recording as well, and you're ready to go. Good morning, everybody. This is the 55th webinar that we've run for the Copyright and Online Learning Special Interest Group. So I'm Chris Morrison. And I'm Jane Secker, and we are the co-chairs of the Old Special Interest Group for Copyright and Online Learning, as you said, and we've been hosting these webinars now since March 2020. And we're very excited to be in our new basement studio, which is why I've just temporarily taken the sides down so that you can see us in all the glory and we'll come back to that in a moment. Yes. So let's crack on with what we're talking about today. Another excellent lineup. We've got some really interesting bits of copyright news. We've got some, well, fantastic guests. Again, special feature on the book, Navigating Copyright for Libraries, Purpose and Scope. Finally, the running order slide has turned up and then coming up next. So all within the hour, lots of excellent stuff to look forward to. Yes. Yeah, we're absolutely delighted to work. We've got two of our guests joining us from Australia. Yeah. It's quite late in the evening. We've got the book. And we have the book. Yeah. As you can see, that's just because it hasn't arrived for me. Somebody has a print copy of it. They do. It's our very fortunate person. Must be just something about, I don't know, if you've asked for something to be sent to the Bodleian Libraries, maybe that's what the thing was. Anyway, right, since we last met, we've entered the fact that we're in a different location. Yes. Yes. So that is what we can see when we're looking at you guys. It's not complicated. There aren't enough railing wires. No, definitely not. No, we need some really hot studio lights, so I start sweating a lot. I think that'd be great. Yeah. Yeah. And we haven't got Pickle the Cat, either, because she's sulking upstairs. Is she? Yeah, right. She'll probably turn up at some point. Yes. Yes. Yes. But that is her earlier on when she was just testing things out, see how it felt to sit on the sofa and join you all this morning. So. Thank you, Wendy. Right. So this is a reminder that there is an archive of all the webinar recordings on our blog, but also on the Alt YouTube channel. There is a special playlist. I shall pop those in the chat right now. So previous ones, and we've had a whole range of excellent speakers. I'm sure many of you are aware of them and we have very pleased to have returning guests as well. So we're on to this next item. OK, copyright news. Copyright news. We've got a couple of items today. We've got a few here. So the first one is that I think we knew this was coming, but this is confirmation that the extension of the copyright term, the length of copyright last in Canada, has increased from 50 years to 70 years after the death of the author. Shall we say boo? Well, I tell you, I think this is something we're probably going to return to as part of the main conversation. So I'm not sure we do need to turn it into a pantomime. OK, we could probably have a more nuanced conversation in a moment. OK, OK, yes. But yes, a major event. Absolutely, yes. Copyright news. Yeah, the next item was that there has been a series of essays published pulled together by Paul Keller and Alec Tarkowski called The Paradox of Open. I started reading one of those last night. That's the one that's all about copyright and the copyright wars. And it's kind of got some what are the unintended consequences of open? What are the things, you know, that the open was trying to do that perhaps it's where it's not succeed? So it's quite a critique, isn't it? I really on this idea of open access, open education, open and everything. Really, really interesting piece, which I'm looking forward to reading more about. I can't say too much more because I haven't read that much of it yet. But yeah, I picked it up earlier in the week and we were discussing it yesterday. Thought it was worth flagging up to people, something to have a look at. So the next item is this webinar on open educational resources happening on the 7th of December and. Yes, the Eden Network, which is a European funded network for people who work in I think primarily in sort of distance education, online learning, but they've got an interest in session. We're seeing an increased interest again in open educational resources. And this is a webinar, our institutional approaches to supporting OER, which is something we're both very interested in. Yeah, yeah, very interesting. I'm having some very interesting conversations with my colleagues at Bobbina Oxford. So I'm definitely going to be shooting into that and seeing what we can, if there's anything we can learn from it. Absolutely. Yeah, absolutely. There will be. We have the next one, which is a seminar on fair use by a friend of. Yes, so this is webinar and yes, yes, Tom Tomlopinski. He's actually given an in person lecture at the University of Cape Town in South Africa, but it's a hybrid event. And so you are able to to sign up to join on the 13th of December. Just need to check your timings for that. So they've advertised it with the timing in South Africa. I think they are a little bit ahead of us, a bit behind us. Anyway, people can people can get their world time straight down, isn't it? It's not a cross. No, no, no, it's similar time. It is similar. Yeah. So that's 13th of December, and it's going to be looking. He's called it fair use or fair use, fair use. Yeah, yeah, yeah. Looks like an interesting discussion. Absolutely. Jessica said ahead, but we can do this. Other people can work it out. They have access to freely available information source, I believe. Yes, to work out exact timings, depending on where they are. Yes. So we are, I think, on to our main event, aren't we? We are. Yes, again, focusing on this book, the Navigating Copyright for Libraries, which we picked up on some time back because we have a chapter in it. We have chapter 13. We do. But we're also really pleased to have other authors within the book coming and joining us and talking about their chapters and get a picture of how this all meshes together and how this stuff works in practice. Yes, and we are really delighted to actually have one of the editors of the book, Jessica Coates, our friend who's at the National Library of Australia, where she's the senior rights adviser who's going to be joining us. And we'll hear a bit about how the book came about from Jessica. Also really pleased to have Professor Tom Cochran, who's from Queensland University of Technology, who's going to be joining us to talk a bit about his chapter and ongoing interest in copyright and copyright reform. And another another good friend of ours, Stephen Weiber, who is the director for policy and advocacy at IFLA, the International Federation of Library Associations. And obviously the book is an IFLA publication. Stephen wrote one of the chapters, particularly looking at WIPO and the work that WIPO has done to lobby and advocate for the rights of libraries when it comes to copyright. So really looking forward to hearing from our very esteemed guests. And we're very delighted that they can join us. So welcome. Welcome one and all. I'll stop sharing the slide so we can see you. Yes, and I think we're going to go to Jessica first if that's OK. So hi, Jessica. We've done a bit of a sound check. We know you we can hear you. And it would it would be great if you could just maybe just say a bit, Chris, he's waving the book around at the moment. He's waving the book at you. So can you tell us a little bit about how the book came to be? Maybe, you know, how it came to recruit all the authors and the process that you used and the fact that this is an open access book. Yeah, essentially, the book was conceived of, I think, all the way back in about 2019, so or even as early as 2018. But basically by Tom Lepinsky, who you mentioned only a few moments ago, not just like him, but the Copyright and Legal Matters Committee of the of IFLA, essentially, Tom was one of the main members. He was a person who took it on to start off with that group decided that it really was important as part of the series, publication series that IFLA has been putting together to have one focused on copyright. It's obviously such a major issue for libraries and archives and everybody. And the committee had a lot of really some top world experts on it. And so they really felt that they could source this and it would be a useful tool. So the conversation started and some planning about how it should be structured, et cetera, all started and we we kicked in, transferred some of the editors a little bit and it about we were just ready to hit about the end of 2019. We were all ready to go and start working on this book. So basically it all luckily was all happening online anyway. And it was a global. It was deliberately global and, you know, that a lot of effort was put into sourcing authors from every continent. Yeah, every type of content, continent, but as much as we could. So we just kept going through. But it did mean that I think that having covered in the lockdowns did make the process much harder. I'm really still in absolute awe of all the authors who were able to continue to produce the chapters and all that kind of thing. We as editors were meeting every few months and then every few weeks at different points and all that kind of thing. And you would get to hear how hard it was for people in all different parts of the world. So I'm still we are so grateful for everybody that they were able to achieve this in such a hard time for so many people. But they did. So essentially the where the authors were sourced from was contacts with the CLM committee and, you know, the library copyright community is pretty connected around the world. A lot of effort, as I said, was put into sourcing people from different parts of the world, but also both legal practitioners, people like me and others who are lawyers working in the field, but also librarians. It was really important to us that we did have, you know, practitioners and academics, so people of all with different perspectives on the copyright and libraries as a thing. So eventually we end up with 20 chapters, which is just amazing that we managed to get quite so much covering everything from the basics of copyright, which me and Tom wrote on primarily all the way through to some of the hottest topics, you know, the latest issues. And that was one of the best things, having a lot of the academics who and people like yourself, sorry, I shouldn't point out that both of you are, of course, authors as well, who were really in the forefront and doing research in the area. So it was really great to have such a broad range of people in the book. But as you said, right from the very start, one of the biggest focus and probably the prime goal that we had for the book was for it to be open access. Yeah, was it comes. It's a natural outflow, really, of the Copyright and Legal Matters Committee. You know, half of the committee are open access advocates. You know, several of us have worked for Creative Commons or we work for, you know, open science organisations and things like that. And of course, librarians, you know, the whole point of having libraries is to try to share knowledge. So it was seems like a very natural fit for it to be trial for if it was first immediately open access publication. And it was really great that if it was really supportive of that, they were able to provide funding to help support the openness and and negotiate with the graders and the graders was very supportive as well. They used as a test as well, because they're going to have to start being more and more open as it goes on. Yeah. And as well as the open access, we were also very, very focused on ensuring that it was also accessible in terms of disability access. So that it comes out in Daisy and all the other forms, not all of them are available yet, but they are very much a thing because, of course, in the same vein, a bunch of the people in the book and in the room worked on Marrakesh Treaty. And so, you know, it just seemed logical that we have to have it open right from the start. Yeah, it's going to be really interesting, isn't it, Jess? I think to see, you know, how many libraries might decide to actually