editor. And all of this is based on my experience in all of those 11 00:00:40,530 --> 00:00:46,800 fields. Okay. So don't ask me legal questions. First part of 12 00:00:46,830 --> 00:00:49,800 today's presentation is going to be an overview of current 13 00:00:49,800 --> 00:00:53,370 copyright law, and some of the philosophical and ethical 14 00:00:53,400 --> 00:00:56,310 considerations around intellectual property and the 15 00:00:56,310 --> 00:00:59,610 encouragement of creativity. In the next section, we're going to 16 00:00:59,610 --> 00:01:02,550 look at your rights as a creator. And then we'll finish 17 00:01:02,550 --> 00:01:06,330 with guidance on using work that is copyrighted by someone else. 18 00:01:07,290 --> 00:01:10,830 So what is copyright? I don't know if you can see what we're 19 00:01:10,830 --> 00:01:14,580 up there. I don't know if you can. Okay. All right. So the 20 00:01:14,610 --> 00:01:18,060 kind of philosophy behind the rules to start with, these two 21 00:01:18,060 --> 00:01:22,800 statements are the basis of current US copyright law. So 22 00:01:22,800 --> 00:01:26,400 copyright secures certain rights to someone who creates a work 23 00:01:26,610 --> 00:01:29,970 fixed in a tangible form of expression. Basically, the 24 00:01:29,970 --> 00:01:33,540 government is protecting your limited monopoly over your own 25 00:01:33,540 --> 00:01:37,140 work, in return for that work, eventually entering the public 26 00:01:37,140 --> 00:01:40,410 domain, which Ellen was talking about earlier about, and we'll 27 00:01:40,410 --> 00:01:43,320 talk about that more in a minute. And then copyright 28 00:01:43,320 --> 00:01:46,620 exists automatically, from the moment the item is created, the 29 00:01:46,620 --> 00:01:49,050 moment you write down your grocery list that is 30 00:01:49,050 --> 00:01:54,240 copyrighted. Okay, this was not the case before 1976, you'll see 31 00:01:54,240 --> 00:01:57,810 that a little copyright symbol on things, you have to register 32 00:01:57,810 --> 00:02:02,580 your copyright at certain points in our history, you don't have 33 00:02:02,580 --> 00:02:06,180 to do that anymore. You can register your copyright. If 34 00:02:06,180 --> 00:02:08,880 you've got some, you know, movie that you're afraid somebody's 35 00:02:08,880 --> 00:02:11,040 going to skip you on something that's going to bring in a lot 36 00:02:11,040 --> 00:02:14,760 of money, you can pay 50 bucks and get it registered. Most of 37 00:02:14,760 --> 00:02:18,090 us, you're never going to need to do that. So don't worry about 38 00:02:18,090 --> 00:02:24,240 that. Okay. Now the concept of creative work as intellectual 39 00:02:24,240 --> 00:02:27,780 property is something that's been evolving. If a creative 40 00:02:27,780 --> 00:02:31,770 product is property, then the conclusion is that it can and 41 00:02:31,770 --> 00:02:35,070 should be owned or controlled forever by its fate, or other 42 00:02:35,070 --> 00:02:39,480 heirs. But creativity is an exhaustible resource. And a 43 00:02:39,480 --> 00:02:43,080 creative product, like a book is not used up if it's read over 44 00:02:43,080 --> 00:02:45,990 and over and over by many people. So the concept of 45 00:02:45,990 --> 00:02:49,140 copyright that the founders roped into the Constitution, 46 00:02:49,380 --> 00:02:52,650 that it existed to promote the progress of science and useful 47 00:02:52,650 --> 00:02:56,340 arts, by securing for limited times to authors and inventors, 48 00:02:56,460 --> 00:02:58,860 the exclusive right to the respective writings and 49 00:02:58,860 --> 00:03:03,060 discoveries that favors about once that encourages creation, 50 00:03:03,240 --> 00:03:06,750 but acknowledges the claims of the public domain. So why do we 51 00:03:06,750 --> 00:03:09,450 need a public thriving public domain? Ellen touched on this a 52 00:03:09,450 --> 00:03:13,650 bit. The public domain is our common creative, intellectual 53 00:03:13,680 --> 00:03:17,850 and creative heritage. It's the works of all drawn when we're 54 00:03:17,850 --> 00:03:21,840 creating new things. So a domain is like old myths, ancient 55 00:03:21,840 --> 00:03:24,930 Christmas carols, traditional Pope patterns, focus on 56 00:03:24,960 --> 00:03:28,170 Shakespeare's plays. All of these are available for us to 57 00:03:28,170 --> 00:03:33,240 draw information from our inspiration from, sorry. And 58 00:03:33,240 --> 00:03:38,130 reused as we like. So everything that anyone creates draws on 59 00:03:38,130 --> 00:03:42,330 this vast history of human creativity in some way. And to 60 00:03:42,330 --> 00:03:45,900 mark some of it out of balance forever, is neither historically 61 00:03:45,900 --> 00:03:50,430 nor artistically sound, things have to continually refresh the 62 00:03:50,430 --> 00:03:56,010 public domain. So what laws govern copyright, let's get to 63 00:03:56,010 --> 00:03:59,310 the law itself. Here, the main body of the law is the Copyright 64 00:03:59,310 --> 00:04:04,020 Act of 1976. That's the last time there was a major overhaul, 65 00:04:04,200 --> 00:04:07,380 it was kind of in response to photocopiers. So that's when 66 00:04:07,380 --> 00:04:11,100 that happened. Amendments get worked into the law. So you're 67 00:04:11,100 --> 00:04:14,070 not going to find separate law called the TEACH Act. It's 68 00:04:14,070 --> 00:04:17,400 actually been integrated into section 110. And then there are 69 00:04:17,400 --> 00:04:20,190 guidelines which aren't generally followed, but they're 70 00:04:20,190 --> 00:04:23,910 still guidelines, not actually the legal requirements. So 71 00:04:23,910 --> 00:04:27,300 that's a very important thing to keep in mind. Um, the resource 72 00:04:27,300 --> 00:04:30,570 list at the end of these slides, includes a link to the US 73 00:04:30,570 --> 00:04:33,600 government copyright site where you can find all the texts of 74 00:04:33,600 --> 00:04:37,950 all of these acts and guidelines. So let's unpack that 75 00:04:37,950 --> 00:04:41,070 phrase fixed in a tangible medium from the first slide in 76 00:04:41,070 --> 00:04:44,100 this section, and learn what media are considered tangible. 