Wednesday 
May 4, 2016 
Copyright and Open Licensing in OER Courses
Captioner:  Bonnie Rothermel 
	
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	CART Disclaimer:  This rough edit transcript, which may contain missing, misspelled or paraphrased words, is only provided for your immediate review and is not certified as verbatim and is not to be cited in any way. 
	
	[Captioner standing by] 
	
 	>> JEFF GALLANT:  Okay. So be sure to keep an eye on the Training and Development page, along with your e‑mail inboxes because we will have two more training and development series for what we would call this season, up until June. And the first one that we're going to have later on is one with Merlot and Affordable Learning Solution, both partners of ours.  
	And the second one is going to be with AMAC on accessibility. AMAC is still working on tentative date, we have June 1st on the page, but that may change due to who in AMAC is available for that day.  Both of those should be really interesting events and I hope to see you there. 
	Okay, so I would like to start recording now. 
	[Recording started] 
	And I would like to introduce our speaker, Christine Fruin from the University of Florida. She is the Scholarly Communications Librarian. We are going to do some polling at the beginning and at the end of the presentation, so be sure to click on the button that says "A" up near ‑‑ above the listing of participants, once we start asking polling questions.  
	Thank you and take it away, Christine.  	>> CHRISTINE FRUIN:  Thank you, Jeff. And, again, my apologies to anyone who is having difficulty hearing me. This is actually unique. I usually don't have any trouble with folks hearing me.  I certainly have done numerous webinars and I'm using the same equipment I always used.  I have tried various computers and headset/microphone combinations and it seems just not to be loud and clear.  My apologies in advance to anybody who may not be getting the full experience.  And I'm sorry I'm muffled, there's nothing I can do about it. I apologize. It's a function of ‑‑ there's nothing I can do, I'm sorry. I'm sorry. 
	As Jeff indicated, we're going to start the presentation today with a few questions, a few polling questions. And as Danny pointed out to you, there is a button that kind of looks like ‑‑ it's to the far right, it looks like a letter A and a square. And if you would answer those questions, that would be great, to give us an idea of how familiar you are with copyrighting. If you will take a second to indicate kind of where you are in terms of your knowledge level of copyright. 
	And the responses, you will see kind of the floating box there. It looks like a fair amount of you are very comfortable or fairly comfortable, I should say, that you have answered a question or two about it. It comes up occasionally in your work life.  That's good to know and that's kind of where I expected you to be, in the D and C range.  Although, quite a few didn't answer anything.  15 of you, so not sure what's going on there. 
	Just go ahead and go to the next one. And question 2, this is about your level of comfort with Creative Commons licenses.  And, again, A being very comfortable, that you understand the usage, to perhaps ‑‑ and I actually run into this quite frequently is people who have never heard of Creative Commons. So perhaps maybe that is where you are. So just take a couple seconds and respond to this one. 
	And, again, kind of in that B area. There are a fair amount of folks who are not familiar with it, who have not heard of Creative Commons before. And, again, a few of you didn't respond at all. [Laughter]. 
	All right. So let's go to question 3. So this is more about the application of copyright law to different types of media. And this is actually a really important distinction, different considerations perhaps that are made when looking at things like video and audio as opposed to text‑based work.  And even when you have those materials online versus to having hard copy. So this, you have very familiar, you know, A, you are very familiar with how copyright applies to all different forms of media, to, C, you are very uncertain about how they apply. 
	Again, everyone kind of falling along ‑‑ around that kind of familiar with, which, again, is what I would expect. 
	So let's go ahead and get started with the main content of the presentation today which is going to be about, you know, using copyrighted work in teaching. 
	So the way I have structured the presentation today is, really, there's three questions that you should probably ask yourself before using material in teaching. 
	The first question is: Is the material copyrighted?  And we're going to talk about not only the types of work that are eligible for copyright protection, but also determining if the work is still protected by a copyright, if the copyright has expired.  It's kind of a two‑prong inquiry for answering question 1. 
	Secondly, does your proposed use of that copyrighted work fall within Fair Use?  And that's what we will be spending the majority of the time discussing today, is the application of Fair Use, particularly in teaching. 
