The TEACH Act facilitates and enables the performance and display of copyrighted materials for distance education by accredited, non-profit educational institutions (and some government entities) that meet the Act's qualifying requirements. Its primary purpose is to balance the needs of distance learners and educators with the rights of copyright holders.
Technology, Education, and Copyright Harmonization Act (2002)
The original, one and only, authentic "TEACH Act Toolkit", was created in 2003 by the librarians of the University of North Carolina at Charlotte Atkins Library.
One of the requirements of the TEACH Act exception is that the "transmitting body or institution:
(i)institutes policies regarding copyright, provides informational materials to faculty, students, and relevant staff members that accurately describe, and promote compliance with, the laws of the United States relating to copyright, and provides notice to students that materials used in connection with the course may be subject to copyright protection.."
Sample Statement:
The materials on this course Web site are only for the use of students enrolled in this course for purposes associated with this course and may not be retained or further disseminated.
Wired Shut by
Winner, ICA 2009 Outstanding Book Award given by the International Communication Association. and Winner, 2009 CITASA Book Award given by the Communication and Information Technologies Section of the American Sociological Association While the public and the media have been distracted by the story of Napster, warnings about the evils of &"piracy,&" and lawsuits by the recording and film industries, the enforcement of copyright law in the digital world has quietly shifted from regulating copying to regulating the design of technology. Lawmakers and commercial interests are pursuing what might be called a technical fix: instead of specifying what can and cannot be done legally with a copyrighted work, this new approach calls for the strategic use of encryption technologies to build standards of copyright directly into digital devices so that some uses are possible and others rendered impossible. InWired Shut,Tarleton Gillespie examines this shift to &“technical copy protection&" and its profound political, economic, and cultural implications. Gillespie reveals that the real story is not the technological controls themselves but the political, economic, and cultural arrangements being put in place to make them work. He shows that this approach to digital copyright depends on new kinds of alliances among content and technology industries, legislators, regulators, and the courts, and is changing the relationship between law and technology in the process. The film and music industries, he claims, are deploying copyright in order to funnel digital culture into increasingly commercial patterns that threaten to undermine the democratic potential of a network society. In this broad context, Gillespie examines three recent controversies over digital copyright: the failed effort to develop copy protection for portable music players with the Strategic Digital Music Initiative (SDMI); the encryption system used in DVDs, and the film industry's legal response to the tools that challenged them; and the attempt by the FCC to mandate the &"broadcast flag&" copy protection system for digital television. In each, he argues that whether or not such technical constraints ever succeed, the political alignments required will profoundly shape the future of cultural expression in a digital age.
The advice and information on copyrighted materials provided by the library is not intended to substitute for and is in no way legal advice.