77 00:04:44,130 --> 00:04:48,270 You see them listed here. All of these are firmly further defined 78 00:04:48,270 --> 00:04:52,200 within the law itself. So what are patents and trademarks? And 79 00:04:52,200 --> 00:04:55,440 how do they differ from copyright? And trademark is 80 00:04:55,440 --> 00:04:58,320 something that basically advertises a business and is 81 00:04:58,320 --> 00:05:02,550 associated with that business. in the public mind, a patent is 82 00:05:02,550 --> 00:05:06,330 granted to safeguard a thing or a process. So for example, 83 00:05:06,330 --> 00:05:10,080 Mickey Mouse films are copyrighted as artistic works, 84 00:05:10,290 --> 00:05:13,740 that Mickey Mouse ears are a trademarked. Now if Disney has a 85 00:05:13,740 --> 00:05:16,830 special process for certain special effect, or a certain 86 00:05:16,830 --> 00:05:23,130 type of film or lens that would be patented. And what can't be 87 00:05:23,130 --> 00:05:28,290 copyrighted? So, an idea cannot be copyrighted until it's fixed 88 00:05:28,290 --> 00:05:32,100 in a tangible form. This can be thought of as idea versus 89 00:05:32,100 --> 00:05:35,580 expression. It's the expression of the idea that is 90 00:05:35,580 --> 00:05:38,640 copyrightable, not the idea that still floating around in your 91 00:05:38,640 --> 00:05:43,650 head. A work that is not fixed is not protected. So something 92 00:05:43,650 --> 00:05:47,070 that's a live performance that's not recorded or something like 93 00:05:47,070 --> 00:05:50,700 that. Something on the internet looks like it's free to use, but 94 00:05:50,700 --> 00:05:53,580 unless it says otherwise, it's copyrighted because it's fixed 95 00:05:53,580 --> 00:05:57,150 in a tangible form of expression. Okay, so just 96 00:05:57,150 --> 00:06:00,690 speaking extemporaneously that's not copyrighted, nobody is, 97 00:06:00,720 --> 00:06:03,000 well, actually, it is being recorded, so I guess it is, 98 00:06:03,480 --> 00:06:08,220 okay. Well, scratch that example. Okay, um, works 99 00:06:08,220 --> 00:06:10,920 consisting entirely of information that is common 100 00:06:10,920 --> 00:06:14,250 property and containing no original authorship cannot be 101 00:06:14,250 --> 00:06:17,370 copyrighted. For example, the information and a calendar 102 00:06:17,370 --> 00:06:21,510 that's common and property like dates and moon phases, that can 103 00:06:21,510 --> 00:06:24,360 be copyrighted. But if you have illustrations or additional 104 00:06:24,360 --> 00:06:30,810 material that can be, okay. Now, we'll move on to how long 105 00:06:30,810 --> 00:06:34,980 copyright lasts. There are several factors that go into 106 00:06:34,980 --> 00:06:39,900 this, first, when was the work first fixed in a tangible form? 107 00:06:39,930 --> 00:06:43,230 Or published at certain points that was the publication that 108 00:06:43,230 --> 00:06:47,910 actually counted? Is the author alive or dead? And is this a 109 00:06:47,910 --> 00:06:52,200 work for hire, a group work or an anonymous work? And copyright 110 00:06:52,200 --> 00:06:54,930 links can be different in different countries, I am only 111 00:06:54,930 --> 00:06:58,170 talking about works produced in the United States right now. 112 00:06:58,830 --> 00:07:02,100 Right. So length of copyright in the United States, there are 113 00:07:02,100 --> 00:07:06,060 basically three arrows for copyright in the US. Okay, the 114 00:07:06,060 --> 00:07:11,460 current era, if the work was created after January 1, 1978, 115 00:07:11,730 --> 00:07:15,390 copyright is for the author's life plus 70 years after your 116 00:07:15,390 --> 00:07:21,000 death. Okay. For example, the entire works of John M. Ford, an 117 00:07:21,000 --> 00:07:24,900 author who died in 2006, we will not enter the public domain 118 00:07:24,900 --> 00:07:30,630 until 2076. Anyone who wants to reprint his books response needs 119 00:07:30,630 --> 00:07:34,620 to get permission from the state until that time. For work for 120 00:07:34,620 --> 00:07:38,790 hire. copyright lasts 95 years now, what's a work for hire? 121 00:07:38,970 --> 00:07:42,720 That's something you produce as a job assignment. So if I was 122 00:07:42,720 --> 00:07:45,690 asked to write an instruction module on copyright for our 123 00:07:45,690 --> 00:07:50,130 website by my supervisor, it could be a work for hire, that's 124 00:07:50,130 --> 00:07:54,300 copyright by the university rather than by me, it can get to 125 00:07:54,300 --> 00:07:57,930 be a very gray area with research and class materials and 126 00:07:57,930 --> 00:08:02,370 so on, syllabi, online lectures, and an organization might have 127 00:08:02,370 --> 00:08:05,970 its own specific rules about things like that. But generally, 128 00:08:06,540 --> 00:08:09,360 a work for hire is something that you were doing as part of 129 00:08:09,360 --> 00:08:12,810 your job assignment or something like that. And it's it should be 130 00:08:12,810 --> 00:08:15,870 clear from the start, whether this is copyrighted by you, or 131 00:08:15,870 --> 00:08:22,320 by your institution. Okay, second phase here. If the work 132 00:08:22,320 --> 00:08:28,560 was created before January 1, 1978, and after January 1, 1927, 133 00:08:28,920 --> 00:08:32,130 copyright lasts in maximum of 95 years from the date of 134 00:08:32,130 --> 00:08:35,730 publication. So Gone With the Wind, for example, published in 135 00:08:35,730 --> 00:08:41,700 1936. In the US, it enters the public domain in 2031. But for a 136 00:08:41,700 --> 00:08:45,090 while the edition that was published in Australia was in 137 00:08:45,090 --> 00:08:48,090 the public domain in that country, and you could if you 138 00:08:48,090 --> 00:08:52,050 live there, download a copy from Gutenberg Australia perfectly 139 00:08:52,050 --> 00:08:55,200 legally, and a little less legally if you looked anywhere 140 00:08:55,200 --> 00:08:58,710 else, but there was nothing to stop you. I have a copy. But, 141 00:09:00,690 --> 00:09:04,830 Australia has since adopted laws closer to those in the US and it 142 00:09:04,830 --> 00:09:07,740 was taken down. There's a kind of an arms race that goes on 143 00:09:07,740 --> 00:09:11,880 international copyright law, and countries tend to adopt the most 144 00:09:11,880 --> 00:09:14,430 stringent rules found among our trading partners. 