Students follow a lesson in a biology laboratory at the Roma Tre university (Photo credit: Tizani/AFP/Getty Images)
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Scientists criticise new “open access” journal which limits research-sharing with copyright

Restrictive copyright licenses and expensive submission fees have led to a significant number of scientists to criticise Science Advances, a new journal due to launch next year, for failing to live up to its open access principles.

One hundred and fifteen scientists have signed an open letter to the American Association for the Advancement of Science (AAAS), one of the world’s most prestigious scientific societies and publisher of the journal Science, expressing concerns over the launch of a new scientific journal, Science Advances. The AAAS describes Science Advances as open access, a term used to describe free online access to research for members of the public - but the scientists who have signed the open letter say they are "deeply concerned" with the specifics of its model, claiming it could stifle the sharing of scientific knowledge.

The journal, expected to debut in 2015, asks scientists for up to $5,500 (roughly £3,300) to publish their research. Although most open access journals are supported by charging a similar article processing fee, Science Advances has an additional charge of $1,500 for articles more than ten pages long. Leading open access journals, such as PeerJ, the BMC series and Plos One, do not have such surcharges. Studies in Science Advances will also be published under a Creative Commons license which prohibits sharing by any commercial entity, which critics consider means that the journal is not truly open access.

Jon Tennant, an Earth scientist from Imperial College London and the person who initiated the open letter, said via email:

The $1500 surcharge for going over ten pages is ridiculous. In the digital age it's completely unjustifiable. This might have made sense if Science Advances were a print journal, but it's online only."

The 115 open access advocates propose that page surcharges will negatively impact the progression of academic research. They may encourage researchers to unnecessarily omit important details of their studies, cutting them short to make sure papers make it under the ten-page limit. Although an AAAS spokesperson describes their prices as “competitive with comparable open-access journals”, critics haven't been convinced:

The licensing issue is also controversial, as the use of a non-commercial license like the Creative Commons BY-NC one fails to meet the standards set out by the Budapest Open Access Initiative. Creative Commons licenses work by using copyright legislation - which usually tries to prevent the re-use of creative work - against itself, by explicitly releasing work with a license which states that certain kinds of remixing and sharing are allowed. However, the non-commercial CC license chosen by the AAAS is not used by organisations such as the Research Councils UK and Wellcome Trust, as it isn't seen as compatible with the principles of open access.

Open access should mean the unrestricted, immediate, online availability of scientific research papers. It allows people from around the world, including those who work outside academic institutions, to read and share scientific literature with no paywalls, and the right to freely reuse things like scientific papers without fear of copyright claims. "There is little evidence that non-commercial restrictions provide a benefit to the progress of scholarly research, yet they have significant negative impact, limiting the ability to reuse material for educational purposes and advocacy," the open letter argues. Using CC BY-NC would mean work published in Science Advances couldn't be used by Wikipedia, newspapers or scholarly publishers without permission or payment, for example. The journal will offer scientists the choice of a license without these restrictions, but anyone opting for this more open option will have to pay a further fee of $1,000 (£602). 

On 28 August, the AAAS appeared to respond to the open letter through Paul Jump of the Times Higher Education magazine, after surprise within the scientific community that the organisation had appointed open access sceptic Kent Anderson as its publisher. However, the New Statesman was later informed by Tennant that he had been told by Science Advances' editor-in-chief, Marcia McNutt, that a newly-created FAQ page on the AAAS site was in fact the formal response to the open letter. Tennant wrote:

The response in the form of an FAQ that does not acknowledge the open letter, or address any of the concerns or recommendations we raised in the letter, is breathtakingly rude and dismissive of the community the AAAS purport to serve."

Scientific knowledge is communicated and distributed more effectively when there are no restrictions. Many studies have showed that research papers made available through open access journals are cited more often than those in toll-based journals. The open access movement increases the chances of scientific research being discovered, which can lead to the collaboration of ideas, and the generation of potentially life-changing scientific insights.