purchase the book in hard copy because they want it on their shelves, how many how many downloads. So as you say, for the Greta, a really interesting you know, experience of publishing an open access book. Yeah, I was going to ask, is there any size it too early to tell what the impact is of publishing it as an open access but also the print, because that's a common common point of debate, isn't it, in the whole open access area? If I make it open access, no one will buy it. And it's getting rid of the idea of the book. I mean, I have to say, actually hold it, I'm going to keep doing this. Actually holding it in my hands makes it's a different experience. And reading through that because, you know, before I arrived, I was reading through things as a PDF on a screen, but it's quite a different experience, isn't it? So in terms of numbers, do you know where you are with this or is it too early to say? I don't yet. I don't know if Stephen knows anything from inside of the headquarters, but we haven't heard anything about the numbers just yet. It is fairly recent. It was only released in August. So and I think that was a formal release. So fingers crossed, I have a fair amount of faith that actually it won't affect sales much and that it will certainly help with, you know, spreading the information. I've already we've already heard about plans for translations of chapters and things like that. So it's really that's the whole point. It's just getting that information out there. Yeah, it's fantastic. And are there any plans, the the options for turning it into a feature film? I'm thinking about what the FAA. We are talking to Spielberg. No, we're not talking to Disney, no, we're not talking to Disney. But you never, you never know. I think the options are always there. No, no, no. Thanks, Jess. So I wanted to ask Tom about if we start that, you know, the three chapters that you've all written, Tom's Yours is a historical account, the foundations of copyright. And takes us through and excellently summarized in in just 14 pages. We have several hundred years of history from the Renaissance period up to the Enlightenment. And I think that's just it's a really good primer because so much as we know those of us that are into history, so much of what happened then informs where we are now. And it explains why we have certain conceptual for the soffical underpinnings of the system that we have. And one of the things that you you refer to is the sort of traditional Anglophone history of copyright. So that focus of the statute of and as the first copyright law, but you pick up some things around other areas of new other ideas that were also around at the time that copyright was developing. So can you talk us through some of that? Yes, yes, sure. Thank you. Like a lot of us, the way I got involved in copyright in the first place was by engaging in issues of our time, particularly the rise of challenges that came with the digital age and the way that some behaviours of some organisations started to change and the need for libraries and kindred organisations to find a way of responding to that. When I came actually to when I got the request to consider doing a chapter, I eventually found it to be an entirely absorbing project. Because the amount of thought that I became aware of that went into the original the drafting of the original statute was very deep. And and the other thing that was also good to be reminded of is that the statute involved the nomination of libraries with a role in the keeping and and and holding of knowledge right at the beginning. So it's not something that came along later. It's provided for in the Statute of Anne in 1709. So the the the chapter just rehearses the issue of why it appears to be an Anglophone orientation, the actual first the first steps that arose as a response to the arrival of printing were actually Venetian and Renaissance Italy. That's not surprising. But the notion of protection was really about the protection of knowhow. It was almost like a precursor to a blend of patent and copyright and wasn't a concept of the author as such. But then neither was it as as it developed over the next 200 years in Tudor and Stewardingwood. So that was really about the role of the station of companies in in a relationship they had with the Crown, which which had outcomes for both. For the Crown, it was the ability to to enroll this private this private group in the control of information, but essentially in censorship. And in turn, the station has got economic protection for their work. And all of that evolved and just going over what what's mostly in the chapter. There, Chris, but all of that evolved into a period which was also where there's quite a bit of change of thinking. And that also corresponds with civil turmoil in England. It's the mid 17th century. The Star Chamber is abolished in 1644. And it had had a role in in some of the the enforcement. And then you have this this particular contribution by John Milton Eropagitico, which is about which is about the importance of authorship. And so by the late by the late 17th century, you have an evolution of thinking to the point where copyright becomes more a concept of property and less a concept of censorship, which, of course, then goes into another form of regulation as time goes by. So the chapter really describes the the main characteristics of of that that that system as it develops. And and then the other interesting thing about looking at it was that the significant legal case in the station is held on after the after the statute. They they kept seeking to assert form of privilege and didn't finally give up until the the the case in 1774. And and it's really interesting to think that that's only two years before the the American rebellion. And as we all know, you can't read about copyright without reading what the founding fathers of the U.S. Constitution thought about it. And so there's this kind of continuity of British looking around. Yes, there were developments in France, especially in the 1780s and 90s. There was there was a lot of unsurprisingly radical thinking. But really, it's the statute of aim that kind of enshrines is thinking of a balance between authorship and the notion of a public good. And so that was the other thing, of course, is that the notion of a public good develops, but is certainly absent at the beginning of what you of the period of the evolution of of copyright. And one other one for sorry. Yeah, one one final thing about the chapter is it it it it became interesting also to consider the arguments proposed by Pamela Samuelson in some of her work about which is just briefly described towards the end of the chapter under the heading Back to the Future, which is that if you look at what the statute of am provided right back at the beginning of this basic beginning, we've seen a steady move away from that in various ways over the next 300 years so that there are certain similarities between what concerned commentators, especially from the library and Kindred organisation point of view, have to have to say about copyright now. And some of the trends that the statute was was more or less addressing with a view to developing balance. And and that that set of characteristics is really interesting to review because although it might sound odd, a lot of the current desire for reform would simply be no more than establish the intent of the original statute. It's I mean, it's a fascinating process. The thing that I'm at the moment, I'm reading The Dawn of Everything by Baber and Wengrove, which is that the account of the sort of prehistory of human civilization and actually looking at that again and saying those stories that we have come to accept and about the way that the Enlightenment came along and the Enlightenment thinkers introduced all these different concepts is actually an incorrect statement of what was happening. And even the parallels aren't necessarily exactly aligned. I think there's a sense in a historical context that we are so sophisticated now. We've got all these sophisticated things. We've worked it out and everybody throughout history was mistaken because they were ignorant, because they don't know what we know now. Whereas actually what happens throughout history is people actually think very deeply and there's a very rich process of discussion and debate about how things work and that if you actually look into prehistory, it's not just that they were they were dumpsters that didn't know anything about computers. They were thinking about the underpinning conceptual things around how you would want a law to regulate creativity and production of it and consumption of it. And we can learn a great deal from that. Yes. Yeah. I mean, it's worth remembering that the changes associated with the statute included the notion that the state no longer had a regulatory role in publication, but also that the right to acquire copyright could could be exercised by all persons. So and also, of course, the limitations on the duration of some 14 years renewal once it had to be registered and those those things. But of course, in that clause, the availability of copyright being acquired lay the future for publishers because, of course, that's how it works. So it probably didn't take too long for some of the stationers, which really is a word that's almost interchangeable with publishers by this time to figure figure out, you know, the authors still want dissemination and control of dissemination is with the control of the technology. So absolutely. Yeah, it comes across really clearly. I think the impact that technologies always had on on copyright right from the outset. But I was also I was really interested, Tom, in the part in the chapter where you pick up, I think it was in some of the German states where they didn't actually have any regulation, they didn't have any copyright and it kind of published in Flourish, didn't it? I think. And it's quite an interesting site. That's the theory. Yes, I haven't I haven't seen that rigorously tested. But yes, it was an interesting argument to come across that in 19th century Germany, all of the advancement of science was the greater availability of it in published form. Yeah, very interesting. So if we if we look to where we are now, because it's so just your chapter then picks up so you're handing off in the baton from where Tom's taken us all the way up to the Enlightenment. And then we're now in the period of the modern age and mass communication technology and then copyright just goes and then expands and fills all the gaps. Do you want to talk us through that process? Yes, well, my chapter was probably a bit I feel like it was both less ambitious and more ambitious than Tom's. It was less intellectually ambitious in that the basic right from the start when it was being planned by the CLM group, we all thought it was very important that it also be an educational tool like the that the book could be useful to learn about copyright. And so we had intended that there to always be kind of an early chapter that would just be the basics of copyright. And that's what I set out a copyright primer. That's what I set out to produce a copyright primer that would just basically lay out how it works as much as you can on a global basis with from the perspective of libraries. And with a little bit of, you know, a little bit of angling towards the things that really libraries value and that you hear a lot about a lot in copyright world and at library conferences and things like that. But maybe not in other parts of the copyright world. So importance of public domain and exceptions and things like that. That's what I set out to do and not nearly as intellectually ambitious as Tom's, but of course, in practice, it did turn out to be very ambitious.  