Copyright

ETL504 2.3: Promoting the Teacher-Librarian’s Visibility and Value

Leave a comment

How can we take the perception of the TL’s role from the keeper and stamper of books in the quiet place to something different?

I think it’s fair to say that as a profession teacher-librarians have an image problem. Way back at the start of this degree I wrote about Bonanno’s keynote speech in which she described teacher-librarians as an ‘invisible profession’ (Lysaught, August 29 2021a) and the misconception that the library is purely about books (Lysaught, August 29 2021b). A 2021 study revealed that in the US, teacher-librarian numbers declined 20% in the past decade (Ingram, July 19, 2021), and this trend of shrinking school libraries is being replicated in Australia (Tidball, February 10, 2023) alongside stagnating or declining budgets, staffing levels, and staff engagement or support (Softlink, 2022, p.6-7).

Maybe, like a good dancer, we make our work look effortless. Maybe too much of what we do is in the background of busy teachers’ days. One thing that’s for sure is that we need to work on improving our visibility and perceived value to our school community if we are to ensure the future of our profession (Weisburg, 2020).

Moir, Hattie and Jansen (2014, p.37) identified a number of key attributes that teachers perceived as important for leaders:

They also state that “Trust is often best developed in team environments, as then there is opportunity for collaboration and shared decision-making, especially when there is a common focus on improving teaching and learning” (p.39). Bush and Glover (2014, p.554) also discuss the idea of leadership as influence rather than stemming from formal authority, which suits teacher-librarians since we often lack official leadership positions in school hierarchies. Both discussions relate beautifully to the work of the teacher-librarian as literacy expert and information specialist, and they highlight a key way that teacher-librarians can both improve their visibility and their perceived value to their school community through collaborative programming, teaching, and assessment which supports the work of time-poor classroom teachers.

The work of Crippen and Willows (2019, p.174) highlights the 10 characteristics of servant-leaders, and teacher-librarians are uniquely placed to assist healing for colleagues overburdened by heavy workloads, administrivia, and poor student behaviour: “Through their actions as servant leaders they are facilitating a healing process and followers often look to them for support when times are difficult or something traumatic has occurred (Barbuto and Wheeler, 2007).” Teacher-librarians can also exhibit the persuasion trait of servant-leaders: “Supovitz (2018) also describes how teacher leaders use strategies such as leading by example, earning their colleagues trust and encouraging and collaborating with their peers.” 

Another area where teacher-librarians can shift the perception of the school community is in the space surrounding emerging or rapidly changing technologies. A 2016 article notes that “By virtue of their training, relationships, systems knowledge, and instructional roles … teacher librarians are ideally suited to lead, teach, and support students and teachers in 21st century schools” (Digital Promise, 2016). Digital literature has the potential to move students from passive consumers to active creators of content while engaging them with the process and ethics of digital content creation (Lysaught, October 4 2022), and Artificial Intelligence is another emerging space where teacher-librarians can position themselves as experts to increase their visibility and perceived value (Lysaught, March 5 2023). It is imperative that we stay current with new and developing technologies to best position ourselves as experts in this field. Our expertise in copyright and the ethics of digital tools alongside our ability to connect the General Capabilities to specific learning programs is invaluable – however, we need to ensure that we’re promoting our abilities in this area and marketing collaborative teaching and planning as a benefit to time-poor teachers rather than just another thing to add to their plates. 

Weisburg (2020) argues that while there are numerous barriers to showcasing our value, as a profession we have no other option. We must make it a priority to develop our visibility and promote our value to our school community or we run the risk of becoming obsolete. Weisburg suggests that teacher-librarians should start by looking for ways to showcase what we’re already doing; social media posts, visible displays, and staff emails can promote this work among the school community, while annual library reports can increase the perception of our professionalism and showcase for senior leaders much of the behind the scenes work that goes into running a library (Lysaught, March 5 2023). Weisburg’s suggestion about speaking at P&C meetings is another interesting one which links well to our aforementioned technology expertise. The most crucial aspect of Weisburg’s article for me was the concept of “chopportunities” – “challenges that can be turned into an opportunity.” So much of what affects the library is decided without our input and while it can be tempting to fall into the “why bother?” disheartened state of mind, for our own protection (and sanity!) reframing these issues as “chopportunities” can be a way to reclaim some sense of agency and showcase the benefits we provide to our school communities. 

