10.31.2012

Resources for Mobile and E-Learning


Mobile Learning 

Ally, M. (2007). Use of mobile technology in training.
http://www.iftdo.net/imagens/2007juneAllyPaperforIFTDONewsletter.pdf 

Armatas, C., Holt, D., & Rice,M. (2005). Balancing the possibilities for mobile technologies in higher education. http://www.ascilite.org.au/conferences/brisbane05/blogs/proceedings/04_Armatas.pdf 

Business Wire. (Feb 25, 2009). Cell phones are helping kids learn in the classroom according to educators and policymakers at the mobile learning conference.
http://www.businesswire.com/portal/site/home/permalink/?ndmViewId=news_view&newsId=20090225005830&newsLang=en 

eLearning Learning
http://www.elearninglearning.com/outstart/training/

Elliott Soloway Podcast. (2009). Cells as classroom computers.
http://www.ns.umich.edu/podcast/video.php?id=717

Figueira, A. (2007). Mobile applications for higher education.
http://www.edesigntree.com/resources/white_papers/Mobile-Application-for-Higher-Education-White-Paper.pdf 

Hadzilacos, T., & Tryfona, N. (2005). Developing constructive m-learning activities for k-12 education: Data and architectural issues. 
http://nefeli.dsmc.eap.gr/ojs-2.1.1/index.php/HOUJOI/article/viewFile/8/7 

Holzinger, A., Nischelwitzer, A., & Meisenberger, M. (2007). Lifelong-learning support by m-learning: Example scenarios. e-Learn Magazine. 
http://www.elearnmag.org/subpage.cfm?section=research&article=6-1 

Kim, J.,( 2006) The future of online teaching and learning in higher education: The survey says… Educause Quartley.http://www.educause.edu/EDUCAUSE+Quarterly/EDUCAUSEQuarterlyMagazineVolum/TheFutureofOnlineTeachingandLe/157426 

mLearnopedia
http://cc.mlearnopedia.com/mobile-phone/ 

Mobile learning on Blackberry for corporate training.
http://www.slideshare.net/akash1212/mobile-learning-on-blackberry-for-corporate-training 

Mobile phones for learning (Articles Related to Use of Cell Phones at School)http://thinkingmachine.pbworks.com/MITC+2008 

Montegomery, Karen. Thinking machine. (2009) Think Mobile Phones for Learning
http://thinkingmachine.pbworks.com/Think%20Mobile%20Phones%20for%20Learning 

Pockets of potential: Using mobile technologies to promote children's learning.
http://theinnovativeeducator.blogspot.com/2009/02/pockets-of-potential-using-mobile.html 

Wilen-Daugenti, T., & McKee, A., (2008) 21st century trends for higher education top trends, 2008–2009.
http://www.cisco.com/web/about/ac79/docs/wp/21st_Century_Top_Trends_POV_0811.pdf

e-Learning 

Choden, A. How to succeed as an online facilitator.
http://www.suite101.com/print_article.cfm/training_and_development/45384 

Duzer, J. van. Instructions design tips for online instruction. 
http://www.csuchico.edu/tlp/resources/rubric/instructionalDesignTips.pdf 

Queiroz, V., & Mustaro, P. N. Roles and competencies of online teachers.
http://iteslj.org/Articles/Queiroz-OnlineTeachers.html 

Rubric for Online Instruction. What does a high quality online course look like? 
http://www.csuchico.edu/celt/roi/ 

Shelton, K., & Saltsman, G. Tips and tricks for teaching online. 
http://itdl.org/Journal/Oct_04/article04.htm 

Smith, G. G., & Taveras, M. The missing instructor: Does e-learning promote absenteeism?
http://elearnmag.org/subpage.cfm?section=tutorials&article=18-1 

Teaching with Technology Today. What are the essential characteristics of online teacher and learner.
http://www.uwsa.edu/ttt/kircher.htm 

Turner, L. 20 technology skills every instructor should have.
http://thejournal.com/articles/17325 

University of Idaho. Strategies for teaching at a distance.
http://www.uidaho.edu/eo/dist2.html

Wilson, C. Concerns of instructors delivering distance learning via the WWW.
http://www.westga.edu/~distance/wilson13.html 