And what we ended up with a ten thousand word kind of tone, because once you want to really try to cover ensure that you're capturing civil law a bit, a bit. I don't I'm not nearly as big an expert on civil law. So I feel a little bit bad, but it might have been neglected. But civil law as well as the common law and making sure that you do cover at least touch on important issues like why do we have exceptions and what is their role? Though there are a whole other chapters that also deal with that. Yeah, it just became and the importance of things like human rights. That was picked up by one of the reviewers, a few reviewers that I hadn't really built that in. And that's very important in large parts of the world, like Latin America, in the formation of copyright. So we had to include that, yes. So because I'm not sure it is the light, you know, easy primer that I had always intended it to be. Well, I think you want to find out about copyright. I would say that it's it's I think there's there's only so light. I think you can make copyright. If you wanted to actually have any use in any substance. And I think what you've done with your chapter is you've got it as a historical narrative. So it does pick up that. So it's kind of easy to follow from that perspective. It is also stating the facts about how copyright law works, but because it's not just doing it in bullet point list, because it's got that narrative structure. But but also because it does have some kind of conceptual frameworks where you're not just presenting the law as it is, but saying, well, certain laws fit into these sorts of categories. So I mean, I think it's it's a real achievement that you've put it all together. And I think it really is that excellent primer of kind of where we are now and how we got here from the dawn of copyright law itself. Absolutely. It's really important because some people coming to the book were of course already going to be massive experts in this field. But other people were not. And in order to understand a bunch of the later chapters, you do really need the kind of foundations that Tom and my chapter both put together to help you understand why some of these issues are complicated and why people are debating them and that kind of thing. So yeah, we did think it was very important to at least have it there. I am quite keen on the idea. And I think CLM has genuinely talked about this about editing it. It is open access. After all, everybody else should feel free to try to create a lighter version. Like, you know, just try to pull out the higher one, especially, you know, once you've written something once, it's always much easy to make it short of the second time. Yeah, I think it was a noble version. Tom, yes, you want to come in? Yeah. I think if there was a basic, there's a basic message, you know, from beginning as you play through, it is that once the principles are established, all of the argument and tension has been where the balance should be. So the principle of the public good, you know, the advancement of learning to use the language of the time on the one side and due recognition to the author on the other was all it was. And what happens is the author actually gradually turns into the publisher more and more until that's enormous industry. And then that compounded with the arrival of new technologies. The other interesting thing about this is it's an error to think that we live in, you know, in our lifetimes in the age of the rapid arrival of new technologies. They actually arrived with great speed in the second half of the 19th century. And that's what and that's what started to attract. A lot of attention. So that then had the effect of moving the balance as well. That's definitely been one was definitely one of my messages all the way through that. In many way, like most copyright reform for centuries has been a response to technology and the reason why the last 20 years has been so hard is because of there's been such technological change. Like it's it is it's a real challenge to people from both sides. And libraries really do that balance is so crucial to concept of copyright. To me, balance is really the core principle of copyright. And libraries sit at that point of balance. Like, yes, we both, as Tom said, we were very, very keen on sharing knowledge. That's, you know, always been really a very strong focus of me. But we are also very, very keen on books and authors want the industry to continue. Yeah, I think the point on technology when when you think about it is, yes, lots of change arrived in the late 90th century. But what's different about now is how many millions of hands technological capability sits in. Absolutely. Yeah. Yeah. This seems like a really good point, though, with you talking about, you know, the the role of libraries. I think we should bring Stephen in who wrote his chapter looking also looking specifically at WIPO, the World Intellectual Property Organization, looking at the the advocacy work that's been done at WIPO. And you've you've actually been there, Stephen, haven't you as well? So you've attended the the the committee meetings related to copyright. What's it actually like going into WIPO, Stephen, being the voice of the champion for libraries? Oh, well, I said I apologize right now. For some reason, it seems that my video keeps on getting turned off.  So I apologize. Oh, we'll see you a moment ago. Less exciting visual experience than it might have been, especially because I've got exciting curtains going on behind me. Yes. Yeah. It probably loses its magic quite a lot. I think. I think what one of the interesting things you see at WIPO is that there's two aspects to the WIPO work, which I think make it interesting or mean that it provides a certain sort of angle on how we do copyright. I think part of it is the fact that the nature of the place you have relatively short meetings, it's rare to say that a meeting that lasts a week is short, but compared to an ongoing legislative process that involves consultations and round-the-meetings and so on, a week is a short period of time, a two or three minute intervention is a short period of time. And so you tend to get quite a sort of condensed way of looking at things. And I think that sometimes this can lead it to be a little bit of a punch and duty show where people stick to their high-level principle and it turns into sort of Thomas Quyner's sort of and 13th century theology about how we should see copyright and how we should interpret it one way or the other. That's not to say that it isn't a place where things can't get done. And the Marrakesh Treaty is a fantastic example of when the setting is written, I think in particular when the cost of inaction becomes greater than the cost of action. Actually, things really start moving. And I think it's aided in some ways and which brings me on to the second point. It's aided in some ways by the nature of the place. And that's contradictory because it is, to some extent, like any intellectual property office or intellectual property organization, it is at risk of capture. And that's just a fact. If you are focused on just like an agricultural ministry, we'll tend to be extremely well connected with farmers, or the farmers or a business ministry will be extremely well connected with business. Logically, an IP office, an IP organization will be extremely well connected with rights holders, which brings its own sort of world view with it. And so there is a sense that we have IP in the title. It feels contradictory. It can feel odd to be sort of questioning IP and suggesting that we have IP. Does that mean that we should have limits also? At the same time, what's really interesting in Geneva is that a lot of the people who are there are dealing with other parts of the UN system. And so their day job is to look across the development agenda. And they're also dealing with aid. They're dealing with health. They're dealing with education. They're dealing with the way the internet works. They're dealing with a lot of these broader questions. And that actually can open up some interesting angles, because you actually have people coming along there who, by their nature and professionally, they are supposed to see things in context. And it sort of comes back to these sort of questions about what is IP for. But it allows you to just like blow things open, because in the end, these are people who are seeing IP as being one tool in the toolkit. And it's the question for them, is this the tool that actually allows us to achieve the goal or not? And in what way do we use the tool in order to achieve the goal? So it means you get some interesting discussions. You get just a full-on IP purists that more IP must be good, because it's in our name. But you also get a lot of people there who actually are development people and they're thinking not how can we get more IP, but more how can we make IP work for us and work to actually to help us achieve our goals. And it's all to say it's complicated. It's a mix of complicated and oversimplified, but you get a really interesting insight. And it is a place where things can get done. I mean, it's a fascinating insight, because I think those of us looking at that legislative process and the international advocacy more from the outside, I get you mentioned Marrakesh a great success, but otherwise it seems like there's a certain amount of stalemate. We talk about the broadcast treaty that's been going for decades and not really got anywhere. And then I guess how easy is it for actually libraries to get their voice heard? I know that the Standing Committee on Copyrights and Related Rights was only relatively recently set up and only relatively recently libraries really able to input into that.  So I think a key thing and this is something that comes out in the chapter is that there are different things that can get done when you're there. First of all, obviously legal instruments are lovely and it is absolutely the case that if a wiper comes up with a treaty or something like that, then that provides a trigger, it provides a stimulus for governments to do things in a way that tragically enough copyright is not everyone's number one priority. If you are a small government with limited capacity or maybe not going to make copyright the thing you deal with first of all and so actually having a trigger from above, from on high in order to actually look at it is helpful. Clearly also wipers the organisation that can actually provide a sensible option, a scientific solution for looking across borders. But there are other things that we do that you can do there. I think we've seen some really interesting work and especially I can see that Ross is on the call here. The Arcadia Fund has been supporting some work led by the American University in Washington to increase engagement. And actually one of the really interesting things we've seen about that is actually this and working through WIPO has opened up is to go and talk directly with national policymakers and use the proximity, use the lack of barriers that a place like WIPO offers. You don't have to go through five layers of secretaries and undersecretaries and oversecretaries and sideways secretaries and whatever in order to reach the decision maker. You can just go and talk to them immediately, hook up, get an agreement, get a session or a meeting in the diary and actually start reaching out through there. So there's an opportunity to use a place like WIPO also to shape the way that people think, to seed ideas, to get people sort of reflecting and obviously that's not got the same, it's not got the same sort of immediacy and more obvious causality that a treaty has with change but it opens doors, it makes things possible that may not otherwise be easily done. I say one thing I've picked up, just to come to say that one of the things that I think the library sector gets kind of fobbed off with isn't it by not having the legislation, by having this kind of model or soft law and these sort of frameworks which are sort of a watered down thing that allows us not to get what we want but it sounds like there is the value, not necessarily that, you know, those are preferable clearly to having those other triggers but there is a value in getting some of those conversations happening. Jessica, I'll go to you on that. Well that's actually, I was about to say it's a perfect segue to saying that honestly, advocacy was a not so secret goal of the book right from the start. I mean, I think you two build this into your work as well but CLM was very clear right from the start that we wanted the book to help people understand copyright and librarians understand copyright and what's going on at the moment but also to be able to advocate in the space and you really, people need a basic