Thank you very much Mr Blooming, one minute. Well Mr President, I'm minded actually to quote the great American philosopher Murray Rothbard here that the state, the state is an institution of theft writ large. Tax is just about a system where politicians and bureaucrats steal money from their citizens to squander in the most disgraceful manner. This place is no exception. Fascinatingly and I really don't know how you manage to keep a straight face when you're talking about tax evasion. The whole commission and the commission bureaucracy avoid their taxes. You don't pay taxes, like citizens pay taxes. You have all sorts of special deals, composite tax rates, high tax thresholds, non-contributive pension schemes.  Well the message is getting home to the people of the European Union. You're going to find that Eurosceptics are coming back in June in ever greater numbers, in ever greater numbers and I can tell you worse as the people get your number it won't be long before they storm this chamber and they hang you and they'll be right.


It's not legal, but I have to survive, because it's copyrighted, copyrighted, copyrighted, copyrighted, copyrighted, all right. Good morning everybody. Morning everyone. Welcome to webinar number 36, Copyright and Online Teaching at a Time of Crisis. Hopefully not as much crisis as it was for those of you who were joining us today. I'm Chris Morrison. And I'm Jane Secker and this is Copyright and Online Teaching in a Time of Crisis. We have a very exciting session for you today. We have three guest speakers who'll be joining us shortly. Come in tuning in all the way from Australia. So it's good morning for us, but it's good evening for them. It's a little bit like Eurovision, I would say, when they first got on the call. Hello Australia, can you hear us? I can probably say it's good day for everybody. All right, on that note, let's move on to what we've got in today's webinar. Some news, as we usually do, some good stuff there. As we said, an update on Australian Library Copyright reforms from Ben Trish and Jessica who are joining us today. And then a bit on future webinars and what we're planning to do in the coming weeks. Shall we get started with what we've been doing this week? Yes, let's say that. Yeah. So in addition to our webinars or kind of prior to starting our webinars, Chris and I have run this podcast Copyright Waffle, which is actually where the theme tune comes from. And we've been getting back in the podcast saddle, haven't we, Chris? We've been getting into the swing of things. We have been talking to our copyright heroes, people that we're interested in. This example, this latest episode from Caroline Boll from the University of Derby is a really good one. We've had a lot of people listening to it already and giving us some nice comments. Caroline is heavily involved in copyright. She talks about her history in fan fiction. That was the subject of her dissertation a number of years ago, but she's also heavily involved in Wikipedia. She was Wicked Medium of the Year and also involved in the academic ebook investigation campaign. So we talk about all of those things. It's a really good one, isn't it? It is. And as we said, we're back in the recording zone for these podcasts. We recorded another one, didn't we, that is really exciting. It's not out yet, but it's not out yet. It was definitely one of our copyright heroes we got to speak to. It's in the can. So I think we should still be teasing it. We should wait. We will let you know when the next one's coming up. But we're definitely back in the zone and looking to share a lot more of these. So, excellent stuff. What else we've been doing recently? We've been doing a lot of presentations, haven't we? We have. We did a presentation earlier this week at the IPO's Copyright Education Advisory Group, giving them a bit of a rundown on this webinar series and the sort of issues that are coming up in higher education. We also hopped over to Canada, didn't we, briefly? The jet lag's killing me. Yes, we spoke at the ABC conference about the community of practice in the UK and how we've been talking about the copyright issues. About 180 people joining us there. So that was a good session. So, yeah, it's all happening. And we will be talking at the SILIP Copyright Conference on Monday as well on the same topic. So we hope to see some people there. Okay, time up. We will remind everyone that we have the archive of all the webinars and recordings there. So if you want to go there, that's the URL. If you want to pop that in, Jay. I don't know if you've got the URL ready to go, but I think everyone at this stage knows where to find that. So, let's move on to... Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news. Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copyright news, Copy I've known Dina for a really long time, for a lot of the work she does about information literacy. She's made a sort of cartoon series. It's aimed at a kid basically, teaching them about different aspects of information literacy. But her series three is about copyright and she's having a launch event next week, which she was delighted that we would advertise here. So it's a kind of special preview event for the copyright geeks if you want to go along to the session. The event bright tickets are available and Chris has put the link in the chat. So next week on the 12th of May. So another event that's coming up, UCL are putting on and copyright for knowledge, putting on a session on Brexit and beyond. So what does copyright mean, particularly for researchers? So some excellent speakers. Don't say the B word, I've said it unfortunately. Emily Hudson, who is with us today will be speaking. So always worth tuning in for as well as Ben White will be speaking. So this is really looking at copyright and the research space and what's happening now that we were clearly subject and we are still subject to EU directives in this country, but clearly there's going to be a divergence. So what happens next? So that should be a good session. The next one that we've highlighted is this round table discussion. Yeah, do you want to say something about this one, Chris? Or do you want me to? I think this is an AHRC funded project actually, isn't it, towards the national collection. It's primarily aimed at people I'd say in the sort of cultural heritage sector, but it's going to be around table discussion on the 26th of May on copyright and open access. And I don't think the list of speakers has yet to be announced actually, but it is up on Eventbrite if people are interested in that event. And I was certainly having a quick look into that project because it seems to be a new funded project funded by the AHRC called Towards a National Collection and about demonstrating good practice in the field of digital cultural heritage. Yeah. So the next item we've got is we've been talking to the Educational Recording Agency era about, oh, and learning on-screen, we'll come onto that in a moment, about what is available under the era license. So Helena is here on the call today, the Chief Executive of the Era making us aware that the BBC Shakespeare TV archive is now available on the Era website. So it supports university teaching and it has here a lot of resources, the historical information. So that link, I think Helena is saying it's not, it will be live from next week, but that's just to let you know that that is there and it's all part of the Era strive to try to make as much content available. So if there are any questions about that, we'll get in touch with Era. TV and radio goes live at some time next week. Thank you very much for that, Helena. So we just wanted to make you aware of that. And the other update here, we also, I think, have Mark Eder from Learning on Screen, who are the providers of Boxard broadcasts to say that the BBC Parliament channel is now available globally via Boxard broadcasts and the UK registered student with the B subscription can get access to that. So again, there's the link through to the Learning on Screen. Bob On Demand paints there for those of you, I think most of us are familiar with that. So any questions about that, Mark Eder's on hand if you want to drop something in the chat. I'm a Helena's name as well and just popped something in the chat there. So, yeah, if anyone wants to ask anything about those two services, let us know. It's also something we could pick up at the end of the session as well. So... Yep. And the final thing we wanted to have in the new section is just a reminder that I can't believe it's not ISEBOX contributions for the world's only international copyright literacy event with playful opportunities for practitioners and scholars. Happening at the end of June, Friday, the 25th of June, we've got some really great submissions already. We will be running it as an online event, but we very much looking forward to your contribution if you've got something to share. Yeah, and the call for contributions closes, I think, on the 24th of May. So you still got a couple of weeks, but for those of you who have enjoyed coming along to the webinars, on Friday, the 25th of June, you can spend the day with us. So lots of fun. Possibly the evening, even. We do have something planned. We do, yes. OK, so I think it's time to introduce our three speakers. We have already mentioned that we're very, very excited to have not just a double act, but a triple act, from three of the kind of Australian experts in the field of copyright. So we have Ben Rice, who's the Copyright Law and Policy Advisor at the Australian Library's Copyright Committee joining us. We have Trish Hepworth, who's the Director of Policy and Education at the Australian Library and Information Association. And we have Jessica Coates, who's the Senior Rights Advisor at the National Library of Australia. We're going to stop sharing our slides and we're going to hand over to them. I think you're going to talk the three of you in succession. So I'm not sure I think I'm handing over, is it to Ben first? But I'll let you take the mic. And we're just so excited that you've joined us and looking forward to what you have to tell us about what's been going on in your world around copyright online learning and the kind of whole shift that we've had in the last year or so. I was on music. I think Trish is right. I think the plan is for me to start off. So as Jane said, this is Jessica. I'm the Senior Rights Advisor at the National Library of Australia. But in fact, my background is that I used to have Ben's job before he did and Trish used to have that job before I did. So what you're seeing is a series of three people who've been around the copyright policy area in Australia for quite an advocacy for quite a very long time. We cover about the last decade. But what we were focusing on today is what happened last year in Australia. So we're going to do a slightly sequential thing again. Once again, I'm starting again because I was the person at the Australian Libraries Copyright Committee and the Australian Digital Alliance, which is the sister group of the Australian Libraries Copyright Committee. I was working for them when COVID hit and I kind of initiated what we did. And then Trish is going to take over to talk a bit about what the rest of the sector did. She's now working for Alia, the Australian Libraries Information Online. They took a very key role in some of the early initiatives and Ben's going to talk about what's happening now and into the future. But we're going to try to keep it short and casual, as you can tell. No slides, all very nice. So essentially, Australia is doing very well with COVID now. We