 

References:

Bush, T. & Glover, D. (2014). School leadership models: What do we know? School Leadership and Management, 34(5), 553-571. https://doi.org/10.1080/13632434.2014.928680

Crippen, C. & Willows, J. (2019). Connecting teacher leadership and servant leadership: A synergistic partnership. Journal of Leadership Education, 18(2), pp. 171-180. https://journalofleadershiped.org/jole_articles/connecting-teacher-leadership-and-servant-leadership-a-synergistic-partnership/

Digital Promise (2016). The new librarian: Leaders in the digital age. In SCIS Connections, (96). https://www.scisdata.com/connections/issue-96/the-new-librarian-leaders-in-the-digital-age/

Moir, S., Hattie, J. & Jansen, C. (2014). Teacher perspectives of ‘effective’ leadership in schools. Australian Educational Leader, 36(4), 36-40.

Softlink (2022). 2022 Australian and New Zealand school library survey report. https://www.softlinkint.com/resources/reports-and-whitepapers/

Weisburg, H. K. (2020). Leadership: There is no other option. Synergy, 18(1). https://slav.vic.edu.au/index.php/Synergy/article/view/369/364

ETL533 Assessment 4: Part D – Critical Reflection

Leave a comment

My understanding of digital literature has grown significantly over the last few months. From my early definitions to the creation of my own narrative, I’ve gained a solid understanding of what digital literature is, why it’s beneficial and how it can be implemented to support my school.

My preliminary definitions of digital literature focused on the distinction between the digital and the digitised (Lysaught, 2022, July 19; Lysaught, 2022, July 25). As my research progressed I consolidated these distinctions by combining Unsworth’s (2006, p.2-3) and Allan’s (2017, p.22-23) categories (Lysaught, 2022, August 7). Like my peers (Curtis, 2022, July 19), I believe digital literature should be quality and meet community needs, which led me to consider what makes quality digital literature (Lysaught, 2022, August 14) and to design my own evaluation criteria where I determined three key aspects: multimodality, interactivity, and connectivity (Lysaught, 2022, August 28). Self-evaluations and peer feedback reveals – despite the amateur multimodal features – mine’s an effective, quality text suitable for its intended purpose and audience:

Evaluation of The Shakespeare Chronicles

However, defining digital literature is arguably less important to teacher-librarians than understanding how to incorporate it effectively. Digital literature provides exciting opportunities to move students from passive consumers to active creators of content  (Morra, 2013, para.2; Kitson, 2017, p.66), and as new technologies and communication tools emerge, students require new literacies to ensure they’re critically consuming and ethically creating texts (Walker et al., 2010, p.214-216; Kearney, 2011, p.169; Leu, 2011, p.6-8; Mills & Levido, 2011, p.80-81, 89; Leu et al., 2015, p.139-140; Serafini et al., 2015, p.23; Combes, 2016, p.4). In 2009 students spent an average four hours a day online (Weigel, 2009, p.38); by 2015 US teens consumed between 6-9 hours of media a day (Common Sense Media, 2015, para.6), while Australian teens now spend an average of 14.4 hours a week online (eSafety Commissioner, 2021, p.4). Digital literature therefore harnesses our students’ preferences and familiarity with technological platforms (Figueiredo & Bidarra, 2015, p.323; Skaines, 2010, p.100-104; Stepanic, 2022, p.2; Weigel, 2009, P.38). Digital literature incorporating interactivity, multimodality, and connectivity can develop ‘nöogenic narratives’ wherein personal growth is achieved by viewing our lives as a story (Hall, 2012, p.97), a key element of the English syllabus (NSW Standards Authority, 2019, p.10). Research shows that educators can exploit digital narratives to create meaningful and authentic learning opportunities for students to create personal and academic growth (Bjørgen, 2010, p.171-172; Dockter et al., 2010, p.419; Hall, 2012, p.99; Reid, 2013, p.38-41; Smeda et al., 2014, p.19; Sukovic, 2014, p.222-226).