understanding of the law but they also need to hear what other people have, what are the arguments in favour of the importance of exceptions? What is happening at WIPO? I mean, I think Stephen's chapter is a fairly extreme example because most of the people reading the book won't be at WIPO but by hearing what debates going on and by hearing, you know, sort of the arguments being put forward by some of the top thinkers in the world and case studies such as there's a whole chapter talking about the experience of South Africa which is so close to being a successor we're still hoping that it will be a successor or it's just on a knife edge in terms of reform but yeah, the book was deliberately designed to include this advocacy element and to encourage librarians and anybody else in the space to really think about how, you know, they can change their own local laws to better themselves and their, you know, community. Yeah. Absolutely. And I think Stephen, coming back to you, you mentioned Ross is on the call today. You mentioned Arcadia and clearly if they're heavily involved in the Knowledge Rights 21 project to increase capacity throughout Europe and so presumably this work or chapter of the book is kind of integral part of that project as well. Absolutely. And I think this feed is now bouncing off of Jessica's point then. Certainly it's a support we're really grateful for because it opens up possibilities to try and I think maybe combat some of the, what we were saying right at the beginning about well, you have to get through, there's a minimum number of pages of reading you need to get through before you get involved in copyright advocacy. I don't know, it shouldn't be necessarily like swimming badges. What we need to do is we need to work in the direction of giving people the skills, the confidence not just to see copyright as something that's been handed down from above that sort of written on stone and brought down from Mount Sinai into the desert but as something that is malleable, that is something that we can actually go out and change and that not only can we do it because we're voters and we're stakeholders who have a legitimate thing to say because we are doing something that is a public value activity but also because actually we should do it because right now we are being held back we are being restricted by laws that haven't kept up with kept up with the times and if we believe in the value of access to education, research, culture if we believe in the value of access to information we need to be trying to change not just through our own factors but we need to be changing what other people are doing in order to facilitate this and helps in that direction by providing a reference, providing a source and we're really looking to build on that in order to actually turn understanding into agency Yeah, I think one of the threads I picked up running through your three chapters is also this idea that kind of came about that I know Professor Ronan Deasley was always very critical of this idea that copyright was a human right and you know I know it's about balance isn't it it's about the balance in the right of the author we can see you Steven with the right to access to information which surely is a more fundamental human right I think also some of what you're hinting at Steven and I know we talked about this a little bit at the Ice Pops Conference in September in Oxford but it's this sort of notion of what Chris and I and I think you also started to call critical copyright literacy and whether the book's playing a role in kind of really as you say encouraging people to start to question copyright more rather than just saying I've got to learn about it and how it works I've got some agency haven't I one of the characteristics of people coming whose working lives have to grapple with copyright in the way that librarians do is that it seems bewilderingly arcane and people tend to take a risk averse approach to thinking about solutions to access issues so anything that could be done to encourage people away from that risk aversity and to even see copyright and advice on it as being a risk management process where you apply some reasonable judgment to depending on the jurisdiction you're working into the advice that can be given to people about how to improve how to improve access generally I mean so a work like this book kind of explains how the convoluted developments have come into play over a long period but the back of it still is this notion when you strip it all away it's not really that complicated it's about this balance between the right of creators etc and access and being wise to the fact that as in all periods of history those who have the ability to gain economically through influencing legal instruments and developing new forms of rights will do that and that challenge needs to be met by those who are keeping an eye on the main game which is how society as in total is to move forward in a reasonable way absolutely and I think as going back to your chat Tom as you said when you're talking us through it the fact that libraries were so heavily involved have always been heavily involved in this discussion and in fact predate the history of copyright means that it's absolutely essential that they're in the mix and I think that this book in the way it lays out the issues allows us to continue that work to sort of situate it and try to influence that balance in the right way and because they've always been about access they necessarily have agency and to remind people that this is a space that libraries really have always been in and that we do have a role and you know we should be proud of the role that we have and we should not be afraid to push for change when we need to in the modern debates often any argument in favour of open access is dismissed as being sort of linked to giant multinational corporations and benefit bail gains and it's very easy to forget that libraries were always there we were always there and we always will be and we as librarians should be proud of that absolutely I think we're kind of coming to the end of our time so what I wanted to do is ask each of you in turn about whether you're hopeful for the future we see that there are challenges we've seen for example in our news we've got the Canadian copyright term extension which against all evidence there shows that it's overwhelmingly a problem to have longer and stronger copyright in that way but that's the way things move the challenge there is of getting the library voice in there other newer sexier topics like AI and copyright come up but we still actually got the fundamental basic things around access to information so I'll start with Tom are you hopeful for the future where we are in the profession of whether we can advocate or are we really on the precipice of quite a dangerous period I think I'd say I have a cautious and sort of moderated optimism but I mean the good things that happened I think have included the establishment of more thoughtful and skilled advocacy and organisational relationships which are really about trying to defend and provide access against that is this pattern of governments thinking here of the Australian government but I'm sure this is more widespread have a tendency to be presented with a complex problem send it off for review to a panel of experts and with extraordinary expertise get some answers back and then fall victim to very heavy lobbying by interest groups that have got a lot of sway and a lot of money and then decided it's too hard to go ahead with legislation and then do the whole thing again 10 years later and that that's a depressing cycle it's not just confined to copyright law reform in Australia it's particularly true also of tax law reform but I think we're familiar with that and so there's an issue about how healthy government is in terms of act of doing what's right rather than swaying with the greatest influences and lobbyists of the moment yeah we saw this at the create conference a month or so ago where they were looking at evidence based copyright policymaking and the evidence shows lots and lots of things but you know a very interesting debate is it even worth trying to do empirical evidence on copyright given that everyone ignores it when they go through that process yeah what about Steven are you hopeful for the future Steven? you're always a positive person can we get that camera back on I can try but normally the camera will give you rather than some grinning confused faces this may last for a few seconds there you are okay it's gone balance of economist type answer there's a difference to both sides Canada not great news but I'll give you that because they wanted to sell beef and lumber in order to be able to take part we sold copyrights of beef well Canada sold copyrights of beef or whatever at the same time Mickey Mouse is in the public domain and Disney Corporation didn't try and extend copyrights even further so there's positives and negatives in that one I think we are beginning to understand that copyright really is one side of the same coin as lively funding and that there's growing awareness of what's going on and that people are looking at that I think maybe in order to succeed we might need to start thinking about being a little bit more hard-nosed it's pretty clear that those are against copyright in the form of working to the same playbook every time it's a very sort of claim that you represent authors claim it will be the end of the world exploit the fact that you have access to communications channels to do things threaten legal action claim it's unconstitutional there's a pretty standard playbook that gets followed in these situations and we've seen that it backfires in Germany this is slightly hysterical full-page adverts that were taken out by some light-holders really backfired they annoyed the government no end so sometimes the right-holders go too far they'll do something that Thomas Keneally swearing there's probably a great argument for copyright reform because it just underlined the lack of rationality on the other side of the debate I think the one thing I'm slightly scared of is that there's such a risk of copyrights being privatised by shifting across to licensing and I think that's something we do need to look at because actually almost debates about the shape of copyright law itself risk becoming entirely moot if everything can just be overtaken by licenses and so that's something we pay attention to and without looking like we are, we'd like to go back to only paper and reject licenses as a concept we do need to be able to engage in that debate and make sure that people aren't forgetting that well unless you bear in mind licenses and services then I think this is sterile Jessica, one minute for you are you hopeful? Well the good news is I am a natural author so maybe a nice one to finish on I do think I do agree with Stephen about the privatisation that's concerning but I do also think that in the 20 years or so that I've been in the field we've seen a lot of progress and if you just think about your average people and common sense how much more comfortable people are with access and how much people assume access so whether it's in museums who 20 years ago were saying we can't possibly let the teenagers near our treasured items but now have great websites and putting everything in the public domain up online or you're talking about your average kids who just can't conceive of not being able to make use of video clips when they're communicating with each other and stuff like that I do think that the world and the open access movement like Creative Commons and stuff the world is moving really appreciating access to knowledge a lot more and I think that's a really good movement so I think if that keeps happening then it's inevitable that copyright will slowly move. The thing is it doesn't move fast but luckily as again in the library sector we have a lot of patients we don't move fast we can just keep hanging on and we should be able to see the changes that we need Thank you What a great note to end on thank you so much all three of you for coming and joining us it really is a privilege to be asked to contribute to the book but also to have you talk it's just been really great and I think congratulations