145 00:09:15,860 --> 00:09:21,350 Okay, third category, works published 1926 or earlier, as 146 00:09:21,350 --> 00:09:24,590 Ellen was talking about earlier, these are in the public domain, 147 00:09:24,770 --> 00:09:27,140 that is they are not copyrighted, and they can be 148 00:09:27,140 --> 00:09:31,190 used freely. And this advances every year on January 1, we're 149 00:09:31,190 --> 00:09:33,710 now starting to see a nice big announcement at the beginning of 150 00:09:33,710 --> 00:09:36,890 the year, listing everything that's come out, you know, 151 00:09:37,460 --> 00:09:43,280 Winnie the Pooh was was just mentioned, as the original book 152 00:09:43,460 --> 00:09:48,710 is now out of copyright. So, um, while federal government 153 00:09:48,950 --> 00:09:53,240 publications are in the public domain, states differ and all or 154 00:09:53,240 --> 00:09:56,030 part of their publications may not be in the public domain. 155 00:09:56,330 --> 00:09:58,730 You'd have to look at the individual states to see what 156 00:09:58,730 --> 00:10:02,030 their rules are. And orphan works, you might have heard the 157 00:10:02,030 --> 00:10:05,450 term orphan works, these are works where you cannot find the 158 00:10:05,450 --> 00:10:08,450 copyright holder, maybe the publisher has gone out of 159 00:10:08,450 --> 00:10:14,450 business, the author has passed away, whatever. In 2006, an act 160 00:10:14,450 --> 00:10:17,900 was passed which limited damages, which could be paid to 161 00:10:17,900 --> 00:10:21,530 a copyright owner of an orphan work if the user made a 162 00:10:21,860 --> 00:10:25,520 reasonably diligent search for the owner, and ceased using the 163 00:10:25,520 --> 00:10:29,090 item immediately, if directed to do so. So there haven't been any 164 00:10:29,090 --> 00:10:32,540 new laws about orphan work since then. And the standard still 165 00:10:32,540 --> 00:10:35,810 remains this diligent search. But they never tell you exactly 166 00:10:35,810 --> 00:10:39,710 what they mean by that. Canada actually had a fairly good 167 00:10:39,710 --> 00:10:42,530 definition of what a search was, but we don't have one here, they 168 00:10:42,530 --> 00:10:46,340 just say diligent search. So it really if you want to use an 169 00:10:46,340 --> 00:10:52,730 orphan the work, it depends on your own tolerance for risk. So 170 00:10:53,330 --> 00:10:56,450 resources for finding out if something is under copyright. 171 00:10:57,050 --> 00:11:00,020 Well, now everything is copyrighted, the incident is 172 00:11:00,020 --> 00:11:03,890 fixed in a tangible medium, so there can't really be a proper 173 00:11:03,890 --> 00:11:08,930 national copyright database for works created after 1978. It's 174 00:11:08,930 --> 00:11:12,380 not always clear if things are created before that, either. And 175 00:11:12,380 --> 00:11:15,350 suddenly, you have to use sets of guidelines to figure it out. 176 00:11:15,590 --> 00:11:18,590 So these are a few good sources to have in your copyright 177 00:11:18,590 --> 00:11:23,930 toolkit. Nonprint copyright links are particularly complex, 178 00:11:23,960 --> 00:11:28,250 so that Berkley slide for non creative materials is very 179 00:11:28,250 --> 00:11:31,220 important if you deal with media, media is a problem 180 00:11:31,220 --> 00:11:33,920 because it usually has so many different creators involved in 181 00:11:33,920 --> 00:11:37,040 the process. So it's more of a group work, but is any 182 00:11:37,040 --> 00:11:39,800 particular part of it copyrightment, a particular 183 00:11:39,800 --> 00:11:42,770 person, it's very confusing. What are their I don't know 184 00:11:42,770 --> 00:11:49,880 enough about myself. Alright, next. In the first part, I gave 185 00:11:49,880 --> 00:11:52,490 you an overview of current copyright law, simple 186 00:11:52,910 --> 00:11:56,450 philosophical and ethical foundations for that. Next, 187 00:11:56,450 --> 00:11:58,640 we're going to look at your rights as a creator, and what 188 00:11:58,640 --> 00:12:01,910 you can do with your own work. Some of this are talking about a 189 00:12:01,910 --> 00:12:04,490 little yesterday when we're talking about reading your 190 00:12:04,520 --> 00:12:08,690 publication contract. So remember, first of all, your 191 00:12:08,690 --> 00:12:11,780 copyright starts the moment your work is fixed in a tangible 192 00:12:11,780 --> 00:12:16,070 medium, and it protects both published and unpublished work. 193 00:12:16,340 --> 00:12:18,380 So if you've got a paper that hasn't been published in a 194 00:12:18,380 --> 00:12:22,340 journal yet, it's still copyright by you.. All right. 195 00:12:23,300 --> 00:12:26,810 What rights does the copyright holder have to reproduce the 196 00:12:26,810 --> 00:12:30,890 work to prepare derivative works to distribute the work to 197 00:12:30,890 --> 00:12:35,060 perform the work publicly, and to display the work publicly. So 198 00:12:35,060 --> 00:12:39,080 this PowerPoint presentation is partly a derivative work based 199 00:12:39,080 --> 00:12:42,050 on a book that I wrote about copyright for libraries. And 200 00:12:42,050 --> 00:12:45,740 while my publisher has the right to reproduce the entire book for 201 00:12:45,740 --> 00:12:49,910 sale, under the terms of my contract, I retain the rights to 202 00:12:49,910 --> 00:12:53,750 make derivative works, create handouts, perform and teaching 203 00:12:53,750 --> 00:12:56,750 the work publicly. It also incorporates material from 204 00:12:56,780 --> 00:12:59,900 articles I've written for which I've retained different sets of 205 00:12:59,900 --> 00:13:03,260 rights. And some of the slides incorporate the text of laws and 206 00:13:03,260 --> 00:13:06,050 guidelines that are non copyrightable government 207 00:13:06,050 --> 00:13:09,830 information. But the whole presentation is its own 208 00:13:09,830 --> 00:13:13,310 copyrighted entity now, and it's re-copyrighted every time I 209 00:13:13,310 --> 00:13:18,200 revise it for a new work, for new use, so it gets complex. 