Use of Creative Commons licences in the Creative sectors - Cheryl Foong

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Presentation on use of Creative Commons (CC) licences in the Creative sectors, and examples of new business models.

Presented at Creative Commons for You, and for Government free public seminar, on Friday 4 November 2011, National Library of Australia, Canberra (http://creativecommons.org.au/cc4youand4gov2011).

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  • http://search.creativecommons.org/
  • http://www.google.ca/advanced_search
  • http://www.google.com/advanced_image_search
  • “Search on Flickr with some magic"
  • http://labs.ideeinc.com/multicolr/
  • http://pool.abc.net.au/projects/building-blocks-re-usable-raw-materials
  • http://pool.abc.net.au/media/about-my-tribe
  • http://www.mosman.nsw.gov.au/events/2704/living-mosman-photography-competition
  • Best Young Entrant (15 and under)http://www.flickr.com/photos/mosmancouncil/5759666895/in/set-72157626806744276
  • http://www.flickr.com/photos/mosmancouncil/5840512889/
  • http://www.flickr.com/photos/mosmancouncil/5841565752/
  • Sources:http://ghosts.nin.com/main/more_info; http://creativecommons.org/weblog/entry/11947; http://wiki.creativecommons.org/Case_Studies/Nine_Inch_Nails_Ghosts_I-IV; http://wiki.creativecommons.org/Case_Studies/Nine_Inch_Nails_The_Slip
  • Digital reproduction and the internet have altered the intellectual property landscape. Where creative content can be recorded in digital form, the cost of reproduction and distribution no longer poses as a substantial cost …. C Foong, “Sharing with Creative Commons: a business model for content creators” (2010) Platform: Journal of Media and Communication 64, http://eprints.qut.edu.au/40800/ (references omitted)E.g. Music does not have to be embodied / encased in a physical cassette or CD – seen less as a commodity / good
  • Essentially, CwF relies on the fact that using an information good that one has created may cause its users seek out a relationship with the creator. The creator then charges for the relationship, not for the information. Consequently, “content as product” gives way to “content as service”.C Foong, “Sharing with Creative Commons: a business model for content creators” (2010) Platform: Journal of Media and Communication 64, http://eprints.qut.edu.au/40800/(citing YochaiBenkler, The Wealth of Networks, Yale University Press, New Haven and London, 2006, p 45)
  • http://wiki.creativecommons.org/Case_Studies/Cory_Doctorow
  • http://magnatune.com/
  • http://magnatune.com/artists/albums/tokyo-tokyoinst/
  • https://magnatune.com/artists/license/project;http://magnatune.com/info/model
  • http://www.jamendo.com/en/creativecommons
  • http://wiki.creativecommons.org/CCPlus
  • http://www.freesound.org/people/thanvannispen/sounds/9432/
  • Full timeline available at http://www.starwreck.com/distribution.php
  • http://www.ironsky.net/site/support/how-to-support/
  • Use of Creative Commons licences in the Creative sectors - Cheryl Foong