	And then finally, and this is a really critical question: Is the use of your material subject to a License Agreement or other types of Terms of Use?  And we're going to be distinguishing contract law and copyright law, particularly when we're talking about digital materials, especially digital and materials that are licensed, which is what we usually encounter when we are using library resources, online library resources, those materials are usually subject to a License Agreement that actually is going to govern our use and in that instance, even though your use may qualify as a Fair Use, if you find that your contract or your License Agreement says otherwise, you are typically going to be bound by that. 
	So let's tackle the first question first: What is copyright?  So the Copyright Act itself is actually pretty specific on what kinds of works are protected. The statutory language itself says, copyright protects original works that are fixed in any tangible medium of expression. We can hear them, read them, view them. Such as books, music, plays, different types of artwork, a photograph or sculpture. And even things like soft work and pornography and architecture things are also things that are copyrighted. So what does the copyright holder get by producing a copyright?  They get a copyright holder, a bunch of rights including the right to copy and disseminate, to create derivative works, and to publicly display. Even though this bundle of rights is frequently qualified as being exclusive, that's kind of a misnomer because there are several exceptions under the Copyright Act that are exceptions to that exclusivity.  And a really big exception, and sometimes it's also part of the [indiscernible] to use the copyright work is Fair Use. We're going to be getting to that in a moment. Fair Use would be an exception where you have the right to use a copyrighted work without paying a royalty fee. 
	In addition to there being numerous types of works that are protected, there are a whole lot of works that are not protected by copyright. And this is laid out in other portion of the Copyright Act. Things such as facts. Fact would include not only historical dates, things such as systems of measure and those kinds of things are not protected by copyright, but just mere ideas, things that have not been kind of fixed in that tangible realm. They are still in the idea phase. They have not reached that level of being fixed. Raw data is another area, particularly in education we come across this a lot, especially with graduate students, you know, both wants to use raw data sets to form the thesis or hypothesis of their dissertation and sometimes scuffles ensue about who owns the data. Raw data without somebody being creatively displayed and expressed and interpreted is not protected by copyright.  
	Another huge class of works not copyrighted are working of the Federal Government. So works prepared by an employee of the Federal Government in the course of his or her employment, things prepared by Governmental agencies, anything usually that isn't somehow, you know, protected for national security reasons or the like. But other types of works with Federal Government. Things like maps and images and even films. There's a large cache of really rich materials produced by the Federal Government, not only [indiscernible] but historically that can really provide great resources for teaching that are not protected by copyright. 
	And the next large body of works not protected by copyright are the works that were once protected, but are no longer because the copyright has expired.  We call those works being in the Public Domain.  As far as how long copyrights last, that has certainly changed over time as the law has changed.  I'm not going to get into the complexities of trying calculate when a copyright expires. It's tricky between that magic date of January 1, 1923, which in the U.S. we typically treat as the date prior to works that are in the Public Domain, but I always refrain from saying everything from January 1, 1923 because there are certainly exceptions. 1923 to 1967‑68, the law was very different in terms of what was required formally in terms of registration and renewal. There's a really wonderful resource out there to help folks sort through that and it's the Public Domain Chart. It may be something you are familiar with.  It's maintained and put together by the library folks at Cornell University. It really helps you break down in determining whether or not a particular work is still protected by copyright. 
	So now we go to, you know, the exceptions, the exceptions that apply.  There are always numerous exceptions under the Copyright Act. This is not an exhaustive list, there are certainly important ones that have been left off. A really important one for Librarians is section 108, there's a number of activities libraries can engage in section 108. But there are ones that have direct application to teaching which I want to highlight here. 