210 00:13:19,490 --> 00:13:24,320 Okay, so what can you do with your rights? Okay, so first, you 211 00:13:24,320 --> 00:13:27,320 can sign your rights over in whole or in part to other 212 00:13:27,320 --> 00:13:31,010 parties. This is how publishing works, you sign over certain 213 00:13:31,010 --> 00:13:34,490 rights to your publisher, under the terms of your contract, and 214 00:13:34,490 --> 00:13:37,880 you negotiate which rights you want to retain. Now, these 215 00:13:37,880 --> 00:13:41,240 rights have a couple of limits. We're limited by first sale 216 00:13:41,240 --> 00:13:44,570 doctrine. That allows someone to buy a book or another 217 00:13:44,570 --> 00:13:48,380 copyrighted item to sell, give away, rent, or lend to somebody 218 00:13:48,380 --> 00:13:52,010 else. So first sale is how libraries and used booksellers 219 00:13:52,010 --> 00:13:55,970 and video rental stores work. A useful thing to think of here is 220 00:13:56,000 --> 00:14:00,650 container versus content. The content is coptrughted, but not 221 00:14:00,650 --> 00:14:04,130 the container. So this can get into a gray area with electronic 222 00:14:04,130 --> 00:14:07,460 materials, electronic books that can get confusing. But 223 00:14:07,460 --> 00:14:12,290 basically, that's how somebody sells a book that you have 224 00:14:12,290 --> 00:14:17,450 written. They sell the, the, the, the container. The creaters 225 00:14:17,450 --> 00:14:20,660 rights are also limited by fair use exceptions. We're going to 226 00:14:20,660 --> 00:14:23,720 talk about that in the next section. That's how somebody 227 00:14:23,720 --> 00:14:29,750 else can use parts of your work fairly. All right. Creative 228 00:14:29,750 --> 00:14:34,220 Commons, Ellen gave us a very detailed look at that as a way 229 00:14:34,220 --> 00:14:36,830 that you can take control of what other people can do with 230 00:14:36,830 --> 00:14:39,230 your work and tell them what they're allowed to do 231 00:14:39,230 --> 00:14:47,300 proactively. I think it's a very, very unique way of kind of 232 00:14:47,300 --> 00:14:51,290 bypassing this uncertainty about what you can do with somebody 233 00:14:51,290 --> 00:14:56,000 else's work. All right, and since you did a lot of that, 234 00:14:56,030 --> 00:15:01,370 oops. Oh no, what did I do? There we go. Okay. All right, 235 00:15:01,550 --> 00:15:05,720 and ScholarWorks, you retain your copyright, whatever your 236 00:15:05,720 --> 00:15:08,870 copyright was for anything that's in ScholarWorks, you can 237 00:15:08,870 --> 00:15:11,810 reuse it elsewhere. So if you've got an article, it's in 238 00:15:11,810 --> 00:15:14,540 ScholarWorks, you decide you want to write a book and include 239 00:15:14,540 --> 00:15:16,760 it in your book, you don't have to ask for permission from 240 00:15:16,760 --> 00:15:20,780 ScholarWorks. Only from, you know, if you had, if you have an 241 00:15:20,780 --> 00:15:23,300 agreement with your publisher that requires that you could 242 00:15:23,330 --> 00:15:29,000 have to do that. So that the library has certain rights to 243 00:15:29,030 --> 00:15:34,580 archive and reproduce your work that you have agreed to. And if 244 00:15:34,580 --> 00:15:36,650 you have co author or something like that, where it gets 245 00:15:36,650 --> 00:15:41,420 confusing, we can work with you on that. Okay, this is what I 246 00:15:41,420 --> 00:15:43,820 was talking about yesterday, checking your copy of your 247 00:15:43,820 --> 00:15:48,290 contract for copyright issues, it's very important, don't just 248 00:15:48,290 --> 00:15:51,590 sign your contract without reading it. Because if you sign 249 00:15:51,590 --> 00:15:54,290 that away, you might not be able to use your own work in the 250 00:15:54,290 --> 00:15:57,800 future. That example I gave of using an article group you 251 00:15:57,800 --> 00:16:01,070 wrote, as a chapter in a book, that's very important, you want 252 00:16:01,070 --> 00:16:06,290 to be able to do that with your own work later on. So read it 253 00:16:06,290 --> 00:16:10,160 closely, maybe talk to somebody who's done some publishing, and 254 00:16:10,190 --> 00:16:13,730 has some experience with this, you want to retain as many of 255 00:16:13,730 --> 00:16:19,160 your rights as possible. Another thing I want to mention is the 256 00:16:19,160 --> 00:16:21,530 importance of putting something you know, keeping the rights to 257 00:16:21,530 --> 00:16:24,020 put something in an institutional repository, and 258 00:16:24,020 --> 00:16:28,340 then exercising that. This helps you was self promotion, your 259 00:16:28,340 --> 00:16:31,340 work is out there on the internet somewhere free, it 260 00:16:31,340 --> 00:16:34,310 helps with wider dissemination of scholarship, which is 261 00:16:34,310 --> 00:16:36,800 important, you get more citations, and people can access 262 00:16:36,800 --> 00:16:40,490 your work worldwide. And that worldwide is important too, 263 00:16:40,490 --> 00:16:44,240 because a lot of a lot of places around the world, libraries 264 00:16:44,240 --> 00:16:47,270 can't afford to have databases that we can in this country, 265 00:16:47,300 --> 00:16:50,330 even we can't afford all the databases we want. The more 266 00:16:50,330 --> 00:16:53,840 stuff that's in these open access repositories, the more 267 00:16:53,840 --> 00:16:56,780 people have access to more information. So that's an 268 00:16:56,780 --> 00:16:58,310 important thing to think about. 269 00:16:59,890 --> 00:17:03,880 All right, if your publishers contract doesn't look like 270 00:17:03,880 --> 00:17:07,480 something wants to sign, you do have the option of negotiating. 