However, educators must carefully consider the purpose of integrating digital narratives into their programmes. While research reveals digital texts’ benefits supporting young, emerging, or struggling readers and developing transliteracy (Tackvic, 2012, p.428; Cahill & McGill-Franzen, 2013, p.32-33; Matthews, 2014, p.29; McGeehan et al., 2018, p.58), others raise issues regarding reading comprehension, retention, and attention (Cull, 2011, para.35-38; Goodwin, 2013, p.79; Jabr, 2013, p.5-30; McGuire, 2015, para.30-35). Technology should be used as a meaningful tool, not just as a gimmick. Monsen (2016) explored the idea that we are “quintessentially cyborgs” due to the symbiotic relationship between humanity and technology. My research into digital learning frameworks such as the SAMR model (Lysaught, 2022, August 6) revealed that effective implementation of technology should not replace, but co-exist with and supplement existing print literacies. Printed choose-your-own-adventure narratives arguably improve literacy (Chooseco & Hofmann, 2016, para. 8-9) and can be updated using digital features to form powerful digital texts (Farber, 2015, para.1-2). Thus, my own digital narrative was designed as an immersive, interactive, multimodal resource to develop students’ understanding of life in Shakespearean England while supplementing traditional print resources and online information sources.

Throughout ETL533 I have examined how I currently incorporate digital literature into our school and considered ways to increase this in future (Lysaught, 2022, July 31; Lysaught, 2022, August 7; Lysaught, 2022, August 13). As discussed with my peers (Macey, 2022, September 24; Barnett, 2022, September 27; Facey, 2022, September 29) difficulties arise surrounding cost-effectiveness, storage, access, and user preferences that often impede digital literature’s success in schools. Despite these challenges, after creating my own digital narrative I strongly believe that student-created digital texts can enhance their own learning and connections to content, and integrate well with Guided Inquiry units and literary learning (Lysaught, 2022, January 27; Lysaught, 2022, August 14; Lysaught, 2022, September 3; Lysaught, 2022, September 16). Peer feedback also supports this (Lysaught, 2022, September 3). Due to this unit I am more aware of my students’ discussions around digital literature (Lysaught, 2022, July 25; Lysaught, 2022, August 28), revealing these are powerful texts with which students are already engaging. Literature in digital environments allows teacher-librarians to show our value to our school community, as we can support time-poor staff as they include more captivating, rich resources and utilise digital narratives to support our students with various interests and literacy needs.

 

 

Word count: 806

Reference list: https://thinkspace.csu.edu.au/allyoureadislove/2022/10/04/etl533-assessment-4-reference-list/

ETL533 6.2: Issues in Management

Leave a comment

Do you know what type of lending models and licences are available for the distribution of literary resources? Have you considered the challenges involved for education/libraries with digital literature licensing agreements? What are some issues involved in DRM, and how can they best be handled?

Once upon a time before I began my teaching career in 2011 I was lucky enough to work at a bookstore. We sold physical books as well as CDs of audiobooks. Life was simple. Life was grand.

Technology has dramatically changed the publishing landscape and while increased accessibility and functionality are definite benefits to readers, new lending models, licences and DRMs have irrefutably complicated the situation for schools and libraries.

We currently pay over $3000 each year to provide our students access to a variety of e-books and audiobooks as part of the Wheeler’s consortium. While it was popular during the period of online learning, it’s less popular now and not exactly what I’d call cost-efficient. We’ve had students request certain books on the Wheeler’s e-platform, but the price of these digital resources is significantly higher than if we were to purchase a physical copy, and we lose access to the resource if we drop our subscription. We’re also having issues with security, since our shared iPads are logging in the first user and not allowing new students to login. If we move to another service we’d be faced with different licencing and DRM models. And if I encourage students to create their own personal accounts for services like Amazon Kindle, it’s wonderful that they can link their Goodreads account and become socially connected, but also problematic that their data is being tracked and potentially sold.

A few weeks ago I had one of our Learning and Support Teachers approach me about getting an audiobook for one of our year 8 teachers to play to her class while they read the physical novel, so that she could wander the room dealing with behaviour issues instead of being stuck reading to the class. Whaddayaknow – it was impossible to source a copy of this text as an audiobook! If we had, we’d have been faced with issues around access (what device to play it on? How long do we have access to it? Do we need a subscription?) and if we wanted to create our own audiobook of the teacher recording herself reading, we’d be in violation of copyright laws. Call me old-fashioned, but I just wanted a CD audiobook that the English staff could keep in their book room to accompany the class set of novels. 
Sometimes I really miss the good old days!

ETL533 6.1: Fair Use vs. Fair Dealing

Leave a comment

Why did the judge consider Google’s Book search project to be transformative? What are some of the possible benefits and possible issues with such a project? What are some differences between Fair Use (US copyright law) and Fair Dealing (Australian copyright law)?