	The first one I want you to alert you to is the face‑to‑face teaching exception and that is found in section 110(1) of the code. When you have an Instructor and students in the course of instruction, in that situation the Instructor is to perform or display copyrighted works. Typically what we would refer to as movies or music or other types of sound recordings. As different teaching modality develops, whether it's online teaching, whether it's synchronous or asynchronous. It's important for my pedagogical goals as well, I would like to use these in my online courses as well, but the face‑to‑face teaching exception does not apply to me. So the conventional response to that, in a rather complicated and really not so helpful response was the TEACH Act, which is a found in section 110(2). The TEACH Act is by no means an equivalent to section 110(1). There is a huge distinction between the two of 110(1) when you are an in teaching environment. But there's no limitation on the quantity, how much of that work you can show.  In a face‑to‑face teaching situation, you can show the entire film or play the whole sound recording. Move that course online and you start looking at the TEACH Act and now suddenly only limited and reasonable portions can be shown under the TEACH Act. Now what does a reasonable and limit portion mean?  In the legislative history, one of the Senators said, I could imagine a situation where it would be the whole work.  Well, you may have some flexibility in that by applying the next exception which is Fair Use and I certainly encourage the folks at UF that, yes, the TEACH Act is out there, but I think they have a lot more flexibility, a lot more ‑‑ a greater ability to do what they want, whether it's an online class or in an actual physical classroom under Fair Use.  And Fair Use, the statute permits, you know, using or reproducing copyrighted works of all types, whether it's texts, films, we don't have that limitation as we do with the prior two. For things such as criticism, news reporting, doing your own research or education.  And there's a balance of the four factors of Fair Use that's in favor of such use.  Now to qualify in law, for distance learning applications, there has been a lot of discussion about the application of Fair Use, of what we think of traditional, if we can say that now, traditional online learning, where you have degree seeking students that are enrolled in a course looking for some terminal degree as opposed to MOOCs which is another type of learning, the admission is open to everyone and the course work is available out there on the open web and not limited by access.  The application of Fair Use is applied to MOOCs as opposed to the more traditional online learning distance learning.  There will definitely be some differences. A lot of times they try to make a distinction there about the more limited application of Fair Use to MOOCs and I'll try to point that out where it's applicable. 
	So the four factors of Fair Use, these are the four things you have to think about if you are wanting to rely upon Fair Use before using copyrighted work in your class.  The four factors are the purpose and character of the use. The nature of the work you are seeking to use. How much of that work do you want to use?  And what's the effect of your use going to be upon the market for the original?  
	In theory, what do these four factors raise more than others?  When I say raise, a lot of times when I do this workshop I will put up an image of an old time balancing kind of scale and tell folks, on the one hand, you have your right of Fair Use and on the other you have the right of the copyright holder.  And as you are going through these four factors, you are kind of dropping imaginary weights on one side or the other, see where it tips more in favor. Does the totality of the four factors tip more in favorite of my [indiscernible]?  Or does it tip more in the favorite of the copyright holder?  If it tips more in my favor, I can feel comfortable going ahead and making use of this work and not really worry about getting permission, paying royalties.  If it tips more in favor of the copyright holder, when I'm in a situation where, okay, I either need to seek out permission and potentially pay a license fee or royalty, or maybe I want to find some alternative resource, maybe it be something openly licensed, Creative Commons license, maybe something less in the Public Domain, maybe something that's the work of the Federal Government. Or are there things that I can change, maybe I can use a little bit less, maybe I can make it more transformative to tip that down back in my favor. No area is supposed to weigh more than any other, but there have been some recent Court cases where the Courts have definitely zeroed in on factors one and four.  We'll talk a little bit about that as we go through. 
	Let's talk a little bit more first about factor one, the purpose and the character of use.  These are things you are going to look at, is my use more commercial or educational?  That doesn't mean commercial uses are never Fair Use.  There are actually quite a few very important Court cases out there that involve just that, commercial uses, things such as popular music and published commercial books, where the Court did find Fair Use in the commercial use. This is not in any way to indicate that commercial uses can never be Fair Uses, just the kind of things you would look at when balancing this. 
	Is my use more transformative or flat out reproduction?  Am I just making copies of a whole work and expecting students to use it or read it?  Or am I using it in such a way, maybe having some, you know, some explanations or other supplemental materials I'm creating myself to go with it. Or are you transforming the work, using it for a new purpose, a new audience to achieve goals than were really expected than the creator intended?  So transformative use, that has been a huge buzz word in jurisprudence in the last ten years.  Probably more like fifteen years. So is your use transformative, is really a key question to ask when doing the Fair Use analysis.  
