Unknown's avatar

Your Questions Answered on open access


Virginia Barbour, Australian National University; Danny Kingsley, University of Cambridge; James Bradley, University of Melbourne; Keyan Tomaselli, University of Johannesburg; Lucy Montgomery, Curtin University, and Tom Cochrane, Queensland University of Technology

Open access means making peer reviewed works freely available in digital form, so that anyone with internet access can use them, without financial, legal or technical barriers. It allows users to download, copy, print and distribute works, without the need to ask for permission or to pay.

To the mark the eighth annual Open Access Week, we asked what readers wanted to know about the initiative.


Why do we need open access? How can I use it? Is it better for the sciences or the humanities?

Lucy Montgomery: Open access is a powerful mechanism for widening access to knowledge and for increasing the impact of research beyond universities. Because it makes peer-reviewed scholarship free at the point of use, open access helps ensure people who need knowledge can access it, even if they can’t afford to pay for it.

Patients scouring the internet for the latest information about rare medical conditions, scholars in the developing world, and practitioners who want to apply evidence-based research to challenges they face every day, are just a few examples of groups who benefit from open access.

The global shift to open access is being driven by a consensus that the public has a right to access publicly funded research outputs. Closed publishing models rely on recovering the costs of publishing research by selling access to it. This made sense in a print-dominated world, when the marginal costs associated with making and distributing physical copies of books and journals was high; it makes much less sense in digital landscapes where the costs of making additional copies of a work once it’s been published are very low.

The global shift to open access is being driven by a consensus that the public has a right to access publicly funded research outputs.
Gideon Burton/Flickr, CC BY-SA

Once a work has been made open access, it’s free for anyone in the world to read or download. This is a boon for anyone who has ever been frustrated by a pay wall, for teachers looking for resources that can be shared easily with students, and for scholars who hope their work will contribute to a wider body of knowledge.

Although open access has been faster to take off in the sciences, it also has important benefits for scholars working in the humanities: helping authors to share their work with the communities that they write both for and about, and making knowledge and ideas available to new audiences.


How can journals meet the costs of editing, typesetting, proofreading, website construction and management if they move from subscriptions to open access?

Keyan Tomaselli: One of the key blind spots in open access discussions is the cost it poses to publishers. Journals that are not funded by foundations or universities are financially vulnerable in an open access environment unless they start charging for publishing articles. This is because their “permissions income stream”, which are paid to journals through national copyright agencies when their articles are reproduced in student course packs, will dry up.

In this model, the burden of payment will shift from reader or library payment for downloads or subscriptions, to author or institution for articles to be published. The assumption that open access is free – after data charges are paid – is wrong because though readers can access articles for free, authors and their institutions will end up paying so journals can recoup their costs. Data charges relate to the cost of internet access and downloading.

Too often one forgets that such accessing of the internet has cost implications too. And then there are journal post-production costs, including online platform hosting, marketing, discoverability, and archiving, among other things.


Open scholarship includes open notebook, open data and open review as well as open access. What are more systematic and rigorous treatments of open scholarship?

It’s now possible to put a digital ‘stamp’ on different scholarly outputs.
Gideon Burton/Flickr, CC BY-SA

Danny Kingsley: There’s an increasing amount of research and discussion about open scholarship about integrity and researcher support; research management; assumptions and challenges; and about how we capture what’s being produced in repositories.

But although the nature of research is changing profoundly, the current system still only rewards and recognises traditional publication. Opening up scholarship has multiple benefits: research claims can be verified, work doesn’t have to be repeated to recreate the data, and data can be analysed from other perspectives.

It’s now possible to put a digital “stamp” on different scholarly outputs, called digital object identifiers (or DOIs). This means a researcher can be cited when another uses their work, and receive recognition.

By having an “open process” in research, we can put digital stamps on all aspects of research, such as progress in thinking through an online discussion paper, for instance; new techniques; and approaches and experiments. These can themselves be cited and therefore rewarded, rather than only recognising traditional published outputs.


