Creative Commons Presentation for the July 11, 2007 Yahoo! Creative Talk (PDF format)
Upcoming SlideShare
Loading in...5
×
 

Like this? Share it with your network

Share

Creative Commons Presentation for the July 11, 2007 Yahoo! Creative Talk (PDF format)

on

  • 15,626 views

This presentation about Creative Commons prepared for the Yahoo! Creative Talk on 07/11/07

This presentation about Creative Commons prepared for the Yahoo! Creative Talk on 07/11/07

Statistics

Views

Total Views
15,626
Views on SlideShare
15,610
Embed Views
16

Actions

Likes
2
Downloads
165
Comments
0

4 Embeds 16

http://springboard.uakron.edu 8
http://love4learning.edublogs.org 5
http://www.slideshare.net 2
http://192.168.10.100 1

Accessibility

Upload Details

Uploaded via as Adobe PDF

Usage Rights

CC Attribution License

Report content

Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
  • Full Name Full Name Comment goes here.
    Are you sure you want to
    Your message goes here
    Processing…
Post Comment
Edit your comment

Creative Commons Presentation for the July 11, 2007 Yahoo! Creative Talk (PDF format) Presentation Transcript

  • 1. Creative Commons
  • 2. Creative Commons Reusable Culture
  • 3. Creative Commons Reusable Culture Yahoo! Creative Talks: 07/11/07
  • 4. Commons?
  • 5. Commons? •Resources that are freely accessible to any member of a given community
  • 6. Commons? •Resources that are freely accessible to any member of a given community •Natural resources (air, water, parks)
  • 7. Commons? •Resources that are freely accessible to any member of a given community •Natural resources (air, water, parks) •Cultural resources (creative works, scientific works, public knowledge)
  • 8. Creative Commons
  • 9. Creative Commons • Nonprofit org started in December 2002 to help simplify the development of a pool of free and legal reusable cultural content
  • 10. Creative Commons • Nonprofit org started in December 2002 to help simplify the development of a pool of free and legal reusable cultural content • Provides free tools that let authors, scientists, artists, and educators easily mark their creative work with the freedoms they want it to carry
  • 11. Creative Commons • Nonprofit org started in December 2002 to help simplify the development of a pool of free and legal reusable cultural content • Provides free tools that let authors, scientists, artists, and educators easily mark their creative work with the freedoms they want it to carry • CC offers an alternative to full copyright; lets you easily change your copyright terms from “All Rights Reserved” to “Some Rights Reserved.”
  • 12. Creative Commons • Nonprofit org started in December 2002 to help simplify the development of a pool of free and legal reusable cultural content • Provides free tools that let authors, scientists, artists, and educators easily mark their creative work with the freedoms they want it to carry • CC offers an alternative to full copyright; lets you easily change your copyright terms from “All Rights Reserved” to “Some Rights Reserved.” • Voluntary tools for creating a public good – more freely available cultural resources
  • 13. Why?
  • 14. ©
  • 15. © Copyright
  • 16. Copyright?
  • 17. Copyright? • Law designed to govern creative and expressive works
  • 18. Copyright? • Law designed to govern creative and expressive works • We like copyright!
  • 19. Copyright? • Law designed to govern creative and expressive works • We like copyright! • It encourages creation
  • 20. Copyright? • Law designed to govern creative and expressive works • We like copyright! • It encourages creation • It promotes dissemination
  • 21. Copyright?
  • 22. Copyright? • Applies automatically upon fixation of a creative work to tangible form
  • 23. Copyright? • Applies automatically upon fixation of a creative work to tangible form
  • 24. Copyright?
  • 25. Copyright? • Grants copyright owner a bundle of exclusive rights
  • 26. Copy/Distribute Publicly Perform Publicly Display Build Upon Digitally Distribute
  • 27. If you want to ... Copy/Distribute Publicly Perform Publicly Display Build Upon Digitally Distribute then you need to ASK.
  • 28. So, what’s the problem?
  • 29. So, what’s the problem? • Digital technologies have revolutionized how creative works are made, distributed, and used
