OA Policy Changes at the Bill & Melinda Gates Foundation

The Bill & Melinda Gates Foundation has recently announced a “refreshed” Open Access Policy, to start in 2025. There is a lot to unpack.

The headline change for publishers is that the Foundation will no longer pay Article Processing Charges (APCs) for its funded researchers to publish Open Access. However, they have not stepped back from their support of Open Access. Rather than paying for post-publication OA, they are requiring posting all manuscripts on a preprint server. Not just any preprint server – one approved by the Foundation, with “a sufficient level of scrutiny to submissions.” The works must be licensed as CC-BY 4.0, or something similar. Interestingly, authors also must assign the license to an Author Accepted Manuscript of the article if it is published later. Any data that is used in the manuscript must also be made immediately available.

VeriXiv logo

The Foundation is working with F1000, a subsidiary of Taylor & Francis, to create a preprint platform named VeriXiv. The platform will do a series of “ethics and integrity checks,” looking for things like plagiarism and image manipulation, as well as author-related conflicts. One thing that it is not doing is peer review. An author can still publish the article in a journal as well, as long as that journal respected the OA requirements of the Foundation, and the author would have to pay any APC themselves.

The question is how will this affect the publishing ecosystem? The Foundation awards more than five billion dollars in grants per year, which is enough to create real change. On the one hand, authors could decide that traditional publishing is not worth the time and cost, which the Foundation’s policy strongly suggests, and just move to preprints. On the other hand, authors may still have other institutional incentives tied to publishing output and prestige. Will this just shift the cost of traditional publishing to authors, and indirectly to libraries and universities that support them? It might work out that this is a lever to reduce prestige-based incentives at institutions, or it might work out that authors with fewer resources fall a little further behind.

This may also just be a business fight between funders and publishers, with researchers caught in the middle. Publishing is a bundle of services, including ethics and plagiarism checks, peer review, distribution and preservation. Commercial publishers charge a lot for that bundle. Starting with posting a preprint and then layering on other services could be cheaper, especially if one thinks different research outputs need differing levels of service. This opens the door to new business models, like stand-alone peer review services, as contemplated by the Publish-Review-Curate model of publishing. We will see who steps in to fill those needs.

American Library Association Book: Scholarly Communication Librarianship and Open Knowledge

In 2023, the American Library Association published Scholarly Communication Librarianship and Open Knowledge; discussing the current landscape for for librarians in academia and including case studies and a more modern definition for scholarly communications. Chapter two focuses particularly on open access and new thoughts and projects around open data and open educational materials. As Boston College Libraries continue to publish open access journals and maintains the open access publishing fund, it is always good to reflect on the larger picture and try to get a sense of the popularity of open access publishing as librarians and scholars continue to think of it as a means of a more equitable publishing model, and a more diverse and inclusive scholarly record.

Once a buzzy, cutting edge model of publishing, open access publications and models have become more common over the past two decades – for good reason. With increased accessibility and generally author-friendly licensing agreements, more and more academic libraries and scholars are seeing the benefits of publishing their work in an open access. However, as more and more researchers, universities, librarians, etc. are growing familiar with open access models, further definitions that encourage wider and more proactive dissemination are being more popular. The generally accepted definition is that open access materials are freely accessible to their readers – no paywall or subscription stands between the content and the prospective reader.

This chapter, however, begins by discussing the UNESCO definition, which goes further:

A publication is considered in Open access if:

  • its content is universally and freely accessible, at no cost to the reader, via the Internet or otherwise;
  • the author or copyright owner irrevocably grants to all users, for an unlimited period, the right to use, copy, or distribute the article, on condition that proper attribution is given;
  • it is deposited, immediately, in full and in a suitable electronic form, in at least one widely and internationally recognized open access repository committed to open access.

Going beyond being freely accessible, this definition includes the submission to an “internationally recognized open access repository committed to open access,” a definition that poses itself directly across from larger publishers continuing to try to use open models as a means of increasing their profitability. While perhaps a bit optimistic for now, chapter author Amy Buckland discusses the implications of allocating resources for more permanent, purposefully open repositories; including machine readability as a part of open publication models; and considering more critically large publishers role in their ability to bolster their own reputations as far as being, “open” despite being the driving force behind paywall and subscription models. As different consortia and coalitions of universities and university libraries begin to create repositories themselves and become less reliant on the likes of Elsevier and Springer to provide access to cutting edge scholarly content, there could be a struggle as universities and their researchers begin to develop leverage as they enter their annual negotiations for subscription deals with these same publishers.