cannot complain. We recognise that we're in a much different situation than much of the world, though I think everybody is slowly moving to a really good spot now. But back a year and a bit ago, Australia went into full lockdown in March 2020 just along with everybody else. And that included shutting all the physical facilities of all the libraries across Australia. So, for example, the National Library, where I work now, was shut close to the public on 16 March, and it would have been one of the last ones. So the most immediate concern across the whole sector was how much, how could we continue to supply material? And initially, of course, the big focus of that was on how can we do that under the current law. So this is where I came in as the, at the time the senior adviser for the Australian Libraries Copyright Committee, what that organisation does is it acts as both an advocate and an educational group. So it does a lot of fact sheets, training, et cetera, that for Australia's library community and copyright. So it was a very logical first place for everybody to turn for information. And we felt very clearly that we had an important role that we needed to step up, basically. So what we did straight away is we got a blog post out. The blog post was out by 24th March. So, you know, eight days later. And it basically set out the basic rules under Australian Copyright Law of what you could do now to provide materials in an electronic environment if you're closed physically. We circulated it through our networks. And then after that, we followed it up with webinars, which were some of our most popular ever. It was really a very big, you know, an excellent introduction to webinars for everybody. And we collaborated with groups like the Council of Australian University Libraries and Smart Copying, who work for the schools, do copyright for the schools. And we basically tried to get that out as far as possible and do webinars for them and provide information directly to as many people as we possibly could. We also, of course, got a lot of emails looking for advice, which we did not provide. We provided general information because we didn't provide legal advice. But we did our best to answer people's questions and to really help them with particular situations that they brought up. So, on one level, the message that we were sending out was actually pretty good. Australia has a very long tradition of having quite good laws for remote access to copyright material, particularly where we're talking about document delivery, you know, so where it's actually in response to a request for research. And that's because right back even when we were being written in 1968, there was kind of a bit of recognition in our law that if you're going to get material out to the other side of the country, you know, to very remote areas and stuff like that, you do need a bit more flexibility than countries where you can genuinely drive between cities and things like that. And that was all updated for the digital environment. So, in fact, it was not too hard for libraries to keep providing research material in response to requests for research. So that was fairly covered. Unfortunately, stories, everything else was not quite as clear. We did have... So that was the story for research libraries like the National Library was very good, but for other libraries, it was not quite as clear how well they could work. We do have a flexible dealing exception that we call Section 200AB. It essentially acts like a fair use for libraries, you know, non-commercial fair use for libraries. So you can do a lot of things under this exception as long as it's for the purpose of maintaining and operating a library or an educational institution. It covers both. So under that exception, a lot of our national and state institutions, these same big research libraries, did already have a fair amount of material online. And we saw an immediate increase in access to them. Same with everybody else. I'm sure all countries found this, where we, you know, particularly really popular resources. Some of our most popular at the National Library got more than a 40% increase in April alone. So that was from March to April, like a really big jump. So... And one really fun piece of data that we have coming out of that time was the fact that the materials, some of the materials that had the biggest jumps were materials that we had that focused on that were things you could do at home. So we have the archived version of Ravelry, which is a knitting social media site, and that had a massive jump, and also our sheet music website. 56% increase in April-June. So that was really cool. So there's some good stories there. However, providing materials beyond these kind of existing online collections or in response to a direct request for research material was much trickier. So where it really became very challenging was for groups like the universities and the schools who were trying to provide information for students, in particular, or, you know, other ongoing contacts. So the Unis are the ones that I know the most about and have the most contact with. And I do know that they did, of course, have a lot of electronic resources like every other, you know, university in the world. I think it was up to 80% even of materials were now online in an electronic form. But of course they were all under license, and we don't have a contractual override clause like you guys have in the UK. So the licenses could exclude any exceptions that would let them supply this material more broadly. And, of course, a lot of those licenses also restricted off-site access. So they were restricted to only on-site access. The good news is that, as you guys know, a lot of the publishers really stepped up to the mark during COVID and expanded licenses to let you go further. So that worked well. But there were, of course, a lot of gaps where there were some publishers that did not do that and there were places where universities were paying, you know, very large fees for resources that they essentially could not use anymore because nobody could come on campus and they couldn't provide it off-campus. So that was one disadvantage. People basically started looking at things like controlled digital lending or talking about them, you know, the kind of activities that were done in the US. There's an argument, depending on who you are, that this could be permitted under this flexible dealing. As we said, it's a flexible exception. It's quite broad. But the library sector, as a whole, chose not to go down that path for many reasons and not the least of that because of relationships that we have, of course, and wanting to make sure that we were, you know, really being fair. And we wanted to see if there was some way that we could come up with other solutions. The public libraries also started to look to see how they could support their communities more directly. And things like story times. We all know that story time became a very hot topic for people at home and can we keep providing story times to our communities. And they were looking for a solution to that. Once again, possibly allowed on Section 200AB, but were they willing to go there? Like, did they want to do it unilaterally? And this is where I thought that I might hand over to Trish about some of the solutions that people started to look at to see how they could possibly, you know, solve some of these gaps in our law through alternative answers. There you go. Thank you, Jessica. Yes, I will absolutely pick up with online story time. So as Jekka mentioned, Australia, like most places in the world, went into a beautiful lockdown in March. And one of the biggest issues, obviously, around a lockdown where people could not come physically into the library, which had a particular impact on programs. So, and one of the biggest programs, the most beloved programs within the public library service obviously being story time. And at the same time, we had a million frantic parents at home who were suddenly juggling a shift to working at home. We're apparently keeping their children safe and amused and happy at home. And the library services had a lot of people who really wanted to be doing something. So, online story time seemed like the logical step. As Jessica said, you could argue that potentially this was allowed already, but what we preferred to do was go down the route of negotiating in good faith with everybody. And so, Jessica might have mentioned that the NLA closed down on the 17th of March. It was the last, but on the 18th of March, the day after, we announced the agreement for online story time. And that was Aaliyah, the Australian Booksellers Association, the Australia Publishers Association, the Australian Society of Authors, or the ABA, the APA, and the ASA. It was like our acronyms do. It'd be all very confusingly the same. And that agreement basically said that libraries could film one of their stuff, reading the story, they could put it up online and that people would be able to view it. And it was done, the agreement was actually made by the publishers on behalf of the whole cohort with the support of the booksellers and the Australian Society of Authors. And that went really well. And originally, when we launched it, we said, for the duration of the pandemic, which, as everyone would know, is still going on. But as Australia opened up and we lost restrictions through basically the entire country. And overall, now our public library is back open and foot traffic is about 70%. So it's still below, but it is definitely rising quickly. So towards the end of last year, the libraries were opening up. The publishers and the ASA and the ABA began to get a bit, thinking about the sort of agreement that we'd come to. But at the same time, the libraries had found this new audience and this new product they liked. And one of the things that I'm sure it wasn't just us that found during COVID was in doing online storytime, initial thought had been, well, these are the people who can't come into the library. And then the audience they found were people, sometimes who couldn't come into the library ever. So it was people who had, who lived regionally and remote too far away to make it ever into online storytime. It was people who had a disability that prevented them. It was people who lived with people with limited mobility. So from all of this, we had the idea that, yes, something should happen, but it needed to change. And I will say I'm taking all the credit for this because Ben was the one who actually helped negotiate the agreement. But we managed to reach an agreement with them that we would basically run trial run of this, to expand this program. So currently the program, and I'll drop a link in the chat in a second, the program is administered by Alia. And what happens is a library branch pays $165, which includes GST. And for that amount of money for the next 12 months, they can film themselves doing online storytime, put a recording up online, try and geographically limit it to Australia because that's where the publishers obviously have the rights. And it can only stay up for six months. And importantly, it has to come from a list of that we had. And so we were all a little bit worried about how it was all going to go. Would people be interested? How would it go? I can tell you some... Now I'm going, have I lost people? Am I still talking? Yeah. We can hear you. Yeah, sorry. Yeah, you just cut out. We've got about a third of the public libraries in Australia who have signed up. We've got almost 250 different titles from some of the biggest publishers. We should be returning somewhere between $40,000 