10.25.2012

Copyright permissions for educators -- flow chart


Copyrights are the intellectual property rights given to authors of tangible works such as writings, music, films, and art (Stim, 2010). They cover the rights of creative works that a patent does not reach, and give the artist a much longer period of time to reap the monetary benefits (Stim, 2010). This may be beneficial to the authors, but may also hinder the progress of further artistic creations. Educators often believe they have a greater right to use copyright-protected materials since their purpose is usually to disseminate information for the improvement of individuals as well as society within the confines of education. However, the fact that there are financial dividends for educators and educational institutions, whether nonprofit or not cannot be ignored. The legal system tries to strike a balance that will reward the creators of innovative works and yet allow others to build upon it or just use it for the sake of educating others (Waxer & Baum, 2007).  This leaves all educators with the need to understand copyright law for the works they create and the for the works of others they choose to use.
As an educator, you should follow the advice and guidelines set forth in copyright law, Fair Use, and the Teach Act. Educational institutions have recommendations and may supply their own checklist and resources. Let’s take a look at the process of using someone’s creative work for one of your classes or seminars. Follow the path set forth in the Prezi presentation.
First, assume that all work is copyright-protected. This is the safest course to take since work that is published and tangible becomes protected automatically under the copyright law of 1976 (17 U.S.C. § 102, 2012).    
Next, look for any insignia that shows that the work is copyright-protected, which is usually designated by the © symbol along with a date and name. If the answer is yes, you have three options: (1) use it under the “Fair Use” clause of the copyright, (2) use it under the “Teach Act” law of copyright or (3) write a letter and ask for permission from the copyright holder.
If there is no copyright symbol, check for another symbol, called the Creative Commons license that looks like this: The Creative commons license includes a number of sharing rights which must be followed, but generally they are less restrictive and more open than a copyright. Yet, it is more restrictive than a work in the public domain. Often it requires attribution to the author with a link.
When there is no mark, either copyright or creative commons, you still will not know if the material is in the public domain until you secure more information. This is because the copyright laws have changed over the years. You have to look at the year it was published and sometimes, whether it was renewed (Waxer & Baum, 2007).
Public domain means that a previously copyright-protected work has expired and the material is free for the public to use (Gassaway, 2011). A work is in the public domain if it was published before 1923 (assuming we are looking at this scenario in 2012). There are many works that have fallen into the public domain and have become free to use without fear of copyright infringement. Second, if the work was published from 1923 to 1977 and does not have a copyright symbol ©, it is in the public domain (Stim, 2010). Third, if the work was published between 1923 and 1963, has a copyright symbol ©, but it was not renewed after 28 years, which was a requirement by law for those creative works (Stim, 2010). Fourth, if the work in question was published from 1978 to March, 1, 1989, carries no copyright symbol ©, and there was no subsequent registration, the material is in the public domain (Stim, 2010). In these cases, you may use the work without permission because it is in the public domain.
Next is the gray area for determining if a creative work is copyright-protected. In these cases, it may be protected 95 years from the date of publication before it falls into the public domain: (1) from 1923 to 1963, if it has a copyright symbol © and was renewed after 28 years from the first registration, (2) from 1964 to 1977 with a copyright symbol © (Stim, 2010). Renewal dates may be checked with the Stanford copyright renewal base (Calter, n.d.).  The published work is protected for 70 years after the death of the author or if a corporation, 95 years from the publication date or 120 years from its creation (whichever expires first) for the following scenarios: (1) 1978 to March 1, 1989 with a copyright symbol or without one and registered within fiver years, (2) March 1, 1989 through 2002, with a copyright or symbol or without one, and (3) after 2002 (Stim, 2010).
Regardless of copyright, educators often turn to “fair use” which allows the use of copyright-protected materials when it meets four requirements, all of which can be interpreted by the court system (Waxer & Baum, 2007). It can be considered “fair use” if  (1) it is for a nonprofit, education, news, criticism, commentary, parody, research, or scholarship, (2) it is a fact, non-fiction published work, (3) only a small amount of the work is used, and it is not the key part of it, and (4) it has no positive or negative affect on the market (Waxer & Baum, 2007).
The Teach Act was passed to help educators with online copyrights and the distance educational sector that has evolved into a global Internet influence (Christopher, 2004). While not perfect, and often confusing, the Teach Act allows some uses of copyright-protected materials. One of the requirements that is quite limiting within the educational sphere is that the institution must be an accredited nonprofit organization (Crews, 2002).  This excludes numerous "for-profit" educational institutions which cannot use the Teach Act (The Teach Act). Perhaps this was an oversight on the law makers, or was done intentionally, though the need for a more open usage in educational spheres should include "for-profit"schools. Another round of lawmaking will have to examine those needs and rights. Under the protection of the Teach Act, nonprofit educational systems may use non-dramatic literary or musical works, or reasonable portions of any work (Christopher, 2004).  However, the amount used must be limited to the amount in a live classroom setting, must be transmitted under the supervision of an instructor as part of class session and must be part of instructional activities. The transmission must be limited to enrolled students and efforts to prevent retention by students must be enforced. Analog works may be digitized if there are not digital copies available (Crews, 2002).
If the work you intend to use for educational purposes does not fit into these categories for protection, then you must identify the copyright holders and obtain permission for the use (Waxer 7 Baum, 2007). All owners must be contacted, and can include more than one author, museum, business, or owner. Be sure to identify your needs when addressing the copyright holder and as for permission in writing (Waxer & Baum, 2007).  If fees are required this should be documented in writing as well. Most educational institutions have a procedure that must be followed for this process.
Educators may create their own works and register them with the copyright office if they do not have a "work for hire" clause in their contracts. Otherwise you must carefully navigate the copyright usage jungle, and secure the permissions as needed. 