it's time for Jessica and Tom definitely to have a glass of something fizzy nice cup of cocoa yes definitely but thank you so much for joining us we really do appreciate it and we well we'll be in touch I think and continue to share the publication of this book and your fantastic work so thank you I'm just going to jump in to not only share it but to remix it and share it around and remember just for free right now anybody who wants to read anything just grab it now and do things with it let's have a hackathon a festival of creative re-use absolutely absolutely we've just got a minute or so less than that so just future webinars we have been putting together a schedule for our 2023 webinars and we've got some dates lined up we're just lining up speakers as well but we do hope you'll join us in two weeks time for our Christmas festive fun it may have a small theme related to copyright but I think it's going to be much more on the fun side isn't it Chris we'll see it's going to be good yes absolutely but we are going to return to the topic of the navigating copyright book as a special treat for the day before my birthday then you permitted me to read I think from our chapter I don't think that's not quite the format so we're working out the details but the plan is to get somebody else to interview us about our chapter but I think we will be able to reflect on that in the context of this fascinating conversation and what we were saying and how all those things come together so all those speakers TBC we've got a few names people say that they will talk about the CLA license requirements that the sector needs use this format for getting everybody to input into it so we'll be in touch with more information about that with our CNET cats on we will yes excellent so again thank you so much and I know this is now the time isn't it for everyone to leave the one last thing should I play the one last thing it's Christmas we need a little bit of that here's the one last thing Jingle it does a bit doesn't it it's probably why everyone leaves I think so yes okay so that is the one last thing is that we've been watching the playlist on Netflix the fictionalised account for copyright nerds if you want something on Netflix that's got lots of discussion about the copyright wars this is the one for you however accurate it may or may not be it's a bit like the crown isn't it yes it does actually go into the future as well you haven't got to the end and I'll tell you what happened because of my background in music licensing when I watched it I suddenly found myself flashed back to the you know the mid-2000s he was traumatised he was traumatised the part where they go into stim and they have that conversation with the the licensing person I mean it wasn't quite like that but it wasn't entirely unworkable it was my life I'm going to change the world we're going to make a dreaming platform we're going to make everything otherwise you wouldn't be sitting in this space with me okay so thank you so much


Hey guys, she better 1,000 here What in the vlog couple of you, so I'm gonna give you a short vlog here on the scooter Another couple of you's been asking about my health and shit What I have found out I've got some scarring on my lungs in a couple places and from the bronchitis from coughing and Also They want me to go see With specialists and we can't get a hold of them We're just getting to run around on that. So no, I'm not back to work. Well, I'm not released but I'm gonna go back and Just you know, I guess if I have to I'll tell them that I was released to go back to work But I gotta do something, you know, no one wants to return your calls and all that stuff So that's kind of it for that for now. I just kind of got this This camera mounted up here on the handlebars Not the way it's supposed to be but It's there. So hopefully you heard what I said. I got the Wireless mic on hopefully it's working. Sorry about the jiggling, but so I just thought I'd take a little drive What is about six o'clock probably? I don't know. So anyway, I wanted to keep guys updated on that I know there's really no news, but Like I said, I got to go get an EKG done and They go right there in that office where I've been going and You know, the thing of it is is the guy that does it He's supposed to schedule it. He has a call It's been a week. It'll be a week tomorrow So I don't know what's going on. I just let's just take a little drive Give me a regular remember so I can mount it on this thing. I gotta get a battery for it It'll kickstart just fine everything works, but I've got to get a battery for it before I sell it Then it'll be up for sale Try to do something different something always fucks up. So anyway guys, this is a real update not much of one Anyway, so I'm gonna get off of here. Let's try to take a little ride. It's pretty nice out So I thought I'd take a little ride on the scooter But you know, I'll just drop the camera on it and talk to you guys. So sorry about the shakiness, but you know It is on a scooter. So All right guys, I'm gonna get off here. Shave it. I'm gone for now. Bye. Bye guys. Take care


So often when we're making data visualizations, we have just way too many variables. And when we can limit the number of variables, we have too many levels within each of those variables. If you've been following along, you know that I've been looking at data from 2020, looking at different countries' willingness to receive the expected COVID-19 vaccine, which hopefully you've received, I know I have. But we've been looking at these 15 countries for this one variable, right? But the challenge that is, how do you have 15 colors? How do you label it appropriately? When the lines are all way too close to each other, right? That presents a unique challenge. Well, a couple years ago, I came across a book by a cold, noose-bummer naflic called Storytelling with Data. And I think this is a really helpful book. It's not written towards scientists, but more towards general data visualization practitioners. Maybe that includes you, who knows. But one of the take home messages from her book that really resonated with me, and that I have heard repeated time and again by people more in the design field, is to take your visual or take whatever it is you're trying to design and make it all gray. Yeah, make it all gray and then identify the one thing you want your audience to take away and add color to make that easier for your audience to see. So instead of having 15 colors, have two colors, gray and then your primary contrast color to make it clear what you want them to see. So in today's episode, we're going to take our slope plot, and we're going to take Cole's strategy and advice, and we're going to turn it all gray, and we're going to highlight one of those lines and see if that doesn't really help to tell a compelling story. Now, of course, there are 15 possible stories here. But at the same time, I can't tell all 15 stories. And if I give all 15 stories, then my audience doesn't know what I think is important. So I'm going to tell them what I think is important. And that is going to be my country. I'm in the United States. And so if you're, say, in India, well, I'd encourage you to make the line highlighted for India. But we're getting ahead of ourselves. And I'll show you how to do it for the United States, and maybe one or two other countries. And then later, you can do it for your own country. So I'm on my highlight branch. Remember, this is a feature branch where we're going to try a different visualization approach, as I already talked about in my introduction. And we have our code, which again, if you go down below in the description here, you'll get a link to my GitHub repository where you can get all the code and the data that you'd want to follow along with me. So we start the script by loading the packages that we're going to use to build our visualization, at least as it currently stands, tidyverse, it's kind of an all purpose data manipulation and visualization. Show text allows us to add fonts from Google fonts to make our fonts look a little bit more attractive than the default aerial font. And then GG text allows us to embed markdown and HTML into our access labels and titles, right, to make it look a little bit more polished also. Then we read in our data from the CSV, we get things formatted so that we can then read them into GG plot and build out our figure. And we've got some theming that goes on as well before we finally save it out as a tiff. So this is our slope plot again with those 15 countries and 15 lines and 15 colors for those 15 lines, it's a bit of a mess, right? Again, what we're going to do is we're going to start by turning all of the text gray. And we can do that by coming up to geomline and I'll do color equals and I'm going to put in a hexadecimal for kind of a light gray, I'll put in all a's. Again, if you give the same character repeated six times, you'll get a gray color. So that will turn the lines to be all gray. And also then we can come down to our theme element text, I'm going to go ahead and make the text elements of my figure gray. And so I'll do then color equals that same a gray for my title, I want that to be black. So I'll do color, and I'll put in the hexadecimal, you could write black, but I like having the hexadecimal because it gives me a lot more flexibility later, I find. And so here, I'll put in six zeros, and then a comma at the end of the line. Also, I see I have color gray here. I shouldn't need this. I'm going to go ahead and delete it, because I've got this text element text up here where everything is gray. And so that should kind of, you know, cascade down to the other text elements in the figure. So our title is black, like we specified, and everything else is gray, except for our access labels. So let's go ahead and change our access text to be gray. So we'll do access dot text, and we'll do element text color equals and then we'll do that six a's. And I'm also going to change my access ticks to be element line, and I'll do color, the six a's again. So I also want the background to be white. So I'll do panel dot background equals element rect fill equals white. So that'll be all f's. And then I also want to get rid of my grid lines. And so to do that, I'll do panel dot grid equals element blank. So now all our text, all of our lines are grayed out, even those access text, the the two months and then the percentages on the y axis. And so this is kind of our blank canvas for getting going. Again, for this exercise, I'm going to do the USA. But again, I'll show you some quirks along the way for, you know, problems you might run into if you happen to use one of the other countries. Okay, so I'm going to come up back to my data. And what I want to do is add a column to my data data frame that indicates whether or not that country should be highlighted. Right. So what I'll do here then at the end of my pivot longer is I will add a mutate. And I will then say highlight equals, and I'll say country equals equals USA. Right. So in parentheses, I'm going to put country equals equals USA. So if the value in the country column is USA, then the value in the highlight column will be true. If it's not USA, it will be false. Okay. So now if we run this, so we see our highlight column is false for all these countries. And of course, the USA is at the very bottom. So what I could do would be data pipe that to tail. And I now see that USA has two true values for the August and the October. And so those then will be highlighted in my visual. So now what I can do is I can come back up to my ggplot. And instead of color by country, I'm going to color by highlight. And I'm also going to remove this color equals gray. So I now see that my line for the United States is this teal color. And that all the other countries are that salmon color. One thing I want to show you though is if instead of USA, we had used say like Brazil, here country equals Brazil. So as I zoom in on the line for Brazil, something you should notice is that it's running behind two of these other lines. I think this one here at about 83% is Canada. And I forget what this is. I think this is India, right? So India and Canada, it's going behind those. And so what happens in ggplot, as we've mentioned