to $60,000 back to the publishers and the publishers then through their agreements back to the authors. So it's been an absolute resounding success. And one thing I did just want to note too is when we negotiated this, both because it was definitely allowed under some of our provisions but also because we're good faith. We've made it really clear that accessibility provisions such as providing Auslan are allowed to go along with this. So that's online story time. It was a lovely little bit of negotiation that just basically played on our very good relationships. But it would be interesting to see where it goes. It's a 12-month trial and we'll see what happens. The other thing I just wanted to very quickly mention now is segwaying into well then what does the future hold? One of the other big things that turned up was our issue around lending rights. So Australia has a system of lending rights that is not dissimilar to some others in the world but is definitely one just for us. We have two different schemes for lending rights. We have a public lending right and an educational lending right. So a public lending right for books within the public library system educational for schools, states and universities. It's funded by the government that you have about $22 million every year and it's done on holding. So what happens is every year we do a survey of the library services. Any book that has more than 50 copies in a library gets put on the list and then we distribute money depending on how many books they've got. One of the things about it is it only pertains to physical books and when COVID hit, obviously people were no longer borrowing physical books and we saw upticks somewhere between 100 to 400% upticks in digital loans which are not currently covered by lending rights. So the Australian Society of Authors in particular is very keen to see our lending rights scheme expanded to include e-books and audio books and so that is one thing that the libraries have swung in support. We have been hesitant, I will say, up until now mainly because of the different way in which libraries are sold e-books which means that they do have that limit often to the number of times that they can be borrowed or the number of people who can read them. However, with the increasing move towards digital we think there are now ways that we can look at what the sort of bulk of books is and do something similar on holdings rather than doing it alone and that the inclusion of... without the inclusion of e-books and audio books we actually risk a weird distribution of the lending rights money out towards our Australian authors and publishers and I will just mention that is the final, most important bit of our lending rights scheme which is because it's not copyright based it's just a payment done on holdings in libraries we can restrict it to only Australian authors and Australian publishers so in some ways it's the single biggest bit of funding that our government gives to Australian literature. So that's one thing we are pushing to get on the agenda this year and I'm going to hand over to Ben to do the actual copyright and more fun things that we're pushing for. Thanks, Trish. On to the fun part, the copyright reform that everyone loves so much. Yes, so we are currently going through a copyright reform process so Paul Fletcher who is the Minister for Communications, the Arts, Cities, Infrastructure and Urban Development now it's quite a wordy title announced the reforms back in August last year and at the time COVID was used as one of the reasons for the reforms why they were being brought about at this time but actually there is sort of a continuation of the almost endless series of copyright reforms that we've been going through. I just want to make sure everyone can see me. That's got me great. Sorry, Emily. Yes, so the reforms now are sort of the continuation of a long process that's been going on back even before 2012 when we had the Australian Law Reform Commission conduct a really extensive review of our copyright framework for which there was no formal response by the government to. The problem was sort of kicked along down the line to a further inquiry by the Productivity Commission which again made a long series of recommendations that included Australia adopting a system of fair use and in 2018 and 2019 again we had another suite of copyright reforms a copyright modernization review that looked at all of the issues that were touched on including again whether Australia should introduce fair use as well as a suite of other questions that came up. So this current set of reforms is designed to so, so many reviews and so this current set of reforms is really designed to to mark the government's response to those to the many reviews that we've had leading up to this. So what we have rather than the a broad wholesale review of the Copyright Act that includes all the wonderful things that we've been pushing for for a very long time here in Australia including fair use what we have is a set of fairly narrowly drafted purpose-based reforms and changes to the Act that are designed to better increase online access to content. So a couple of things that are included in the reforms a limited liability scheme for the use of orphan works and that will apply to schools and libraries as well as interestingly sort of some commercial uses so for example documentary filmmakers other uses along those lines as well. The ADA had been pushing and the ALCC for a long time had been pushing for a broader exception for the use of orphan works instead what we have in these reforms is a limited liability scheme that obviously shields institutions and users from liability for using works where an owner might later come forward to claim ownership provided that the institutional or the user ceases to use that material raises a whole bunch of questions about how that would work in practice for example a documentary film that's put together that incorporates a series of orphan works could be quite difficult to remove some of that material so it would be interesting to see how factors like that are worked through regarding the orphan work scheme. Some of the interesting parts that are specifically designed for libraries and archives are around providing online access to parts of the collection that libraries hold and extending the exceptions that allow libraries to provide access to not just literary works but audio visual material as well. This again comes back to Trisha's point one of the benefits from storytime I guess that while the move to online storytime was designed to address the COVID issue of libraries being shut down in practice what you see is a whole range of communities being able to get access to material that they otherwise weren't able to get access to so people who live really and in remote communities especially it's a big issue that we have in Australia obviously it's a fairly large place often really difficult to get into a local library to get physical access to material and so what these exceptions are designed to do is to provide libraries the ability to digitize some of that content and make it available with the appropriate protections in place for rights owners as well. One of the other interesting parts of the reform is a fair dealing exception for non-commercial quotation which is designed to apply to for library users and education users it doesn't apply very widely and from what we understand appears like it will be drafted fairly narrowly as well so some more information yet there still to come out I should say as well we're waiting to see an exposure draft of the bill to find the I guess the devil will be in the detail and a lot of parts of the reforms is currently out thinking I might stop there and see if there are any questions from anyone Thanks very much Ben yeah so if there are any questions that would be useful to ask them I have got a question myself as well I see that we've got a question that's come up but my question actually is in relation to specific education and use of material copyright material for education purposes so you've mentioned the quotation exception there which you said may be quite narrowly drawn but there are some proposed provisions for something equivalent to our illustration for instruction in the UK but I believe those are quite narrowly drawn as well is that correct could you talk to us a bit about that yeah look most of the most of the exceptions do seem to be quite narrowly narrowly drafted at the moment again compared to where we were originally trying to push the government to land in terms of fair use or even fair dealing for education as a second best option the reforms that are being presented now across the board do seem to be fairly narrowly drafted well will be fairly narrowly drafted at this point it's pretty hard to say until we actually see how the provisions are worded on paper but we're hoping that at least in the next month or so we'll be able to see some draft legislation Ben can you correct me if I'm wrong but is it accurate to say that the education ones have been proposed even though they're quite narrow one of the reasons why they're narrow is they're aimed at very specific issues that were we already knew existed but they were highlighted during Covid and gaps in the system so the idea is that they should work in concert with exceptions we already have so even if we don't have the broad fair dealing for education hopefully some of these will they'll work like a jigsaw to kind of give us a better outcome than we have it currently does that sound about right yeah definitely I think the certainly the outcome of these reforms is going to be will be a lot better currently in a position with the with the way schools are able to use copyright material here in online teaching where it's currently a grey area whether you know the use of that material applies or whether the exceptions that allow use of that material in the classroom would apply online so would apply when being taught outside of the school and indeed whether they'd even apply when an outside audience is involved in the provision of education so it makes it really difficult for anything like school and industry collaborations you know theoretically some of these exceptions might not apply when someone from outside the school is involved in the teaching of the lesson yeah okay that makes sense and I note as well that Emily's put a comment in the chat to say that the the Australian approach is to amend your version of what we have in section 34 in the UK Act and section 34 is very much framed as on the premises of an educational institution to showing playing performing and that it's broadening that out hopefully but certainly we've had to even though we have had our laws updated more recently and we're supposed to reflect the digital reality of teaching and access to content we find ourselves that jigsaw that you've described it never quite the pieces don't quite fit do they some overlap and there are some gaps and you have to sort of fill in those bits and I think that's very interesting to hear that even though you're going through that process there are some things which are still probably not going to be perfect are they we have some very clever copyright advisers for our education groups so we fingers crossed that that you know once they see the legislation it will align with what they're looking for this is what we're hoping we'll see great thank you okay thanks yeah thanks can I pick up the question that we got in the chat which was from Alison Alison Fullard saying question from South Africa where academic libraries choosing to scan specific