References

Calter, M. (n.d.). Stanford University Libraries and Academic Resources. Copyright. Renewal Database. Retrieved from http://collections.stanford.edu/copyrightrenewals/bin/page?forward=home

Christopher, A. (2004). The TEACH Act: Higher education challenges for compliance. Educase Center for Applied Research, (13). Retrieved from http://net.educause.edu/ir/library/pdf/erb0413.pdf

Copyright Act of 1976, 17 U.S.C. § 101 (2012). Retrieved from http://www.copyright.gov/title17/92chap1.html

Crews, D. (2002). Amercian Library Association. New copyright law for distance education: The meaning and importance of the TEACH Act. Retrieved from http://www.ala.org/PrinterTemplate.cfm?Section=distanceed&Template=/ContentManagement/ContentDisplay.cfm&ContentID=25939

Gasaway, L. (2011). University of North Carolina. When U.S. works pass into the public domain. Retrieved from http://www.unc.edu/~unclng/public-d.htm

Stim, R. (2010). Stanford University Libraries: Copyright & Fair Use. Overview and Resources. Retrieved from http://fairuse.stanford.edu/Copyright_and_Fair_Use_Overview/

Waxer, B. M., & Baum, M. L. (2007). Copyright on the Internet. Boston, MA: Thomson Course Technology.


10.21.2012

How to navigate the copyright permissions process


Copyright permissions for online educators is critical as the Internet provides better and quicker access to materials that may or may not be copyright protected. In your quest to provide innovative learning materials, fear of copyright infringement can be a limiting factor. Even with the best of intentions, educators make mistakes or overlook areas where intellectual property laws have claim. This is important for the user and for the creator. Some artists openly provide their materials in a free-to-use creative commons license, others have registered copyrights that require permissions before you can use them. This is often called "licensing" the work (Stim, 2010). The whole process becomes a large gray area, as copyright laws have changed over the years. Educators must identify if a work is in the public domain, copyright-protected and whether they can apply the "fair use" or "Teach Act" stipulations. If in question, it is best to assume the work is copyright-protected and request permission for use.

First, perform a due diligence to determine if the work is (1) copyright-protected, (2) in the public domain, or (3) under a creative commons license. Follow the chart for copyright permissions and to determine if it is in the public domain.

Second, if the work is copyright-protected, consider if it falls under "fair use" or the "Teach Act"

Third, if you need permission, contact the legal owner.

Fourth, get permission in writing and pay fees if needed.

