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(   Enabling access
    to knowledge
     Andrés Guadamuz
                       )
(   Apologies
                Löki http://www.flickr.com/photos/tyltu/4041895378/
                                                                     )
(   CC in brief
                  )
(   Spectrum of rights
                         )
(   Core elements

    Attribution: Every CC licences allows the world to
                                                         )
    copy and distribute a work provided that the
    licensee credits the creator/licensor.

    The author may include these other elements:

    NonCommercial: licensees can use the work for
    non-commercial purposes.

    No Derivatives: the work cannot be modified.

    ShareAlike: the work can be copied, modified and
    distributed if the author releases the derivative
    under the same licence.
(
BY
        Licences
                   Attribution
                                                                   )
BY-NC              Attribution - Non Commercial


BY-SA              Attribution - Share Alike


BY-ND              Attribution - No Derivatives


BY-NC-SA           Attribution - Non Commercial - Share Alike


BY-NC-ND           Attribution - Non Commercial - No Derivatives
Human-Readable   Lawyer-Readable   Machine-Readable
Commons Deed     Legal Code        Digital Code




(                                  <a rel="license" href="http://
                                   creativecommons.org/licenses/by-sa/
                                   3.0/"><img alt="Creative Commons
                                   License" style="border-width:0"
                                                                         )
                                   src="http://i.creativecommons.org/l/by-
                                   sa/3.0/88x31.png" /></a><br />This
                                   work is licensed under a <a
                                   rel="license" href="http://
                                   creativecommons.org/licenses/by-sa/
                                   3.0/">Creative Commons Attribution-
                                   ShareAlike 3.0 Unported License</a>.
(   Barriers to access
         in GLAM and
             education
                         )
(   Copyright as
    barrier?
               Opensourceway: http://www.flickr.com/photos/opensourceway/4371001458/
                                                                                      )
(   Barriers to access
                                              )
    ⊛   TPMs

    ⊛   Lack of clarity with exceptions and
        limitations

    ⊛   Institutional fear (often justified)

    ⊛   Lack of data / metadata

    ⊛   Standard issues

    ⊛   Orphan works
(   Orphan works
                   curiousart http://www.flickr.com/photos/curiousart/2815049829/
                                                                                   )
(   Trouble with orphan
    works                                             )
    ⊛   Google Books Settlement brought issue to
        the forefront.

    ⊛   Legislating on the topic has been difficult.

    ⊛   Canadian approach seems to be the best
        legislative solution so far.

    ⊛   U.S. proposals have met political
        opposition, orphan work provisions
        removed from UK’s Digital Economy Act.

    ⊛   Technological solutions?
(   CC solutions
                   )
(   Empowering authors
    through licensing
                     Nina Pailey http://www.sitasingstheblues.com
                                                                    )
(   Licensing standard for
    open content             )
(   Adoption growth 2003 -
    2010                     )
(   Learning Resource
    Metadata Initiative
    (LRMI)                                            )
    ⊛   LRMI is a project co-led by the Association
        of Educational Publishers and Creative
        Commons to build a common metadata
        vocabulary for educational resources.

    ⊛   The learning resources framework will be
        designed to work with schema.org

    ⊛   Interoperability with other metadata
        technologies is a priority.
(   Some examples of
    metadata
    ⊛   intendedEndUserRole    ⊛   typicalAgeRange
                                                          )
    ⊛   teachesCompetencies    ⊛   educationLevel

    ⊛   conformsTo             ⊛   interactivityLevel

    ⊛   requiresCompetencies   ⊛   learningResourceType

    ⊛   assessCompetencies     ⊛   topic

    ⊛   educationalUse         ⊛   subject

    ⊛   instructionalMethod    ⊛   license

    ⊛   timeRequired           ⊛   created
(   Public domain mark
                         )
(   CC0
                                                           )
⊛   “2. Waiver. To the greatest extent permitted by, but
    not in contravention of, applicable law, Affirmer
    hereby overtly, fully, permanently, irrevocably and
    unconditionally waives, abandons, and surrenders
    all of Affirmer's Copyright and Related Rights and
    associated claims and causes of action, whether
    now known or unknown (including existing as well
    as future claims and causes of action), in the Work
    [...]”
(   Challenges
                 )
(   Institutional adoption
                                                   )