The chapter continues discussing some of the nuances of open access – making clear that not everything should be open access just because of the technological capabilities; privacy is still an important part of publications, particularly if they might contain personal information. Digitizing everything librarians are able to legally digitize might not consider artists or subjects consent as far as the scope of publication prior to a digitized era – and indeed, librarians and practitioners ought to take heed of these pitfalls. Tara Robertson details the experience of finding exotic digitized materials from the 60s, 70s, and 80s whose subjects might not have been able to anticipate the ability of future generations to digitize the pages printed at that time.

Charlotte Roh also contributes a polemic discussion of the role that open access models play in our capitalist society – and points fairly squarely at the role not only large publishers play in maintaining the hegemonic societal norms, but also institutional complicity in this role, and even the pernicious use of open access to effectively sugar-coat the bitter pill of massive publisher monopolies dictating the market for scholarly publication as they search for ways to maintain profitability.

All in all, as the landscape and technology for developing open access models continues to shift, it is essential that librarians grapple with the effects and limits of open access publications as they become more and more popular; thinking about how to limit barriers for students and scholars at our universities, while ensuring the safety and privacy of authors or subjects in current and historical publications.

Coalition for Diversity and Inclusion in Scholarly Communication (C4DISC)

Earlier this year, the Coalition for Diversity and Inclusion in Scholarly Communication (C4DISC) held their first community meeting. The main mission of the coalition is “to work with organizations and individuals to build equity, inclusion, diversity, and accessibility in scholarly communication.” The coalition officially launched in 2020 – and January’s meeting was in fact the coalition’s very first community meeting. Among its members and partners, the coalition boasts Crossref, the Library Publishing Coalition, the Open Access Scholarly Publishers Association, and more. As the push for more equitable models of publishing continues to be at the forefront of the minds of scholars and librarians, best practices around diversity, inclusion, and accessibility will lay a key foundation in assuring that scholarly publishing is not only published and consumed by the most privileged layers of our society.

To provide some context as the meeting started, coalition members presented on some of the priorities and outcomes from the past year – including toolkits and surveys developed by the coalition as a means of getting librarians and scholarly publishing practitioners thinking about their own roles in creating a more diverse scholarly record. Thee were also tools to help proactively change the culture around scholarly publishing so that marginalized voices can be centered, rather than continually obscured.

As the coalition continues to hold larger community meetings and launches its communities of practice, librarians and practitioners can start to think about best practices for ensuring diverse, equitable, and inclusive academic publishing that highlights marginalized voices and works as seminal parts of a collection or publishing portfolio.

Toolkits

As a means of providing helpful ways for institutions to build more equitable diverse models for themselves, the Coalition provides links to toolkits that have been put together by leaders in publishing and higher education.

In addition to the Toolkits above, the coalition is also currently working on an Equity on Editorial Boards toolkit – a resource that will aim to assist journal and editorial managers in figuring out the best ways to ensure an attitude and editorial board that reflects a global population.

Surveys

In addition to the toolkits, the Coalition also provides links to the 2018 and 2023 Workplace Equity Surveys. While the results and analysis from the 2023 is still being published, an article from Learned Publishing gets into some of the details from the 2018 survey.

ORCID at BC

One of the underreported requirements of the 2022 Nelson Memo requiring federally-funded research to be published open access is the requirement that federally-funded researchers have a digital persistent identifier. Federal guidance says that such an identifier should be from an open platform, disambiguate authors, and allow a researcher to have a profile with their works included, all provided at no cost to the researcher.

One might think that type of service sounds almost too good to be true. But, that is one part of the Nelson memo where the infrastructure exists today. ORCID, through its ORCID iD, already meets the recommended standards. The ORCID service provides users with a unique 16-character identifier, along with a profile with a permanent URL where they can add information about employment, education, works published, and even grants received!

Note: ORCID stands for “Open Researcher and Contributor ID.” They prefer “iD” for the actual identifier authors get. There were no federal guidelines on proper capitalization.

How do I get one of these ORCID iDs?