  • 30. So, what’s the problem? • Digital technologies have revolutionized how creative works are made, distributed, and used • Digital technologies implicate the right to copy through the sheer nature of how they work
  • 31. So, what’s the problem? • Digital technologies have revolutionized how creative works are made, distributed, and used • Digital technologies implicate the right to copy through the sheer nature of how they work • The potential that digital technologies offer also implicates the right to make derivative works
  • 32. So, what’s the problem?
  • 33. So, what’s the problem? • Sometimes full copyright discourages creation and dissemination, even though the creator may want to encourage these things.
  • 34. So, what’s the problem? • Sometimes full copyright discourages creation and dissemination, even though the creator may want to encourage these things. • It can prohibit people who might benefit from creative work from being able to legally use it.
  • 35. So, what’s the problem? • Sometimes full copyright discourages creation and dissemination, even though the creator may want to encourage these things. • It can prohibit people who might benefit from creative work from being able to legally use it. • What if you want to give up some of your copyright rights and contribute creative work to the commons for sharing and reuse?
  • 36. Creative Commons copyright licenses
  • 37. Provide a legal infrastructure for creators that is both easy to understand and use
  • 38. creativecommons.org
  • 39. creativecommons.org
  • 40. License
  • 41. Three dierent formats
  • 42. From 50footwave.com © ThrowingMusic
  • 43. From 50footwave.com © ThrowingMusic
  • 44. Global
  • 45. Millions of pieces of creative content available to the public for free and legal use under Creative Commons licenses
  • 46. Search
  • 47. Using metadata
  • 48. From yahoo.com © Yahoo! Inc.
  • 49. From google.com © Google
  • 50. Reuse
  • 51. Top graphic from charlierose.com © Charlie Rose Inc. Photo and text from flickr.com/photos/jurvetson © Steve Jurvetson
  • 52. From gifttrap.com © GiftTRAP
  • 53. First court case
  • 54. From flickr.com/photos/adamc1999/ © Adam Curry
  • 55. From flickr.com/photos/adamc1999/ © Adam Curry
  • 56. Page from Weekend, which used Curry’s photos in a way that violated the CC license
  • 57. “In principle, Curry owns the copyright in the four photos, and the photos, by their posting on that website, are subject to the [Creative Commons] License. Therefore Audax should observe the conditions that control the use by third parties of the photos as stated in the License…The claim [...] will therefore be allowed; defendants will be enjoined from publishing all photos that [Curry] has published on www.flickr.com, unless this occurs in accordance with the conditions of the License.” Curry v. Audax, District Court of Amsterdam – March 9, 2006, Interim measure, Case no. 334492 / KG 06-176 SR
  • 58. Creative Commons and Music
  • 59. Music Case Study 1 / Fort Minor Photo © Warner Bros. Records / Machine Shop Recordings
  • 60. Music Case Study 1 / Fort Minor • As part of a CC-sponsored remix contest, Warner Bros. used Creative Commons licenses to license remixable elements of the Fort Minor single “Remember the Name” to the general public for noncommercial purposes.
  • 61. Music Case Study 1 / Fort Minor • Remixers created nearly 600 new versions of “Remember the Name.” These remixes were shared legally with friends and posted on MySpace pages, blogs, etc. These remixes helped build excitement about the song without diluting the commercial value of its original version.
  • 62. Music Case Study 1 / Fort Minor • Fort Minor went on to commercially license the track to TNT to use as the theme for the 2006 NBA playoffs. Additionally, the song became a radio hit and was licensed for use in several TV and film soundtracks, proving that noncommercial public copyright licensing can easily work in tandem with commercial licensing arrangements.
  • 63. Music Case Study 2 / Crammed Discs Photo © Kevin Westenberg / Crammed Discs
  • 64. Music Case Study 2 / Crammed Discs