chapters of print titles to send to students we have had on our webinars quite a bit of chat about what some universities in the UK called scan and deliver after a sort of 1980s UK pop star Adam Ant they were using we all love Adam Ant those of us who are old enough yeah there's some great videos and things doing the rounds about these but did you have any of these sort of scan and deliver type services in Australia for students I'm happy to answer that one because I was talking to them quite a lot then I've been in Trisha okay with that which is I think it changed a little bit from institution to institution there wasn't a concerted sector-wide approach on that but as I said laws for document delivery would allow a library or an archive to do that if it was only one chapter that you can actually if it was in response to a request the problem that our libraries and archives that our uni libraries had was about putting chapters up online or whole books up online for students who didn't have physical copies for a whole class for instance but if it's in response to a specific request you're actually totally allowed to do that under our existing law and have been for a very long time my understanding though is that different institutions utilised this in different ways so I think there were some that were doing you know if you ask we will send you a copy and there were other ones that came up with broader solutions that were more about putting up whole chapters or whatever as were required I don't know what is allowed under a statutory licence as well as some other people so I don't know if Trish or Ben feel more confident talking about this but it is actually I think it is quite possible that under a statutory licence you were able to do some copying online for classes on a chapter by chapter basis anyway so I think that it didn't come up so much as an issue here and it certainly didn't become a sector-wide issue I would say that to be honest of all the things that it's going through in our copyright reforms the changes to document delivery which means that we will stop it we will stop the requirement that if you take a digital copy of something to do a document delivery then the library has to destroy that digital copy even if it's particularly prescient and the first time something's ever been digitised or anything else that is going in our copyright reforms if everything goes according to plan and I know it's a really little silly thing but actually it will be the thing that I'm probably happiest about because it annoys me so much very good okay there's a question from Emily here about whether you would be able to comment on the litigation between universities Australia and copyright agency over the terms of their higher education scanning licence does somebody want to pick that up Ben is the only one who might be authorized to say anything I'm not sure how much he's allowed to say well I don't know how much I'm authorized to say either actually which is never a great position to be in what I can say is that the universities are expecting a decision from the copyright tribunal to be handed down it could be any day now and they get the feeling that that will obviously depending on the result will have some wide ranging implications for the way that the statutory licence operates for university copying okay thanks for that Ben that's put you on the spot and I know that we have James Bennett here who is the head of rights and licensing at the copyright and licensing agency in the UK so just for everyone's benefit the history of this is in many countries around the world we have representatives of the universities talking to the collective management organisation that represents print book journal publishers so in the UK we had litigation back around the year 2000 where there was a copyright tribunal case which was the scene for what happens in the UK and since then we have been able to continue negotiating a licence without needing to resort to litigation but in Australia there were some points of principle around reporting and around other aspects of the licence where both parties could not come to an agreement and that has led to this litigation so yeah Jane did you want to come in on that? No all I was going to say was there has been another question from Philippa but I think Jessica has answered that in the chat which is about the document delivery laws and I think that's really helpful she's pointed out a resource that might help Philippa out interpreting Australian copyright law, not quite sure, are you planning to move to Australia when you're looking into library loans? Not plain English summary but Trish may be excited by the getting rid of the destroying bit but I'm excited by the modernisation of document delivery because basically the reforms that Ben talked about that happened in 2017 modernised our preservation exceptions and turned them from these old clunky ones something has already been lost, stolen or damaged which is a great time to start preserving things and turned them into this really nice simple, only a few lines clear broad exception and they're planning on doing the same thing with our document delivery laws so our current ones I agree are very old and clunky and they go for a page and a half and they're extremely confusing but what they basically say is you can copy up to 10% or a chapter of any published work for research and study and send it to anybody just like in any form, any kind of electronic way or you can copy more than that if it's not commercially available it's actually, they've got horrible weird admin things but they've got quite a lot of power and the modernised version is supposed to extend that also to audio visual materials and I think to unpublished materials as well and to private use so it could be a really powerful exception that comes very close to a lot of the exciting things people are doing around the world if we get it right we'll have to see but in the meantime Lib Copyright Dog Day is definitely your best place for resources on a strange copyright law. On that note one thing that Jane and I both reflected on is how well organised you are in Australia in getting the library community the work that you all do in upskilling the communities you understand the current existing laws to advocate effectively for reform even though the process of reform can be quite difficult and ultimately come to compromise outcomes but can you just tell us a bit actually about how the National Library works with the Library and Information Association and the creation of having a copyright committee and how that came about and how that is sustained because I think it's something that we have bodies in the UK but it doesn't seem that they're quite as coordinated or perhaps sustainability resources in Australia. That's exactly what I was going to say. I think it's about what we can learn from you and I know people will say oh well you're a smaller country than us and it's more complicated in the UK but I really do think that it is something where we're really keen to learn from the countries that seem to be doing this really well and coordinating things because you know just trying to pull together the kind of copyright community in the UK is really difficult it's really challenging. I'm going to jump in again because I was in charge of the ALCC during the 20th anniversary so I know the history it's actually again on the libcopyright.org.au site but basically the ALCC is at least 30 years old now but it started off just as an association it was just like a volunteer collection of different groups and it was around 98 and I think in the lead up to that but 98 is when it started to really solidify when the groups who were already involved with that which were mainly the university libraries, the national and state libraries and ALIA as well as other smaller groups but they were the three key funders and founders really of the ALCC they wanted to work more in advocacy and be stronger in advocacy work and they realised that they need to start dealing with other communities who like them so the education groups, I mean they already had good relations with them but they wanted to really beef the ability for all those organisations to work together in disability groups and the other Glam institutions so museums etc and so a group of copyright people not that large a number you know 10 to 15 or so from different institutions and universities and things like that from around Australia who had a strong interest all got together and came up with this idea of setting up the Australian Digital Alliance which is the sister organisation which set it up was the Australian Digital Alliance and the Australian Libraries Copyright Committee would share and would both be funded organisations, they'd share an employee which is Ben and what made it sustainable is that they were funded entirely on membership fees so a few different levels of membership fees for different groups depending on your size and your funding and your commitment and things like that and some organisations have a very stable membership base and that provides kind of the stability that you needed and the fact that they shared this one employee so it really keeps costs down so I'd say that's the two key things and the fact, the thing that's really kept them going has been the buy-in from certain sectors particularly say the university libraries, they are very strong supporters and the university librarians are the largest numbers in the communities of both organisations so it's just about once the organisations came we were able to attract enough people to keep us going, I think is a way to think but what do you guys think, Trish and Ben? Oh look, sitting and speaking is one of the organisations that currently is the member organisation Definitely, Jessica's spot on One thing from the organisational point of view is that you can see there's an investment because you think about how much money you would have to spend as an organisation to do your copyright advocacy and to do your copyright training and the fact that the ALCC doesn't just do the advocacy but also does the policy work and does the training they are things that we would have to real otherwise for ourselves, so it's a very easy it's a very easy calculation I get for the organisations that it's much a good profit to be long to the organisation plus it means we get to put somebody really good whose sole job is to think about that copyright all day and that gives a lot more strength than if we try to split it up across us Okay, thank you very much that, I think it is it's a really good model I think to look at and I think one of the things we reflect on is the UK we have a lot of people working in this space but we have a lot of the work going on more on a voluntary capacity where people are doing it on top of other jobs and I think that makes it difficult to actually have that continuity as you can see the three of you have all been through working in that same post and that you're bringing that knowledge together where you're working across those organisations so it's good to see We've just got about three or four minutes left if anyone has got any more questions if anyone wants to come on the mic to ask anything pop your hand up or just grab the mic but is there anything else you wanted to ask Chris? I suppose I do have maybe a fairly technical question about section 200AB Just going back to Jessica you said that was something where people in the library community felt comfortable with using that during the time of the pandemic but now you're in the next step I know that there's some ambiguity around that