Copyright Permissions ©


Date of first publication

Copyright Protected?
Before 1923

No, in Public Domain
1923 to 1977, no © symbol

No, in Public Domain
1923 to 1963, © symbol, but not renewed after 28 years

No, in Public Domain
1923 to 1963, © symbol and renewed after 28 years

Maybe, protected for 95 years from publication
1964 to 1977, © symbol

Maybe, protected for 95 years from publication
1978 to 2002
Maybe, protected during life of author plus 70 years or 120 years if corp.

1978 to before March 1, 1989, no © symbol or subsequent registration

No, in Public Domain
1978 to before March 1, 1989, © symbol or no © symbol but registered within 5 years

Maybe, protected 70 years after death of author or 120 years if corp.
March 1, 1989 on, © symbol or not
Maybe, protected 70 years after death of author or 120 years if corp.


Additional Copyright Helps:

The Creative Commons Licenses

Image representing Creative Commons as depicte...
Image via CrunchBase
Check the work you wish to use for a Creative Commons license, which is one of the newer ways to identify works and the specific requirements to re-use them. For help in identifying the terms, check the Creative Commons website.

Fair Use

Sometimes you can use copyright-protected materials when they fall under the "fair use" provision. But this method, if contested, can end up in the courts to determine the legitimacy of the fair use. When this happens, the courts consider four factors with regard to the work used: purpose, nature, amount, and effect. (Waxer & Baum, 2007).


Factor
Fair Use
Unlikely Fair Use
Factor 1
The Purpose and character

Nonprofit
Education
Research
Scholarship
Transformative: commentary, news reporting, criticism, parody

Commercial for profit
Same purpose as original (not transformative)
Entertainment (not parody)

Factor2
The Nature of copyright-protected work

Work is fact or nonfiction
Hyperlinks
Published work
Original has strong creative copyright
Not published
Factor 3
The amount in proportion to whole work

Small amount used
Portion used not key to work
Large amount
The heart of the work
Factor 4
Market Effect

No negative or positive market effects
Effects market
Appeals to same monetary market
Work is made global
License fee could have been paid


 Additional Fair Use Helps:

The Teach Act

Determine if the work can be used under the Teach Act by following these guidelines:

  • You must be an accredited nonprofit education institution or government
  • You may perform a non-dramatic literary or musical work, or reasonable portions of any work
  • You may display any work in the amount comparable to a live classroom setting
  • Transmission must be under the actual supervision of an instructor as part of a class session
  • The work must be part of systematic mediated instructional activities and related to teaching content
  • You may digitize an analog work if not digital copy available
  • The transmission must be limited to the students enrolled in the course
  • You must use measures to prevent retention such as printing, saving, downloading
  • You must not interfere with technological measures that prevent retention and dissemination put in place by copyright holder
Additional Teach Act Helps:

How to Get Copyright Permissions

If the copyright-protected work you want to use does not fall under the safety of "fair use" or The Teach Act, you need to get permission. First, identify the owner, which is not always clearly stated, and can include multiple owners. For a photograph or graphic on the Internet, contact the author for permission.

Sources to Contact for Permissions


Media

Contacts
Photos and graphics
Photographer, creator, website owner, gallery, museum

Film, video
Producer, distributor, actors, directors, screenwriters, Production company

Music and audio
Composer, musician, lyricist, recording company, licensing companies

Books, articles, journals, online blogs, text, websites
Writers, publishers, website owners, distributors


Determine the Rights You Need

Next, decide on the rights you need. Copyright owners have a bundle of rights that include the rights to reproduce, distribute, and modify the work (Stim, 2010).  You need to identify your intended use of the material and address these three terms: exclusivity, term, and territory (Stim, 2010). 

Exclusive rights mean that you will be the only user of the material. More common and less expensive is a nonexclusive right to use the copyright-protected work. This way, the copyright holder can license many people. If you get a nonexclusive right for a photo, others may also get the rights for that photo as well.

Term refers to the time that you are allowed to use the copyright-protected work. If it is a photo, the author may give you permission to use it for a term of one year. Longer terms are negotiable. Other options include a "one-time use" or "in perpetuity" -- meaning it is perpetual, or has not end. Also look for the word "irrevocable" which indicates that the copyright holder will not revoke your license. Once a copyright work goes into the public domain, it is free to use.