As so often appears to be the case with new developments in technology, Google Books is simultaneously democratising and ultra-capitalistic. Google’s aim of bringing literature and research to the masses is a wonderful equiliser which increases access to quality resources, but isn’t purely altruistic or without benefit to the corporate giant behind the move since they stand to profit from advertising and potential future subscription models. I’m no lawyer, but it seems that Google is prevailing on a technicality – namely, that according to US laws a class action must be brought by a ‘class’ or group with similar facts (in this case, I think this refers to similar losses). If I’m understanding this case correctly, the ‘injuries’ or financial losses by the authors involved in the class action are potentially not similar enough for them to be counted as a class, which means that each individual author would have to sue Google separately – and who has the time, money, and resources to go up in a David vs. Googliath battle like this? Google Books is also an internationally accessed resource affecting international authors, though it seems like this case is being decided in US courts under US laws. Since Australia’s Fair Dealing provisions seem more prescriptive than the USA’s Fair Use laws, I wonder what the implications will be for local publishers. I’m also concerned about the possibility that in future, Google can restrict access to these materials again in the name of profit or lock users in to access via certain devices (which, of course, will also financially benefit Google!).

ETL503 4.2 Creative Commons Licensed Resources

Leave a comment

Locate at least two Creative Commons licensed resources. Write a short description of each and explain the CC license chosen.

Resource 1: Disney by Marc Levin
I chose this resource because I know that the House of Mouse can be quite protective of its IP, and I wanted to ask whether this resource was actually covered by Creative Commons. I found it on Flickr at https://bit.ly/3HgzuLT with the generic attribution licence logo, but I’m wondering if it is legally covered by this licence since Disney (the creator and copyright holder) is not the poster of this material. Instead it looks like Levin has taken a screenshot (with a computer mouse icon included). What’s everyone’s thoughts on this?

Resource 2: How Disney Writes a Villain Song by Polyphonic

Watch Video

Duration: 9:42
User: n/a – Added: 19/10/18
I found this on YouTube by filtering my search using the Creative Commons option. This resource was shared under the Creative Commons Attribution licence allowing reuse. Again, I’d be interested to know if Polyphonic’s use of Disney’s images and music is legal to begin with. YouTube’s copyright policy states that creators shouldn’t use content in their videos that someone else owns the rights to; though this video might be covered by the USA’s Fair Use laws and Australian content creators might be covered by our similar Fair Dealing exemptions: research or study; criticism or review; parody or satire; reporting the news; enabling a person with a disability to access the material.

ETL503 4.1 Copyright Questions for Teachers and Students

Leave a comment

From your reading of the Smartcopying website, choose some facts you think teachers or students in your school may not be clear about. Develop two questions for each fact – one for teachers and one for students.

From my experience, a lot of people in schools don’t seem to understand that their actions are “unreasonably prejudicing” the rights of the copyright holder and misunderstand the licensing terms we operate under – I’ll admit that prior to studying for this degree I was just as ignorant. Just recently I had a DP email me to check because a staff member thought it was ok to give our students access to free book torrent sites because it was ‘educational’. I also had to step in when a Year 12 student tried photocopying an entire textbook so he could have his own copy over the holidays!

I’ve come up with the following questions:

For staff: Can I show a movie from Netflix to my class as a reward for them finishing their assessment task?

Answer: Under section 28 of the Copyright Act 1968, staff are allowed to show films, television or radio in their classrooms when it is for educational instruction and not for profit. HOWEVER, if this activity does not have an educational purpose, our school is legally required to obtain a Co-Curricular Licence to avoid copyright infringement. Also, Netflix’s Terms of Use 4.2 state that their content may not be shared with individuals beyond your household and shall not be used for public performances, with the exception of a limited number of documentaries (you can find out more here).

If you wish to legally watch a film with your class please ensure that it is a) educational and b) does not break the service provider’s Terms of Use. You can use our school’s Clickview account to avoid these issues.

For more information please refer to the following resources:

Films and Videos in Schools: https://smartcopying.edu.au/guidelines/films-and-videos/

Netflix Terms of Use: https://help.netflix.com/en/legal/termsofuse

 

For students (though staff might need reminding too!): How much can I photocopy from this textbook?

Answer: It depends. You are allowed to copy limited amounts of material without seeking permission from the copyright owner as long as you are copying for:

  • research or study
  • criticism or review
  • parody or satire
  • reporting the news.

The amount you are allowed to copy depends on whether you are unreasonably affecting the rights of the copyright owner to be fairly paid for their work. If the resource is freely available for you to purchase, you should either a) purchase your own copy; b) only photocopy a reasonable portion (a good guide is 10% or one chapter – whichever is greater); or c) seek the copyright holder’s permission to copy more.