How do we ensure research published under open access continues to have a system of rigorous quality checks, such as peer review, that can cope with the enormous load of research looking for publication?

James Bradley: We can’t ensure rigorous peer review of research will be undertaken under open access. Not only that, we know for sure that the explosion of open access journals has allowed for the publication of not just bogus work, but also work that’s irrelevant or useless for scientific or the whole academic enterprise.

How do we know this? For starters, there was an infamous sting in late 2013 that revealed a nonsensical piece of research was accepted for publication by a large number of open access journals. Then, there’s the research showing the huge numbers of “predatory” journals, which are basically in it for the money. The academic or the academic’s institution pays for publication and the piece gets in, regardless of quality. That’s why so many researchers often get emails from start-up journals soliciting our work — for a fee. It’s all about profit.

There’s another form of quality control that transcends peer review and lies in the after-life of a publication.
Gideon Burton/Flickr, CC BY-SA

To mitigate this situation, there’s the Directory of Open Access Journals, which is supposed to act as quality control. If you make it on to the list, then you are supposed to be reputable. But some of the journals that have made it to the list are, in fact, “predatory”.

But it’s false to assume that all research that makes it into a front-rank publication is great or that all work in pay-for-publication journals is junk. The peer review system has always had flaws. Ultimately, there’s another form of quality control that transcends peer review and lies in the after-life of a publication — the opinion of your peers.

And this can, to some extent, be measured by metrics through citation databases. But it’s also reflected in the status and reputation accorded by your peers. It was ever thus, and most definitely remains the best form of quality control.


To what extent does this issue go beyond the machinations of open access versus the nuances of what’s free and not free, to the problem of the role of the university in a world where capitalism and the internet frame much of what we do?

Tom Cochrane: Open access has three points of origin. These, in no particular order, are the interests of the researcher in greater exposure and readership; the distorted economics of the price of scholarly communication (as distinct from the true cost of academic publishing); and the fact that the internet has made open access possible in the first place.

Openness in access to research outputs, research data and research processes, enhances replication capability, and allows review.
Gideon Burton/Flickr, CC BY-SA

As the debate about open access has matured, it has also become clear that greater openness can also provide protection against research fraud or dishonesty. Openness in access to research outputs, research data and research processes, enhances replication capability, and allows review.

Open access has no particular correlation or causal relationship with the broader role of universities, other than to improve the efficiency and integrity of research and to increase the likelihood of greater integration with their various communities. It’s certainly true that we wouldn’t have seen it develop without the internet and, as such, the movement is another case of innovation and disruption of legacy models.


Where are we getting with the movement, year to year? How much concrete progress has there been as opposed to awareness raising?

Virginia Babour: There’s no doubt that the open access has come a long way. There are now mandates for open access in many countries and institutions globally.

These mandates vary in what they require. Some, like the one in the United Kingdom, are primarily supported through publication in open access journals. Others, like Australia’s funding councils’ mandates, are via deposition of an author’s research in university repositories.

There’s also been an explosion of different technologies around open access, including new ideas on what can be published – just parts of articles, such as figures, fir instance – and new models for publishing open access books.

Finally, the infrastructure to support open access is developing with licenses for publishing, which lay out clearly how articles can be used. And identifiers for people and documents (even parts of documents), so there can be better linking of scholarly literature.

Open access is an evolving ecosystem. There will be different models to fit different specialities and probably different countries. But that’s fine if it works.

The Conversation

Virginia Barbour, Executive Officer, Australasian Open Access Support Group, Australian National University; Danny Kingsley, Executive Officer for the Australian Open Access Support Group, University of Cambridge; James Bradley, Lecturer in History of Medicine/Life Science, University of Melbourne; Keyan Tomaselli, Distinguished Professor, University of Johannesburg; Lucy Montgomery, Director, Centre for Culture and Technology, Curtin University, and Tom Cochrane, Adjunct Professor Faculty of Law, Queensland University of Technology

This article was originally published on The Conversation. Read the original article.