Territory defines where you can use the license. It may be restricted to the U.S., but this area of rights is muddled with the Internet and global access to information. However, it may be applicable for online courses within the a certain territory.

Time Frame

It may take one to three months to receive permissions to use a copyright-protected work and negotiate fees (Stim, 2010).

Ask for Permission in Writing

Include the reason for use, where you will use it, and ask for permission. This can be done in an email or by post. If a work has multiple copyright owners, you must contact and get permission from all of them. Try to be as specific as possible about the use of the work you are requesting. If you plan to gain any monetary benefits from usage, be sure to include this information.

Sources of sample permission letters:

A sample letter is noted here:

Heading
Re: Permissions for __________________
Dear [copyright holder]
I am a teacher for ________________________. I am making_____________________ and would like permission to use ________________________________________for the purpose of_______________________________. If you do not hold the copyright or if there are numerous owners, please let me know. Please let me know if I can use your work, or if you require a formal license agreement and fee. If you agree, include your preference for linking your work and giving you credit. 
Thank you for considering this request.
Sincerely,
[name]

I grant permission for the use of the above referenced material in the manner described and no other rights are allowed.
Signature___________________________________Date__________________

Copyright Fees

Fees will vary based on the audience you reach, the type of work, whether for profit or not, and the scope of monetary value. Stock photos charge by the size of the photo, but not term. Private owners often have a term, which may be negotiable. Some artists may agree to share a profit, or if your work is for a nonprofit, educational use, they may not require any fee. Regardless, get everything in writing, and pay the fees before you use the copyright-protected work.


References


Crews, D. (2002). Amercian Library Association. New copyright law for distance    education: The      meaning and importance of the TEACH Act. Retrieved from http://www.ala.org/PrinterTemplate.cfm?Section=distanceed&Template=/ContentManagement/ContentDisplay.cfm&ContentID=25939

Stim, R. (2010). Stanford University Libraries: Copyright & Fair Use. Overview and Resources. Retrieved from http://fairuse.stanford.edu/Copyright_and_Fair_Use_Overview/

Waxer, B. M., & Baum, M. L. (2007). Copyright on the Internet. Boston, MA: Thomson Course Technology.



10.18.2012

How to know if there is a copyright or in the public domain

Copyright Term and the Public Domain in the United States
1 January 20121

Never Published, Never Registered Works2

Type of Work
Copyright Term
What was in the public domain in the U.S. as of 1 January 20123
Unpublished works
Life of the author + 70 years
Works from authors who died before 1942
Unpublished anonymous and pseudonymous works, and works made for hire (corporate authorship)
120 years from date of creation
Works created before 1892
Unpublished works when the death date of the author is not known4
120 years from date of creation5
Works created before 18925
Works Registered or First Published in the U.S.
Date of Publication6
Conditions7
Copyright Term3
Before 1923
None
None. In the public domain due to copyright expiration
1923 through 1977
Published without a copyright notice
None. In the public domain due to failure to comply with required formalities
1978 to 1 March 1989
Published without notice, and without subsequent registration within 5 years
None. In the public domain due to failure to comply with required formalities
1978 to 1 March 1989
Published without notice, but with subsequent registration within 5 years
70 years after the death of author. If a work of corporate authorship, 95 years from publication or 120 years from creation, whichever expires first
1923 through 1963
Published with notice but copyright was not renewed8
None. In the public domain due to copyright expiration
1923 through 1963
Published with notice and the copyright was renewed8
95 years after publication date
1964 through 1977
Published with notice
95 years after publication date
1978 to 1 March 1989
Created after 1977 and published with notice
70 years after the death of author. If a work of corporate authorship, 95 years from publication or 120 years from creation, whichever expires first
1978 to 1 March 1989
Created before 1978 and first published with notice in the specified period
The greater of the term specified in the previous entry or 31 December 2047
From 1 March 1989 through 2002
Created after 1977
70 years after the death of author. If a work of corporate authorship, 95 years from publication or 120 years from creation, whichever expires first
From 1 March 1989 through 2002
Created before 1978 and first published in this period
The greater of the term specified in the previous entry or 31 December 2047
After 2002None70 years after the death of author. If a work of corporate authorship, 95 years from publication or 120 years from creation, whichever expires first
Anytime
Works prepared by an officer or employee of the United States Government as part of that person's official duties. 21
None. In the public domain in the United States (17 U.S.C. § 105)
Works First Published Outside the U.S. by Foreign Nationals or U.S. Citizens
Living Abroad9
Date of Publication
Conditions
Copyright Term in the United States
Before 1923
None
In the public domain (But see first special case below)