it does include wording that comes from the Firm Three Step Test that could be seen as restrictive also referring to Emily Hudson's excellent book drafting copyright exceptions which she talks about in depth and has information data gathered from practitioners working in Australia but where do you sit with that now is this a helpful thing to you going forward to have the flexibility for a new paradigm of how libraries operate post COVID? Yes so mixed views about section 200AB Emily gave a presentation on it at the ADA's conference only last week so conveniently we're all up to a date on it but Emily is totally right about how badly written section 200AB is to a certain degree and how complex and confusing and how many problems that has caused this application but having said that in some sectors particularly the big national state libraries over the 16 years that it's existed they've become much more comfortable with it and more of the sector is as well so it is quite widely used now it just depends on who you are and how confident you are and things like that and so it would far prefer to have a fair use or even a fair feeling and that's in our written submission so I'm not you know I'm not feeling anything but if you are not afraid of section 200AB it is quite good it's got quite powerful once now that it's been around so long it's been used so much and we've got more evidence of how it might be used and nobody's been sued for using it but it's more stronger and better it's better than nothing fair enough so I suppose a bit like my washing machine it makes a horrible noise it's not perfect but it still works one of the things I add one of the things to add that we think the current reforms might help so one of the subsections of 200AB subsection 6 says that you can't rely on section 200AB if you can rely on another section of the act and what that means is that for practitioners who aren't lawyers reading that who think well you know maybe my use fits within one of the preservation exceptions or might just fit within another exception under the act but I can't quite be 100% sure they feel really uncertain about then relying on section 200AB as well so if we get rid of that subsection that would clarify that you can rely on 200AB and potentially another section of the act it would make it a lot more effective in practice but I'm nervous saying anything about 200AB with Emily Hudson listening so she can jump in there I think on that note we are now I think out of time so I think if we were to have a discussion about 200AB in detail maybe we could arrange another session we're certainly talking with Emily about doing some sessions specifically looking on the insights that we can gain from her research so I would say we'll come back to this at another time but I would just like to say at this point thank you so much for joining us and giving us this overview of where you are in Australia, the things that have happened over the last year or so and how you've established yourself and how things are looking in the future so thanks again for taking time out of your evening to join us yeah thank you, thanks for giving up Friday it has to be really fantastic cool, much more cool hang around for our last bit don't disappear, it's back to us and you'll think we're even more cool then no I doubt it very much right so let us jump back into our slides we just want to say that we do have future sessions planned so future webinars the next one is taking place on the 21st of May we are asking one speaker or a set of speakers to join us but we don't want to say until we've confirmed that they will be definitely joining us if they can't make it, we can always go ahead it may be an opportunity for a general discussion I've got this planning for online learning next academic year at the bottom, a future topics list is this something people feel that they would like to so it's certainly something I'm doing a lot of work on at the moment at Kent but we definitely have on the 11th of June at 2pm British Sabotage, 2pm because we have American colleagues joining us it's the legend that is Peter Yazi along with his colleagues Will Cross, Meredith Jacob and Pruadla who have worked on the most recent code of best practice in fair use but this one is in open educational resources, we've mentioned this on the webinar in the past, we're also going to have Bart Milletti joining us with a colleague he's been working with in Europe on a potential code across Europe for documentary film use so there's a lot of stuff in here about how we can work with communities to make copyright legislation interpretable and use copyright exceptions even if we don't have fair use so a lot of stuff in there definitely date for your diary that one isn't it I think but we've got other topics and we're always looking for speakers so drop us a line if there's something, I know a couple of people have asked if they want to talk a bit about how they're making use of the CLA license and that might be something we can bring James in for and do a session on if in light of the fact that extension is ending in July of this year so yeah okay we've just got one more thing to leave people with do we stop the recording now I think we can stop the recording


How much pressure do you think they're on right now? I mean, this is a good team. It's a lot of pressure because the whole off-season Chicago knew they needed to fix the back of the end of that bullpen. They did not get it done. This team right now, just said they got 11 blown saves. Just thinking they had to convert to seven of those. There'll be 36 and 13 at this point. That's running away just like they did in 2016. This team is firing on all cylinders. All of their top players are having great years. When that's going on, you've got to get the pitching in order because this could be a very special season for these guys. They did it in 2016. But when you got all these stars that have grown up now, like in Travis and the rest of the bunch, it's a different ball club. These guys are good now. You've got to fix this. You've got to fix it in a hurry because everyone's been talking about it since April 1st. And you don't want it to seep into the psyche of your team, right? So how soon do they need this to happen? How quickly do you think they need some help to get back into that bullpen? It's really easy, right? I think it's really easy for us to sit up here and say, right, there's a guy sitting at home by the name of Craig Kimbrough that needs a job that wants to play, wants to pitch, right? So here's my thing. If you do bring over Craig Kimbrough to your squad, bring him over now, right? Get him the reps. Get him a chance to know your guys, right? Have him meld with your squad moving forward. Well, the draft pick is attached. You would do it before the draft. At this point, if you're trying to win a World Series, that might be your option. I'm just saying this is what Craig Kimbrough. They've got the goods to win a World Series. I mean, if you look at that roster right now. They've got four guys with 12 home runs, I think. That's unheard of at this point. They're all superstars. So what's a draft pick if you can win a ring this year? Is that right? 100% out of 100 times, you would do that. If that's what you think is going to win you the World Series, that's what you go ahead and do. My thing is now, right? If you don't get Craig Kimbrough, right? Because there's a lot of teams, which is funny, because it's almost like there are so many contending teams in the league right now that are having back end in the bullpen issues, right? So I think now Pedro Stropes coming back, right? He's been decent, right? He's done a great job for them. The offense is averaging 5.4 runs a game. That's tops in the National League, right? That can mask a lot of problems for sure.  And there's precedent for them. They went after Chapman. I mean, you could argue that that was a huge reason why they won a ring. After the break, this year you're in a better division. One thing. You're in a better division this year. Because of Milwaukee. Milwaukee and St. Louis going to heat back up. Yeah. You might not get the distance you had before to close it like that. Because they're going to be playing one-on-one all your long back and forth. When you've got a chance to run away and then a division with a team that is capable of winning the World Series, you get it done. You've got to go. You've got to go, man. Because you never know when it's going to come back around. I mean, right now I think when I looked at these first two teams, the first thing I thought of when I think about the Philadelphia Phillies is experience, right? You think of Bryce Harper. You think of Real Muto, right? Those guys. But then if you look at on the brewer side, these guys have had experience as well, right? And the one thing that I like about the Milwaukee Brewers is the fact that they've had success together. Sure. I think there's a lot of different things that have to go right if you're going to win championships the whole nine. And I think the one thing that separates these two lineups is number three right there in the middle of that lineup, right there, Bryce Harper. He's a once-in-a-lifetime type player, type talent, right? When this dude gets hot, he has the ability to carry a roster by himself. He's electric. He can do it. All we need to do is get that 230-some average up a little bit more and get this team rocking to roll. Well, I'll keep it simple. I think both these teams will make it to the playoffs but right now, we have to edge to the Phillies just because they just went into a wriggly, hostile environment because they're super hot. And they found a way to go two out of four games with the hottest team in baseball. I'm watching this team roster one through nine. They can get it done. Back of the bullpen, still some questions but I like the rotation also. I'm looking for the Phillies right now just to answer the Brewers. Right now, for sure. Barely, barely. Well, because the Milwaukee Brewers, they won 96 games last year, right? And it's practically the same team moving forward. Well, the Brewers, they're a little different from last year. They had a lights out pitching this year. They lost a few guys, a couple injuries. They're not quite what they were last year with the pitching staff. I hear what you're saying about Harper. But at 237, nine jacks, Yellich has hit 20 homeruns already. In terms of Brewers history, that's the fastest to 20 before June 1st in their history. Who's the more dangerous player? Oh, Christian Yellich, no doubt. Christian Yellich. Yeah, not even close right now. But the potential for Bryce Harper, right? And I think this is kind of one of those things. If Bryce Harper is one of those guys that goes into these unbelievably drastic long droughts or hot streaks, one of the two, right? But like Mark Desheris once said, your season is as good or as bad as your longest hot streak. And so I think for Bryce, if he can get hot, he can carry this squad, especially in that ballpark.  He's got a chance to do some special things in film. He's got a lot of chance of doing a lot of things, but right now Christian Yellich is just mad. Yeah, he's the most good guy. Last year's league MVP, he hasn't let down at all. He's continued this rise and this run that he's had since last year. It's amazing what he's doing. Josh Bell, you're gonna just hand it over to Yellich? What he's doing right now, Yellich is right now. He's back to back MVP. They come in bunches, remember that. Oh, yeah, you got a couple of them. Okay, no, okay. They come in bunches. Very clean over there, Frank likes it hot.


