This article aims to argue for the benefits of all scholarly journals being Open Access. Authors argue that non-open access journals are significantly detrimental to an authors' research impact. Their argument is that even if all journals charged an at-cost price for their content no (or very few) libraries would be able to afford all journals in this situation. The article gives excellent statistical information, including charts and grafts depicting the impact that Open Access has on citations, downloads, budgets, and institutional archive growth.

This article explores the benefits of open access publication to scholars and researchers in so much as Open Access will greatly increase their research impact because a ten-fold number of other researchers will be able to review their work. By referring to some of the statistics and information the authors of this article have compiled, I will further list the importance of why pushing publishers toward Open Access or "less astringent copyright practices" is of extreme importance in today's library fields. Undoubtedly, pushing information on why pushing publishers toward O.A. would help library's with their budgets, but also would increase library usage. However, I think it is also important to argue librarians have a duty to further scholarship, showing that O.A. helps facilitate research and increase citations and articles downloads will be an extremely efficient way of doing this.

The above article revolves mostly around the the use of electronic reserves at university libraries and what copyright restrictions apply to the use of E-Res. Also, it discusses various court cases involving copyright and attempts to form a listing of percentages of work that could be used without infringement. By doing this the authors attempt to form a more 'objective' and concrete idea of what constitutes copyright infringement. In addition, the authors argue against using the Copyright Act of 1976 as a guideline for libraries, stating that it does not accurately depict fair use.

This article will be extremely useful to me because it attempts to objective numbers as to where copyright infringement begins and fair use ends. Also, it explains the awareness of copyright law by various individuals who work in and around a library. By using some of the information compiled from this article I intend to show how unlikely it is to expect a librarian to do the calculations and to have a cogent knowledge of what is fair-use and what constitutes infringement. Also, by concurring with this article's authors on the unreliability of the copyright act of 1976 to accurately define fair use for libraries will help to build the credibility of my argument.

The above articles attempts to comprehensively define Open Access, listing the various iterations of Open Access as it is defined differently by whom is using it. The article then tries to unify the definition of Open Access or at least define Open Access in their own terms. From which point the authors address the goals of the Open Access movement or what is the intended outcome by spporters of Open Access. The author gives a fairly decent job at illuminating some of the struggles toward the adoption of a universal open access policy, but also lists the benefits of a universal Open Access policy. The article gives multiple viewpoints to Open Access (Advocates, Critics, Observers)...

I plan to use this article as an information resource showing what benefits there are to Open Access resources. By using this articles definition of Open Access and mentioning some of its lofty goals for Universal Open Access, I intend to show in my essay what the benefits would be for Librarians to push publishers toward open access by knowing ways "around" copyright. In other words, I will use examples from this article to show what benefits there are for librarians to legally circumvent copyrighted materials and "play dumb" when it comes to copyrighted works.

    The “Music, Money, and Sampling” chapter (6) of the book Music, Money, and Success (by Jeffrey Brabec) offers a thorough overview of how sampling works within the music business. It provides an all-encompassing layout of how deals usually go down between copyright holders of a song—artists, record labels, or music publishing companies—and someone who wants to take a portion of that existing song and integrate it into a newly recorded performance—songwriter, recording artist, or record producer. It serves as a tutorial for someone interested in the standard operating procedures of procuring clearances. It can also serve as a source of knowledge to someone curious about how music companies and artists are compensated for allowing samples from their catalog. It ranges from what happens when sampled songs are released without permission to the in-depth negotiating options that exist between the sampling party and the sampled party when clearance is approved.
    The options mentioned are one-time “buy-out” fees, the payment of a percentage of income received from the new song, and the transfer of a portion of the copyright of the new composition with the income that this would generate. Also mentioned are the criteria that copyright holders use in analyzing the new song to help determine types of deals. This type of analysis takes into account: duration of sample, nature of the sample, sales of the new song if it has been released, and whether the sample was a key element or recognizable piece of the original composition. Although there is nothing exact, as it comes down to negotiating, the specific percentages that copyright holders usually bargain are covered.
    The information in this chapter is relevant to my creative project because all of it would be applicable if I were to try and clear the songs I produced by integrating copyrighted work. Here I can see how companies would analyze my music and the type of deal I could expect. It really covers just what people have to go through to clear their samples and how much money they forgive in doing so—paying for the sample and then losing out on publishing percentages. On top of all of this, the chapter helped give me a greater perspective on why so many artists were outraged over court decisions regarding sampling…it cost them a lot of money, and some probably couldn’t afford to keep sampling at all!

 

Music, Money, and Success

Jeffrey Brabec

Schirmer Books; 2nd edition (October 15, 2000)

ISBN-13: 978-0825672668

Journal of Visualized Experiments (JoVE) is a peer reviewed, open access, online journal devoted to the publication of biological research in a video format.

From their homepage, " The Publishing Research Consortium is a group of associations and publishers, which supports global research into scholarly communication in order to enable evidence-based discussion. Our objective is to support work that is scientific and pro-scholarship. Overall, we aim to promote an understanding of the role of publishing and its impact on research and teaching." Publish whitepapers and other papers looking at peer review, open access, etc.

Web resources helpful for librarians doing research. Includes lists of databases, journals, statistics, proceedings, etc.

This paper examines the context of online indexing from the viewpoint of three different groups: users, authors, and intermediaries. User, author and intermediary keywords were collected from journal articles tagged on citeulike and analysed. Descriptive statistics and thesaural term comparison shows that there are important differences in the context of keywords from the three groups.

The printed page is giving way to the networked screen. The Institute for the Future of the Book seeks to chronicle this shift, and impact its development in a positive direction. The Institute is a project of the Annenberg Center for Communication at the University of Southern California, and is based in Brooklyn, New York.

As we learned in Lessig's book, there are barriers to access of creative works beyond the strictures of copyright law, including licensing agreements and cost constraints. As a major research university, Penn produces a tremendous amount of valuable, copyrightable content. However, Penn authors often do not keep rights to their work and the University must buy back the work from journal publishers with considerable restrictions on use. This guide describes ways that faculty and other authors can negotiate with journal publishers to maintain some rights to their own works while continuing to participate in the publication of research articles.

Elsevier and Wiley launch an offensive against the Federal Research Public Access Act of 2006.

The Scholarly Electronic Publishing Bibliography presents selected English-language articles, books, and other printed and electronic sources that are useful in understanding scholarly electronic publishing efforts on the Internet. Most sources have been published between 1990 and the present; however, a limited number of key sources published prior to 1990 are also included. Where possible, links are provided to sources that are freely available on the Internet.Written by Charles W. Bailey, Jr.

google continues to try and take over the world...this time claiming to be trying to increase publisher's revenues - how selfless?

As the title indicates, this book refers to a very particular portion of the publishing world.  Compton claims 1917-1934 "comprise the greatest inventiveness in book design," and goes on to explain they "they are also years when creation in all fields, including the arts, enshrined the hope for a better life in a country which, compared to the United States and Western Europe, remained backward in spite of modernization at the beginning of the century" (9). Avant-garde artists (writers, visual artists, architects) were leaders of the Utopian movement, and were part of the national movement striving for high literacy.  The texts and their covers both strove to embrace a newfound freedom and compel others to action.  The variety of techniques for designing book covers was broad - lithography, rubber stamps, wall-paper, hand-colouring - and reflected the freedom artists were experiencing for the first time.  Though the aesthetic varied among books, one thing remained the same: virtually all covers were politically charged and influenced.

This 1967 text, though somewhat dated, is a comprehensive introduction to the various elements included in book design.  Author Adrian Wilson devotes chapters to a variety of topics, from typography to paper to binding.  Of particular interest is chapter eight, which is devoted to Jackets and Paperback Covers.  Wilson addresses the problem of scale with book covers; the design must do double-duty, being able to attract readers from a bit of a distance when displayed frontally, as well as enhancing a customer's interest when he or she has already been intrigued by the title and chooses to pull the book from the shelf for a closer look. 

The various levels of the publishing industry are explored by Bailey in this book.  The scope of the text is very broad, providing cursory information for multiple aspects of the process of publishing a book.  He touches on the importance of having an effective cover, designed and produced within the careful confines of the budget and to meet the satisfaction of the marketing department.  Bailey likens the jacket of a book to wrapping on a gift - it is intended to excite and entice the reader, and compliment the contents. 

Vanderbilt does a wonderful job making the business of publishing accessible and entertaining.  In the chapter entitled "Judging a Book by Its Cover" the author explains the overwhelming importance of an effective cover design for many stages of the selling process, from reaching distributors to targeting the readers themselves.  "With so much of the book's facte dependent on everything but what is between its covers," Vanderbilt explains, "publishers have learned to treat a book's skin with loving care" (91).  Alfred A. Knopf understood the critical importance of an alluring cover, something which helped propel him to his position as a top-tier publisher.  Following Knopf's success, other publishers, too, began to labor over every element of the book covers, from type-face to author photoraph. 

