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CC at Social Media Art Camp (SMart CAMP)

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I gave a talk at Social Media Art Camp (SMart CAMP http://socialmediaartcamp.com/) on Creative Commons and how it relates to artists and arts organizations. It was Ustreamed: …

I gave a talk at Social Media Art Camp (SMart CAMP http://socialmediaartcamp.com/) on Creative Commons and how it relates to artists and arts organizations. It was Ustreamed: http://www.ustream.tv/recorded/5261313.

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  • replace with kaytaneys graph
  • replace with kaytaneys graph
  • So – looking at how the CC licences are being used
    According to the latest statistics from the CC website, there are currently about 140million webpages that use a CC licence
    As you can see, almost all of them contain the BY element – that’s because it was made compulsory for all the licences except the public domain licences after the first year, because pretty much everybody was using it anyway
    The majority also, unsurprisingly, choose the non-commercial element
    Interestingly, next most popular is ShareAlike, not noderivatives – this shows that there is still a strong focus on fostering creativity among CC community, and that, rather than trying to lock their material up, people are happy for it to be remixed, as long as the new work is also sharedEven more interesting is how these statistics are changing over time
    Even more interestingly – if you look at how the licences is being used over time, people are gradually moving towards more liberal licences with less restrictions on them
    This movement seems to indicate that as people become more familiar with the licences, they are more comfortable allowing greater use
    This is supported by anecdotal evidence from CC users who, after initially publishing their material under restrictive licences that don’t allow derivatives, often ‘re-release’ their material to allow new works


















































  • Of course this slide deck is CC licensed.

Transcript

  • 1. c www.slideshare.net/janeatcc janepark@creativecommons.org
  • 2. Who we are How we happened What we do
  • 3. by aussiegall
  • 4. Weʼre a 501c3 corporation headquartered in San Francisco with ~30 employees around the world.
  • 5. Creative Commons International
  • 6. Creative Commons International (Weʼre international.)
  • 7. Weʼre a 501c3 corporation headquartered in San Francisco with 30 employees around the world. • Weʼre a nonprofit.
  • 8. Weʼre a 501c3 corporation headquartered in San Francisco with 30 employees around the world. • Weʼre a nonprofit. • We do not offer legal services.
  • 9. Weʼre a 501c3 corporation headquartered in San Francisco with 30 employees around the world. • Weʼre a nonprofit. • We do not offer legal services. We offer free legal and technology tools that allow creators to publish their works on more flexible terms than standard copyright.
  • 10. Weʼre a 501c3 corporation headquartered in San Francisco with 30 employees around the world. • Weʼre a nonprofit. • We do not offer legal services. We offer free legal and technology tools that allow creators to publish their works on more flexible terms than standard copyright. Terms that allow public sharing, reuse, and remix.
  • 11. C Before 1976 • Default was free • U.S. Register of Copyrights • Any work fixed in a tangible medium
  • 12. C Copyright • Law designed to govern creative and expressive works • Encourage creation and promote dissemination
  • 13. C Before the Internet • Creation and dissemination were via the printing press or film reels • When it wasnʼt so easy to make copies
  • 14. C 1976 Copyright Act • Automatic Copyright • Life plus 50 years
  • 15. cba by hyku http://www.flickr.com/photos/hyku/2166224145/
  • 16. C 1998 CTEA Act (“Sonny Bono” or “Mickey Mouse” Act) • Life plus 70 years • 120 years for corporate works
  • 17. cba by ivva http://www.flickr.com/photos/ivva/336209777/
  • 18. cba by ivva http://www.flickr.com/photos/ivva/336209777/
  • 19. It is illegal to copy, distribute, build upon, or remix copyrighted works.
  • 20. Break the law or Donʼt use the Internet
  • 21. C Fair use, or Copyrights Exceptions & Limitations (CEL) • No blanket protection for one kind of use (ie. educational uses) • Rather relies on a host of factors • Can only be determined on a case by case basis, usually in a court of law • Varies drastically by jurisdiction (country to country)
  • 22. A lot of creators want to share, especially globally. = Musicians, ryancr http://flickr.com/photos/ryanr/142455033/ artists, and educators participate in a sharing and remix culture.
  • 23. A lot of creators want to share, especially globally. = Musicians, ryancr http://flickr.com/photos/ryanr/142455033/ artists, and educators participate in a sharing and remix culture.
  • 24. cb by Joi
  • 25. C 2003 - Eldred v. Ashcroft • Challenged Constitutionality of the 1998 Copyright Extension Act • constantly expanding the term undermines the original intent of copyright
  • 26. “To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries.”
  • 27. 7-2
  • 28. cb by Joi Ito
  • 29. c
  • 30. c offers an alternative.
  • 31. For the Global Networked Age http://flickr.com/photos/wwworks/440672445/ b Woodley Wonderworks e
  • 32. A simple, standardized way to grant copyright permissions to your creative work.
  • 33. Step 1: Choose Conditions Attribution Share Alike Non-Commercial No Derivative Works
  • 34. Step 2: Receive a License
  • 35. CC Licenses are built on top of copyright law
  • 36. ✓ CC works within the existing system by allowing movement from “All Rights Reserved” to “Some Rights Reserved”
  • 37. ✓ CC works within the existing system by allowing movement from “All Rights Reserved” to “Some Rights Reserved”
  • 38. ✓ CC works within the existing system by allowing movement from “All Rights Reserved” to “Some Rights Reserved” ✓ CC improves copyright by giving creators a choice about which freedoms to grant and which rights to keep
  • 39. ✓ CC works within the existing system by allowing movement from “All Rights Reserved” to “Some Rights Reserved” ✓ CC improves copyright by giving creators a choice about which freedoms to grant and which rights to keep ✓ CC minimizes transaction costs by granting the public certain permissions beforehand
  • 40. How do I get one?
  • 41. CC licenses are expressed in three different ways: human-readable lawyer-readable legal machine-readable commons deed code metadata <a rel="license" href="http:// creativecommons.org/licenses/by/ 3.0/us/"><img alt="Creative Commons License" style="border-width:0" src="http://i.creativecommons.org/ l/by/3.0/us/88x31.png" /></a><br / >This work is licensed under a <a rel="license" href="http:// creativecommons.org/licenses/by/ 3.0/us/">Creative Commons Attribution 3.0 United States License</a>.
  • 42. 52 Jurisdictions Ported
  • 43. 52 Jurisdictions Ported
  • 44. Licensed Objects via Google & Yahoo!
  • 45. Over 350 million items
  • 46. Over 133 million photos on Flickr alone
  • 47. Who is using CC?
  • 48. Film
  • 49. Music
  • 50. Design
  • 51. Dance
  • 52. Museum
  • 53. “CC allows us to change as we grow and thatʼs very valuable – it means we can take small steps toward larger goals and do so as the institution feels comfortable.”
  • 54. wiki.creativecommons.org/Case_Studies
  • 55. The Sharing Landscape in Culture before CC Permission Culture Copyright Exceptions and Limitations, ie. Fair use Underground or “Guerrilla” sharing
  • 56. The Sharing Landscape in Culture after CC Permission Culture Pre-cleared permissions via CC Copyright Exceptions and Limitations, ie. Fair use Visible sharing Remix culture: a community of creators/organizations/institutions not only sharing, but improving adapting, remixing, innovating
  • 57. Attribute to c with a link to creativecommons.org Creative Commons, ccLearn, the double C in a circle and the open Book in a circle are registered trademarks of Creative Commons in the United States and other countries. Third party marks and brands are the property of their respective holders.