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Open Access

Your guide to making your research outputs FAIR (Findable, Accessible, Interoperable, Reuseable).

Open Access Procedure and CALE 

The Open Access Procedure mandates that  University researchers make digital copies of their research outputs openly accessible in the University Open Access Repository (OAR)

College of Arts, Law and Education (CALE)  non-traditional research outputs often have multiple creators and layers of copyright. Permission needs to be sought, and a licence obtained, from all creators/ copyright owners to enable the NTRO to be made accessible in the OAR.

Path to Open for CALE non-traditional research outputs 

  1. Identify all copyright content in your NTRO and digital asset/s 
  2. Obtain from all copyright owner/s a written declaration giving you a, permanent, royalty free, irrevocable, non-exclusive, worldwide licence to: use, digitise and publish the copyright material
  3. Complete the NTRO Cover Sheet
  4. Upload the NTRO Cover Sheet and the NTRO research object digital asset/s (RODA) to WARP
  5. NTRO research object digital asset is copyright assessed by the Library
  6. A Digital Object Identifier (DOI) is automatically minted when the open access NTRO research object digital asset and associated metadata are pushed to the University Open Access Repository (OAR) 

Need assistance?

University NTRO publication categories 

The University NTRO publication categories are outlined in the table below.

In order for research outputs to be eligible as original creative works, the researcher must be the creator of the creative work, rather than, for example, the curator of an exhibition of creative works produced by others.


Visual art work Such as a fine arts and crafts work, diagram, map, photographic image, sculpture or installation etc.
Design/architectural work Realised, constructed, fabricated or unrealised building and design projects.
Textual work Written research outputs that are not eligible for submission as traditional research outputs, such as novels, art reviews, exhibition catalogues and catalogue entries, scholarly editions and scholarly translations.
Other Original creative works that do not fit the other research outputs types including music composition.

The research component is contained within the recording/rendering. Simple documentation of live performances of creative works without a research component are not eligible.


Audio/visual recording Research outputs presented in an audio-visual format, such as films, documentaries or audio-visual presentations.
Performance Performances (in music, dance, theatre, etc.) created specifically for a recorded medium.
Inter-arts Recorded/rendered creative works, often experimental, produced in association with other researchers in other disciplinary fields.
Digital creative work Digital creative works, including creative 3D models, digital outputs of architectural and design projects, computer programs, games and visual artworks.
Web based exhibition
These are eligible as recorded/rendered creative works if the eligible researcher is the creator of the creative works featured in the website. Curated web-based exhibitions of the creative work of others must be submitted as curated or produced substantial public exhibitions and events.
Other Other recorded/rendered creative works not listed above including sound production and orchestration.


Public exhibitions and events research output type aims to capture research undertaken by producers and curators. To be eligible, the exhibition and events must be substantial in nature. Exhibition catalogues are submitted as original creative works, in the ‘textual work’ subcategory.
Multiple exhibitions or repeated events are only considered as multiple research outputs where the repeated exhibitions/events introduce a new research component and make new contributions to the field. For example, a touring exhibition can count only once.


Web based exhibition The curation and/or production of an internet website presenting a collection of creative works where the internet is the medium of the exhibited works.
Exhibition/Event The curation and/or production of creative works exhibited in a recognised gallery, museum or similar venue, in order to show new works or a different arrangement of works.
Festival The curation of a festival bringing together innovative work or existing works in an innovative format or through a theme that provides new perspectives and/or experiences.
Other Curated or substantial public exhibitions and events that do not fit into the above sub-categories of the curated or produced substantial public exhibitions and events research output type


Actual public performance of a creative work. A digital recording of the live performance, or part thereof, must be available via the institution’s digital repository.


Music Performance of a new work or a demonstrably new or innovative interpretation or production of an existing work.
Play Performance of a new work or a demonstrably new or innovative interpretation or production of an existing work.
Dance Performance of a new work or a demonstrably new or innovative interpretation or production of an existing work.
Other Other performance of creative works not listed above. New work or demonstrably new or innovative interpretation or production of an existing work.


This category refers to a report based on original research undertaken on a systematic basis to increase the stock of knowledge in the areas of government and non-government policy and practice, which has been commissioned or solicited by:

  • an Australian, state, territory, local, foreign, or international government body or organisation;
  • a company, industry organisation, industry peak body, or employer/employee association;
  • a discipline-recognised body or organisation operating in the not-for-profit sector;
  • a recognised organisation other than the above, provided the organisation is external to the researcher’s own institution.