                        PLoS http://www.plos.org
(   Complexity
                 )
(   Incompatibility
                  Alexandre Dulaunoy http://www.flickr.com/photos/adulau/3011878917/
                                                                                      )
(   Too many standards?
                          )
(   Concluding...
                    )
http://xkcd.com/365/
http://xkcd.com/365/




    (                                                               )
                                      http://creativecommons.org

                                alguadamuz@innovatechnology.net
             Thank you                   @technollama on Twitter

                                        CC Attribution-ShareAlike

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Creative Commons: Enabling Access to Knowledge

  • 1. ( Enabling access to knowledge Andrés Guadamuz )
  • 2. ( Apologies Löki http://www.flickr.com/photos/tyltu/4041895378/ )
  • 3. ( CC in brief )
  • 4. ( Spectrum of rights )
  • 5. ( Core elements Attribution: Every CC licences allows the world to ) copy and distribute a work provided that the licensee credits the creator/licensor. The author may include these other elements: NonCommercial: licensees can use the work for non-commercial purposes. No Derivatives: the work cannot be modified. ShareAlike: the work can be copied, modified and distributed if the author releases the derivative under the same licence.
  • 6. ( BY Licences Attribution ) BY-NC Attribution - Non Commercial BY-SA Attribution - Share Alike BY-ND Attribution - No Derivatives BY-NC-SA Attribution - Non Commercial - Share Alike BY-NC-ND Attribution - Non Commercial - No Derivatives
  • 7. Human-Readable Lawyer-Readable Machine-Readable Commons Deed Legal Code Digital Code ( <a rel="license" href="http:// creativecommons.org/licenses/by-sa/ 3.0/"><img alt="Creative Commons License" style="border-width:0" ) src="http://i.creativecommons.org/l/by- sa/3.0/88x31.png" /></a><br />This work is licensed under a <a rel="license" href="http:// creativecommons.org/licenses/by-sa/ 3.0/">Creative Commons Attribution- ShareAlike 3.0 Unported License</a>.
  • 8. ( Barriers to access in GLAM and education )
  • 9. ( Copyright as barrier? Opensourceway: http://www.flickr.com/photos/opensourceway/4371001458/ )
  • 10. ( Barriers to access ) ⊛ TPMs ⊛ Lack of clarity with exceptions and limitations ⊛ Institutional fear (often justified) ⊛ Lack of data / metadata ⊛ Standard issues ⊛ Orphan works
  • 11. ( Orphan works curiousart http://www.flickr.com/photos/curiousart/2815049829/ )
  • 12. ( Trouble with orphan works ) ⊛ Google Books Settlement brought issue to the forefront. ⊛ Legislating on the topic has been difficult. ⊛ Canadian approach seems to be the best legislative solution so far. ⊛ U.S. proposals have met political opposition, orphan work provisions removed from UK’s Digital Economy Act. ⊛ Technological solutions?
  • 13. ( CC solutions )
  • 14. ( Empowering authors through licensing Nina Pailey http://www.sitasingstheblues.com )
  • 15. ( Licensing standard for open content )
  • 16. ( Adoption growth 2003 - 2010 )
  • 17. ( Learning Resource Metadata Initiative (LRMI) ) ⊛ LRMI is a project co-led by the Association of Educational Publishers and Creative Commons to build a common metadata vocabulary for educational resources. ⊛ The learning resources framework will be designed to work with schema.org ⊛ Interoperability with other metadata technologies is a priority.
  • 18. ( Some examples of metadata ⊛ intendedEndUserRole ⊛ typicalAgeRange ) ⊛ teachesCompetencies ⊛ educationLevel ⊛ conformsTo ⊛ interactivityLevel ⊛ requiresCompetencies ⊛ learningResourceType ⊛ assessCompetencies ⊛ topic ⊛ educationalUse ⊛ subject ⊛ instructionalMethod ⊛ license ⊛ timeRequired ⊛ created
  • 19. ( Public domain mark )
  • 20. ( CC0 ) ⊛ “2. Waiver. To the greatest extent permitted by, but not in contravention of, applicable law, Affirmer hereby overtly, fully, permanently, irrevocably and unconditionally waives, abandons, and surrenders all of Affirmer's Copyright and Related Rights and associated claims and causes of action, whether now known or unknown (including existing as well as future claims and causes of action), in the Work [...]”
  • 21. ( Challenges )
  • 22. ( Institutional adoption ) PLoS http://www.plos.org
  • 23. ( Complexity )
  • 24. ( Incompatibility Alexandre Dulaunoy http://www.flickr.com/photos/adulau/3011878917/ )
  • 25. ( Too many standards? )
  • 26. ( Concluding... )
  • 27. http://xkcd.com/365/ http://xkcd.com/365/ ( ) http://creativecommons.org alguadamuz@innovatechnology.net Thank you @technollama on Twitter CC Attribution-ShareAlike

