Open access to science helps us all

The Wellcome Trust has been praised for its decision to compel research it funds to be freely availa

Every year, governments and charities invest billions of pounds supporting scientific research with the aim of advancing discovery and its application for economic and societal benefit. The primary mechanism through which scientists disseminate the results of this research is through publication in peer-reviewed journals, with access to this content typically being managed though library subscriptions. However, in recent years there has been a growing recognition that the traditional subscription-based access models are not serving the best interests of the research community, and a growing movement to support open-access publishing – in which research papers are freely available to all at the point of use. To cover publication costs, open access journals typically levy an up-front payment, which is usually met by the research funder.

As a global charitable foundation dedicated to achieving extraordinary improvements in human and animal health, the Wellcome Trust is dedicated to ensuring that the outputs of the research we fund are made widely available in a manner that maximises the resulting health benefit.

Our support for open access publishing was a natural progression of our involvement in the international Human Genome Project during the 1990s and early 2000s, where the decision to place the human genetic sequence in the public domain immediately as it was generated helped to ensure this key research resource could be used by scientists the world over. A recent study estimated that a $3.8 billion investment in the project had achieved an economic impact worth $796 billion, a clear indication of the power of open access to scientific information. 

SME’s also benefit from unrestricted access to research findings. A study published in Nature Biotechnology laments the poor access biotech companies have to the published literature. In one case, a company suffered a six-month setback to a drug development programme because a paper was missed in a subscription journal. Other research (pdf) has shown how companies could benefit from reduced costs and shortened development cycles by having greater access to UK research outputs, which, in turn would generate around £100m worth of economic activity for the UK economy.

Since 2005, the Wellcome Trust has required that research papers that arise through the research we support be made freely available as soon as possible, and in any event within six months of publication. We view the cost of dissemination as an integral part of funding research, and provide dedicated funds to the institutions we support for the payment of author fees associated with open access publication.

Since we first established our policy, there have been many encouraging developments. Many funders now explicitly require published outputs to be made freely available. We have seen the rapid growth of fully open access publishers, including the Public Library of Science and Biomed Central.  And, many existing publishers now offer open access options alongside subscriptions.

But whilst the move towards open access is gathering pace, there is still a long way to go. At present, only around 55 per cent of research papers we support comply with our policy. For this reason, we have recently decided to strengthen the manner in which we enforce our policy.  We will also ensure that where we pay an open access fee, the content is freely available for all types of re-use (including commercial re-use). This is in line with a recent draft policy published by the UK Research Councils, which we strongly support.

We are also working in partnership with the Howard Hughes Medical Institute and the Max Planck Society to develop eLife, a new top-tier and fully open access online-only journal, which we will launch later this year. eLife will make ground-breaking research freely available to all, and develop cutting–edge approaches and tools to enhance accessibility and use of on-line, open access content. We hope that in doing so it will spark change in the wider publishing sector and accelerate the transition towards a world where open access is the norm.

We believe that this is a pivotal moment in the open access debate, and political will is growing in the UK and internationally. Here, the UK Government has highlighted (pdf) the potential of open data to stimulate innovation and economic growth. Access to research publications has been recognised as a key element in this, and the Finch Group, which was established by David Willets to look at ways to enhance access to published scientific information, will report in the Summer. Meanwhile, in the US, the failure of the Research Works Act – which sought to row back the current policy of the US National Institutes of Health to require that publicly-funded research articles be made freely available – demonstrated that the current course towards open access is now irreversible.

We all have a fundamental obligation to ensure that scientific research which is funded by taxpayers and through charitable funding delivers the greatest possible return to society, and open access publication is key to achieving this goal. We therefore call on all those involved in the supporting science and innovation to help make open access a reality.

J. Craig Venter smiles in front of a map of the human genome. The project was the impetus for Open Access. Credit: Getty

Dave Carr is a policy officer for the Wellcome Trust, and Robert Kiley is the head of digital services at the Wellcome Library

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In defence of orientalism, the case against Twenty20, and why Ken should watch Son of Saul

My week, from Age Concern to anti-semitism.

Returning late from a party I never much wanted to go to, I leap up and down in the middle of the Harrow Road in the hope of flagging down a taxi, but the drivers don’t notice me. Either they’re haring down the fast lane or they’re too preoccupied cursing Uber to one another on their mobile phones. My father drove a black cab, so I have a deep loyalty to them. But there’s nothing like being left stranded in NW10 in the dead of night to make one reconsider one’s options. I just wish Uber wasn’t called Uber.