271 00:17:07,780 --> 00:17:11,500 The SPARC Addendum is a kind of a sample contract that you can 272 00:17:11,530 --> 00:17:16,270 work through and make sure that your current contract has the 273 00:17:16,270 --> 00:17:19,900 terms that you want. You can use it to negotiate, you can attach 274 00:17:19,900 --> 00:17:23,110 it to your contract and say this is what I want. If your 275 00:17:23,110 --> 00:17:26,650 publisher absolutely refuses to negotiate, you should really 276 00:17:26,650 --> 00:17:29,080 think about whether that's the publisher you want to go with. I 277 00:17:29,080 --> 00:17:32,410 know there's so much pressure to publish when your early career 278 00:17:32,410 --> 00:17:35,860 academic, but you've got to think long term and think about 279 00:17:35,860 --> 00:17:40,240 using your material in the future. So just kind of a 280 00:17:40,240 --> 00:17:44,680 warning there. Also, I'd have to say keep good records of your 281 00:17:44,680 --> 00:17:49,420 stuff. Keep copies of your publication contracts. I'm also 282 00:17:49,420 --> 00:17:52,270 a journal editor, I can't tell you how many times people have 283 00:17:52,540 --> 00:17:55,600 contacted me saying what are my rights? Can I reuse it? I sent 284 00:17:55,600 --> 00:17:59,890 you a copy. Why didn't you keep it? So keep copies of these 285 00:17:59,920 --> 00:18:04,960 contracts that you signed? Okay, last section here, Fair Use 286 00:18:05,080 --> 00:18:09,400 using other people's rights fairly. This is very, very 287 00:18:09,400 --> 00:18:12,850 important. And this kind of leads into the next section that 288 00:18:12,850 --> 00:18:16,750 we're going to have on plagiarism and ethics. So use of 289 00:18:16,750 --> 00:18:20,650 third party copyrighted works. Now plagiarism is using someone 290 00:18:20,650 --> 00:18:23,320 else's work in such a way that it looks like you're claiming 291 00:18:23,320 --> 00:18:26,320 it's your work, because that's kind of my understanding of it, 292 00:18:26,320 --> 00:18:29,650 we'll get more of that from Helen Harton. Now, this doesn't 293 00:18:29,650 --> 00:18:33,760 mean that you can't use someone else's work. You can, you have 294 00:18:33,760 --> 00:18:37,420 to use it fairly. And you have to cite it property. Copyright 295 00:18:37,420 --> 00:18:41,440 is a legal issue. Plagiarism is more of an ethical issue. So the 296 00:18:41,440 --> 00:18:44,470 concept of fair use gives educators librarians, 297 00:18:44,470 --> 00:18:48,730 researchers, writers, artists, anyone else with limited ways to 298 00:18:48,730 --> 00:18:51,850 use copyrighted material without violating the rights of the 299 00:18:51,850 --> 00:18:55,450 author. It's covered under Section 107 of the copyright 300 00:18:55,450 --> 00:19:00,100 law, which allows the public to share, enjoy, criticize, parody 301 00:19:00,100 --> 00:19:05,350 and build on the marks of others. So how can you actually 302 00:19:05,350 --> 00:19:08,410 use the work that's under copyright? There are four 303 00:19:08,410 --> 00:19:13,960 factors. There are no nice laws rules, say 35 words or anything 304 00:19:13,960 --> 00:19:16,930 like that. There's nothing like that. You have to approach each 305 00:19:16,930 --> 00:19:20,710 of these and balance all of these four factors and think 306 00:19:20,710 --> 00:19:26,470 about what you're doing carefully. So is it a defense or 307 00:19:26,470 --> 00:19:30,790 right, technically, it's a defense against charges of 308 00:19:30,790 --> 00:19:34,630 infringement. But many, including Ruth Bader Ginsburg 309 00:19:34,660 --> 00:19:37,840 also interpreted it as a right. Many of you say it's your rights 310 00:19:37,840 --> 00:19:41,440 suggest that we have to use it or lose it. If we allow fair use 311 00:19:41,440 --> 00:19:44,710 to a roadway. They can hobble all kinds of creativity. So we 312 00:19:44,710 --> 00:19:49,960 need to keep pushing it with the to it's limit. ,Okay, so like I 313 00:19:49,960 --> 00:19:53,230 said, it's hard to know what if your use is safe, since there 314 00:19:53,230 --> 00:19:55,690 aren't any hard and fast rules. So let's go through these four 315 00:19:55,690 --> 00:20:00,070 factors one by one. First, purpose and character of the 316 00:20:00,070 --> 00:20:04,840 use, including whether such use is of a commercial nature, or is 317 00:20:04,840 --> 00:20:08,560 for nonprofit educational purposes, that protects a lot of 318 00:20:08,560 --> 00:20:13,390 what we do in the university, a nonprofit institution is 319 00:20:13,390 --> 00:20:17,140 granting greater leeway and use of copyrighted material. Just 320 00:20:17,140 --> 00:20:20,080 because it's educational doesn't automatically mean it's fair, 321 00:20:20,080 --> 00:20:23,380 though, you have to think about that. And then transformative 322 00:20:23,380 --> 00:20:27,220 use using the original in some of our work or format is also 323 00:20:27,220 --> 00:20:30,460 more fair than just copying it. So here's an example of a 324 00:20:30,460 --> 00:20:34,330 transformative use. If you just take a copyrighted picture of 325 00:20:34,330 --> 00:20:37,900 Marilyn Monroe, and slap it on a t shirt and sell on a Cafe 326 00:20:37,900 --> 00:20:41,590 press, that's not transformative. But if say 327 00:20:41,590 --> 00:20:44,560 you're Andy Warhol, and you use that picture, and you make a 328 00:20:44,560 --> 00:20:47,620 series of prints, playing with color, and design, that's a 329 00:20:47,620 --> 00:20:50,890 transformative work. These things have been fought out in 330 00:20:50,890 --> 00:20:53,560 the courts, and they will continue to be, but if you're 331 00:20:53,560 --> 00:20:56,860 adding value to it, if you're transforming it into something 332 00:20:56,860 --> 00:21:01,270 else, that helps protect what you're doing, it's really 333 00:21:01,270 --> 00:21:05,650 starting to be considered the most important factor. So this 334 00:21:05,650 --> 00:21:09,550 is, you know, if you're using a say, if you're using a short 335 00:21:09,550 --> 00:21:12,430 story, but you're using it in a history class to illustrate 336 00:21:12,430 --> 00:21:15,310 social mores of a certain time, that might be more 337 00:21:15,310 --> 00:21:19,120 transformative than just using it straight in an English class. 