before, is before it plots, it converts any text to a factor. And the default order for a factor is alphabetical, right? So Brazil B will come before Canada and India. And so it will be plotted first, right? So it's laid down. And then the lines for those other countries that fall after come last. And so this is why the USA wasn't a problem. It was on top of everything because you was the last country in the 15 countries we have. So USA comes after United Kingdom, right? So how do we get that line on top of those other lines? What we can do is we can come back up to our mutate and we're going to revisit an old friend where we will do country equals FCT reorder. So we're going to reorder country by highlight. And so we're going to take country and we're going to reorder our countries according to their value in the highlight column. So again, false true, zero, one, right? And so what's going to happen then is all those countries with a false or zero will be laid down first. And then the country with the true or one value will be laid down last. Now if we zoom back in on that line for Brazil, we see the line for Brazil is on top of the lines for Canada and India, and it's just easier to see, right? So with 15 lines, it's not so bad. But if you have a lot more lines, then you really would want that line to be on top. So you can more easily see what's going on. And also if our line was down here, it might get a little bit jumbled. So again, we can use FCT reorder to make sure that the country that has the value of highlight equals true is on top. So I'm not so concerned right now for Brazil. I want to focus on the USA. So we'll go ahead and put USA back. So next what I want to do is I want to turn all those salmon colored lines for false where it's not USA. And I want to make them gray. And I want to make the true line highlighted. I'm going to make it a blue color, right? So we can do that as we have in the past with our scales. And we can do scale color manual. And my breaks are going to be false and true. And then my values are going to be my gray color. So those A's. And then my blue color. Make sure I get my plus sign. My USA line now is blue. And my 14 other countries are in gray. I'm going to do one other thing to try to make that USA line pop a bit more. I'm going to go ahead and make that line a bit thicker while maintaining the thickness of the lines for those 14 other countries. Again, we can come back up to GG plot. And we haven't mapped anything to the size aesthetic. So again, I'm going to do size equals highlight. And maybe I'll go ahead and put this on a separate line. And now our size of the line, the thickness of the line is going to vary by whether it's false or true. And because I want to be able to specify that value, I'm going to do scale size manual. And this is going to be very much the same as what we had up here for scale color manual, I can even copy this. And then I'll replace that gray with 0.5, which I think is the default thickness. And the blue, I'm going to replace with two. So the United States should be a thick blue line. And the 14 other countries should be a thin gray line. Now, we also have these legends on here, which I'm not so crazy about. So let's go ahead and remove those. And we can do that backup in geom line. We can do show dot legend equals false. One thing that kind of sticks out to me about this blue line is that it's kind of like a rectangle, right? And so there's a little argument that I don't use very much, but I think I'm going to use here called line end, and that allows you to change the appearance of the line endings. So I believe this line ending is called but B U T T as in kind of two lines budding up against each other. And what we could do instead is round. And so if we come up to line end, I'll do line and equals round. So I think that round end does really give a nice look to my line here. Again, this only seems to be a problem when you've got a thicker line, like we do here for size two, you can kind of see the kind of a round end on those thinner lines. But again, those lines are generally so thin, but you don't notice how boxy they are. I kind of like that.  The next thing that I want to take on is my title, right? So at this point with the way I'm showing the data, the title doesn't really do much to help tell the story. It needs to say something about, you know, well, what is that line? What country does that represent? So let's go ahead in. And we're going to change the title. And I think I'm going to go ahead and add some data into the title to help tell that story a little bit more concretely for my audience. I'm going to come way back up to before my GG plot pipeline. And I'm thinking about the title I want to have, I'm going to say something like between August and October of 2020, people's intention to receive the COVID-19 vaccine dropped by X percent in the United in the USA. Okay. So that's kind of what I want the title to say. Right. So we'll do that. But I need to inject some information in here from my data, right? And so I need to inject this percent change. And you know what? I want to generalize this so it's not just about the United States. So if I recreate the plot for Brazil, well, would it be dropped by or increased? Would it be USA or more likely Brazil if I'm looking at Brazil? And what would the percentage be, right? So I'm going to use a function from a package called glue, and that function is glue. And glue allows us to inject information into our text strings. Again, that's from a separate package called glue. So I'll do library glue. So we'll take data and we'll pipe that into group by country. And then we'll do a summarize. And I will summarize to create the difference. So I'll say diff and there's a function diff that allows us to look at the difference in those pairs of values for each country. So we'll do diff on percent. And so now we see our 15 countries along with that difference, right? So we could inject the country name and the difference, although we don't want to, you know, say the United States dropped by negative 9 percent. That would seem weird. So we need to add some more to this summarize. So what I'm going to do is I'm going to say direction equals if else diff less than zero, and then I'll say dropped. And then otherwise I'll say increased. And as I'm writing this, I'm thinking of Canada and India where it stays flat. And so I'll let you figure out how would you modify this to make Canada and India work for what we're trying to do here. Okay. So we'll now have direction. And so we'll see that USA dropped. Great. But I don't want to say it dropped by negative 3%. So what I'll do back up here then is I will take diff and I will apply the absolute value to that. So do abs on diff. And so now what I see is that the USA dropped three great. And so here now I will do highlight data and make sure that's all loaded. And then I can take this and embed the information into my glue statement, right? And so instead of dropped, I can put in the pair of curly braces and I can do highlight data dollar sign dropped. And then here instead of the X again, I'll do curly braces. And that will be diff. And then instead of USA again, I'll do the curly braces highlight data dollar sign country. And it's not happy with me. Ah, so that's direction not dropped. All right. Gotta get the names right. And so now if I look at title, I see, ah, I'm producing titles for every country. And that's not what I want, right? I only want the USA at this point. So again, I'll come back up in here for highlight data and I'll do filter country equals equal equals USA. And so now if I look at my title, I now see that statement. And again, if you're in China or if you're in Brazil, your sentences will look differently if you filtered on those different countries. Now we'll come down to labs title. And I'm going to replace this title with my title. And let's see what this all looks. Well, we got our title in there, but the text is really big. And it's doing all sorts of funny things with the appearance of our figure. I'm going to go ahead and shrink the size of my font. So back up in plot title, instead of 28, I'm going to go ahead with 20. So that fits a little bit nicer. That does seem a little bit wide for the amount of data that I'm showing and not having those labels and everything. So why don't I go ahead and make my figure rectangular rather than square. And to do that, again, we can come back to gg save and change width to four. And so now I feel like that's a lot tighter and a lot more attractive than having it spread out. And I think that looks really good. Something I want to do, though, is I want to highlight dropped by 3% in the USA as blue to really make that crystal clear that that's referring to this line. So I'll come back up to my title statement. And I will come over here, and I'm going to add a span. So this is an HTML tag. And we'll do style equals. And then in single quotes, we'll do color colon. And then I'll put in hexadecimal my blue. So I'll do 0000FF. And again, you use whatever color you want to do. I think blue works well again for decreasing. And then we'll go ahead and back out our span. Now we have that part of the title that connects to the line highlighted in blue. And again, I think that looks pretty attractive. Something I'm going to add to my caption is an indicator that each of these lines represent those different countries that we're surveyed. And to do that, again, we can come back up to labs. So caption across 15 countries, each line represents a different country. And that's running off the right side. And so I think what I need is an element text box simple and put it in for a caption. And we'll see what these looks like. So that element text box simple automatically puts in a line break so that the text wraps rather than just kind of continuing off the right side of the screen. One final thing that I'm going to do though is I'm going to go ahead and remove these access ticks, because I don't really think they help us very much. And so access ticks, we have element line, I'm going to remove that and replace it with element blank. I like the suggestion from Cold-Nose Bomber and Affleck of turning everything gray and then highlighting the story that you want with color. We don't need a bazillion different colors if we're trying to tell a story about one country. And so I would really encourage you to think about what is the one story you want your visual to tell.  But if you think about it, most of the figures you generate are probably going to be for a presentation. So you have more real estate there, so to speak, to make multiple figures where you're telling one story with each slide, with each figure. And I encourage you to try this strategy there, where again, you turn everything gray, or perhaps you start with a multicolored figure. And then you say, now I want to focus on the United States and look at what's happening here in the USA or Brazil or whatever country you're interested in, right? And then perhaps you could look at a couple of different countries and build out the stories for those countries. I think this approach of turning everything gray and then using color sparingly to really highlight your story is really attractive and is a great idea. Again, the book that I got this idea from is Storytelling with Theta by Cole Nosformer-Naffleck. She also has a podcast that I strongly encourage you to listen to. I listen to every episode. And even though she's coming at it mainly from like a business informatics visualization perspective, I still get a lot out of it as a scientist who's kind of working in a very different domain than most of her clients. She previously worked at Google and teaching people at Google how to improve their data visualizations and just does a lot of great work. So I'll put a link down below to a Amazon link where you can go ahead and find that book. And I encourage you to check it out. She's got some other great tips in there. And she does, the whole book is written with Excel and I just really admire how much she's able to get out of Excel. And so it's been kind of cool to take some of those ideas and see how we can apply them using art. Anyway, keep practicing with all this and we'll see you next time for another episode of Code Club.