Unknown's avatar

Coming up blank: the science of writer’s block


Maya Sapiurka, University of California, San Diego


Richard Lee/flickr, CC BY-NC-ND

One of the most interesting and entertaining parts of following my favourite authors on Twitter is witnessing a little bit of the writing process.

Getting a peek into how my favourite books are written is like watching a real-time behind-the-scenes DVD featurette. But not every update is a positive one. There’s something that haunts all writers, be they professional or amateur: writer’s block.

Writer’s block can be difficult to define, because no two people share the same experience of it. Probably the simplest and most straightforward definition comes from Dr. Patricia Huston:

a distinctly uncomfortable inability to write.

But what could be the cause of this vaguely described problem? Has a writer’s Muse simply deserted them, or can we find an explanation hidden somewhere in the brain?

The location of language

While there haven’t been any published scientific studies on people with writer’s block, we can take a few different avenues to try and determine what parts of the brain may be affected. One of those is looking at where words come from in the first place.

Language has traditionally been thought to be one of the few skills found in a very specific location in the brain: on the left side of the front part of the brain, fittingly called the frontal lobe.

This is called Broca’s area, named after the scientist who first reported that damage to this area led to the inability to form words, called aphasia. Since writer’s block is, fundamentally, an inability to write down words, this makes the frontal lobe an excellent place to start in researching the underpinnings of writer’s block.

The lateral view of Broca’s area.
Database Center for Life Science, CC BY-ND

We can also look at writer’s block as an inability to come up with a story, be it fiction, non-fiction, or the story of how to program your remote. Most who experience writer’s block aren’t having trouble producing words – they simply can’t figure out what should happen next.

A small number of studies have looked at the concept of “story creation” and what areas of the brain might be involved. In one study from 2005, participants were presented with a set of three words and asked to create a story based around them.

On some trials, they were asked to “be creative” and on others to “be uncreative”.

When this task was done in an fMRI scanner, which measures blood flow to different regions of the brain as an indicator of increased or decreased activity, there was a significant increase in activity in the prefrontal cortex.

Yellow anterior cingulate cortex.
Wikimedia Commons

This increased activity was seen not just on the left side, where Broca’s area is located, but also in the right prefrontal cortex. Some of these areas, such as the anterior cingulate cortex, that are associated with making associations between unrelated concepts – a critical skill for a great writer.

In another study, from 2013, participants were asked to actually write a story while in the fMRI scanner. They were given the first 30 words of a familiar text, asked to brainstorm a continuation of that text, and then given two minutes to physically write out their story. These stories were then scored based on creativity and measured against the brain activity data generated while in the scanner.

Both the “brainstorming” and “creative writing” portions of the experiment showed strong increases in brain activity in the frontal lobe, particularly in the language areas.

In the “brainstorming” condition, the subregions involved included those associated with planning and control, whereas many of those regions involved in the “creative writing” condition were involved with memory and the motor areas related to the physical act of writing.

So when we speak of writer’s block, we may actually be talking about a “creation block” – the inability to make the connections and the plans that allow creative writing to occur.


Nata Luna Sans/flickr, CC BY-NC

So we’ve got an idea of where writer’s block is happening – but what can you do to fight against it? There’s no pill you can take to make it go away, but there are some simple things that you can try to loosen up your frontal lobe, all recommended by Dr. Huston in 1998:

  1. Read someone else’s writing. Studies have shown that people are more creative when they’re exposed to the creative ideas of others. Just make sure you’re only inspired by their writing and not copying from it.

  2. Break the work down into pieces. If you can’t get the introduction to flow the way you want it to, try something in the middle. Check off each part as you finish so you can get an accurate sense of how much you’ve completed.

  3. Write without stopping. Try writing a whole draft without going back and re-reading what you’ve written. Some of it may not be great, but I bet a lot of it will be usable. At the very least, it will give you a place to start.

  4. Plan breaks into your writing schedule. Many swear by the pomodoro technique, but find a rhythm that works for you. Go for a walk or grab a meal with friends or watch that video of the puppy that can’t roll over (a personal favorite). Relaxing will make it easier to get back into the writing spirit.

  5. Don’t procrastinate. The more you put off what you have to write, the more anxiety you’ll feel. This is always my stumbling block (and why I’ve watched half of the second season of Fringe while writing this).

Ultimately, be kind to yourself. You’re not the first to go through this and you’re not the last. Being stuck doesn’t make you a bad writer or a bad person. It makes you a human being with a flawed (but marvellous) brain.

The Conversation

Maya Sapiurka, Graduate Student, University of California, San Diego

This article was originally published on The Conversation. Read the original article.

Unknown's avatar

Binge Reading – Help Needed?


Unknown's avatar

An Ebook Survey


Unknown's avatar

Windows Mobile Ebook Reading Apps


The link below is to an article that takes a look at Windows Mobile ebook reading apps.

For more visit:
http://teleread.com/ebooks/windows-mobile-e-reading-apps-some-good-ones-but-microsoft-could-do-more-as-win-10-mobile-release-approaches/

Unknown's avatar

Ebook Reading Gadgets


The link below is to an article that has something of an overview of ebook reading gadgets.

http://teleread.com/chris-meadows/so-many-e-reading-gadgets-so-little-time/

Unknown's avatar

Not My Review: Church Elders – How To Shepherd God’s People Like Jesus, by Jeramie Rinne


The link below is to a book review of ‘Church Elders – How To Shepherd God’s People Like Jesus,’ by Jeramie Rinne.

For more visit:
http://matt-mitchell.blogspot.com.au/2015/10/review-church-elders-how-to-shepherd.html

Unknown's avatar

Google Books Project Legal


The links below are to articles reporting on the latest news concerning the Google Book’s scanning project.

For more visit:
http://www.reuters.com/article/2015/10/16/us-google-books-idUSKCN0SA1S020151016
http://www.detroitnews.com/story/tech/2015/10/16/google-book-battle/74044360/

Unknown's avatar

Life plus 70: who really benefits from copyright’s long life?


Catherine Bond, UNSW Australia

Few of us wish to disclose our age. But, for the purposes of this article, I am willing to do so: in 2012, I turned 30.

According to data generated by the Australian Bureau of Statistics, a woman in Australia aged 30 in 2012 will likely live for another 54.90 years. If this figure is correct in my case, then copyright will protect this article for nearly 125 years. It will officially enter the public domain on 1 January, 2141.

Is what I say in this article so significant that I, and many generations of Bonds to come, should enjoy a right to control who copies this piece for the course of the next century and beyond?

Probably not. However, that is how copyright applies in Australia. So why do we protect copyright for the life of the creator plus 70 years?

Term of his natual life

The length of copyright protection has been in the news recently following the leaking of the Intellectual Property Chapter of the forthcoming Trans-Pacific Partnership (TPP).

Under the TPP, Australia won’t be required to make any changes to our term of copyright for works (such as this article). We already introduced the TPP-mandated period of protection for published works – life of the author plus 70 years – when we signed the Australia-United States Free Trade Agreement in 2004.

Before this, Australia’s term of protection was life of the author plus 50 years, which is the minimum standard required by the Berne Convention, our main international copyright agreement. However, other countries in the TPP, such as Canada and New Zealand, will need to extend copyright in works to life plus 70 years if the TPP proceeds.

For as long as there has been statutory copyright protection, there has been a stated term of protection for published works. That duration is seen as part of what is described as the “copyright balance”.

When the High Court of Australia considered in 2009 whether copyright should protect a TV guide created by Channel Nine in IceTV v Nine Network Australia, the judges stated that:

[…] the purpose of a copyright law respecting original works is to balance the public interest in promoting the encouragement of “literary”, “dramatic”, “musical” and “artistic works”, as defined, by providing a just reward for the creator, with the public interest in maintaining a robust public domain in which further works are produced.

Copyright provides authors with an incentive to create works and release these to the public, by rewarding that author with a number of rights for a limited period of time.

These rights include control over who can copy it or make it available online. In turn, during the term of copyright, the public can use the work as allowed under law, but after copyright expires, any person may copy the work in part or in whole in a variety of ways.