338 00:21:19,630 --> 00:21:24,280 Yeah. Okay, next one, the nature of the copyrighted work is the 339 00:21:24,280 --> 00:21:28,330 original work creative or factual. Using a factual work is 340 00:21:28,330 --> 00:21:33,430 more likely to be allowable, is it consumable. Now, consumable 341 00:21:33,430 --> 00:21:36,460 is weird, it's like it's a workbook, something like that 342 00:21:36,490 --> 00:21:40,240 something that you're supposed to fill in. That's not really, 343 00:21:41,170 --> 00:21:44,200 that's not really fair use. If you copy something like that, 344 00:21:44,230 --> 00:21:47,020 give a copy to all of your students. And then you're kind 345 00:21:47,020 --> 00:21:49,900 of defeating the purpose of them actually making the workbook. 346 00:21:51,850 --> 00:21:55,630 Audio visual works are also very complex I mentioned before, they 347 00:21:55,630 --> 00:22:00,760 often have many people involved in the copyright. So think about 348 00:22:00,760 --> 00:22:04,750 here's here's an interesting thing. The list of ingredients 349 00:22:04,750 --> 00:22:07,990 in a recipe cannot be copyrighted, that's considered 350 00:22:07,990 --> 00:22:11,320 factual. But the way the description of the dish is 351 00:22:11,320 --> 00:22:14,980 written, is a creative work, and it's protected. So that's why 352 00:22:14,980 --> 00:22:17,140 you see cooking blogs that have like, you know, a page and a 353 00:22:17,140 --> 00:22:21,310 half, half history of how my grandmother made this recipe, 354 00:22:21,490 --> 00:22:24,160 and why I made it yesterday, before you even get to the 355 00:22:24,160 --> 00:22:27,490 recipe. That's all the copyright is stuff up there. And then the 356 00:22:27,490 --> 00:22:33,610 recipe itself is not. All right. And then the third one, the 357 00:22:33,610 --> 00:22:37,720 amount and sustainability of the portion used in relation to the 358 00:22:37,720 --> 00:22:41,890 copyrighted work as a whole. So this is where you should only 359 00:22:41,890 --> 00:22:45,130 use what you need to use, not the whole work. Quote the 360 00:22:45,130 --> 00:22:48,790 section that is important to what you're trying to say not, 361 00:22:48,820 --> 00:22:53,410 you know, the whole page. The heart of the work is very hard 362 00:22:53,410 --> 00:22:57,370 to find. And I think it's best thought of in terms of the final 363 00:22:57,370 --> 00:23:01,300 factor, which is the effect of the use upon the potential 364 00:23:01,300 --> 00:23:06,010 market for or value of the copyrighted work. So if you use 365 00:23:06,010 --> 00:23:10,660 the heart of the work, for example, revealing the solution 366 00:23:10,660 --> 00:23:14,500 to a mystery and a long quote, within a review, you might very 367 00:23:14,500 --> 00:23:18,220 well negatively affect sales. On educational use, though, if 368 00:23:18,220 --> 00:23:20,680 you're using a work as a supplement in the classroom, 369 00:23:20,980 --> 00:23:24,190 it's expected to have little additional effect on the sale. 370 00:23:24,190 --> 00:23:27,760 So it's a bit more protected. How do you work through these 371 00:23:27,760 --> 00:23:31,180 confusing four factors and figure out if you're potentially 372 00:23:31,180 --> 00:23:35,230 risk is fair and safe? That's where fair use checklists come 373 00:23:35,230 --> 00:23:38,620 in. We've got some people who have done some of this work for 374 00:23:38,620 --> 00:23:44,500 us. The Kenneth Crews Fair Use checklist is probably the best 375 00:23:44,500 --> 00:23:48,790 known. And it's un and if in if itself it's like so that's pre 376 00:23:48,790 --> 00:23:54,100 incarnate. So you do what you what you like with it. But it 377 00:23:54,100 --> 00:23:57,280 walks you through your intended use, it asks you all these 378 00:23:57,280 --> 00:24:00,610 questions, how are you going to use it? Who's going to be using 379 00:24:00,610 --> 00:24:04,300 it? How are you going to cite it, all this kind of stuff that 380 00:24:04,300 --> 00:24:09,130 you need to answer and then it gives you like this, this is pro 381 00:24:09,130 --> 00:24:12,700 fair use this is anti fair use. And then you kind of tick that 382 00:24:12,700 --> 00:24:16,630 up, you add that up and you see where you fall. And then you see 383 00:24:16,750 --> 00:24:20,350 what's my tolerance for risk? Do I feel like this is a fair use 384 00:24:20,350 --> 00:24:26,050 that I can defend that I can risk doing? It's, it's tough, 385 00:24:26,050 --> 00:24:29,530 it's a challenge and but it gets a little bit easier, the more 386 00:24:29,530 --> 00:24:33,700 often you do it. I've got a few more sources like this listed on 387 00:24:33,700 --> 00:24:40,900 the last slide there. All right, so just to review here okay, the 388 00:24:40,900 --> 00:24:45,820 Copyright Act 1976. That's the law anything fixed in a tangible 389 00:24:45,820 --> 00:24:49,090 form can be copyrighted, copyright owner, you have a 390 00:24:49,090 --> 00:24:54,100 bundle of rights, works before 1926 public domain after that, 391 00:24:54,310 --> 00:24:58,690 generally till 70 years after the death of the author. Fair 392 00:24:58,690 --> 00:25:01,900 use allows limited use of copyrighted work, you have to 393 00:25:01,900 --> 00:25:05,440 consider all four factors. There are special allowances for 394 00:25:05,440 --> 00:25:08,830 teaching and libraries and other nonprofit display informants, 395 00:25:08,830 --> 00:25:11,860 these are all laid out in the law. So if you're a classroom 396 00:25:11,860 --> 00:25:14,470 teacher, good idea to take a look at that, get kind of 397 00:25:14,470 --> 00:25:19,330 familiar with it. And remember the guidelines are guidelines, a 398 00:25:19,330 --> 00:25:21,940 lot of us will adhere to them. But there are guidelines, if 399 00:25:21,940 --> 00:25:26,200 they say the guidelines, say 26 pages. That's, that's what they 400 00:25:26,200 --> 00:25:29,560 think that's what the publishers would like you to think. That's 401 00:25:29,560 --> 00:25:33,220 not necessarily what the law says. And then some general 402 00:25:33,220 --> 00:25:39,670 copyright resources. Georgia Harper's Copyright Crash Course 403 00:25:39,670 --> 00:25:42,730 is really good. If you want to do this more intensively, and 404 00:25:42,730 --> 00:25:46,870 work through it yourself, and learn a lot of things. US 405 00:25:46,870 --> 00:25:50,230 Copyright Office, that's where you're gonna find a lot of this 406 00:25:50,230 --> 00:25:56,200 law laid out. Copyright advisory network, American Library 407 00:25:56,200 --> 00:25:59,830 Association, I was involved with that for a while, that was a 408 00:25:59,860 --> 00:26:03,790 really good resource for you to ask questions and get advice. 409 00:26:04,150 --> 00:26:07,570 And Columbia is another one where you could kind of see all 410 00:26:07,600 --> 00:26:10,210 kinds of stuff gathered together in one place where you can get 411 00:26:10,210 --> 00:26:14,950 to it easily, I believe they have a blog, too. So all right, 412 00:26:14,950 --> 00:26:18,280 and then contact information if you want to contact me 413 00:26:18,280 --> 00:26:24,190 afterwards. And we have some time for questions. Now, it's 414 00:26:24,190 --> 00:26:29,830 like, huge amounts of stuff, copyright, is it's confusing, 415 00:26:29,860 --> 00:26:33,130 but you know, if you if you kind of break it down like this into 416 00:26:33,130 --> 00:26:36,460 what's the principle they're trying to protect? What are what 417 00:26:36,460 --> 00:26:40,000 are the rights of the Creator? What how can other people use 418 00:26:40,000 --> 00:26:44,500 these things? That kind of helps. So all right. 419 00:26:44,000 --> 00:26:54,020 What are your experiences with the publisher agreement. Have 420 00:26:54,020 --> 00:26:55,940 you been able to push back on that? 421 00:26:55,649 --> 00:26:59,490 Well, yes. My very first book, I had no idea what I was doing. 422 00:26:59,551 --> 00:27:03,331 And I signed away my rights. And I'm very unhappy about that. 423 00:27:00,700 --> 00:29:10,030 What do you, as far as students that are doing research on 424 00:27:03,393 --> 00:27:06,924 Because there have been many opportunities where a second 425 00:27:06,986 --> 00:27:10,703 edition or something would have been very nice capitalize on 426 00:27:10,765 --> 00:27:14,172 something going on, the publisher's very uncooperative, 427 00:27:14,234 --> 00:27:17,518 because they don't actually publish that kind of book 428 00:27:17,580 --> 00:27:21,421 anymore. So I am still kicking myself hard for that, you know, 429 00:27:21,482 --> 00:27:25,076 20 something years later. And there have been, I've worked 430 00:27:25,138 --> 00:27:28,359 with a publisher called McFarland Press, and I don't 431 00:27:28,421 --> 00:27:32,386 like their form. And I would go back and tell them, I don't like 432 00:27:32,448 --> 00:27:36,289 your form, you're making me sign away my rights. And they say, 433 00:27:36,351 --> 00:27:40,130 oh, that's not really true. You can have all your rights back 434 00:27:40,192 --> 00:27:44,157 after two years, that should be in your form, not in an email to 435 00:27:44,219 --> 00:27:48,060 me, you know, so that's, that's, you know, write back and tell 436 00:27:48,122 --> 00:27:51,901 them with that on the form, or I will, and then I'll sign it. 437 00:27:51,963 --> 00:27:55,990 They also had a thing where they were doing anthologies, and they 438 00:27:56,052 --> 00:27:59,645 wanted to each contributor to the collection to sign their 439 00:27:59,707 --> 00:28:03,610 rights over to me and I said, I don't want their rights, I want 440 00:28:03,672 --> 00:28:07,637 them to stay with the author of the original chapter. And again, 441 00:28:07,699 --> 00:28:11,416 they said, well, that's not really what we want. That's just 442 00:28:11,478 --> 00:28:15,443 what's on our form. So you have to be careful with that and push 443 00:28:15,505 --> 00:28:19,098 back with that. I was recently asked to do an entry for an 444 00:28:19,160 --> 00:28:23,063 encyclopedia. And we've gotten fairly well along. And then they 445 00:28:23,125 --> 00:28:26,904 sent me the contract. And it said, you signed over the rights 446 00:28:26,966 --> 00:28:30,931 to Springer. I said, Springer's not making a profit off my work. 447 00:28:30,993 --> 00:28:34,896 I mean, they can make a profit, but they're not going to profit 448 00:28:34,958 --> 00:28:38,861 on it forever, without me having a chance to reuse it. So yeah, 449 00:28:38,923 --> 00:28:42,825 you still have to keep looking. It's, you know, we talked about 450 00:28:42,887 --> 00:28:46,790 this yesterday in the reviewing your contract presentation. One 451 00:28:46,852 --> 00:28:50,569 of the questions was, how can you find out in advance what's 452 00:28:50,631 --> 00:28:54,101 going to be on your contract because most of them aren't 453 00:28:54,163 --> 00:28:57,818 going to give it to you until fairly late in the process. A 454 00:28:57,880 --> 00:29:01,783 lot of journal publishers will have a sample agreement on their 455 00:29:01,845 --> 00:29:05,624 page, especially if they care about this. The journal I edit, 456 00:29:05,686 --> 00:29:09,279 Mytholore, we have a sample agreement, you can look at it, 457 00:29:09,341 --> 00:29:13,244 see if you're comfortable with it before you even submit to the 458 00:29:10,030 --> 00:29:49,270 campus and producing you know, something that's a final 459 00:29:13,306 --> 00:29:16,899 journal. So try looking for that. A lot of publishers will 460 00:29:16,961 --> 00:29:20,802 have something somewhere to dig around on the internet to find 461 00:29:20,864 --> 00:29:24,271 out what their publication agreement is. There's a site 462 00:29:24,333 --> 00:29:27,865 called Sherpa-Romeo that collects these for journals. And 463 00:29:27,927 --> 00:29:31,458 you can look there and see if they've got the publication 464 00:29:31,520 --> 00:29:35,113 terms for publishing. Yeah, sometimes you do a bit of work 465 00:29:35,175 --> 00:29:39,078 and then you find out they want to take it from you. And you'll 466 00:29:39,140 --> 00:29:42,981 never be able to use your stuff, and you kick yourself and you 467 00:29:43,043 --> 00:29:46,079 say, well, I'm foing to take that somewhere else. 468 00:29:49,720 --> 00:29:53,560 product, what do you think we should be sharing with them 469 00:29:53,560 --> 00:29:55,360 about copyright? 