	Now kind of an aside here about MOOCs.  It has not been decided judicially yet, but it is certainly a question that comes up about whether MOOCs are educational or commercial in nature. Certainly there are a lot of platforms available out there where distribution of MOOCs are considered commercial.  Just something if you are involved in development or instruction of MOOCs, this might be one that tips you more in the commercial realm than educational. 
	Looking at the nature of the work, what is the nature of the content being represented?  Is it more technical in stature?  Typically it will be more [indiscernible] not to say that the more imaginative‑types of work are not going to be Fair Use.  There are numerous examples of out there where folks are using transformative uses of artistic uses of work. They are using things in novel and unique ways and they are getting new purposes and goals than the authors of the original works created.  Certainly things that are published versus unpublished.  There is a tendency to want to give the copyright holder the first opportunity, the first crack at making the work public. 
	Section three, how much of the work is going used?  How much do you need to achieve what your pedagogical objective is?  Again, there have been recent cases where using the whole works, particularly the [indiscernible] where scanning the entire works was necessary to achieve the very transformative, you know, transformative goals. So generally we say, less is more, you are only using what you need to achieve the goals of whatever that particular class section is or the overarching theme is. 
	There was a case several years ago where the Supreme Court actually discussed this notion of the heart of the matter, even a very small portion could be considered infringing. It's sometimes what I like to call [indiscernible] where that small portion could necessarily be perhaps the whole reason why some of them would even buy that work to begin with. And it really kind of [indiscernible] from the rest of the work.  So we always want to be cautious of that, even if we are selecting a small portion, it wouldn't be the heart of the matter. I always like to say [indiscernible]. 
	The final factor is the effect of the use on the market. This is looking at, are you providing a free substitute to someone purchasing the original?  They are looked at an affordable and reasonable licensing in place. That does not mean it cannot be Fair Use, especially [indiscernible] which is often the case.  But really looking at whether or not what you are doing is provided someone is substitute to buying the original. 
	Where I kind of get a little nervous about this is when professors are saying they want to copy significant portions of the textbook. Textbooks are sold for student purpose, so we want to make sure we are not providing students with a substitute to buying textbook. I know the cost of the textbooks and the impact it has on students to get a good education is a huge issue.  But at the same time, it's kind of a delicate mine you have to dance around.  You don't want to appear to be avoiding payment of any kind of purchase price or other kinds of royalties.  
	Again, another kind of aside here about MOOCs, again, the openness, the open availability of resources to, you know, arguably 10, 20, 30,000 students is certainly a huge impact here. It could have a very large impact upon the market for [indiscernible] material.  Again, it's something to be very careful about when selecting copyrighted works for MOOCs because of the volume or the open availability of materials on the web. 
	The third question that I mentioned was: Is the material you are seeking to use subject to a License Agreement or other kinds of Terms of Use?  And we frequently see this with respect to digital or electronic resources, whether it be an eBook or whether it be streaming video.  It's the kinds of materials that would be subject to also things like subscriber agreements is another one.  So when you are dealing with works like that, you have to be aware of or talk to someone who is aware of what that License Agreement or other Terms of Use says about how that content may be used. You will need to comply with those terms of that contract that is entered into, whether it be your institution or your employer and the content provider. 
	And it could very well be, I know at least in our library and other libraries as well, when you are negotiating these License Agreements, you strive to make sure you are preserving Fair Use rights.  It does occasionally happen that Fair Use rights get written out or overlooked.  Sometimes content providers don't want you to be able to exercise your Fair Use rights.  Be very cautious if you are using material that have been licensed or subscribed that your use goes with your License Agreement. An example of that would be an e‑journal. Often sometimes it says that the subscriber should not be downloading articles, downloading the PDFs and then reposting them into their own system. So maybe in your own course management system, that would probably be a no‑no under most License Agreements. The use of fair practice would be to provide a link instead.  This sometimes can be tricky.  What link do I use?  It will not always be the link that you see up in the address bar of your browser. Different databases link differently.  So look for things at the top, if you have a database open, sometimes it might be at the top, sometimes it might be off on the side, something labeled as a stable link, permanent link, permanent URL, that is the URL you want to use.  Sometimes it will match the one that is up in the address bar of your browser, but there are some database hosts, I know Ebsco used to be one, that drops a unique section identifier number embedded in the URL and once you close out of that session, it becomes a dead link.  The link is no longer going to work. That's why you want you to look for something labeled as a stable or persistent link.  And using links, this is something I will repeat later on. The URLs are not protected by copyright, that is a fact like your house address or your telephone number, it's a web address.  So you can link to material all day long and you will be not be running a risk of violating copyright law.  So maybe you have a bunch of video links.  Provide the links, it's a much better alternative to instead copying the content and pulling it into your own system. If you instead drive your students out to where that content lives. 