Editor's Notes

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  23. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  24. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  25. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  26. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  27. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  28. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  29. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  30. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  31. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  32. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  33. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  34. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  35. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  36. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  37. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  38. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  39. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  40. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  41. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  42. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  43. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  44. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  45. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  46. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  47. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  48. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  49. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
  50. I always start with an apology, I&amp;#x2019;m a lapsed Catholic who lived almost 9 years in Scotland, so I always feel happy. I have to start apologising that I will give a brief introduction to CC. I&amp;#x2019;m sure in this knowledgeable audience this is superfluous. I am here representing CC, but I am not an employee, so any mistakes or omissions are my own. \n
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  153. Although there are lots of other areas of interest in creativity, I&amp;#x2019;d like to concentrate in educational areas and memory institutions. This is because the public environment is one of the areas where access matters most, and where public funding has been pushing towards greater access. \n
  154. Although there are lots of other areas of interest in creativity, I&amp;#x2019;d like to concentrate in educational areas and memory institutions. This is because the public environment is one of the areas where access matters most, and where public funding has been pushing towards greater access. \n
  155. Although there are lots of other areas of interest in creativity, I&amp;#x2019;d like to concentrate in educational areas and memory institutions. This is because the public environment is one of the areas where access matters most, and where public funding has been pushing towards greater access. \n
  156. Although there are lots of other areas of interest in creativity, I&amp;#x2019;d like to concentrate in educational areas and memory institutions. This is because the public environment is one of the areas where access matters most, and where public funding has been pushing towards greater access. \n
  157. Although there are lots of other areas of interest in creativity, I&amp;#x2019;d like to concentrate in educational areas and memory institutions. This is because the public environment is one of the areas where access matters most, and where public funding has been pushing towards greater access. \n
  158. Although there are lots of other areas of interest in creativity, I&amp;#x2019;d like to concentrate in educational areas and memory institutions. This is because the public environment is one of the areas where access matters most, and where public funding has been pushing towards greater access. \n
  159. Although there are lots of other areas of interest in creativity, I&amp;#x2019;d like to concentrate in educational areas and memory institutions. This is because the public environment is one of the areas where access matters most, and where public funding has been pushing towards greater access. \n
  160. Although there are lots of other areas of interest in creativity, I&amp;#x2019;d like to concentrate in educational areas and memory institutions. This is because the public environment is one of the areas where access matters most, and where public funding has been pushing towards greater access. \n
  161. Although there are lots of other areas of interest in creativity, I&amp;#x2019;d like to concentrate in educational areas and memory institutions. This is because the public environment is one of the areas where access matters most, and where public funding has been pushing towards greater access. \n
  162. Although there are lots of other areas of interest in creativity, I&amp;#x2019;d like to concentrate in educational areas and memory institutions. This is because the public environment is one of the areas where access matters most, and where public funding has been pushing towards greater access. \n
  163. Although there are lots of other areas of interest in creativity, I&amp;#x2019;d like to concentrate in educational areas and memory institutions. This is because the public environment is one of the areas where access matters most, and where public funding has been pushing towards greater access. \n
  164. Although there are lots of other areas of interest in creativity, I&amp;#x2019;d like to concentrate in educational areas and memory institutions. This is because the public environment is one of the areas where access matters most, and where public funding has been pushing towards greater access. \n
  165. Although there are lots of other areas of interest in creativity, I&amp;#x2019;d like to concentrate in educational areas and memory institutions. This is because the public environment is one of the areas where access matters most, and where public funding has been pushing towards greater access. \n