Hello everyone, welcome to KKNDX Theropan University. In this session we will discuss the second unit of financial management of become second semester and the name of the unit is sources of business finance. The discussion will cover the meaning of business finance. Then we will discuss various sources of business finance, then various methods of raising short term fund and then various methods of raising long term fund. As we discussed in the last discussion that finance is the most essential factor for any business activity. In some way or other, every sphere of business is related to finance. A business of any form and kind requires finance for its smooth operation. A business enterprise requires capital for various purposes such as for acquiring fixed asset, for acquiring current asset, for acquiring intangible asset, for paying the establishment expenses, for financing expansion and diversification of the business to meet the working capital requirement etc. So the total financial requirement of a business can be divided into the following way. Number one is the fixed capital requirement. So what we mean by fixed capital? So fixed capital is that portion of capital which is used in procuring fixed assets such as land and building, plant and machinery, furniture etc. And investment in these fixed assets calls for long term financial requirement. So to finance this asset we need to procure fund from long term sources. Then again there is working capital requirement which is also called circulating capital or revolving capital. So what is working capital? Working capital is that portion of capital which is used for holding current assets such as stock, bills receivable and cash for meeting day to day expenditures on salary, wages, rent, commission, advertising expenses etc. So now in this case for financing working capital we need some short term sources of fund. So for financing fixed asset we need long term sources and for financing working capital we need short term source of capital. Now on the basis of period for which fund is required the company determines the source through which funds can be raised. Business may require fund for long term, medium term and short term. Now if we talk about the sources of fund then what are the sources of long term finance? When a business raise funds for more than five years then it is called long term fund requirement or long term fund. Long term fund is required for acquiring fixed asset, expansion of business etc. Now the source employed for procuring such long term funds are equity shares, preference shares, dividend shares, loan from financial institutions and retainer. So these are the source from which we can procure long term fund. Then the business require some medium term fund. So what is medium term fund? Funds which are raised for more than one year but less than five years period that is called medium term fund and these funds are used for introduction of new product, for upgradation of technology, investment in working capital etc. Now what are the source we can employ or what are the source we can use for financing medium term financial requirement. We can use divenser, we can use public deposit, we can take loan from banks and we can use lease financing. So these are the sources of medium term finance. Then we need funds for short term period. So when the fund is raised for a maximum period of 12 months that is one year that is called short term fund. Short term funds are required in a business for meeting day to day expenditures like payment of salaries, payment of wages, payment of trade creditors etc. And the various source from which short term funds can be raised are cash credit, overdraft, discounting of veal, commercial papers etc. Now we will discuss some sources of long term finance. So the first important source of long term funds for any business is equity shares. The equity shares is the source for permanent capital for a company. Equity shares are those which do not impose any obligations on the company to pay a fixed rate of dividend to the holders. Equity shares gives footing right to its holders. Equity share holders are the actual owners of a company who have control over the workings and management of the company and therefore it is also called the owners fund. Dividend is paid on equity shares on the recommendations of the board of directors. The rate of dividend paid to the equity shareholders depends on the profit of the company. More profit to the company means more dividend to the equity shareholders and less profit to the company means less dividend to the equity shareholders. But some company may pay dividend even if there is no profit to maintain the dividend stability out of its revenue. So it is not always like that. Sometimes even if there is no profit then also a company may give dividend to the shareholders out of its reserve. Now there are certain benefits of raising funds by swing equity shares. Like equity share is the stable and permanent source of capital for a business. Capital raise through equity shares can be used throughout the life of a company since the company need not redeem equity shares. Then the next is equity shares do not impose any kind of liability over the company to pay fixed rate of dividend to the equity shareholders. So the company is free to determine the rate of dividend to be offered to the equity shareholders. Then asset of company are not mortgaged for raising funds by the equity shareholders. So when a company raise capital by issuing equity shares, the company need not create any shards over the assets. So assets remain free. The next is since equity shares is owners fund equity capital increase the credit worthiness of the company and increase the confidence of the lender and thereby the company can go for taking loans from the financial institutions. Now though raising capital by issuing equity shares has many merits but it has some demerits also. Like the cost of raising equity capital is not fixed and it is generally high compared to other sources of finance. Next from the investor's point of view equity shares never ensure them a regular or stable dividend. So the return sometime may be high sometime may be low. So there is no guarantee of return. Next issue of additional equity shares dilute the control and power of existing equity shareholders. So when more equity shares are issued the control and power of the existing equity shareholders are diluted. Next investment in equity shares do not give tax advantage to the equity shareholders because dividends are not tax exempted. So that is why from investor's point of view it is not very much preferable. Next source for long term capital is preference share. So what is preference share? According to section 85 one of the company's act a preference shares are those shares which carry preferential rights as the as to payment of dividend at a fixed rate and as to repayment of capital in case of winding up of the company. So there are two preferential rights given to the preference shareholders by the company's act. Number one is preference in payment of dividend they will get a preference over the equity shareholders and number two preference in repayment of capital in case of winding up of the company. The rate of dividend on preference here is fixed and a dividend on these shares must be paid before any dividend is paid to the ordinary shareholders. Now there are some merits of issuing preference here like from the investor's point of view they get a fixed return. The dividend payable to preference shares is fixed that is easily lowered in the equity shareholders and thus it helps the company in maximizing the profits available for dividend to the equity shareholders. The next is no voting rights preference shareholders have no voting right on matters not directly affecting their right and hands promoters or management can retain control over the affairs of the company. Then no burden on finance issue of preference shares does not impose a burden on the finance of the company because dividends are paid only if profits are available otherwise no dividend is paid. Then no surge on assets no payment of dividend on preference shares does not create a surge on the assets of the company. So if a company fail to pay dividend that will not create any surge over the asset of the company. Now there are certain demerits of preference shares what is what the dose number one is higher rate of dividend. A company is to pay a higher rate of dividend on preference shares then the prevailing rate of interest on dividend shares are bonds and it usually increase the cost of capital for the company. Then financial burden most of the preference shares are issued cumulative which means that all the area of the preference dividend must be paid before anything can be paid to the equity shareholders the company is under obligation to pay the dividend to preference shareholders. Next dilution of claim over assets the issue of preference shares involves dilution of equity shareholders claim over the assets of the company because preference shareholders have the preferential right on the assets of the company in case of winding up. So if a company winds up in that case always the preference shareholders will get a preferential right over the asset of the company. Next adverse effect on credit worthiness so issue of preference shares adversely affect the credit worthiness of a company. Preferential capital has the preferential right over payment of dividend if the company avoids payment of dividend it adversely affects the credit worthiness of the company. Next no tax advantage the taxable income is not reduced by the amount of preference dividend while in case of divisors or bonds the interest paid on dame is deductible in full.


The next age group I would develop on is the middle age that is above 50 years. Here I would like to divide that as male and female for practical reasons. The main cause of kidney injury in this age group again is obstruction and infection from the surgical point of view. So from the males above 50 years, the most common cause of kidney injury occurring is because of obstruction. Obstruction is due to prostate. As you all know, the prostate causes you symptoms like urgency, frequency and you are waking up at night 3-4 times. All these symptoms are prostate problem in a male, prostate obstructing the urine passage. Indirectly the kidney gets injured because of this reason. So all males above 50 years, I would like to do a surveillance for them annually with ultrasound as well as a urofluometry to check for the flow and the prostate, health of the prostate. In females above 50 years, the most common cause of urine infection is because of postmenopause. Menopause itself can cause even infection because of the lack of hormone. There will be a stitch or we say stenosis of the urethra, urine passage. Thereby the urine doesn't flow in a normal way. So all the females who have the symptoms like urgency, frequency, urine leak on cough and laugh should get themselves a checkup done with ultrasound and urofluometry to check for the cause of this infection. And thereby treating them helps to save the kidney also.