"The AAAS should be a shining beacon within the academic world for progression of science," Tennant explains. “If this is their best shot at that, it's an absolute disaster at the start on all levels. What publishers need to remember is that the academic community is not here to serve them - it is the other way around."

(Update: This piece originally stated that all CC licenses have copyleft provisions when only the CC Share-Alike license does, and has been corrected.)

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The second coming of Gordon Ramsay

A star is reborn. 

It would be a lie to say that Gordon Ramsay ever disappeared. The celebrity chef made his television debut in 1997 and went on to star in shows in 1998, 2001, 2004, 2005, 2006, 2007, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, and 2017. There hasn’t been a lull in Ramsay’s career, which has arguably gone from strength to strength. In 2000, he was cooking for Vladimir Putin and Tony Blair – in 2008, he ate the raw heart of a dead puffin.

Left: Gordon Ramsay shaking hands with Vladimir Putin. Right: Gordon Ramsay hugging a puffin (different from the one he ate).

Yet we are, undeniably, in the middle of a Ramsay renaissance. How? How could a man that conquered the last twenty years of cookery-based television have an upsurge in popularity? There are only so many television channels – so many amateur donkey chefs. Wrong. The internet has enabled a Ramsay resurgence, the second act of a play overflowing with blood, sweat, and French onion soup.


We all, of course, know about Gordon’s Twitter account. Although started in 2010, the social media profile hit the headlines in February this year when Ramsay began rating food cooked by the world’s amateur-amateur chefs. But other elements of Ramsay’s internet celebrity are more miraculous and mysterious.

His official YouTube channel uploads, on average, three videos a week. Decades old clips from Kitchen Nightmares accumulate over three million views in as many days. A 15,000 follower-strong Facebook fan page for the show – which premiered in 2007 and ended in 2014 – was set up on 19 June 2017.

Wow, wow, wow, wow. Wow.       

A Google Trends graph showing an April 2017 surge in Ramsay's popularity, after a decline in 2014.                                      

What makes a meme dank? Academics don’t know. What is apparent is that a meme parodying Gordon Ramsay’s fury over missing lamb sauce (first aired on Hell’s Kitchen in 2006) had a dramatic upsurge in popularity in December 2016. This is far from Gordon’s only meme. Image macros featuring the star are captioned with fictitious tirades from the chef, for example: “This fish is so raw… it’s still trying to find Nemo”. A parody clip from The Late Late Show with James Cordon in which Ramsay calls a woman an “idiot sandwich” has been watched nearly five million times on YouTube.

And it is on YouTube where Ramsay memes most thrive. The commenters happily parrot the chef’s most memable moments, from “IT’S RAW” to the more forlorn “fuck me” after the news something is frozen. “HELLO MY NAME IS NINOOOOO!” is an astonishingly popular comment, copied from a clip in which a Kitchen Nightmares participant mocks his brother. If you have not seen it – you should.

But what does all this mean for Ramsay’s career? His YouTube channel and Facebook page are clearly meticulously managed by his team – who respond to popular memes by clipping and cutting new videos of classic Ramsay shows. Although this undoubtedly earns a fortune in ad revenue, Ramsay’s brand has capitalised on his internet fame in more concrete ways. The chef recently voiced Gordon Ramsay Dash, a mobile game by Glu Games Inc in which you can cook with the star and he will berate or praise you for your efforts. Ten bars of gold – which are required to get upgrades and advance in the game – cost 99p.

Can other celebrity chefs learn from Ramsay? A generation will never forgive that twisted, golden piece of meat, Jamie Oliver, for robbing them of their lunch time Turkey Twizzlers. But beyond this, the internet’s love is impossible to game. Any celebrity who tried to generate an online following similar to Ramsay’s would instantly fail. Ramsay’s second coming is so prolific and powerful because it is completely organic. In many ways, the chef is not resposible for it. 

In truth, the Ramsay renaissance only worked because it was - though the chef himself would not want to admit it - completely raw.

Amelia Tait is a technology and digital culture writer at the New Statesman.