  166. Although there are lots of other areas of interest in creativity, I&amp;#x2019;d like to concentrate in educational areas and memory institutions. This is because the public environment is one of the areas where access matters most, and where public funding has been pushing towards greater access. \n
  167. Although there are lots of other areas of interest in creativity, I&amp;#x2019;d like to concentrate in educational areas and memory institutions. This is because the public environment is one of the areas where access matters most, and where public funding has been pushing towards greater access. \n
  168. Although there are lots of other areas of interest in creativity, I&amp;#x2019;d like to concentrate in educational areas and memory institutions. This is because the public environment is one of the areas where access matters most, and where public funding has been pushing towards greater access. \n
  169. Although there are lots of other areas of interest in creativity, I&amp;#x2019;d like to concentrate in educational areas and memory institutions. This is because the public environment is one of the areas where access matters most, and where public funding has been pushing towards greater access. \n
  170. Although there are lots of other areas of interest in creativity, I&amp;#x2019;d like to concentrate in educational areas and memory institutions. This is because the public environment is one of the areas where access matters most, and where public funding has been pushing towards greater access. \n
  171. Although there are lots of other areas of interest in creativity, I&amp;#x2019;d like to concentrate in educational areas and memory institutions. This is because the public environment is one of the areas where access matters most, and where public funding has been pushing towards greater access. \n
  172. Although there are lots of other areas of interest in creativity, I&amp;#x2019;d like to concentrate in educational areas and memory institutions. This is because the public environment is one of the areas where access matters most, and where public funding has been pushing towards greater access. \n
  173. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  174. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  175. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  176. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  177. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  178. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  179. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  180. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  181. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  182. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  183. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  184. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  185. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  186. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  187. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  188. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  189. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  190. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  191. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  192. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  193. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  194. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  195. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  196. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  197. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  198. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  199. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
  200. acknowledge and illustrate that copyright is a barrier to access (don&apos;t dwell, everyone knows, yawn) but especially curation and preservation; technical infrastructure is useless without adequate freedom (ie good policy) for people to use infrastructure\n
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  295. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  296. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  297. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  298. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  299. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  300. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  301. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  302. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  303. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  304. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  305. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  306. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  307. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  308. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  309. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  310. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  311. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  312. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  313. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  314. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  315. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  316. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  317. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  318. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  319. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  320. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  321. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  322. We strongly believe that CC is a way to empower authors through copyright. Personally, I strongly believe that by giving users a user-friendly licensing tool, the public becomes more familiar with copyright, and they respect it better. Copyright is not something that happens to nameless corproations and zillionaire artists, it&amp;#x2019;s something that happens to them. \n