The types of works that may not meet this criteria include:

  • submissions to public inquires and consultations, including government and parliamentary inquiries;
  • policy blogs or online commentaries/articles;
  • briefing notes;
  • internal UTAS reports;
  • confidential or unpublished reports;
  • chapter or section of a minor report;
  • reports that are only available to the commissioning body and not available publicly.

Note, if the report is to be made publicly available at a date later than the authored date that it was submitted to the commissioning body, the year of publication will be the date that it is made publicly available.

Reports must be publicly available. Sub-categories of research report for an external body are as follows:


Public sector A research report undertaken for an Australian, state, territory, local, foreign or international government body or organisation.
Industry A research report undertaken for a company, industry organization, industry peak body, or an employer/employee association.
Not-for-profit A research report undertaken for a body or organisation operating in the not-for-profit sector.
Other A research report undertaken for an organisation not covered by the above sub-categories.

Evidence of excellence for reports includes:

  • the commissioning or funding of the report by a distinguished government or non-government body;
  • appointment through a quality selection process;
  • affirmative citation in other reports or publications;
  • recognition of research conclusions by experts employed in the relevant field of government and/or industry.

A number of individual creative works do not in themselves constitute significant research but the portfolio of creative works constitutes research as a whole.

Creative and Performing Arts outputs that do not individually have significant research components but when collected together have coherent research content can be grouped into a portfolio of works addressing a particular research theme by the same author.

Examples of this may include:

  • representations of single works of arts in non-peer reviewed exhibitions;
  • single works selected as a finalist in prizes that does not have a research component;
  • a number of performances that in and of themselves do not have a research component;
  • a number of outputs as defined by the Other Creative Work category.

Each output in a portfolio must be uploaded individually to WARP and categorized in the Other Creative Work (L) category (Section 6.7). They then need to be grouped together into a portfolio. In order to submit a portfolio of creative works please consult with your College’s Publication Officer.

Demonstrates evidence of Impact and Engagement, can be listed on WARP but does not receive ERA recognition. These outputs do not need to meet the requirement of independent judgement by peers or research excellence.

  • L1 - Minor Written or Recorded work
  • L2 - Minor Catalogue Work
  • L3 - Representation of original art
  • L4 - Acquisition
  • L5 - Performance as Professional Practice
  • L6 - Other Exhibition
  • L7 - Broadcast
  • L8 - Revision/New Edition
  • L9 - Repeat Exhibition/Performance
Minor Written or Recorded Work This refers to a relatively brief or small scale creative or scholarly works bound separately or as a part of a collection of works.
Minor Catalogue Work Minor catalogue work for an exhibition or performance, usually in the form of a catalogue essay or program notes.
Representation of Original Art This refers to artworks that either have been published previously or alone do not met the research component requirements. These outputs are defined as part of the on-going activities of an industry professional and contribute to an active professional profile.
Acquisition The acquisition of artworks by a permanent public art collection with a national or international reputation.
Performance as Professional Practice Creative and Performing Arts outputs that do not have a research component can be recorded under this category. These outputs are defined as part of the on-going activities of an industry professional and contribute to an active professional profile
Other Exhibition Exhibition that does not meet or provide evidence of research excellence.
Broadcast Televised or radio performance of a creative work.
Revision/New Edition An output that has been substantially revised but the substantive research findings have not changed. No new knowledge is articulated.
Repeat Exhibition/Performance Repeat of a K1, K3, K5 or L6
An output that has been repeated, this may take the form or a touring exhibition or performance where content and repertoire is remains the same. This may also include iterative outputs where no new contribution is made.


NTROs & Copyright 

Digital non-traditional research outputs (NTROs) uploaded to WARP often contain multiple layers of copyright.    

For example 

  • An original NTRO may include material created by third parties or co-creators 
  • The NTRO digital asset file deposited in WARP,  may have further creators or copyright owners

Copyright owners can include: co-creators, other artists, photographers, film makers, broadcasters, curators and exhibition/ performance spaces, creative designers, publishers, performers, musicians, audience members and writers.


Path to Open - Decision & Action Tree

Copyright infringement

When you upload your NTRO research output digital assets (RODA) to WARP, Library Services will undertake an assessment of copyright implications. 

A RODA can only be made openly accessible if no third party (person or organisation) copyright is infringed.

For a RODA to be made OA in the Open Access Repository (OAR):

  • all identified copyright owners' licences must be obtained,
  • the researcher depositing the RODA needs to indicate, in the Copyright and proprietary content in your NTRO section of the NTRO cover sheet who owns the copyright to what in and the date each copyright owner's licence was obtained.
How to avoid the risk - deposit a RODA specifically for OA

For ERA reportable creative works, the University OA procedure mandates a "digital representation of the original work" is openly accessible in the Open Access Repository (OAR). 