	So now let's talk about how we can apply these kind of three questions or these inquiries linked to specific kinds of media.  We're going to talk about text and video. We spend a lot of time talking about video because I think a lot of questions come up.  Audio and images.  So text materials first, so text will include things such as book chapters, journal articles, even content you would find on a website. If it is a digital copy material that you would find in a licensed database, always provide the link.  Again, here is my caveat about MOOCs, MOOCs ‑‑ of course, participants aren't always going to be able to access that link. If your institution subscribes to it, they utilize the way computers talk to each other, they recognize you if you are [indiscernible] that institution, whether you are at a computer on the actual physical property of the institution that subscribes, or if you are at home typing in from a virtual network. The computer, the network sees you as being authorized. That works well for face‑to‑face class or Course Reserves for students. When you start talking about having participants in a class from all over.  Maybe they are not affiliated with any academic institution, they will not have that same kind of authorized access.  Sometimes links, if it's to a licensed or subscribed to content, links are not going to work necessarily for participants not affiliated from the same institution you are linking it from. 
	Again, if you have Course Reserves where you are at, I highly recommend using them because typically a Course Reserves unit will do the Fair Use analysis for you.  You give them the list of readings you want, if the material is available electronically, they will worry about the correct link to use or they will be more familiar with the terms of the License Agreement and what need to be done.  And typically libraries have access to better equipment if things need to be scanned.  They have access to better quality scanners for putting that content up for you.  
	If you are doing this on your own, of course, if you determine that your use of text‑based material is to the going to be Fair Use, then you will be in the situation of having to seek permission.  
	And of course, always encourage folks, whenever they can to look for Creative Commons or Open Access material.  You know, Creative Commons being material that has been licensed through creativecommons.org. It is subject to whatever section in the Copyright Act. Creative Commons gives permission globally to the world, oh, you can make use of my work as long as it fits within whatever parameters it fits in according to the Creative Commons license they have picked. If there is a license for Creative Commons or has been published through an Open Access journal which also typically uses Creative Commons licensing.  That will free you up from worrying about Fair Use as well. 
	Video, I get lots of questions all the time about video. So we talked, earlier we talked about the face‑to‑face teaching. So if you are in a class where you have students in front of you, they are learning where the teaching is takes place synchronously in the same location, there's not too much you have to worry about because you have a law that says I can show this film in my class. It's a little bit more tricky, of course, when are you talking about, I want to show this film online, or I want to put a streaming version of up that students to watch on their own time. I don't want to take up class time to watch this. Usually, you know, DVDs and such, you know, there is an exception. I'm not sure if you have heard of or are familiar with the Digital Millennium Copyright Act which was passed in the late 90s as a means of kind of clamping down on things such as Netflix to keep people from circumventing copyrights that were put on CDs and DVDs and keeping them from copying the files and distributing them to everybody. Now allow Congress to every three years create exceptions of when it is permissible to circumvent technical measures to create digital clips.  And these exceptions do apply to education, you can create clips from DVDs and post them for all students to watch under an exception of the DMCA.  How long the clips can be?  Then you have to kind of rely back on Fair Use.  So I can't tell you and don't let anyone tell you that, oh, so long as it's only three minutes, or so long as it's only 10%. Look at the guidelines where you are looking at text‑based [indiscernible] are not the law and the Court has made that very clear.  There is no safe haven in numbers. So long as I only use two chapters or so long as I only use 10%, that's not the law.  You have to rely upon Fair Use because there are certainly situations where using an entire work is perfectly allowed under Fair Use. You have to kind of look at all four of factors. 