  323. CC is becoming a standard for sharing open content. \n
  324. CC is becoming a standard for sharing open content. \n
  325. CC is becoming a standard for sharing open content. \n
  326. CC is becoming a standard for sharing open content. \n
  327. CC is becoming a standard for sharing open content. \n
  328. CC is becoming a standard for sharing open content. \n
  329. CC is becoming a standard for sharing open content. \n
  330. CC is becoming a standard for sharing open content. \n
  331. CC is becoming a standard for sharing open content. \n
  332. CC is becoming a standard for sharing open content. \n
  333. CC is becoming a standard for sharing open content. \n
  334. CC is becoming a standard for sharing open content. \n
  335. CC is becoming a standard for sharing open content. \n
  336. CC is becoming a standard for sharing open content. \n
  337. CC is becoming a standard for sharing open content. \n
  338. CC is becoming a standard for sharing open content. \n
  339. CC is becoming a standard for sharing open content. \n
  340. CC is becoming a standard for sharing open content. \n
  341. CC is becoming a standard for sharing open content. \n
  342. CC is becoming a standard for sharing open content. \n
  343. CC is becoming a standard for sharing open content. \n
  344. CC is becoming a standard for sharing open content. \n
  345. CC is becoming a standard for sharing open content. \n
  346. CC is becoming a standard for sharing open content. \n
  347. CC is becoming a standard for sharing open content. \n
  348. These figures are not 100% accurate as often granularity is hard to measure. E.g. the University of Costa Rica has just released thousands of journal articles under CC licences, but there is only one linkback to the licences\n
  349. These figures are not 100% accurate as often granularity is hard to measure. E.g. the University of Costa Rica has just released thousands of journal articles under CC licences, but there is only one linkback to the licences\n
  350. These figures are not 100% accurate as often granularity is hard to measure. E.g. the University of Costa Rica has just released thousands of journal articles under CC licences, but there is only one linkback to the licences\n
  351. These figures are not 100% accurate as often granularity is hard to measure. E.g. the University of Costa Rica has just released thousands of journal articles under CC licences, but there is only one linkback to the licences\n
  352. These figures are not 100% accurate as often granularity is hard to measure. E.g. the University of Costa Rica has just released thousands of journal articles under CC licences, but there is only one linkback to the licences\n
  353. These figures are not 100% accurate as often granularity is hard to measure. E.g. the University of Costa Rica has just released thousands of journal articles under CC licences, but there is only one linkback to the licences\n
  354. These figures are not 100% accurate as often granularity is hard to measure. E.g. the University of Costa Rica has just released thousands of journal articles under CC licences, but there is only one linkback to the licences\n
  355. These figures are not 100% accurate as often granularity is hard to measure. E.g. the University of Costa Rica has just released thousands of journal articles under CC licences, but there is only one linkback to the licences\n
  356. These figures are not 100% accurate as often granularity is hard to measure. E.g. the University of Costa Rica has just released thousands of journal articles under CC licences, but there is only one linkback to the licences\n
  357. These figures are not 100% accurate as often granularity is hard to measure. E.g. the University of Costa Rica has just released thousands of journal articles under CC licences, but there is only one linkback to the licences\n
  358. These figures are not 100% accurate as often granularity is hard to measure. E.g. the University of Costa Rica has just released thousands of journal articles under CC licences, but there is only one linkback to the licences\n
  359. These figures are not 100% accurate as often granularity is hard to measure. E.g. the University of Costa Rica has just released thousands of journal articles under CC licences, but there is only one linkback to the licences\n
  360. These figures are not 100% accurate as often granularity is hard to measure. E.g. the University of Costa Rica has just released thousands of journal articles under CC licences, but there is only one linkback to the licences\n
  361. These figures are not 100% accurate as often granularity is hard to measure. E.g. the University of Costa Rica has just released thousands of journal articles under CC licences, but there is only one linkback to the licences\n
  362. These figures are not 100% accurate as often granularity is hard to measure. E.g. the University of Costa Rica has just released thousands of journal articles under CC licences, but there is only one linkback to the licences\n
  363. These figures are not 100% accurate as often granularity is hard to measure. E.g. the University of Costa Rica has just released thousands of journal articles under CC licences, but there is only one linkback to the licences\n
  364. These figures are not 100% accurate as often granularity is hard to measure. E.g. the University of Costa Rica has just released thousands of journal articles under CC licences, but there is only one linkback to the licences\n
  365. These figures are not 100% accurate as often granularity is hard to measure. E.g. the University of Costa Rica has just released thousands of journal articles under CC licences, but there is only one linkback to the licences\n