This comprehensive text is divided into three primary sections: The History and Structure of the Industry; The People Who Make Books; and Key Outsiders in the Book Trade.  In "The Manufacture of Appeal" (a subset of the People Who Make Books section), the authors explain the importance of book covers.  According to the authors, the importance of the book cover cannot be overstated, particularly in the paperback world.  Pages 219-221 provide an excellent explanation of the importance of book covers and their various incarnations. 

The aim of this text, as outlined by the author, is to provide a broad introduction to the book industry and help position those seeking jobs in the industry to be in the most advantageous situation.  Clark outlines the roles of people at essentially every stage of the book-selling process, including the sect known as "packagers."  Packagers "tend to produce mainly highly illustrated and saleable, expensive to produce, informational colour hardbacks which are published and marketed under the imprints of other firms" (67).  The notion of the Cover Copy is also explained: "Printed covers or jackets are needed well in advance of the printed book for promotion and sales purposes.  Thus the cover copy (e.g., title, author, blurb and ISBN) is passed to the designer" (94) early in the process, and the proofs are checked later.  The designs for book covers are highly specialized, and "most kinds of books, other than the most utilitarian, requires specific design attention which may be executed by in-house cover designers, or by art directors, who may commission freelances.  The designers responsible for covers are usually quite distinct from the book designers" (101-2). 

Jason Epstein, a powerhouse in the literary industry, looks at the crisis facing the book industry and anticaptes the tremendous changes that will arise.  "Many valuable books - most, in fact - are not meant to be best-sellers, and these tend to be slighted in the triage of contemporary publishing and bookselling" (13).  In other words, with the increasing attention to blockbuster publishing, even though a wide variety of books continues to be published, only those with great selling potential receive much specialized attention from the publishing house.  There has been a critical shift from the days in which publishing a best seller was a rare event (Epstein likens it to winning the lottery) to today's market, in which major publishing houses are bestseller factories. 

Epstein recounts his role in the transformation of paperbacks, from cheaply made drugstore pulp fiction, to the higher quality editions of old favorites that we are familiar with today. A key moment in the changing nature of book covers occurred in 1944, when Kathleen Windsor's best-selling Forever Amber was promoted by adorning the book with a glamorous portrait of the author.

Technology, of course, is the impetus for change in almost any industry, and the publishing world is no different.  Epstein describes the shifts in business practices as a result of technology - specifically, the internet.  It was a big step when stores' inventories could be linked to computers; but now the computers are the only interface for many stores, such as Amazon.com.  Epstein and his peers in publishing try to anticipate the next step.    

Server conveys the seductive nature of many paperbacks in post-WWII America.  He describes this area as a "brief but gloriously subversive era in the history of American publishing.  These cheap, pocket-sized editions came wrapped in lurid cover art and screaming headlines, hyping stories about crime, lust, and violence.  Casting a neonlike glow from wire racks in drugstores and bus depots across the nation, they conveyed an alluring collective vision of a corrupt and sensual world" (9).  The covers Server presents are shocking to a modern sensibility, what we would consider highly politically incorrect.  He features titles such as 12 Chinamen and a Woman (which replaced the original title of 12 Chinks and a Woman), A Swell-Looking Babe, Love Hungry Doctor, and Indiscretions of a TV Sinner.  Common to these books and almost all of the others depicted here is the overt sexualization of women.  They are often depicted in the nude, in varioust states of undress, and in seductive poses.  The books are riddled with triumph of the heroic man - over attractive women as well as over other various threats to society, such as mobs and drugs.  These paperbacks were not critically acclaimed, but did have a wide readership - due in large part to their sensational covers. 

Schiffrin offers insight into the international publishing world with this narrative history. He recounts his experiences in the publishing world, describing pivotal moments (acquisitions of companies, market censorship, the emergence of blockbuster best-sellers) through his personal lens. This book provides an interesting and accessible introduction to the evolution of the publishing industry over the second half of the 20th century.

The authors take the reader through a history of American book cover designs, from the inception of the book jacket as a utilitarian object in the 1820s to the incredibly influential and indicative introduction to the text that we now know them to be.  Drew and Sternberger trace the technological, political, and social trends that contributed to the evolution of book jackets.  The book is visually engaging, as well, with numerous color photographs to illustrate the text.  Each chapter begins with an introduction to the chapter's theme (with ambiguous or difficult terms and concepts helpfully explained), and then progresses on to numerous case studies.  In general, supplementary sources are helpful to elaborate on the grand themes of the book, but the basic ideas are more than adequately supported with examples.