	So digitizing DVDs, if you are talking about taking a physical DVD and making a copy, you are restricted to digital clips and looking at Fair Use for determining how much of that ‑‑ how much of that is acceptable. A video that is already available streaming, there a lot of commercial streaming products out there, there's also a lot of subscription products out there. I get questions about, what about Netflix?  Or iTunes?  Or Amazon in if you look at the subscriber license for that, it is for personal use only. By accepting the subscription, you cannot use what's in a classroom or share your password, however, I think it's perfectly acceptable if you are teaching a class that you know is going to be ‑‑ you know there's a lot of video you want your students to watch, do your homework ahead of time, or if you are an Instructional Designer, maybe you are not the Instructor, but you work with Instructors, encourage them to do their homework ahead of time and investigate, what are these things, whether it's television episodes or documentary films or maybe feature films, where can students find this?  Is it available through Netflix?  Can they rent it for $3.99 from Amazon or iTunes? And provide in the syllabus, these are the films you have to watch, these are where they are available. As a requirement of this class, you have to have a monthly Netflix subscription.  Or you have to go to Amazon and rent this. We were talking about the cost of textbooks earlier, most students probably already have a Netflix account. It's not going to be a huge financial burden on them to require them to either get a $7 a month Netflix screening or pay a couple bucks to rent a film through Amazon or iTunes.  It kind of eases the copyright burden off of you if students are working it through a personal account. But definitely refrain from dialing up Netflix in the classroom or using any kind of video capturing software. That would definitely be no‑noes. 
	YouTube, I frequently get questions about the use of YouTube.  You know, YouTube, a large portion that is on there is not up there legally.  You may have seen some stories recently about YouTube and its ever changing requirements with respect to how content can be posted or used or how take‑down notices are handled, so be very ‑‑ you know, definitely provide links to it. Because as I said earlier, links are not, you know, you are not really invocating copyright by sharing a link. [Indiscernible] becomes more of an ethical question, the content you find on YouTube, you pretty much know is up there illegally. And people say, how do you know?  Common sense. Common sense will tell you, you know, if it's a "Big Bang Theory" fan that put up "Big Bang Theory," it's probably up there without permission.  It's not too difficult to figure out if the content has been put up there with permission by or with the permission of the copyright holder. For the material that you know is up there illegally, it becomes an ethical question.  And it also becomes a question of: How sustainable is that?  Knowing that YouTube is kind of functioned on the basis of self‑reporting, we have to get take‑down notices from the copyright holders, if a video clip you find in August that you kind of know is up there without permission of the copyright holder, may not still be up there when you come in October when you have assigned students to watch it. So that's another consideration.  Not just the ethical consideration, but also a matter of whether or not you can ‑‑ how reliable it is, whether it's going to be up there. 
	Another thing to look for if you are affiliated with an institution, a University, there's a lot of subscription video databases out there that is a lot of libraries do subscribe to. Sometimes it is patron ‑‑ sometimes there are some that are on‑demand.  Check with your library, there may be streaming video that is available that you may not be aware of. 
	My apologies about the audio.  If I could, I would. I have been at it for a week trying different computers and microphones, both in my home and office, this is not something I'm unaware of it and I certainly tried to prevent it for today.  My apologies.  
	So then the audio, a lot of the same considerations as video.  There is, again, as far as if you are talking about playing a recording in class, you have that section 110(1) that protects you there, that allows you to play a recording in class.  If we're talking about audio in the online classes, again, the same kind of consideration of whether or not you can digitize it, you have the DMCA exception, and you have to look to Fair Use for how much of that you can actually digitize and stream. 
	Again, digital recording, MP3s, things you may have downloaded from iTunes, again, licensing agreements come with that. Your licensing agreement will not allow you to share those MP3s through your course management site. That will run afoul of the licensing agreement. So be aware of that as well. 