  366. These figures are not 100% accurate as often granularity is hard to measure. E.g. the University of Costa Rica has just released thousands of journal articles under CC licences, but there is only one linkback to the licences\n
  367. These figures are not 100% accurate as often granularity is hard to measure. E.g. the University of Costa Rica has just released thousands of journal articles under CC licences, but there is only one linkback to the licences\n
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  433. Using CC0, you can waive all copyrights and related or neighboring rights that you have over your work, such as your moral rights (to the extent waivable), your publicity or privacy rights, rights you have protecting against unfair competition, and database rights and rights protecting the extraction, dissemination and reuse of data.\n
  434. Using CC0, you can waive all copyrights and related or neighboring rights that you have over your work, such as your moral rights (to the extent waivable), your publicity or privacy rights, rights you have protecting against unfair competition, and database rights and rights protecting the extraction, dissemination and reuse of data.\n
  435. Using CC0, you can waive all copyrights and related or neighboring rights that you have over your work, such as your moral rights (to the extent waivable), your publicity or privacy rights, rights you have protecting against unfair competition, and database rights and rights protecting the extraction, dissemination and reuse of data.\n
  436. Using CC0, you can waive all copyrights and related or neighboring rights that you have over your work, such as your moral rights (to the extent waivable), your publicity or privacy rights, rights you have protecting against unfair competition, and database rights and rights protecting the extraction, dissemination and reuse of data.\n
  437. Using CC0, you can waive all copyrights and related or neighboring rights that you have over your work, such as your moral rights (to the extent waivable), your publicity or privacy rights, rights you have protecting against unfair competition, and database rights and rights protecting the extraction, dissemination and reuse of data.\n
  438. Using CC0, you can waive all copyrights and related or neighboring rights that you have over your work, such as your moral rights (to the extent waivable), your publicity or privacy rights, rights you have protecting against unfair competition, and database rights and rights protecting the extraction, dissemination and reuse of data.\n
  439. Using CC0, you can waive all copyrights and related or neighboring rights that you have over your work, such as your moral rights (to the extent waivable), your publicity or privacy rights, rights you have protecting against unfair competition, and database rights and rights protecting the extraction, dissemination and reuse of data.\n
  440. Using CC0, you can waive all copyrights and related or neighboring rights that you have over your work, such as your moral rights (to the extent waivable), your publicity or privacy rights, rights you have protecting against unfair competition, and database rights and rights protecting the extraction, dissemination and reuse of data.\n
  441. Using CC0, you can waive all copyrights and related or neighboring rights that you have over your work, such as your moral rights (to the extent waivable), your publicity or privacy rights, rights you have protecting against unfair competition, and database rights and rights protecting the extraction, dissemination and reuse of data.\n
  442. Using CC0, you can waive all copyrights and related or neighboring rights that you have over your work, such as your moral rights (to the extent waivable), your publicity or privacy rights, rights you have protecting against unfair competition, and database rights and rights protecting the extraction, dissemination and reuse of data.\n
  443. Using CC0, you can waive all copyrights and related or neighboring rights that you have over your work, such as your moral rights (to the extent waivable), your publicity or privacy rights, rights you have protecting against unfair competition, and database rights and rights protecting the extraction, dissemination and reuse of data.\n
  444. Using CC0, you can waive all copyrights and related or neighboring rights that you have over your work, such as your moral rights (to the extent waivable), your publicity or privacy rights, rights you have protecting against unfair competition, and database rights and rights protecting the extraction, dissemination and reuse of data.\n
  445. Using CC0, you can waive all copyrights and related or neighboring rights that you have over your work, such as your moral rights (to the extent waivable), your publicity or privacy rights, rights you have protecting against unfair competition, and database rights and rights protecting the extraction, dissemination and reuse of data.\n
  446. Using CC0, you can waive all copyrights and related or neighboring rights that you have over your work, such as your moral rights (to the extent waivable), your publicity or privacy rights, rights you have protecting against unfair competition, and database rights and rights protecting the extraction, dissemination and reuse of data.\n
  447. Using CC0, you can waive all copyrights and related or neighboring rights that you have over your work, such as your moral rights (to the extent waivable), your publicity or privacy rights, rights you have protecting against unfair competition, and database rights and rights protecting the extraction, dissemination and reuse of data.\n
  448. Using CC0, you can waive all copyrights and related or neighboring rights that you have over your work, such as your moral rights (to the extent waivable), your publicity or privacy rights, rights you have protecting against unfair competition, and database rights and rights protecting the extraction, dissemination and reuse of data.\n