Works Published Abroad Before 197810

1923 through 1977
Published without compliance with US formalities, and in the public domain in its source country as of 1 January 1996 (but see special cases) 20
In the public domain
1923 through 1977
Published in compliance with all US formalities
(i.e., notice, renewal)11
95 years after publication date
1923 through 1977
Solely published abroad, without compliance with US formalities or republication in the US, and not in the public domain in its home country as of 1 January 1996 (but see special cases)
95 years after publication date
1923 through 1977
Published in the US less than 30 days after publication abroad
Use the US publication chart to determine duration
1923 through 1977
Published in the US more than 30 days after publication abroad, without compliance with US formalities, and not in the public domain in its home country as of 1 January 1996 (but see special cases)
95 years after publication date

Works Published Abroad After 1 January 1978

1 January 1978 - 1 March 1989
Published without copyright notice, and in the public domain in its source country as of 1 January 1996 (but see special cases)20
In the public domain
1 January 1978 - 1 March 1989
Published without copyright notice in a country that is a signatory to the Berne Convention and is not in the public domain in its source country as of 1 January 1996 (but see special cases) 2070 years after the death of author, or if work of corporate authorship, 95 years from publication
1 January 1978 - 1 March 1989Published with copyright notice by a non-US citizen in a country that was party to the Universal Copyright Convention (UCC)70 years after the death of author, or if work of corporate authorship, 95 years from publication
After 1 March 1989
Published in a country that is a signatory to the Berne Convention
70 years after the death of author, or if work of corporate authorship, 95 years from publication
After 1 March 1989
Published in a country with which the United States does not have copyright relations under a treaty
In the public domain

Special Cases

1 July 1909 through 1978
In AlaskaArizonaCaliforniaHawaiiIdahoMontanaNevadaOregonWashingtonGuam, and the Northern Mariana Islands ONLY. Published in a language other than English, and without subsequent republication with a copyright notice12
Treat as an unpublished work until such date as first
US-compliant publication occurred
Prior to 27 May 1973
Published by a national of Turkmenistan or Uzbekistan in either country19
In the public domain
After 26 May 1973
Published by a national of Turkmenistan or Uzbekistan in either country19
May be protected under the UCC
Anytime
Created by a resident of AfghanistanEritreaEthiopiaIranIraq, or San Marino, and published in one of these countries13
Not protected by US copyright law until they become party to bilateral or international copyright agreements
AnytimeWorks whose copyright was once owned or administered by the Alien Property Custodian, and whose copyright, if restored, would as ofJanuary 1, 1996 , be owned by a government14Not protected by US copyright law
Anytime
If published in one of the following countries, the 1 January 1996 date given above is replaced by the date of the country's membership in the Berne Convention or the World Trade Organization, whichever is earlier:

Andorra, Angola, Armenia, Bhutan, Cambodia, Comoros, Jordan, Democratic People's Republic of Korea, Laos, Micronesia, Montenegro, Nepal, Oman, Papua New Guinea, Qatar, Samoa, Saudi Arabia, Solomon Islands, Sudan, Syria, Tajikistan, Tonga, United Arab Emirates, Uzbekistan, Vanuatu, Vietnam, Yemen




Sound Recordings

(Note: The following information applies only to the sound recording itself, and not to any copyrights in underlying compositions or texts.)
Date of Fixation/Publication
Conditions
What was in the public domain in the U.S. as of 1 January 20123

Unpublished Sound Recordings, Domestic and Foreign

Prior to 15 Feb. 1972
Indeterminate
Subject to state common law protection.  Enters the public domain on 15 Feb. 2067
After 15 Feb. 1972
Life of the author + 70 years.  For unpublished anonymous and pseudonymous works and works made for hire (corporate authorship), 120 years from the date of fixation
Nothing.  The soonest anything enters the public domain is 15 Feb. 2067