	If you are just looking to intro, outro sound clips, things to run into the background, Creative Commons audio license works, there's a couple really rich resources out there. And so I recommend that you check those out if all you are looking for is some background music, some intro, outro kind of music to jazz up your lectures.  There are some resources I put up there. 
	Public Domain audio works, if you are look can for public speeches, if that is the realm you are working on, the Library of Congress jukebox is a good resource. 
	I think a very common strategy that Instructors use when wanting to just throw some images into the slide, they just do a good ole Google Image search and use the first thing they find.  This probably is not your best strategy because you don't know if the images you are grabbing were posted legally.  I know there are a lot of images all over the Internet. Whether it dilutes somebody's right to make a copyright claim, I don't know, chances are it does.  But as a best practice, make sure you are grabbing images that have been licensed. Creative Commons is a good platform where you can actually do the Google search or Flickr search, start at the Creative Commons search and do your search through that and it will only retrieve images that have been unlicensed for educational use work or you could have ones that have been licensed for commercial work. Just be aware of grabbing too many images off of the Internet that have been illegally posted.  I don't want anyone to leave here with the impression that, oh, my gosh, if I don't start doing all these things, I'm going to get sued.  It's very unlikely that will happen.  These are just looking at best practices, you know, going forward when you are creating instructional content or selecting materials for your students to, you know, be grabbing ‑‑ to be using materials that you can feel comfortable, both legally and ethically using. 
	So now we kind of have ‑‑ just to kind of round out, we're going to poll you again, see if maybe your familiarity or comfort with using copyrighted works has improved at all. Even though you probably could not hear half of what I said today, but what you were able to pick up, did it improve your understanding?  Just quickly, yes, no, maybe. If you want to take a moment and respond to that. 
	I'm happy to see quite a few of you are feeling more comfortable. So that means that some of what I had to say certainly got through and was understood. That's wonderful! 
	And do you feel after this presentation that you could provide some resources to help you find more open‑licensed or Public Domain materials?  Okay, very good.  
	All right, now I'm going to be quiet and turn it over to you.  There were some questions that were shared with me ahead of time with some folks. I think I have addressed some of those. If there are any other questions, I'm happy to take those in the chat box now and answer them. 
	Otherwise, thank you so much for your patience today with the audio issues and tuning in. I hope you found it helpful and that it helps you feel more confident in your use of copyrighted work.  I know it's something that is scary for folks, don't be scared to assert your right to Fair Use.  
	And, again, my thanks to Jeff and everybody at ALG for inviting me to speak with you. And, again, if there are any questions, I'm happy to answer them.  	>> JEFF GALLANT:  We have a question. [Indiscernible] has a question: I always use the copyright information in my presentations.  Is that a good idea?   	>> CHRISTINE FRUIN:  So when you say copyright information, are you talking you are including a citation to the material?  It is always a good idea, and this is really, you know, we certainly have the expectation of our students to engage in academic integrity, to not engage in plagiarism and always include citations.  Absolutely, images, whatever it is you are included [indiscernible] try to squeeze in and people sometimes say, I am using this image on a particular slide, do I have to squeeze that citation in?  You can have a citation slide at the end. It gives the appearance that you are aware of and respectful of someone's copyright if you give credit to where the material came from. If that's what you always do, that's a great practice to engage in.  	>> [Laughter].  	>> JEFF GALLANT:  I would really like to thank Christine for her presentation and for answering questions and for dealing with the occasional Murphy's Law in webinars, which inevitably happen to all of us, suddenly everything that usually works, just suddenly doesn't work. So thank you all for staying with us in this, too. And I'd like to stop recording. 
	[Recording stopped] 
	And please be sure to click on this survey link. It is a clickable link on the slide.  We will also send it out via e‑mail. And I'm hoping that within that e‑mail we can also attach a transcript of the closed‑captioning, just in case you missed anything. 
	Closed captions transcripts read a little differently than a full‑fledged script, but it should be able to help you find those places where you may have missed something.  
	Thank you all so much and thank you to the DI Group for helping out with that. 
	And to Bonnie from CART who has very graciously done the closed‑captioning today and I think quite a few people were reading it as the technical difficulties crept up. So thank you so much.   
	
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