  449. Using CC0, you can waive all copyrights and related or neighboring rights that you have over your work, such as your moral rights (to the extent waivable), your publicity or privacy rights, rights you have protecting against unfair competition, and database rights and rights protecting the extraction, dissemination and reuse of data.\n
  450. Using CC0, you can waive all copyrights and related or neighboring rights that you have over your work, such as your moral rights (to the extent waivable), your publicity or privacy rights, rights you have protecting against unfair competition, and database rights and rights protecting the extraction, dissemination and reuse of data.\n
  451. Using CC0, you can waive all copyrights and related or neighboring rights that you have over your work, such as your moral rights (to the extent waivable), your publicity or privacy rights, rights you have protecting against unfair competition, and database rights and rights protecting the extraction, dissemination and reuse of data.\n
  452. Using CC0, you can waive all copyrights and related or neighboring rights that you have over your work, such as your moral rights (to the extent waivable), your publicity or privacy rights, rights you have protecting against unfair competition, and database rights and rights protecting the extraction, dissemination and reuse of data.\n
  453. Using CC0, you can waive all copyrights and related or neighboring rights that you have over your work, such as your moral rights (to the extent waivable), your publicity or privacy rights, rights you have protecting against unfair competition, and database rights and rights protecting the extraction, dissemination and reuse of data.\n
  454. Using CC0, you can waive all copyrights and related or neighboring rights that you have over your work, such as your moral rights (to the extent waivable), your publicity or privacy rights, rights you have protecting against unfair competition, and database rights and rights protecting the extraction, dissemination and reuse of data.\n
  455. \n
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  477. This is a very big priority for Creative Commons. We would love governments and international institutions such as WIPO, World Bank, UNESCO, WHO to release public materials and data under CC licences, and we are willing to engage with institutional stakeholders to make this happen. We firmly believe that releasing reports such as the excellent WIPO documents under a permissive licence then its dissemination would be enhanced. \n
  478. This is a very big priority for Creative Commons. We would love governments and international institutions such as WIPO, World Bank, UNESCO, WHO to release public materials and data under CC licences, and we are willing to engage with institutional stakeholders to make this happen. We firmly believe that releasing reports such as the excellent WIPO documents under a permissive licence then its dissemination would be enhanced. \n
  479. This is a very big priority for Creative Commons. We would love governments and international institutions such as WIPO, World Bank, UNESCO, WHO to release public materials and data under CC licences, and we are willing to engage with institutional stakeholders to make this happen. We firmly believe that releasing reports such as the excellent WIPO documents under a permissive licence then its dissemination would be enhanced. \n
  480. This is a very big priority for Creative Commons. We would love governments and international institutions such as WIPO, World Bank, UNESCO, WHO to release public materials and data under CC licences, and we are willing to engage with institutional stakeholders to make this happen. We firmly believe that releasing reports such as the excellent WIPO documents under a permissive licence then its dissemination would be enhanced. \n
  481. This is a very big priority for Creative Commons. We would love governments and international institutions such as WIPO, World Bank, UNESCO, WHO to release public materials and data under CC licences, and we are willing to engage with institutional stakeholders to make this happen. We firmly believe that releasing reports such as the excellent WIPO documents under a permissive licence then its dissemination would be enhanced. \n
  482. This is a very big priority for Creative Commons. We would love governments and international institutions such as WIPO, World Bank, UNESCO, WHO to release public materials and data under CC licences, and we are willing to engage with institutional stakeholders to make this happen. We firmly believe that releasing reports such as the excellent WIPO documents under a permissive licence then its dissemination would be enhanced. \n
  483. This is a very big priority for Creative Commons. We would love governments and international institutions such as WIPO, World Bank, UNESCO, WHO to release public materials and data under CC licences, and we are willing to engage with institutional stakeholders to make this happen. We firmly believe that releasing reports such as the excellent WIPO documents under a permissive licence then its dissemination would be enhanced. \n
  484. This is a very big priority for Creative Commons. We would love governments and international institutions such as WIPO, World Bank, UNESCO, WHO to release public materials and data under CC licences, and we are willing to engage with institutional stakeholders to make this happen. We firmly believe that releasing reports such as the excellent WIPO documents under a permissive licence then its dissemination would be enhanced. \n
  485. This is a very big priority for Creative Commons. We would love governments and international institutions such as WIPO, World Bank, UNESCO, WHO to release public materials and data under CC licences, and we are willing to engage with institutional stakeholders to make this happen. We firmly believe that releasing reports such as the excellent WIPO documents under a permissive licence then its dissemination would be enhanced. \n