So good evening everyone. So group one is presenting on blue ocean strategy. So my teammates are Arthi Navin, Ashish Goyal, Abhilashika, Abhinav Gyani, Abhilash Baksala, Afsana, Alam Prabhu, Ankush, Ashutosh sir and Bhushan sir. So next slide sir. Fantastic. So we are covering the topic from like what is the need of this strategy, how this arrives valuation for action framework and cases related to blue ocean strategy. Next slide sir. Lovely. So coming to the definition like blue ocean strategy is referred to the market for a product where there is no competition or very less competition or you are entering like a new market. So it was given by like Veach and came and Rene Mokban. So it is, so first example came when this strategy arrived was Nintendo. So this is the previous slide sir, previous previous. Yes. Yes. So blue ocean exists where the potential of the profits are very much higher as there is a very low competition we can see the opposite of a red ocean strategy. So you can go for next slide sir. As there is no competition or irrelevant competition. Yes sir. It's like minimum competition there. Yeah. So we have seen like we can put the example of Uber there. So Uber is like grown faster than any other company ever by reinventing the market. So Uber created a blue ocean strategy. So they turn the non-customer into customers. So the demand created and then they fought over that and so make the business profitable and rapid. So this is like different between blue ocean strategy and red ocean strategy. So blue ocean strategy, the market space is created which is free and from any competition and whereas red ocean strategy it is competing in an existing market. So competition is irrelevant here and it has no effect on the success of business. Otherwise like prospects of profits or growth are reduced. So in blue ocean strategy like create the uncontested market space, make the competition irrelevant, create and capture new market, break the value cost and align the whole system of a firm's activities with a strategic choice of differentiation and low cost. So there are some tools and like strategic canvas which will be further discussed by the team. Good job. Thank you. Good evening everyone. So let's discuss the need of blue ocean strategy. So when we describe, when we differentiate the strategies on the basis of differentiation and cost. So there are two types of strategies. One is and and strategy and other are either or strategy. So conventional strategies are either or strategy. According to conventional strategies the companies can either reduce the cost or provide a value product to the customer. But blue ocean strategy is and and strategy. According to it the company can provide a high value product and also can reduce the cost through its value innovation. The second need is to create uncontested market space. Conventional strategies focus on creating a market barrier and and and limit to the competition in that territory only. But blue ocean strategy breaks the territory and enter the new market spaces. The third need is to provide a step by step process. Blue ocean strategy provides a step by step process that firstly first step is firstly see the market in which they are working now. They are working already. Then see if there is any strategic space available to work upon. And then see how how can the known customers can be potential customers can be converted into customers can be converted into customers. So this is a step by step approach which is used in blue ocean strategy. Next point is maximize the opportunity while minimizing the risk. Blue ocean strategy is risk minimizing and opportunity maximizing strategy. It basically blue ocean strategy helps the company to there is risk in every strategy whether it is blue ocean or red ocean. But blue ocean strategy helps to mitigate the risk to a very low level. There is one tool which is called blue ocean idea index. Through that a company can check its idea whether it's viable or not. And the last need is to create a win-win outcome. Basically there are three pillars value profit and people on which a strategy can work. Blue ocean strategy provides the value to the consumers provides the profit to the company and also engages the employees and stakeholders with the company. So it works on the three basis on which we can say that blue ocean strategy creates a win-win outcome for everything. Fantastic. Thank you. Good evening everyone. The topic I am going to discuss is like the value innovation the cost tone of blue ocean strategy. In this the value innovation places equal emphasis on the value and the innovation thing. Here the cost is reduced and the buyer value is increased. Like the cost savings are made by eliminating and reducing the factors and industry competes on. And the buyer value is lifted by raising and creating the element that industry has never offered. So value innovation is very necessary and I would like to say something by court that man cannot discover new options unless he has the courage to lose the sight of the show. So value innovation is very necessary. Thank you. Wow. Courage to lose the sight of the show. Thank you. Good evening everyone. I'm doing for action framework in the blue ocean strategy. So there are four frameworks eliminate reduce raise and create. So first week what we can do is we can identify what factors the current players in the industry are competing on like and what aspects they are competing on and what they are focusing on and what kind of values they are providing to their customers. So if there are certain factors we can reduce or eliminate. So we have to analyze these factors so which factor we have to eliminate or we have to reduce. So these factors will help us in reducing the input cost. So by decreasing the input cost we can increase our profit. So there are other two factors are raise and create. So these factors can be created in order to lift the bias value and create new demand in the market. Yes sir. Next slide please. Till now we have discussed about what exactly is a blue ocean strategy and how it is helpful for the industry. Now we will see about how to actually formulate a blue ocean strategy so that we can compete in the market. So the six frame path work to formulate blue ocean strategy depends upon six factors the industry strategy groups via group orientation service product time. So first coming on to industry. While creating a strategy we don't have to just look in the particular industry but across the alternate industries also because in the particular industry where your organization is you will only found a substitute of your product. But if you look across the industries then there can be a product which are alternative for your product and which can harm your market. So you always have to look for the alternative industries also while formulating the blue ocean strategy. We have also once formulating you should also look for the strategic group. Strategic groups are those within an organization which pursue a different interest like we can take example of Tata. There are different groups in Tata one which focus on the performance while the other focuses on the price of the product. Coming on to the next that buyer are the main thing that the organization should focus on. And there are not a particular group of buyer but a chain of buyers who directly or indirectly involved in the buying decision like the person who is buying the product and the actual person who is going to use that product can be different and there can be an influencer who influence the decision of buying the product and the traders who intermediate buyers to buy that product. And there can be a regulators or decision makers like a brand ambassador who influence you to buy that product. All those come under the buyer group. So coming on to the complementary product means what can be the services that you can provide. Your company's work doesn't work and when the customer has purchased that product also use that service. But it also works on what will happen after he has purchased your product or after he has used your services like if you have purchased a phone then what next you have to provide his services to that phone. There should be a service center if there are any problems then one person should formulate a strategy upon that thing also. Thank you. Coming on to the next function is the emotional function and functional appeal. Emotional a product should be targeted toward the emotional need of the consumer. A consumer should be emotionally attached to a product so that he can buy it and functional appeal obviously only if the consumer is attracted toward it by the emotional need and the product don't have any function then it will not sell. So a product should have functional appeal also towards it. Yes. So also time factor is the most important factor whether you are the product you are giving to the industry is the latest trend or not. You can't just sell a product which was a trend in 1920s that doesn't even apply in the time limit of 2020. So one should focus on the time in which you have introducing the product or the product. Thank you. So moving on to some cases. How much time your team might be requiring furthermore. Sir I will comprise it to 45 seconds only. Oh my God. And after that you are closing it.  Yes sir I am the last presenter that is why I am taking less time. All the best. Go ahead. Thank you sir. Thank you sir and classmates. So I am here to discuss the cases that are related to Blue Ocean strategy around the globe. First one was Apple. During 1990s there was widespread illegal persecution of the music around the globe. And because of Steve Jobs what he did he tapped that potential and went on to legalize that thing by providing the songs in their mobile only. In something which is quite handy. So he partnered with BMD EMI Group, Sony Universal Music Group and Warner Bros. Records to go on and give music at the post steps. Today and the name of that thing was iTunes. And it was launched in 2003. He somewhere turned the Blue Ocean blue. Today iTunes offers more than 37 million songs. This data is three months old. Right now it has turned to 39 million songs. And per minute 25 billion songs are 15,000 songs are being downloaded per minute. And that is the reach which Steve Jobs has created in the market. At the same time he legalized that thing. Next one please. So this was the quotation that Steve Jobs used while representing or initiating that iTunes. Focus does not mean saying yes, it means saying no. That means he objectively determined what is right and what is wrong. And he on the basis of his instinct went on to pursue something which shall fall in better basket to the greater number of public. So this was the four key that he utilized. First one observed that he observed the market of illegalized music. Second one introspect the market prosperity. Third one was innovate that innovation of iTunes. And fourth one was reach and reaches 35 billion customers. Next one is the example of Ford Motors. In 1908 Ford Motors came up with the Model T car. And they were offering it for 850 dollars. Which was the half of the existing price of the cars. And those cars which were available before Model T of Ford they were very much expensive and they were not much reliable. Even though