These slides are for a presentation given to the National Digital Forum in November, 2015. The presentation introduces Creative Commons licences and offers three recommendations to heritage institutions on how to make their collections more open.

2. Our goal:
“Universal access to research
and education, full participation
in culture.”

3. More free More restrictive
1
1. Free Licences

4. 2. Projects

5. First point:
It’s becoming much easier to
access New Zealand’s cultural
heritage

7. Second point:
The technical barriers to access
and reuse are dropping

8. Third point:
This means you can't predict who
will do exciting things with your
work

9. Media Text Hack

10. CC Kiwi

11. MIT Reader Stories
“I am in-between post-docs and I am having difficulty
obtaining journal access”
–Post-doc, US
“I don’t have access to many articles due to … sanctions. … I
really appreciate this policy of MIT that helped me a lot.”
– Researcher, Middle East
“For a small, publicly funded …media like the one I direct…
academic knowledge… can be quite time-consuming and
often very expensive.”

12. Fourth point:
Obvious potential to disseminate
heritage items for reuse

13. Getty Museum
Closed:121 Purchases p/m
Open: 60,000 downloads p/m
Claude-Joseph Vernet
(French, 1714 - 1789)
A Calm at a
Mediterranean Port,
1770, The J. Paul
Getty Museum, Los
Angeles

14. Fifth point:
The legal barriers to dissemination
& reuse remain.

15. Copyright Graffiti Sign by Horia Varlan
CC-BY
https://flic.kr/p/7vBD4TCopyright

16. Copyright is very restrictive.
Automatic.
Applies online.
No 'c' required.
Lasts for 50 years after death.

17. Heald, Paul J., How Copyright Makes Books and Music Disappear (and How Secondary Liability Rules
Help Resurrect Old Songs) (July 5, 2013). Illinois Program in Law, Behavior and Social Science Paper
No. LBSS14-07; Illinois Public Law Research Paper No. 13-54. Available at SSRN:
http://ssrn.com/abstract=2290181 or http://dx.doi.org/10.2139/ssrn.2290181

18. Sixth point:
Usage rights statements are often
vague, overly restrictive & not
standardised across the sector

20. Seventh point:
Many heritage institutions feel
tension between kaitiaki and
reuse

21. “Grayson, Westley, Stanislaus County...” via US Nat. Archives
No Known Copyright
https://flic.kr/p/8UAPVTWhat to Do?.

22. Start from the other direction

23. First:
Clearly mark out-of-copyright
works as such.

24. Second:
Use Creative Commons licensing
for works with CC-friendly
donors

25. Add Creative Commons option to
donor/deposit agreements.

27. Third:
Works for which institution holds
copyright: use CC licensing

28. Wait. What is Creative Commons,
anyway?

29. Here's the pitch:
Creative Commons licences are
clear, simple, free, legally robust
and let you keep your copyright.

30. Public Domain
Few Restrictions

31. Public Domain
Few Restrictions
All Rights Reserved
Few Freedoms

32. Public Domain
Few Restrictions
All Rights Reserved
Few Freedoms
Some Rights Reserved
Range of Licence Options

33. Four Licence Elements

34. Attribution

35. Non Commercial

36. No Derivatives

37. Share Alike

38. Six Licences

39. More free More restrictive

40. Layers
Licence symboll
Human readable
Lawyer readable

41. Go to creativecommons.org/choose

42. https://docs.google.com/document/d/1cIW
mV5nCF8o97Nrb8wYZWfQ97FG-
4ylNuXezh2nlBBM/edit

43. Man from the city, 1971, by Jan Nigro. Purchased 1971. Te Papa
(1971-0036-2)
Creative Commons BY-NC-ND 3.0 New Zealand licenceTe Papa

44. Massed troops at a New Zealand Division thanksgiving service, World
War I. Ref: 1/2-013806-G. No known copyright.
http://natlib.govt.nz/records/22684353NLNZ; WW100

45. resources.creativecommons.org.nz
creativecommons.org.nz
nzcommons.org.nz
@cc_aotearoa
matt@creativecommons.org.nz
elizabeth@creativecommons.org.nz
groups.creativecommons.org.nz
(we're also on Loomio)
This work is licensed under a
Creative Commons Attribution 4.0
International License.