    1. 1. Use of CC licences in the Creative sectors Cheryl Foong Creative Commons for You, and for Government National Library of Australia, Canberra 4 November 2011 AUSTRALIA
    2. 2. (1) Finding CC licensed content(2) Constructing a “commons” of CC licensed materials(3) Applying CC licences to your own work
    3. 3. (1) Finding CC licensed content
    4. 4. http://search.creativecommons.org/
    5. 5. http://www.google.ca/advanced_search
    6. 6. http://www.google.com/advanced_image_search
    7. 7. 100 million of 1 billion photos are CC licensed
    8. 8. http://www.zoo-m.com/flickr-storm/
    9. 9. http://labs.ideeinc.com/multicolr/
    10. 10. http://labs.ideeinc.com/multicolr/
    11. 11. http://labs.ideeinc.com/multicolr/
    12. 12. (2) Constructing a “commons” of CC licensed materials
    13. 13. http://pool.abc.net.au/
    14. 14. http://pool.abc.net.au/content/pool-special-conditions-use
    15. 15. http://pool.abc.net.au/projects/building-blocks-re-usable-raw-materials
    16. 16. http://pool.abc.net.au/media/about-my-tribe
    17. 17. http://www.mosman.nsw.gov.au/events/2704/living-mosman-photography-competition
    18. 18. (3) Applying CC licences to your own work
    19. 19. NINE INCH NAILS Generic 2.0 Trent Reznor en vivo desde el Poliedro by Edvill, http://flickr.com/photos/edvill/3129811144
    20. 20. United States 2.0 Ghosts I-Iv (cover) by Nine Inch Nails, http://ghosts.nin.com
    21. 21. 9 tracks free download36 CC-licensed tracks5 payment options United States 2.0 Ghosts I-Iv (cover) by Nine Inch Nails, http://ghosts.nin.com
    22. 22. 9 tracks free download36 CC-licensed tracks5 payment options$300 ultra-deluxe pack2500 units onlysold out in 30 hours $750 000 United States 2.0 Ghosts I-Iv (cover) by Nine Inch Nails, http://ghosts.nin.com
    23. 23. 9 tracks free download36 CC-licensed tracks5 payment options$300 ultra-deluxe pack2500 units onlysold out in 30 hours $750 000in the first weekgrossed United States 2.0 $1.6 million+ Ghosts I-Iv (cover) by Nine Inch Nails, http://ghosts.nin.com
    24. 24. The business modelConnect with Fans (CwF) + Reason to Buy (RtB) = $$$ Mike Masnick, “Trent Reznor and the Formula for Future Music Business Models”, presented at the Midemnet conference on 17 January 2009, available at http://techdirt.com/articles/20090201/1408273588.shtml See further Cheryl Foong, ‘Sharing with Creative Commons : a business model for content creators’ (2010) Platform : Journal of Media and Communication 64- 93, available at http://eprints.qut.edu.au/40800/
    25. 25. Generic 2.0 ‘cd jewel case’ by Creativity103, http://www.flickr.com/photos/creative_stock/3540043003/
    26. 26. Generic 2.0 ‘I Giovani e la Musica’ by Super UbO, http://www.flickr.com/photos/14443853@N07/5362778675
    27. 27. A perspective“Creative Commons doesn’t make people loveyour work in one spread. It gives the tools topeople who love your work in one spread todo something.”“The artist’s enemy is obscurity, not piracy.” - Cory Doctorow
    28. 28. Cory Doctorow• “Most people who download the book don’t end upbuying it, but they wouldn’t have bought it in anyevent, so I haven’t lost any sales, I’ve just won anaudience.• A tiny minority of downloaders treat the free e-book asa substitute for the printed book – those are lost sales.• But a much larger minority treat the e-book as anenticement to buy the printed book. They’re gained sales.As long as gained sales outnumber lost sales, I’m ahead ofthe game.” Cory Doctorow, “Giving it Away”, Forbes, 12 January 2006, ‘’’CCory Doctorow, ‘Giving It Away’, Forbes, 1 December 2006, http://www.forbes.com/2006/11/30/cory-doctorow-copyright-tech-media_cz_cd_books06_1201doctorow.html
    29. 29. • CC BY-NC-SA http://magnatune.com/
    30. 30. http://magnatune.com/artists/albums/tokyo-tokyoinst/
    31. 31. • 50% to artists https://magnatune.com/artists/license/project
    32. 32. http://wiki.creativecommons.org/CCPlus
    33. 33. Children of Men
    34. 34. Star Wreck
    35. 35. Cost 15,000 euros• five unemployed Finnish students• 300+ extras, assistants and supporters• On-location shoots in public places • Private space = “bluescreen studio” was a piece of blue linoleum in the creator’s living room• seven years AUSTRALIA
    36. 36. Star Wreck• debuted online under a CC BY-NC-ND licence (http://www-fi.starwreck.com/download.php)• By the 2nd month, had 2.92 million downloads AUSTRALIA
    37. 37. Earned over 200,000 euros• aired on TV • in Finland, Belgium, and Italy• DVD distribution deals • in Finland, Sweden, Norway, Denmark (by Universal Pictures), Japan, UK and US. • DVD contains extra material unavailable elsewhere (making-off, deleted scenes etc; cf downloading for free and burning a DVD) • Sold over 5000 DVDs, placing it among the top 5 Finnish movies in 2005 AUSTRALIA
    38. 38. business model• Traditionally Theatre/TV  DVD  Free (Piracy) (costs $$) (costs $$) AUSTRALIA
    39. 39. ‘Upside-down’ business model• Traditionally Theatre/TV  DVD  Free (Piracy) (costs $$) (costs $$)• Star Wreck Free (CC)  DVD  TV (+ new production) AUSTRALIA
    40. 40. • More examples of how CC is being used:• http://wiki.creativecommons.org/Case_Studies• Other resources (fact sheets etc.): http://wiki.creativecommons.org/Documentation• On business models, see further Cheryl Foong, “Sharing with Creative Commons: a business model for content creators” (2010) Platform: Journal of Media and Communication 64, available at http://eprints.qut.edu.au/40800/• My publications are available at http://eprints.qut.edu.au/view/person/Foong,_Cheryl.html)

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