Out of public domain

Over the years, that period of protection has been extended a number of times to take account of factors, including the impact of war, although today copyright protects works for far longer than a patent might protect an invention (20 years) or a design (two terms of five years).

Jane Austen’s books, for example, have been in the public domain for more than 150 years. As a result, anyone can publish and sell their own edition of Emma or Sense and Sensibility, or use Austen’s characters in another story, as happened in Pride and Prejudice and Zombies and its forthcoming film adaptation.

Innovative works such as Pride and Prejudice and Zombies are made possible only once copyright lapses.
Robert Burdock/Flickr, CC BY-NC-ND

When Austen died in 1817, copyright in her works passed to family members, as was intended under copyright law. A posthumous term of copyright was to ensure that heirs of the copyright owner could benefit from what his or her family member created, and to continue to enjoy some financial benefit after the death of the original author.

However, this does not always happen. Austen’s relatives sold the copyright in her works to an English book publisher in the 1830s, and it often happens that a publisher or another third party will own copyright.

When Men at Work were famously sued for copying the children’s song Kookaburra Sits in the Old Gum Tree, the owner of the copyright was not Marian Sinclair, the writer of the song, or her direct heirs. Instead, it was a music publishing company, Larrikin, which purchased copyright in the song from the Public Trustee.

Today, we have empirical evidence that a strong public domain provides significant economic benefits.

Often these benefits are overlooked when we are negotiating trade agreements like the TPP, which may have broader strengths and consequences beyond those that affect IP. However, when the duration of copyright in an online article starts to sound like science fiction, it may be time to limit the time of copyright.

The Conversation

Catherine Bond, Senior Lecturer in Law, UNSW Australia

This article was originally published on The Conversation. Read the original article.

Unknown's avatar

How to read the Australian book industry in a time of change


Jan Zwar; David Throsby, and Thomas Longden

In 2014, the Department of Economics at Macquarie University began a three-year study to examine the responses of Australian authors, publishers and readers to global changes in the current publishing environment.

Last week we released the first stage of the study, based on a survey of more than 1,000 Australian book authors. Our findings show that while book authors are innovators in their professional practices, the financial rewards for initiative and experimentation are unevenly distributed.

Authors’ income

The average income of Australian authors is A$12,900. Although a fifth of authors write as their full-time occupation, only 5% earn the average annual income from their creative practice (which we calculate using ABS data as A$61,485 for the 2013-14 financial year). Most authors rely on other paid work and their partner’s income to make ends meet.

Justin Heazlewood’s Funemployed (2014) explores what it’s really like to be a working artist in Australia.

Compounding this is the recent fall in the average selling price of trade books. According to Beth Drumm, Sales and Marketing Manager in the Asia/Pacific division of Phoenix International Publications, the standard price of small-format publications has fallen from A$24.99 – A$29.99 to A$19.99 within the last five years. Highly discounted books sold by discount department stores (such as Kmart, Target and Big W) also impact on an author’s income.

Nearly a fifth of all authors earned over A$101,000 in the period of the survey, and a small proportion of authors (nearly 3%) earned more than A$101,000 from their creative practice alone.

An author’s capacity to earn income from other paid work is boosted by high levels of education. They also possess technical skills (the ability to compose, write and edit) that lead to work that does not produce creative output.

One of the greatest limiting factors for authors is finding time to write. Table 1 (below) shows the proportion of authors for whom insufficient income prevents them from writing further. Domestic responsibilities and the need to earn income from other sources affect more than half of authors.

//datawrapper.dwcdn.net/8R1HT/3/

Another pressure on trade authors’ time is their increased role in promoting their books. With the rise of social and online media as important channels for promotion, more than half of all trade authors spend more time promoting their work than they did five years ago – and the rise of social media hasn’t negated the importance of in-person bookstore appearances.

Although we examine how changes are affecting all types of authors, in the remainder of this article we focus on the challenges facing literary fiction authors and poets in particular (while we use “literary” fiction, we are aware of the debates around the use of the term).