Just not cricket

Tired and irritable, I spend the next day watching sport on television – snooker, darts, cricket, anything I can find. But I won’t be following the Indian Premier League’s Twenty20 cricket again. It’s greedy, cynical, over-sponsored and naff. Whenever somebody hits a boundary, cheerleaders in cast-off gym kit previously worn by fourth-form Roedean girls wave tinsel mops.

Matches go to the final over where they’re decided in a thrashathon of sixes hit by mercenaries wielding bats as wide as shovels. Why, in that case, don’t both teams just play a final over each and dispense with the previous 19? I can’t wait for the elegant ennui of a five-day Test match.

Stop! Culture police!

I go to the Delacroix exhibition at the National Gallery to shake off the sensation of all-consuming kitsch. Immediately I realise I have always confused Delacroix with someone else but I can’t decide who. Maybe Jacques-Louis David. The show convincingly argues that Delacroix influenced every artist who came after him except Jeff Koons, who in that case must have been influenced by David. It’s turbulent, moody work, some of the best of it, again to my surprise, being religious painting with the religion taken out. Christ’s followers lamenting his death don’t appear to be expecting miracles. This is a man they loved, cruelly executed. The colours are the colours of insupportable grief.

I love the show but wish the curators hadn’t felt they must apologise for Delacroix finding the North Africans he painted “exotic”. Cultural studies jargon screams from the wall. You can hear the lecturer inveighing against the “appropriating colonial gaze” – John Berger and Edward Said taking all the fun out of marvelling at what’s foreign and desirable. I find myself wondering where they’d stand on the Roedean cheer-leaders of Mumbai.

Taking leave of the senses

My wife drags me to a play at Age Concern’s headquarters in Bloomsbury. When I see where she’s taking me I wonder if she plans to leave me there. The play is called Don’t Leave Me Now and is written by Brian Daniels. It is, to keep it simple, about the effects of dementia on the families and lovers of sufferers. I am not, in all honesty, expecting a good time. It is a reading only, the actors sitting in a long line like a board of examiners, and the audience hunched forward in the attitude of the professionally caring.  My wife is a therapist so this is her world.

Here, unlike in my study, an educated empathy prevails and no one is furious. I fear that art is going to get lost in good intention. But the play turns out to be subtly powerful, sympathetic and sharp, sad and funny; and hearing it read engages me as seeing it performed might not have done. Spared the spectacle of actors throwing their bodies around and singing about their dreams against a backdrop painted by a lesser, Les Mis version of Delacroix, you can concentrate on the words. And where dementia is the villain, words are priceless.

Mixing with the proles

In Bloomsbury again the next day for a bank holiday design and craft fair at Mary Ward House. I have a soft spot for craft fairs, having helped run a craft shop once, and I feel a kinship with the designers sitting bored behind their stalls, answering inane questions about kilns and receiving empty compliments. But it’s the venue that steals the show, a lovely Arts and Crafts house, founded in the 1890s by the novelist Mary Ward with the intention of enabling the wealthy and educated to live among the poor and introduce them to the consolations of beauty and knowledge. We’d call that patronising. We’re wrong. It’s a high ideal, to ease the burden of poverty and ignorance and, in Ward’s words, save us from “the darker, coarser temptations of our human road”.

An Oscar-winning argument for Zionism

Speaking of which, I am unable to empty my mind of Ken Livingstone and his apologists as I sit in the cinema and watch the just-released Academy Award-winning Son of Saul, a devastating film about one prisoner’s attempt to hold on to a vestige of humanity in a Nazi death camp. If you think you know of hell from Dante or Michelangelo, think again. The inferno bodied forth in Son of Saul is no theological apportioning of justice or deserts. It is the evisceration of meaning, the negation of every grand illusion about itself mankind has ever harboured. There has been a fashion, lately, to invoke Gaza as proof that the Holocaust is a lesson that Jews failed to learn – as though one cruelty drives out another, as though suffering is forfeit, and as though we, the observers, must choose between horrors.

I defy even Livingstone to watch this film, in which the Jews, once gassed, become “pieces” – Stücke – and not grasp the overwhelming case for a Jewish place of refuge. Zionism pre-dated the camps, and its fulfilment, if we can call it that, came too late for those millions reduced to the grey powder mountains the Sonderkommandos were tasked with sweeping away. It diminishes one’s sympathy for the Palestinian cause not a jot to recognise the arguments, in a world of dehumanising hate, for Zionism. Indeed, not to recognise those arguments is to embrace the moral insentience whose murderous consequence Son of Saul confronts with numbed horror. 

This article first appeared in the 06 April 2016 issue of the New Statesman, The longest hatred