Salam alaikum, Ramadan mubarak. Okay, so my name is Zankajani and I'm the founder of Heroes for Hunger. Heroes for Hunger is an organization that consists of me and six other Muslim youths trying to make a difference in our community. We have partnered with the Alameda County Food Bank to create a Ramadan food drive that will last all 30 days of Ramadan. You can donate by giving $1 to feed somebody for one day of Ramadan or $30 to feed somebody for all of Ramadan. You can donate by scanning the QR code or there's collection bins at the front or you can type in the URL in your phone. Either way works. We are trying to change the Muslim image in the greater community to one of generosity and peace, which is what Islam really is. So please help us make a change. While you're fasting, please feed everybody else hungry in our neighborhoods. Thank you.


This screencast video will show DCU lecturers how to use Zoom classroom to schedule small group online teaching sessions. It's important to note that when you set up a Zoom classroom anywhere on your loop course page it is connected to that entire page so it is not possible to restrict access technically speaking to small group sessions within the Zoom classroom. What you need to do in very much the same way as if you were dealing with face-to-face small group sessions you need to clearly label and indicate which Zoom session students need to go to in much the same way you would indicate to students in the physical sense which classroom they need to go to for their small group sessions. So to begin on your loop course page click turn editing on and then go to the section on the loop course page where you want to host your Zoom classroom in my case it's section three here and then click add an activity or resource let me move up the activity chooser panel so I can see all of it and scroll down on the left and choose Zoom classroom and click add. Give your Zoom classroom a name something like you can leave the rest of the settings on as default and then just scroll to the bottom and click save and return to course and we can see we have set up a Zoom classroom for small group online sessions and what we need to do now is click into the classroom to start scheduling these individual small group sessions. So again the Zoom classroom is connected to the loop course as a whole so labeling your small group sessions very clearly is very important so students know which one to click so as usual I click schedule a new meeting. I might want to get rid of the pre-populated topic so that it leaves me with more space to give a meaningful title so I might call it something like this. The description field is also quite useful and you should use this to give clear instructions as to which group should attend this particular small group session. Select the right date for your small group session the duration is probably fine as is the time zone and the rest of the settings should be fine as well. Something that is important to note however is if you have different tutors teaching the different sessions for the different groups you should add them into the alternative hosts field. In order to add them into the alternative hosts field they do need to have their own DCU licensed zoom account already set up so please make sure that any tutors or co-teachers already have a DCU zoom account then click save. Scroll up to the top menu and click back out to course meetings and we'll see that the small group session for the Thursday 4 p.m group has already been configured. I'm going to go and add a few more now by following that same process so in my zoom classroom you can see I have scheduled three small group sessions all at different days and times and in the title of the session I have clearly indicated to which group it belongs so for example my students in the Thursday 4 p.m group will come into this classroom and they will click the join button as they see it next to their particular session to launch it and the same with the subsequent groups much like a face-to-face classroom session it is up to the students to make sure that they click and attend their correct group session so you may want to take a quick roll at the start of the session and make sure that the right students are in the right zoom session of course if this is your first time using groups you will need to indicate to students in advance which group they belong to and you might do that by communicating with them via loop to make sure that they know what group is they are in it's important to note as well that cloud recordings from all of the groups will be available in the cloud recordings tab on the zoom classroom so if you want to record small group sessions but you don't want other groups to view it you may not wish to do the cloud recording function and instead you may wish to record to the computer and that way you will receive a video file of that small group session recording and therefore it won't be in the cloud recording tab


Zero Accounting Software 2023 Bank Reconciliation with Bank Feeds after the first month of Bank Reconciliations.  Here we are in our Custom Zero homepage going into the company file we set up in a prior presentation, the Bank Feed file. Duplicating some tabs to put reports in like we do every time. Right-click on the tab up top so we can duplicate it. And then we'll right-click that duplicated tab and duplicate it again. Back to the tab, to the middle, Accounting drop-down. We want to open up the balance sheet. And then we'll tab to the right, Accounting drop-down. We want to open the income statement. We're going to change the range, select in the drop-down. We'll bring it back to 2022, the beginning of 2022 and the end December of 2022. On the range, I'm going to update that.


The story starts a long time ago. I think people always ask me how I started the blog. It was completely by accident because there was no concept of blogging when I started it.  Alongside I used to be a radio jockey with Go92.5 and now known as Radio 1. And that was owned by the midday newspaper.  And I never had enough space to write all the things I wanted. So I actually started the blog just to have more space to write what I want. And the reason why I stress about the fact that I didn't really start the blog as a business is because I really think that's why it was successful. Because a lot of people ask me today, hey, how do I become a rich and famous blogger? I'm like, first of all, don't try to become a rich and famous anything. You should find the one thing that you are really passionate about and that you would love to do for the rest of your life, even if nobody paid you to do it, and hopefully somebody will. Your way inside Bollywood, tell me how are you able to achieve it? I mean, it's not an easy path. I think I learned a couple of lessons along the way. When I started off, I was a straight up gossip blogger. We'd write who was dating who and who was, you know, doing what. And then very quickly I realized that I didn't really like how it made me feel about myself. I felt like, you know, I don't know, if you guys have you watched a show called Black Mirror? We're all kind of living in an episode of Black Mirror, you know, where we have this free pass to behave online in a way that we never would in real life. And I realized that when I was writing this blog, I was hurting people that I didn't even know just for a few clicks and to raise my social media cloud of followers and likes.  You'd think that people only want to hear the negative things in Bollywood, but actually that's not true. People like to celebrate their idols and that's really what made it successful. So over the last 18 years it took time, but I think I changed people's perceptions within the industry of what entertainment journalists are like. I think you've probably been seeing the various wars going on with celebrities and journalists in the news. I think that comes from a lot of fear and, you know, attacking and defensiveness over the years, but I think you have to treat them like humans as well. So I think over the years, because I never made it about clickbait as a result, I created those relationships. You know, Malini, there are very few businesses they've seen being evolved out of communities. So the power of the community really exists. But I want to know from you what, according to you, is the power of this community? So just to back up, I've started something called Malini's Girl Tribe, which is a community that currently resides on Facebook. I encourage all the women to join it. Also men, please encourage the girls you know. There's also another group called Positive Masculinity. So where this community came from, there's a little backstory to it. And I'm sure all of us are feeling it. I think everyone is starting to feel social media fatigue, where we're scrolling through each other's Instagram feeds and feeling bad about ourselves. Me as a creator, I feel it too. You know, I feel the pressure of living this imperfectly perfect life, no makeup selfie next to my face app picture. And it's not really reflective of who I am, you know, as a person. And what I realized is that social media, what was it meant for, right? It was meant to be able to amplify your ability to connect on a scale that is not otherwise humanly possible. I can have 5,000 friends on Facebook and talk to them at different times about different things. I could never keep that up in real life. But somewhere along the way, we fell off the rails. And I'm sure all of you feel it. And I'm sure every girl in this audience knows what her other's inbox is filled with. And I'm sure guys, you know this too.  And it's awful. And I think that we've, you know, turned a blind eye to it for so long. But that is making women really unhappy. And it's making it difficult for us to use social media. So I started this community as a safe space for women, where it's at the moment only women, of course. So there's no negativity. There's no trolling. We have rules of empathy and kindness. And I genuinely believe, I'm sure a lot of people here are from brands or work with brands, that the future of influencers and influencer marketing is such a hot term right now. Influencer, the future of influencer marketing is going to be influencers who can create community around themselves, not just have fans that idol worship them. Because there's three phases of advertising, right? They used to be the big Bollywood star on the billboard. Look at this product, which is great for awareness, market awareness of your product. Then you have the influencer who can use the product and show you how to use this shampoo, how to use this makeup product. But at the end of the day, everybody who's watching them knows that this person was paid to make this video. So even if they love them, they may not immediately run to go buy that product because they see them advertising so many products. The third kind of referral is non-celebrity influencer. All of us are influencers. We influence our circle of friends and family every single day. Now, I ask you this, if I were to say, hey, as your friend, I use this particular sunscreen because it helps my skin. I have oily skin and it's better for acne. Are you more likely to take my advice as someone you know or go and just Google some influencer or just there's too much noise and information? So community is key. Community is the missing piece between brand and consumer. Because what's happening right now is that brands go online. They create all this awareness about their brand. They get influencers to do this massive campaign and then the conversation drops off the internet. Whereas in our groups or even offline, women are sitting and talking about, hey, I tried this, did you try that? I don't know, right now