There are two ways to get an ORCID iD. You could just go to ORCID.org and register for a new account. However, you can also do it directly through the Boston College’s Agora Portal link, ORCID at BC. This lets you tie your ORCID iD to your Boston College login and Eagle ID. This will let you log in using your BC credentials. 

Then what?

There are a few things to do once you have an ORCID iD.

  1. Make sure it is public!

Sometimes people sign up for an ORCID iD, knowing they need it to fill out a form or application, but do not actually make it public.

  1. Link it to a couple of sources for publications

ORCID lets you populate your profile with information from other databases, including Scopus and MLA International Bibliography! It also lets you link to information from CrossRef, if your publication has a DOI.

  1. Put the ORCID iD in a few different places

Putting your ORCID iD on a personal webpage, in a CV (especially one you do not update frequently), and even in an email signature is a great quick way to let others find your work.

Right now, Boston College’s ORCID adoption rate for faculty is over 35%. That is not bad, but it means there is a long way to go. For more information on ORCID, and for help on specific integrations, check out our ORCID guide.

A cartoon black and white mouse with a hat driving a boat; a clip from the cover of "Steamboat Willie."

Public Domain – 2024

On January 1st of each year, different cultural artifacts entire the public domain due to the expiration of their copyright – and indeed, 2024 is no different – as books, musical composition, plays, movies and more produced in the year 1928 find their way into the public domain, which means they are free to use and reference without having to acquire copyright permissions. Of course, if an author references or uses an artifact in the public domain, they should be sure to cite it, but items in the public domain are no longer constricted by any copyright law.

The 95 years rule is not a given, however, as Congress has determined this number based on finding a balance between protecting author and publisher rights during the course of their lives, and ensuring that important artistic and cultural artifacts are – after due time – able to be accessed more freely, rather than rotting away behind permissions paywalls or other copyright constrictions. And some types of content are protected for longer – sounds recordings, for instance, are currently released to the public domain after 100 years, but recordings produced between 1947 and 1956, protection will last 110 years. Since the first copyright laws were established, the trend has been to extend the time of protection in order to protect authors rights – the argument could be made, however, that this protected period is perhaps too lengthy, as it is certainly much longer than an average lifespan. The chart below shows the timelines produced by the differing copyright acts of their respective moments.

Graph showing length of copyright based on act. in 1790 act protections were 28 years, in 1831 Act protections are over 40 years. In 1909 act protections are over 50 years, 75 years in 1976 act, and over 100 years by the 1998 (or Sonny Bono) Act,
Tom Bell chart showing US copyright term over time created for Wikipedia: https://commons.wikimedia.org/wiki/File:Tom_Bell%27s_graph_showing_extension_of_U.S._copyright_term_over_time.svg
Cover and spine of first edition copy of Virginia Woolf's Orlando. Light brown cover with ornate pattern; title and author.

In 2024, while sound recordings may be protected – there is a great deal to welcome into the public domain. Joining the public domain – among other items – are JM Barrie’s Peter Pan play, Virginia Woolf’s Orlando, and Charlie Chaplin’s silent film The Circus. Additionally, while the sound recording has not yet hit the public domain, the lyrics and music to Cole Porter’s “Let’s Do it, Let’s Fall in Love” have also entered into the public domain. And while Winnie the Pooh has been in the public domain for the past two years, he will now be joined by his longtime friend from the Hundred Acre Wood, as Tigger was introduced in The House at Pooh Corner, which was published in 1928.

As a result of some famous character and stories coming into the public domain, new artistic reproductions are taken up without having to pay for copyright permissions. As a result some very interesting titles have been released, including Winnie-the-Pooh: Blood and Honey and Mickey’s Mouse Trap, a pair of horror movies that certainly bring an alternative experience to the beloved characters. And indeed, the impact of cultural artifacts hitting the public domain means more than new inspired slasher films – items on the public domain are useable in teaching materials without the burden of securing copyright to acquire full versions of texts. Scholars can more readily and fully study bodies of work that are in the public domain without incurring expenses, which enhances the global scholarly discourse and allows for seminal work from our cultural past to freely accessible to those interested in studying it – and indeed, on the flip side, if copyright laws continue to get stronger, the ability for scholars and and librarians to make use of assets will be continually diminished in favor of protecting the copyrights for authors and creators who indeed deserve their due – but are more than likely passed on.

For more information on the public domain, please consult the resources below: