Intellectual Property and Electronic Theses
Dr. Theo Andrew The role of this briefing paper is to raise awareness of the main issues involved when converting paper-based theses into a digital format. This change of media has many implications for the way theses are created, stored, organised, managed and accessed. This briefing paper specifically examines the agreements required by an institution when managing and storing theses in electronic format. This includes existing theses held by institutions in paper format and those presented by students electronically (born digital). These agreements typically involve those which may need to be obtained from the author, the institution or some other third party. A number of sample agreements are presented, which are intended to be adapted to suit an individual institution’s circumstances.
Open access, open source and e-theses: the development of the Edinburgh Research Archive
Purpose – To examine how the synergy of open access and open source have been used at Edinburgh University Library to design and implement an e‐thesis service, and to offer a comfortable theoretical framework to aid others.Design/methodology/approach – The concepts of open access and open source are introduced and compared to show the conceptual relationship between them and the natural partnering of these approaches to information freedom. The development of the open access repository (Edinburgh Research Archive, ERA) and the related open source software (Tapir for DSpace) are then examined as an opportunity for other implementers and developers to gain insight, both technical and non‐technical.Findings – That open access and open source are a natural and forward looking way to develop e‐theses and other research material repositories. The discussion of developing open source and the brief study of the creation of ERA show us that this approach is both warranted and useful.Research limitations/implicatio...
The de-definition of art
"Like the great German critic Walter Benjamin, Rosenberg is a master of dialectics whose sense of art is continuous with his sense of society, and (also like Benjamin) bears no taint of compromised, out-of-work radicalism. Instead, his radicalism is very much at work, enabling him to spot and skewer fallacies, false logic and the camouflaged nudity that is a large part of the art emperor's new wardrobe. [The De-definition of Art] detects with great sensitivity the forces that are deflecting and pressuring art in the direction of esthetic and moral nullity." Jack Kroll, "Newsweek""