A "digital representation" is not necessarily the published version (i.e: exhibition catalogue, third party recording or video taken in a private space that includes multiple performers/ artists or members of the public ).   

You may be able to upload a RODA specifically created to meet the OA procedure mandate which, represents the creative work but, does not require the number of copyright owners' licences as the published version.

Read more about the University OA Procedure Q&As 

Identifying Copyright Properties in your NTRO

This CALE Creative Work & Design Copyright guide is designed as a quick reference point for identifying the copyright properties for various art object types and identifying permission required to copy and communicate openly.

For further information contact the  University Copyright Officer

Obtaining the copyright owner's declaration and licence 

The University of Tasmania Copyright management website provides general information to manage research copyright, including obtaining permission from copyright owners. 

Due to their complex nature, NTROs containing multiple copyright owned materials, require a higher level of copyright management to mitigate the risk of copyright infringement when they are digitised and published openly in the OAR.  

The  Copyright Tools & Risk table below, provides further information to assist CALE researchers obtain permission from copyright owners.  For further information and advice, please contact the University Copyright Officer 

Copyright Tools & Risk table
Copyright tool Risk level Explanation
Sample CALE permission letter  medium risk Personal correspondence.  Letter includes legal terminology but relies on the copyright owner declaration being correct.   Standard method researchers use to approach potential copyright owners. There is risk that the responder is unaware of third party copyright material in their work and they are providing a declaration and licence for materials they do not own.
Licence to Digitise and Publish low risk

Formal plain-English licence, which provides the copyright owner with detailed information about the licence and declaration they are signing.  Not witnessed and signed by all parties.

Licence Deed to Digitise and Publish very low -  no risk

Formal Legal deed agreement between the University and copyright owner.

A deed has the least risk to the University as is completely binding.  Please contact the University Copyright Officer. or  University Legal Officer to discuss and obtain. 

Other copyright resources 

Commonly asked questions

If you can't find the answer to your copyright question, please contact the University Copyright Officer 

Do I need to get a permission & license from the photographer to deposit their digital mage of my work in WARP and the OAR?

Yes, Unless the image was taken by you,  a current UTAS staff member or was a commissioned work, you do need to obtain the photographer's licence to digitise and publish the image.  

I only want to give permission for my NTRO to be in the University Open Access Repository.  Is this possible?

The digital assets deposited in the OAR are copyright assessed and only made publicly accessible if the appropriate licence is obtained.  Open records in the OAR are accessible under the University of Tasmania license and can only be used for educational purposes with attribution, and the original creator/s retain copyright.  Example OAR record

If I take photographs at an exhibition, do I need to get permission from the exhibition space?

Yes, you do need to obtain permission and a license, unless your work is being exhibited in a UTAS exhibition space.  

If the digital images include another creator's work you will need to obtain their permission and licence to reproduce the digital image in the OAR.

Regardless of who owns the Exhibition space, any digital images which include images of people require consent under Privacy legislation.  See the University Legal website for further information and to download the Guidelines - Personal Information Consent Form

What about an Exhibition program?  Do I need to get permission to make it freely accessible in the OAR?

Yes, you do need to get the copyright owner's permission to make the program or an extract of the program freely accessible in OAR. Note that the program may involve multiple copyright owners, artists, gallery owner, the creative designer of the publication and the publisher/printer. 

How can I reduce the risk of the digital asset I deposit in OAR being reused without my permission?  

Everything on the internet that is not restricted or subject to a click through agreement, can technically be accessed and reused. Providing a copyright statement and license on the digital asset is a legal deterrent.   

The Arts Law Centre of Australia provides advice on protecting your work on the internet 

Images of creative works

  • Include a copyright watermark on the image, i.e.  © date [your name/s]
  • upload low-resolution JPG thumbnail of image — no more than 72dpi
  • include explicit copyright information in the metadata when entering into WARP.


  • add digital watermarking to the recording
  • upload a short low-quality recordings only — a compression rate less than 49 kilobits per second
  • attach the © data [creator name]. All rights reserved on your recordings
  • include contact details in Rights metadata for permission requests


  • add digital fingerprinting
  • add © data [creator name]. All rights reserved.  to the film
  • upload low quality versions only — a compression rate less than 151 kilobits per second for video and 49 kilobits per second for the sound
  • Include contact details in Rights metadata for permission requests

Source: Arts Law Centre of Australia,,disable%20right%2Dclick


Got a copyright question? 

Contact the University Copyright Officer