Yes. Faculty members can incorporate portions of copyrighted materials into PowerPoint presentations and other multimedia projects for educational purposes, but they should follow the Fair Use guidelines, such as: Instruct students face-to-face.
Guidelines for Distributing Copies The American Library Association recommends using "Notice: This material is subject to the copyright law of the United States." Provide only one copy per student which becomes the property of the student. Copying the works for subsequent semesters requires copyright permission.6 days ago
Instructors may not: copy sheet music or recorded music for the purpose of creating anthologies or compilations used in class. copy from works intended to be “consumable” in the course of study or teaching such as workbooks, exercises, standardized tests and answer sheets, and like material.
For example, if a teacher wants to use one line from a copyrighted poem and then have their students create their own poems inspired by that line, that is likely to be considered fair use.
Since copyright law favors encouraging scholarship, research, education, and commentary, a judge is more likely to make a determination of fair use if the defendant's use is noncommercial, educational, scientific, or historical.
Fair use allows limited use of copyrighted material without permission from the copyright holder for purposes such as criticism, parody, news reporting, research and scholarship, and teaching. There are four factors to consider when determining whether your use is a fair one.
The Copyright Act allows anyone to photocopy copyrighted works without securing permission from the copyright owner when the photocopying amounts to a “fair use” of the material (17 U.S.C. SS107).
Classroom teachers cannot, under the law, simply photocopy entire textbooks for their students.
One way to make sure your intended use of a copyrighted work is lawful is to obtain permission or a license from the copyright owner. Contact a copyright owner or author as far as pos- sible in advance of when you want to use the material specified in your permissions request.
Section 107 of the Copyright Act gives examples of purposes that are favored by fair use: “criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, [and] research.” Use for one of these “illustrative purposes” is not automatically fair, and uses for other purposes can be ...
The four factors of fair use:The purpose and character of the use, including whether such use is of commercial nature or is for nonprofit educational purposes. ... The nature of the copyrighted work. ... The amount and substantiality of the portion used in relation to the copyrighted work as a whole.More items...
In its most general sense, a fair use is any copying of copyrighted material done for a limited and “transformative” purpose, such as to comment upon, criticize, or parody a copyrighted work. Such uses can be done without permission from the copyright owner.
Anthologies actually involve two separate types of copyrights: (1) the authors’ copyrights in their individual stories , and. (2) the “collective work” copyright, which includes only revisions, editing, and/or compilation ( e.g., the selection of the stories that went into the anth ology) – but not the content of the individual contributions.
Her fourth Hiro Hattori novel, The Ninja’s Daughter, releases August 2, 2016 from Seventh Street Books. Susan is the 2015 Rocky Mountain Fiction Writers’ Writer of the Year, and also a transactional attorney whose practice focuses on business and publishing law. She founded and curates the Twitter hashtag #PubLaw (for Writers), where she answers questions and provides information about publishing business and legal issues. When not writing or representing clients, Susan enjoys traditional archery, reading fiction and nonfiction, and raising seahorses and rare corals in her marine aquarium. She lives outside Sacramento, California, but you can find her online at http://www.SusanSpann.com, on Twitter (@SusanSpann ), or on Facebook/SusanSpannBooks.
Some anthologies pay participating authors for their contributions, either on a flat fee basis or by means of a royalty share. Other anthologies don’t compensate contributing authors financially; however, many non-paying anthologies donate the sales proceeds to charity or to the nonprofit organization that sponsored the publication.
Anthology publishers need only a limited license to publish the contributed works as part of the anthology – and the contract should expressly limit the publisher’s use of the work to its inclusion in the relevant anthology or collective work.
Most anthologies don ’t require participating authors to purchase copies of the finished work or mandate author participation in marketing activities. Although many authors choose to purchase copies and to help with marketing for the finished work, these should be the author’s choice—and not required by contract.
The University of Rhode Island uses the IDEA Diagnostic Instrument for their course evaluations. With this standard set of questions in place, Sean Krueger, the Coordinator of Course Evaluations in the Office of the Provost, began to realize how distinct questions could pair together for greater understanding.
Both Krueger and Flint agreed that a compelling visualization is a powerful tool in these conversations. Because many campuses have yet to look at this data on a macro scale, visualizations can zoom out the conversation to more easily capture trends in the data. Krueger has been using visualizations for some time.
Publishers are more likely to grant permission when the author is using his or her own work. Therefore, instructors are encouraged, when possible, to use their own work. Publishers are also more likely to grant permission when students are encouraged to buy the work being used.
If you are unable to use public domain or openly licensed (e.g., Creative Commons) materials AND are unable to make a good fair use argument or use another copyright exception, you may need to get permission to reuse all or part of a work.
Examples of "transformative" use could include juxtaposing images next to each other to show differences, or overlaying commentary or drawings on top of an image to highlight particular features. Use diverse sources (not too much reliance on a single source), and the number of images should be limited.
Content developed for an instructor website or a massive open online course (MOOC) are considered visible to the public. Fair use may apply but in a more limited fashion than it does in closed classroom environments, including on campus instruction. Try to create your own content, particularly for images.
Instructors may use content that is in the public domain or licensed for any use, including for-profit purposes, under an appropriate Creative Commons or similar license. In all cases, instructors should make an attribution to the original source in their slides or other class materials.
Instructors of online courses do NOT have the same copyright protections as those teaching physical face-to-face courses, so there are extra precautions you must take when creating an online course. Images, videos, audio, and text can all be meaningful additions to your course content.
It is preferable to link out to a sound file if one is available on the web. In those cases, students would be directed to follow the link, and then return to the lecture. This is especially appropriate when the entirety of a video or audio work must be seen or heard before the lecture will continue.