  • 65. Music Case Study 2 / Crammed Discs • Successful Belgian indie label Crammed Discs decided to release a remix album featuring reworked versions of songs by its most popular artists.
  • 66. Music Case Study 2 / Crammed Discs • Successful Belgian indie label Crammed Discs decided to release a remix album featuring reworked versions of songs by its most popular artists. • Crammed needed them quickly and wanted to avoid the costly process of commissioning them from “big name” producers.
  • 67. Music Case Study 2 / Crammed Discs • Successful Belgian indie label Crammed Discs decided to release a remix album featuring reworked versions of songs by its most popular artists. • Crammed needed them quickly and wanted to avoid the costly process of commissioning them from “big name” producers. • So, Crammed used Creative Commons licenses.
  • 68. Music Case Study 2 / Crammed Discs
  • 69. Music Case Study 2 / Crammed Discs • Crammed published the remixable components of several songs in its catalog under a CC license.
  • 70. Music Case Study 2 / Crammed Discs • Crammed published the remixable components of several songs in its catalog under a CC license. • Over the course of a month, more than 100 submissions were entered by members of the Creative Commons community.
  • 71. Music Case Study 2 / Crammed Discs • Crammed published the remixable components of several songs in its catalog under a CC license. • Over the course of a month, more than 100 submissions were entered by members of the Creative Commons community. • The label was amazed by the results.
  • 72. Music Case Study 2 / Crammed Discs
  • 73. Music Case Study 2 / Crammed Discs • Crammed chose nine remixes and licensed them from their creators for commercial use and is releasing them as a Crammed remix compilation.
  • 74. Music Case Study 2 / Crammed Discs • Crammed chose nine remixes and licensed them from their creators for commercial use and is releasing them as a Crammed remix compilation. • This strategy provided a no-cost way for a small label to acquire quality remixes, and for members of the remix community to profit from their work.
  • 75. Music Case Study 3 / Minus Kelvin From flickr.com/photos/rs © Robin Sloan
  • 76. Music Case Study 3 / Minus Kelvin
  • 77. Music Case Study 3 / Minus Kelvin •High school physics and calculus teacher Minus Kelvin began creating sample- based songs and remixes using tracks from ccMixter as source material.
  • 78. Music Case Study 3 / Minus Kelvin •High school physics and calculus teacher Minus Kelvin began creating sample- based songs and remixes using tracks from ccMixter as source material. •He posted his remixes on ccMixter for other members to hear, review, and mash- up. Pat Chilla, a music contributor for the CW Network found Minus Kelvin's remixes and loved them.
  • 79. Music Case Study 3 / Minus Kelvin •High school physics and calculus teacher Minus Kelvin began creating sample- based songs and remixes using tracks from ccMixter as source material. •He posted his remixes on ccMixter for other members to hear, review, and mash- up. Pat Chilla, a music contributor for the CW Network found Minus Kelvin's remixes and loved them. •Pat signed Minus Kelvin and helped arrange a licensing deal for Minus Kelvin to compose music for America's Next Top Model.
  • 80. Music Case Study 3 / Minus Kelvin •High school physics and calculus teacher Minus Kelvin began creating sample- based songs and remixes using tracks from ccMixter as source material. •He posted his remixes on ccMixter for other members to hear, review, and mash- up. Pat Chilla, a music contributor for the CW Network found Minus Kelvin's remixes and loved them. •Pat signed Minus Kelvin and helped arrange a licensing deal for Minus Kelvin to compose music for America's Next Top Model. •In short, Minus Kelvin used CC’s legal infrastructure to free up his work for people to sharing, use, and remixing. This approach helped him score commercial deals with a label and TV show.
  • 81. Other projects
  • 82. Science Commons
  • 83. From plos.org © PLoS
  • 84. CC Learn
  • 85. From ocw.mit.edu © MIT
  • 86. Some Rights Reserved Except where noted, the contents of this presentation are licensed to the public under the Creative Commons Attribution license. The terms of this license are available at http://creativecommons.org/licenses/by/3.0/.