Literary fiction authors

Changes in the industry are increasing opportunities for authors to publish their work using cost-effective digital technologies and small print runs. Even so, nearly a third of these authors report being worse off financially compared to five years ago.

One factor for this may be the shift of a considerable amount of literary publishing in Australia from larger publishers to small, independent presses – very small presses may have more constraints on the size of advances, if any, they can offer authors, for example.

The top-earning quarter of literary authors earn on average A$9,000 a year from their writing. Literary fiction authors are the most likely to report that insufficient income from their writing prevents them from spending more time on writing (70%). Although the top-earning quarter of literary authors earn on average A$85,000, the majority of their income comes from other types of paid work.

Poets

Australian poet Rachel Smith participated in the Multipoetry project by the Krakow City of Literature. The Melbourne UNESCO City of Literature Office and Australian Poetry brokered the involvement of Australian poets.

The situation for poets is even more challenging. Nearly three quarters of Australian poets have changed the way they publish, distribute or promote their work. Poets are particularly innovative in finding new avenues for paid work and are also experimenting with self-publishing – but the average income earned from their creative practice by those in Australia’s top-earning quartile of poets is only A$4,900, the lowest average across any of the different types of authors.

After his first self-publishing experiment proved a success, Steven Herrick wrote a series while continuing to publish books with traditional publishers. Not all self-publishing experiences are so positive.

Over half of poets reported no discernible change in their financial position over the past five years. Even though they are innovating and experimenting in their professional practices as well as stylistically (see, for example, the work of self-published performance and multimedia poet Candy Royalle) those changes are not leading to increased incomes.

At the launch of our research findings, Australian poet and author Steven Herrick encouraged poets to write in other genres to increase their incomes.

Herrick self-published a series of cycling memoirs set in Europe through Amazon, starting as an experiment. He quickly established a readership in the UK and he is about to release his fifth title in the series.

The market for literary fiction and poetry in Australia

At the moment, the market size for most Australian-authored literary works is modest. Most literary titles – apart from those by high-profile authors – have print runs of 2,000–4,000 copies.

Print runs for single volumes of poetry for adult readerships are even lower – often between 300 and 1,000 copies. In keeping with a centuries-old tradition, authors are creating their own publishing opportunities such as Kill Your Darlings, a literary journal founded in 2010, taking advantage of digital technology to keep costs down.

Kill Your Darlings was founded by authors Rebecca Starford and Hannah Kent.

The actual size of the market for literary works in Australia, particularly for Australian-authored work, is unclear. There are no reliable statistics about the sales of literary books as a proportion of total trade sales, but during 2015 one member of our research team estimated that literary books comprise roughly 5% of trade sales, and less than half of these comprise Australian-authored literary works (onshore trade sales are worth approximately A$900 million).

A related question then arises as to whether it is possible to grow the size of readerships for literary works, and if so, how could that be done? Literary publishers around Australia are endeavouring to increase the size of their readerships but there are no short-cuts.

That’s because the pleasures and rewards of reading literary works are an acquired taste which develops over time. Further, Jim Demetriou, Sales and Marketing Director of Allen and Unwin, commented:

With literature each one of the author’s books is a totally different “animal” to the previous book, so you have to sell the concept and the idea behind each individual title. It’s generally a slower build unless it’s a big-name author who people recognise and understand.

The way forward

Studies of the book industry often refer to the tension between creative and commercial imperatives (see Merchants of Culture,2012, Words & Money, 2010, and Reluctant Capitalists, 2006).

There are no easy answers but the survey findings – and the initial discussion around them – suggest that Australian authors are engaging with changes in the industry and exploring new opportunities.

One feature of the Australian book industry is that authors, publishers and booksellers share a collaborative commitment to its cultural and commercial success. That’s something the new Book Council can bank on, with confidence.

For further information about the research, visit here.

The Conversation

Jan Zwar, Postdoctoral Research Fellow; David Throsby, Distinguished Professor of Economics, and Thomas Longden, Postdoctoral Research Fellow

This article was originally published on The Conversation. Read the original article.