470 00:29:56,110 --> 00:30:01,900 Okay, well I think if they are going to be doing a fair amount 471 00:30:01,900 --> 00:30:04,450 of quoting talk to them a little bit about the difference 472 00:30:04,450 --> 00:30:09,340 between, you know, plagiarism and copyright violation, make 473 00:30:09,340 --> 00:30:13,450 sure that they are attributing and citing properly, as long as 474 00:30:13,450 --> 00:30:16,930 they are putting quotes in quotes, and putting the citation 475 00:30:16,930 --> 00:30:21,100 in the bibliography, you're going to be pretty safe. Now, 476 00:30:21,100 --> 00:30:23,410 when they go to get it published, they may run into a 477 00:30:23,410 --> 00:30:27,610 publisher, who was particularly nervous about quoting. And in 478 00:30:27,610 --> 00:30:31,630 fact, I just had that was another McFarland thing. They've 479 00:30:31,630 --> 00:30:34,990 gotten nervous about the amount of material quoted across the 480 00:30:34,990 --> 00:30:37,780 length of the whole book. And it said, each contributor had to 481 00:30:37,780 --> 00:30:41,770 quote "cut down" the amount they were quoting, that they might 482 00:30:41,770 --> 00:30:47,080 need to be prepared to do that. Publishers, publishers with 483 00:30:47,080 --> 00:30:50,860 deeper pockets are more nervous, they will be more restrictive of 484 00:30:50,860 --> 00:30:55,870 you. Publishers that are kind of under the radar are generally a 485 00:30:55,870 --> 00:31:00,550 lot more generous with what you're allowed to quote. For the 486 00:31:00,550 --> 00:31:03,400 journal I edit for Mytholore, the only thing where I really 487 00:31:03,400 --> 00:31:05,500 makes them seek out permission is when they're quoting 488 00:31:05,500 --> 00:31:08,320 something that is like unpublished journals, or 489 00:31:08,320 --> 00:31:11,530 unpublished letters or something like that. Everything else I 490 00:31:11,530 --> 00:31:16,600 figure is fair game, scholarly fair use quoting in, in the in 491 00:31:16,600 --> 00:31:23,650 the, in the way for research purposes. Okay. But if you get a 492 00:31:23,650 --> 00:31:27,220 bigger publisher, and they get more nervous that one line from, 493 00:31:27,250 --> 00:31:30,340 you know, a Beatles song and Apple is gonna come and you 494 00:31:30,340 --> 00:31:34,480 know, take all your money away. So, yeah, it's it's kind of a 495 00:31:34,480 --> 00:31:40,510 balancing act and publishers, you know, their on the crossbar, 496 00:31:40,540 --> 00:31:44,380 you know, if they, if they publish, what a copywriter 497 00:31:44,440 --> 00:31:47,530 thinks is too much and they have deep pockets that are likely to 498 00:31:47,530 --> 00:31:48,130 get sued. 499 00:31:49,260 --> 00:31:52,230 I'll just add privacy. I don't think we have enough of that 500 00:31:52,230 --> 00:31:55,020 conversation. At least I'm not asked to have that conversation, 501 00:31:55,050 --> 00:31:57,600 like in the sciences and the science librarian. Should we 502 00:31:57,600 --> 00:32:00,540 have those conversations about you created this poster, we're 503 00:32:00,540 --> 00:32:03,480 gonna put it in ScholarWorks? What can you do with it? What 504 00:32:03,480 --> 00:32:06,360 can you not do with it? Should you create a commons license? 505 00:32:06,360 --> 00:32:09,660 And what are the options? They get some of that information 506 00:32:09,870 --> 00:32:12,600 when they submit it, right? And then they get an option in the 507 00:32:12,600 --> 00:32:16,710 ScholarWorks submission form to say, here's how I want to like 508 00:32:16,830 --> 00:32:20,880 that. But yeah, we don't really teach that unless professors ask 509 00:32:20,880 --> 00:32:25,110 us to teach that. I think I've gotten zero requests to teach 510 00:32:25,110 --> 00:32:27,510 those concepts in the seven years I've been here, and I 511 00:32:27,510 --> 00:32:31,890 would relish those opportunities because as content creators, 512 00:32:32,580 --> 00:32:36,270 students need that information. But that's not a conversation 513 00:32:36,270 --> 00:32:38,040 that I'm having with them, because I haven't been invited 514 00:32:38,040 --> 00:32:39,390 to the stage. 515 00:32:40,020 --> 00:32:43,950 Yeah, I really second that. Because the places I've been, 516 00:32:43,950 --> 00:32:48,660 it's really, nobody else in campus is teaching copyright, it 517 00:32:48,660 --> 00:32:50,250 falls to the library. 518 00:32:50,310 --> 00:32:51,840 Common media is a little bit. 519 00:32:51,990 --> 00:32:52,380 A little bit. 520 00:32:51,990 --> 00:32:57,000 And art, art and art a little bit. Yeah. 521 00:32:58,230 --> 00:33:02,100 Yeah, but it's, it's a gap. It's a gap. And it's part of 522 00:33:02,100 --> 00:33:07,980 preparing to be a scholar. You know, as you finish your, finish 523 00:33:07,980 --> 00:33:10,860 your dissertation, finish your thesis, whatever you're doing, 524 00:33:11,220 --> 00:33:14,550 it's part of that preparation to go on to the next phase that I 525 00:33:14,550 --> 00:33:18,150 think is is often often skipped, especially the reading your 526 00:33:18,150 --> 00:33:32,250 contract part. We have about 5 more minutes? Okay, well, um, 527 00:33:32,460 --> 00:33:36,270 the, if you, the slides are going to go into ScholarWorks. 528 00:33:36,480 --> 00:33:40,200 So Right. Yep. Yep. So at some point, if you want to go back 529 00:33:40,200 --> 00:33:43,830 and look at any of these, follow through any of these, any of 530 00:33:43,830 --> 00:33:50,880 these sources I've given, you can do that. Right. Okay, well, 531 00:33:50,880 --> 00:33:52,920 we will take our break until the next round.