Sound Recordings Published in the United States

Date of Fixation/Publication
Conditions
What was in the public domain in the U.S. as of 1 January 20123
Fixed prior to 15 Feb. 1972
None
Subject to state statutory and/or common law protection. Fully enters the public domain on 15 Feb. 2067
15 Feb 1972 to 1978
Published without notice (i.e, , year of publication, and name of copyright owner)15
In the public domain
15 Feb. 1972 to 1978
Published with notice
95 years from publication.  2068 at the earliest
1978 to 1 March 1989
Published without notice, and without subsequent registration
In the public domain
1978 to 1 March 1989
Published with notice
70 years after death of author, or if work of corporate authorship, the shorter of 95 years from publication, or 120 years from creation.  2049 at the earliest
After 1 March 1989
None
70 years after death of author, or if work of corporate authorship, the shorter of 95 years from publication, or 120 years from creation.  2049 at the earliest

 

 

Sound Recordings Published Outside the United States

Prior to 1923
None
Subject to state statutory and/or common law protection.  Fully enters the public domain on 15 Feb. 2067
1923 to 1 March 1989
In the public domain in its home country as of 1 Jan. 1996 or there was US publication within 30 days of the foreign publication (but see special cases)
Subject to state common law protection.  Enters the public domain on 15 Feb. 2067
1923 to 15 Feb. 1972
Not in the public domain in its home country as of 1 Jan. 1996.  At least one author of the work was not a US citizen or was living abroad, and there was no US publication within 30 days of the foreign publication (but see special cases)
Enters public domain on 15 Feb. 2067
15 Feb. 1972 to 1978
Not in the public domain in its home country as of 1 Jan. 1996.  At least one author of the work was not a US citizen or was living abroad, and there was no US publication within 30 days of the foreign publication (but see special cases)
95 years from date of publication.  2068 at the earliest
1978 to 1 March 1989
Not in the public domain in its home country as of 1 Jan. 1996.  At least one author of the work was not a US citizen or was living abroad, and there was no US publication within 30 days of the foreign publication (but see special cases)
70 years after death of author, or if work of corporate authorship, the shorter of 95 years from publication, or 120 years from creation
After 1 March 1989
None
70 years after death of author, or if work of corporate authorship, the shorter of 95 years from publication, or 120 years from creation

Special Cases

Fixed at any time 
Created by a resident of AfghanistanEritreaEthiopiaIranIraq, or San Marino, and published in one of these countries13
Not protected by US copyright law because they are not party to international copyright agreements
Fixed prior to 1996Works whose copyright was once owned or administered by the Alien Property Custodian, and whose copyright, if restored, would as of 1 January 1996be owned by a government14Not protected by US copyright law
Fixed at any time
If fixed or solely published in one of the following countries, the 1 January 1996 date given above is replaced by the date of the country's membership in the Berne Convention or the World Trade Organization, whichever is earlier:
Andorra, Angola, Armenia, Bhutan, Cambodia, Comoros, Jordan, Democratic People's Republic of Korea, Laos, Micronesia, Montenegro, Nepal, Oman, Papua New Guinea, Qatar, Samoa, Saudi Arabia, Solomon Islands, Sudan, Syria, Tajikistan, Tonga, United Arab Emirates, Uzbekistan, Vietnam, Yemen




Architectural Works16

(Note: Architectural plans and drawings may also be protected as textual/graphics works)
Date of Design
Date of Construction
Copyright Status
Prior to 1 Dec. 1990
Not constructed by 31 Dec. 2002
Protected only as plans or drawings
Prior to 1 Dec. 1990
Constructed by 1 Dec. 1990
Protected only as plans or drawings
Prior to 1 Dec. 1990
Constructed between 30 Nov. 1990 and 31 Dec. 2002
Building is protected for 70 years after death of author, or if work of corporate authorship, the shorter of 95 years from publication, or 120 years from creation17
From 1 Dec. 1990
Immaterial
Building is protected for 70 years after death of author, or if work of corporate authorship, the shorter of 95 years from publication, or 120 years from creation17


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