No matter how much you copy, you should be labeling it with the details of the copyright owner/author, the name of the resource, where it was copied from, and when it was copied. Where possible, try to copy only what is absolutely necessary or link to the original material instead. Using Creative Commons licensed material will also help you avoid copyright infringement.

For more information about photocopying, please explore the following resources:

Students and Copyright: https://smartcopying.edu.au/students-and-copyright/

Scanning – What am I allowed to do? https://smartcopying.edu.au/scanning-what-am-i-allowed-to-do/

 

Another student in this unit also posed this question, which I think is a great example of how social media in the school context can totally confuse the issue. I’ve copied the information here for future reference, since I’m now a member of the school’s Social Media Committee:

A student is filmed playing a copyrighted song. Can this recording be shared via the school’s Facebook page?

Answer: From https://smartcopying.edu.au/music-copyright-guide-for-schools/

Making audio or video recordings

Under the School Event Licence schools are able to make recordings (this includes both visual and audio recordings):

  • of school events at which musical works are performed or a sound recording is played
  • to play at a school event (eg copying music to CD or MP3 to play at a school graduation)
  • to include in a video or electronic presentation (eg classroom PowerPoint slides, or in presentations at assemblies or functions)
  • to play in class, whether face-to-face or virtual (eg in order to play musical works and sound recordings relevant to material being studied).

The recordings made by the school should display the following notice:

‘This recording has been made under a licence from AMCOS and ARIA for school purposes only’.

Schools must also display the following details of each musical work captured in the recording:

  • the title
  • the composer/arranger
  • the artist and recording company (if the school is using a backing track).

Schools can also authorise members of the school community to make recordings of music performed at school events for private and domestic listening or viewing by members of the school community (eg parents, guardians and friends can make a video of a presentation night at which the school band played).

Recording a school event

Schools can make a recording (including an audio or video recording) of a school event at which musical works are performed and/or sound recordings are played. Schools can also synchronise a musical work or sound recording with an existing recording of a school event (eg to add a backing track).

Remember to label the recording in the following way:

‘This recording has been made under a licence from AMCOS and ARIA for school purposes only’.

You must also display the following details of each musical work captured in the recording:

  • the title
  • the composer/arranger
  • the artist and recording company (if you are using a backing track).

For example, you could have this information flash up in the final credits.

What can I do with the recording of our school event?

Schools can do the following with recordings of their schools event(s):

  • upload the recording to the school website
  • upload the recordings to a password protected school server, intranet or DTE and make this available to parents, guardians and students. For example if parents and guardians are unable to attend an assembly or graduation day, the school could send them a link to the recording on the school’s password protected intranet and allow them to download a copy for their private use.
  • upload the recording to an app that is being used by the school for internal school communications to members of the school community, such as Schoolbag, Seesaw, Compass and SZapp. This is limited to apps being used by the school for internal school communications, and would not include apps like Snapchat or TikTok.
  • email/message a copy or make a physical copy of the recording (eg copy it on to a USB) and distribute it (for a no cost or on a cost-recovery basis) to members of the school community (eg students and parents or guardians)
  • provide a digital or physical copy of the recording to third parties , including other schools and administering bodies, for the purpose of events the school is or would like to participate in (eg competitions and festivals)
  • stream a live communication of the school event from the school’s website.

Uploading a recording or live streaming a school event to social media

Schools can rely on the school’s music licences to upload recordings of their school events, or live stream their school events, to the school’s official social medial page on social media platforms such as Facebook and YouTube. In order to communicate (ie make available) those recordings from those social media pages, school can rely on the licences that APRA AMCOS and record labels have with the social media platforms.

Note, that where a musical work or sound recording is being performed or played at a school event, the post may still be blocked or muted, see ‘Blocking or muting of events on social media’ below.

Blocking or muting of events on social media

Music recording companies (ie record labels) and some music publishers use software to identify potentially infringing content on social media platforms, such as Facebook. When a school live streams a performance where a musical work or sound recording is being played, or uploads a musical work or sound recording, this software may alert Facebook or other social media platforms to mute the recording or send a takedown notice to the school. If you are concerned about a live stream or recording being muted or your school being issued with a take-down notice, contact the National Copyright Unit.

Alternatively, you may want to consider uploading the recording to your school website or password protected digital teaching environment or intranet.