there's an app going crazy called the Fat Learn that tells you everything that you need to know about yourself. It's iOS, it's amazing. So this is how news gets around. You know, you started at a time when people didn't know that internet had to be used how. So from then to now, do you feel that the internet has revolutionized the way we create businesses and how avid a fan are you of internet businesses? I think the internet has revolutionized so much. I now meet so many young entrepreneurs that are doing fantastic work and some of them are just using social media as their marketplace. There's a girl who runs a business called Thatch and she sells lungies only on Instagram. I think it's amazing. So I think it's really revolutionized the ability for people to reach an audience without needing brick and mortar stores, without needing a ton of inventory. I think you're able to start a small business with the concept of 1,000 fans. I don't know if you know this concept. If you have 1,000 fans who genuinely like your brand, you can have a successful brand. And then of course you amplify from that. I'm a big fan of it. I think that you have to be a little bit cognizant of how you advertise. I think a lot of people who are building new brands online feel this pressure that, okay, I have to get into influencer marketing. I have to do what everyone else is doing. Maybe that is not the way for you. I mean, I'm saying this from a place. I have my own influencer marketing business within Ms. Malini, but I wouldn't always recommend it for every brand. I would say it depends on what your needs are. Who you're trying to reach, what that TG is, and what is the purpose of that campaign. Is it to get a sale? Is it just to create awareness? Is it to align yourself with a messaging? You have to decide that first. Good point you made. And in these times of digital businesses, it would be absolutely oblivious to say that there's no competition. And I do understand that you're a fantastic brand, but I'm sure that there is some conversation and some discussion as well as some thought about competition. How do you view that? And in that context, how do you deal with your community? Competition for me as a brand. I mean, I genuinely think competition is a very healthy thing. Because if there was no competition, one, if I'd started my blog and nobody else started a blog, there would be no industry. And two, I would get really lazy about how I do my work. So I think competition is healthy. Of course, does it stress me out sometimes? Do I compare my numbers? Absolutely. But I think there is something to be learned from the YouTubers today. If you notice, they don't compete with each other the way traditional media or enterprises do. Instead of competing, they collaborate. So as a result, they double their audience. They both collaborate and they make an audience together. Now, you would never see that in traditional media, right? You wouldn't see Hindustan times and Times of India do a collaboration. That's never gonna happen. But what if they did? That's the common audience. So I think that's the secret of where things need to go. Because look at, from the perspective of your audience, that audience is not someone who consumes only one kind of soft drink or only consumes one kind of retail brand. They're a 360 kind of person. And if you look at the brands that are most successful digitally are the ones who are aware of that. I don't know if you've noticed, there was a trend recently on Twitter that said six word horror story. So Pepsi tweeted Coke and said six word horror story. We don't have Coke. Oh, we don't have Pepsi, only Coke. And they respond, so they play with each other and they acknowledge each other's existence and it really makes a difference on the consumer's mind. Tell me, when it comes to dealing with your community, where does the buck stop? In what sense? In the sense that, like for example, Pepsi and Coke, people are talking about you being a great brand and wanting to endorse Coke, which in some eyes may not be the best thing or maybe advertising a brand which is using animal products or... So for me, my community is not a place where I go to promote things. I go to the community to create an audience that can talk about all the things they care about. Is there interest and a possibility for a brand to collaborate? Absolutely. For example, we did something called mismanage. A lot of women, and I'm sure there's a lot of women here really struggle with managing their finances. We just don't spend time on it.  I don't spend enough time wondering where should I invest, what mutual fund, what insurance.  We had hundreds of women come. Now that's something that a bank could easily sponsor. A mutual fund can actually sponsor. Same thing with other things as well. We've done stuff with for clear skin. We've done healthy living. So I think you have to be cognizant of the fact that everything doesn't need to be because this is not an NGO, right? It's for-profit business, but you have to be aware. Like I would never work with a brand that promotes fairness crimes. Because I think it sends the wrong message to women. Would I do something with anti-aging? Sure, so I think it's a personal preference. And I think that intrinsically, everyone has certain flaws. And I believe that in my community, if someone were to call me out and say, hey, how could you promote that? I didn't like that. I would accept that conversation and say, I see your point, or I respectfully disagree. So I don't think you need to be so afraid. I think if you just approach it genuinely, you'll be fine. Are there any housekeeping points that you keep with respect to managing this community? Because this is where the trust and the love and also your business comes from. So my business comes from the Ms. Malini entire bouquet of things. The community is a larger piece with her. I think it's going to progress into community and then commerce. I think the key online right now is that it's almost like unlearning the internet. We've all become so accustomed to being so quick to anger, attack, or get defensive online that I think lots of things are lost in translation. Think about for a second, even for yourself. Think about how you write or how you communicate when you leave a comment online, whether it's to a friend or an angry comment to a brand.  And if not, why? And I think that's the key to community. We struggle with it too sometimes. People easily get upset with each other, right? So there was a conversation that someone said there's such a large population on the planet. It's irresponsible for people to have more children. And then the mothers in the group got really upset about it. But we understand that you have to apply empathy and kindness to be able to agree to disagree about certain things to move forward. I know this is something that a lot of people, especially who work in social media, come don't come and sit here and say, but I'm really here to tell you something larger. I think that we're using social media incorrectly, not just as brands, but even as human beings. And I really think we can change it, but it all has to come from all of us. And it's three simple rules I apply, right? One, don't say anything or write anything you can't say to someone's face, as a brand, as a human. Two, I don't know if you've seen a show called Tidying Up with Mary Kondo. She says, spark joy. The things that you keep must spark joy. And I encourage you to spark joy with what you offer others. I feel the fatigue, you know? I log on and I'm like, how many followers does my brand have? How many likes did I get today? And I've started to force myself to change that. That every time I go and say, okay, how many likes do I have? I stop myself and say, I'm gonna go to someone else's handle and I'm gonna communicate with them. And the third most important thing possible, especially as entrepreneurs, is remember that followers are people too. What we've done is we've dehumanized people, right? We've dehumanized them and made them into a follower count. So we don't see the people anymore. And I really believe that if we could unsee the numbers and see the people, we would conduct ourselves very differently in business and in person.


Hello everyone this is Amit Dan of amitdan.com. Today I'll have another episode of review video and I'll be looking at the north face field bag which I have it right here. If this is your first time or a repeat visit thank you for your support on this channel. I'm always trying new and different ideas. If you're into thinking outside the box you may want to subscribe this channel. If you're looking for more review videos there'll be links in the description box below.  I have reviewed this product about two years ago and today I'm just going to you know revisit the bag because I have used this bag every day or almost every day for the past two years and I'm just going to give you some opinions and also there's kind of a wear and tear on the back which I'll mention and show you. So this is a everyday and everyday carry bag and then you can see that you know this is made of polyester nylon fabric and this has served me very well. The one thing I didn't like about this bag is that there's not many organizational compartment so basically there's one pocket here and then there's one here which is the main compartment and then there's another compartment right here. So I have my stuff still here so the way I use it I put my you know wallet here and I put my credit cards here and also here I keep my cell phone and you know my mask and some other small accessories and here I have a kind of like you know grocery bag and some wet napkins so basically that's all I keep with me. It doesn't have any cell phone holder or anything and what happened after two years it kind of looks like now run down and if you take a closer look right here so it's kind of like you know tearing apart and it started at this point right here so let me just see if I can camera can you know pick this up so you can see there is a hole right here so I have a feeling that this is just going to grow bigger from here however on the back there's still like you know a fabric which is right here so I think even if this stretches I still should be able to use it but you know I'm not planning to use it longer because I have already purchased another sling bag and which I will you know do a review shortly but overall I'm very happy with the product and a lot of you you know liked this bag and left lots of comments so I wanted to you know do a follow-up review so this is after two years and I cannot I have basically nothing to complain about and this is not any affiliated or paid review all my reviews are non-affiliated unbashed and honest so basically the bag is still holding up except there's kind of like you know sign up warrant here right here and it looks kind of like you know old and run down because I have used this a lot and the only thing is that you know I doesn't have and lots of organizational compartment but you know still what there is should be good enough unless you're looking for you know too many organizational compartments and there's no padding on the shoulder strap but this is like you know lightweight bag so I don't think you need any and then here there's no like you know shoulder strap and I put a carabiner here sometimes I just hold my you know grocery bag or shopping bag here so except that I'm very happy with the product and I'm very happy that you know it lasted two years and probably is going to last other many other years but you know I'm deciding on changing to a new bag which I'll review very shortly so that's all for today thank you for watching this video there'll be more videos coming up so I'll see you shortly thank you