the Ford with which Ford came up with was only of one color but it somewhere grasped the market with the market share of 61% in only a decade. Next one. So this is the car that replaced the horse carriages in USA and United Kingdom. So sir I will end the slides and thank you very much. Our group presentation is quickly run through. Okay sir I will run through this one also. This is the third example. In this what Philips did in the 1990s and what was happening in United Kingdom was the main problem with the T and etel industry was the line scale. Whenever the public used to brew tea then there was a formation of circular line scale on the etel. So somewhere Philips saw that even thought that was the problem of water resources. That was the problem of water department. But Philips came in front and tried to decimate this thing to null. So what they did they used invented a kettle with a mouth filter that would effectively capture line scale and whenever the water was poured and whenever you will brew water then no line scale will come up. So this somewhere again Philips turned the red ocean blue. Thank you sir. Thank you. Thank you very much. Oh my God that's fantastic and phenomenal. Blue ocean strategy. Thank you very much. That's beautifully presented. Just good marketing team two is ready but let me clarify. Let me give a little addition to what the beautiful presented. One time team number one. Jodha Thales please let's appreciate them. My God that's fantastic. See blue ocean is very beautiful and the ocean is very big. Ocean means it's immense, huge, massive and very beautiful. Red ocean. Why did the red ocean become blood? When blood flows then the blue ocean becomes a red ocean. Why is blood flowing there? Why is it flowing? People are competing in that space in that space. They are looking at each other like a competitor. How I think that's fair from you, this fair from you. They are fighting with each other and there's a bloodshed. There's a bloodshed that's why the ocean has become red. But now I don't want to fight. I don't want to have any competition. The ocean is very big, immense and let me innovate my product. Let me get into something where the market is so big, the world is so big and there's so much. You go into the world where there's no competition, there is no direct competition.  I create my own market space and I enjoy my blue ocean. The market is massive so that's what blue ocean strategy is. Having no competition, creating into a space, everyone can play.  The market is so big, they can still do that. That's what these people created. Thank you very much for team number one. Now team number two is ready. Let's get going. Looks like now 5-8. Maybe I don't know. I think I want to leave you guys today, maybe at 5-15. So maybe we'll have these two teams presenting today and we'll close it at 5-15. Maybe tomorrow the first thing we do is have five minutes each for the rest of the teams. Or if you want to continue, I'm okay with that. I'll leave it to you. Okay, what do we do? Should we close it at 5-15 and have the rest of the team presenting tomorrow? First thing? Yes, we have it at that time. So we let this team take five minutes or maximum seven. It's already 5-8. Five, six minutes or seven minutes. 5-15 we're closing. And tomorrow we have again three hours. Not tomorrow. Day after tomorrow, right? Monday. Monday we'll spend some time on that. And all the best. Team two, go ahead. Good evening, sir and batch mates. Today we are going to discuss guerrilla marketing. Our group two members include Dr. Dadaniya Ash, Madhu Dasari, Paavaz Ahmed Sheikh, Ganga Vasu, Harman Kaur Chawla, Hemant Santosh Nanda Layar, Jamadar Azharuddin Ansar Ali, Janani Bala Subramanyam, K. Surya Teja, Pujita Poshika, and Kaur is in the training. I am so happy seeing that slide and seeing you reading out to us. That's very important. That's the team spirit. All the best. Go ahead. Coming to guerrilla marketing. Guerrilla marketing is the art and science of breaking conventional marketing rules, bypassing the traditional outlets and using uncommon sense to reach people with marketing messages. Coming to the history of guerrilla marketing, the term guerrilla comes from guerrilla warfare in which soldiers use quick and expected attacks followed by fast retreats rather than fighting for prolonged periods out in the open. Yes. Like guerrilla warfare, guerrilla marketing messages appear seemingly out of nowhere, making a big impression on onlookers before quickly disappearing. And the term guerrilla was coined, first coined by J. Conrad Levinson in 1984 in his book, guerrilla marketing. And the idea of guerrilla marketing is to generate a buzz and ideally to turn viral. And it is a forced effective alternate to large advertising campaigns. Next slide, please. Yes.  All the best. Go ahead. Coming to guerrilla versus viral, there is a slight misconception that is, there is a difference between guerrilla and viral marketing, but actually both of these marketing types goes hand in hand. When coming to viral marketing, it indicates a digital word of mouth marketing. Like viral marketing gets its name from the way in which physical viruses spread like corona. Like which each individual unit replicating ceaselessly creating exponential growth. A viral marketing campaign relies on social media sharing and other online word of mouth tactics to reach large number of people through their friends and contacts. And here I want to mention one example of the difference between the guerrilla and viral. In 2008, for promoting the Hollywood film The Dark Knight, and coming to guerrilla marketing, they used mobile billboard tracks, like on the mobile billboard tracks, they displayed this poster of Dark Knight. And these tracks display this poster virtually anywhere, quickly moving on to cover different cities in the state. So that advertising right in front of the people, like moving on the roads, et cetera. And coming to viral marketing, the production company of The Dark Knight, that is Warner Bros, created a fake political campaign website for Harvey Dent. Harvey Dent is a character in the movie. They created a fake political campaign website providing the fans with shareable campaign posters and other tools to spread the hype. It is a viral marketing. Like both of the marketing goes hand in hand. Like the intended result of guerrilla marketing is for it to go viral. There is a slight difference between them, but both of them go hand in hand. Next slide, please. What's up? The way what's up spread in the market is also through viral, like 1 to 10, 10 to 100, 100 to 1000. Go ahead. Surya Teja, any of your team members? Yes, so like, good morning everyone. I am Pawaz, I am a chick. So here we can see that as Surya has already said that it is the whole thought-provoking concept to generate a viral buzz and to turn it into viral thing. That is the aim of guerrilla marketing. The objective of guerrilla marketing is to eventually turn it viral to make it spread among people. But this is done through merit types. And here you can see the different types. Ambush marketing, astroturfing, buzz marketing, guerrilla protection, viral posting, which you are going to see in the next slides. Lovely. So the first thing we have here is stealth marketing. This is also known as buzz marketing. And this is a marketing strategy where the people we are marketing to them, but they have no idea that they are being marketed to. Wow. It is done in two ways that is very well known. First thing is placement, product placement. You are going to see an ad or a movie. You will suddenly see Coca-Cola. You will see some other phone company which is being explicitly shown in that movie. And then there is undergo marketing, which is also a more devious kind of marketing, but there is still under debate. As you can see over here, this is stealth marketing. There the zebra lining has been replaced by McDonald French fries. And so people, when they are looking at that, they will remember it and they might get hungry and they might go to eat. So as you can see, this is not done to generate immediate sales. There is no actual profit for the company, but this will create interest in people. They will start talking with each other. In the next slide we can see an example also. There is an example of Sony Ericsson which marketed their mobile T681 using fake tourists. They paid actors to act like tourists to go to people and tell them take my photo please and give them the phone. So when the people took the photo of these tourists, the tourist will tell them specific lines that Sony told them to tell the people. And this way, the people are somewhat interested in the phone and they might even buy the phone. But actually this got lots of negative reception towards the company, but you might think why the company followed it. In fact, their marketing cost for only $4 million which is actually very less compared to a billboard or something else like that. Another example would be of some cigarette companies in which they pay people to smoke the cigarette publicly and just offer it to people who are walking by. And if the people like it, they will ask their name of the brand and they might turn people into customers. So this was stealth marketing. Next we will be taken by my batchmates. Thank you for us. Gatsun Siran batchmate. Sir actually it's time for our quiz. Yeah, we're okay. It's okay. We're closing now. One minute. Otherwise your team can continue also tomorrow by 15. Is that okay with you? Pujita? Yes sir, shall I continue or shall I stop sir? I think there is a quiz. The quiz is about to start at 5.15. So you people have to go there. Fine sir, we'll continue it tomorrow. We'll continue it tomorrow. Have a nice evening. You are awesome. Keep rocking all the best to you in the quizzes today. See you on Monday. Thank you sir. Thank you sir. Thank you sir. Thank you sir. Thank you sir. Thank you sir. Take care. God bless.


Straight now to Bernard State where the governor, Father Hycent Aliyeh, has imposed a budget of 225.7 billion for the 2024 fiscal year. While presenting budgets to governor or before the State House of Assembly, the governor said the budget recorded 25% increase over the 2023 figures, noting that the fiscal document is in line with his blueprint, the Burmese strategic development plan, which when implemented will lead to a prosperous state. Our correspondent reports that the breakdown showed that the capital expenditure of 115 billionaire, the breakdown showed the capital expenditure of 115 billionaire representing 61.6% and the capital expenditure of 110 billionaire while personnel cost was put at 54.6 billionaire which represented 17.1%. Budget of infrastructure, development, job creation, and poverty alleviation. Following the assumptions and the third quarter year-to-date performance, which has shown incredible inroads in fixing the broken benwee draws life from my policy document, the strategic development plan for Greater Benwee intends to finance the 2024 budget with the sum of 225,727,395,260 billionaire, 97 cobalt only. This shows a 25.6% increase overall the revised and approved 2023 budget. Hello hope you enjoyed the news please do subscribe to our YouTube channel and don't forget to hit the notification button so you get notified about fresh news updates