  486. This is a very big priority for Creative Commons. We would love governments and international institutions such as WIPO, World Bank, UNESCO, WHO to release public materials and data under CC licences, and we are willing to engage with institutional stakeholders to make this happen. We firmly believe that releasing reports such as the excellent WIPO documents under a permissive licence then its dissemination would be enhanced. \n
  487. This is a very big priority for Creative Commons. We would love governments and international institutions such as WIPO, World Bank, UNESCO, WHO to release public materials and data under CC licences, and we are willing to engage with institutional stakeholders to make this happen. We firmly believe that releasing reports such as the excellent WIPO documents under a permissive licence then its dissemination would be enhanced. \n
  488. This is a very big priority for Creative Commons. We would love governments and international institutions such as WIPO, World Bank, UNESCO, WHO to release public materials and data under CC licences, and we are willing to engage with institutional stakeholders to make this happen. We firmly believe that releasing reports such as the excellent WIPO documents under a permissive licence then its dissemination would be enhanced. \n
  489. This is a very big priority for Creative Commons. We would love governments and international institutions such as WIPO, World Bank, UNESCO, WHO to release public materials and data under CC licences, and we are willing to engage with institutional stakeholders to make this happen. We firmly believe that releasing reports such as the excellent WIPO documents under a permissive licence then its dissemination would be enhanced. \n
  490. This is a very big priority for Creative Commons. We would love governments and international institutions such as WIPO, World Bank, UNESCO, WHO to release public materials and data under CC licences, and we are willing to engage with institutional stakeholders to make this happen. We firmly believe that releasing reports such as the excellent WIPO documents under a permissive licence then its dissemination would be enhanced. \n
  491. This is a very big priority for Creative Commons. We would love governments and international institutions such as WIPO, World Bank, UNESCO, WHO to release public materials and data under CC licences, and we are willing to engage with institutional stakeholders to make this happen. We firmly believe that releasing reports such as the excellent WIPO documents under a permissive licence then its dissemination would be enhanced. \n
  492. This is a very big priority for Creative Commons. We would love governments and international institutions such as WIPO, World Bank, UNESCO, WHO to release public materials and data under CC licences, and we are willing to engage with institutional stakeholders to make this happen. We firmly believe that releasing reports such as the excellent WIPO documents under a permissive licence then its dissemination would be enhanced. \n
  493. This is a very big priority for Creative Commons. We would love governments and international institutions such as WIPO, World Bank, UNESCO, WHO to release public materials and data under CC licences, and we are willing to engage with institutional stakeholders to make this happen. We firmly believe that releasing reports such as the excellent WIPO documents under a permissive licence then its dissemination would be enhanced. \n
  494. This is a very big priority for Creative Commons. We would love governments and international institutions such as WIPO, World Bank, UNESCO, WHO to release public materials and data under CC licences, and we are willing to engage with institutional stakeholders to make this happen. We firmly believe that releasing reports such as the excellent WIPO documents under a permissive licence then its dissemination would be enhanced. \n
  495. This is a very big priority for Creative Commons. We would love governments and international institutions such as WIPO, World Bank, UNESCO, WHO to release public materials and data under CC licences, and we are willing to engage with institutional stakeholders to make this happen. We firmly believe that releasing reports such as the excellent WIPO documents under a permissive licence then its dissemination would be enhanced. \n
  496. This is a very big priority for Creative Commons. We would love governments and international institutions such as WIPO, World Bank, UNESCO, WHO to release public materials and data under CC licences, and we are willing to engage with institutional stakeholders to make this happen. We firmly believe that releasing reports such as the excellent WIPO documents under a permissive licence then its dissemination would be enhanced. \n
  497. There are problems about licence complexity, particularly in works that have long chains of distribution, such as software. Our own research tends to indicated that works in creative industries only get remixed twice, but there is scope for improving the way in which works are shared. \n
  498. There are problems about licence complexity, particularly in works that have long chains of distribution, such as software. Our own research tends to indicated that works in creative industries only get remixed twice, but there is scope for improving the way in which works are shared. \n
  499. There are problems about licence complexity, particularly in works that have long chains of distribution, such as software. Our own research tends to indicated that works in creative industries only get remixed twice, but there is scope for improving the way in which works are shared. \n
  500. There are problems about licence complexity, particularly in works that have long chains of distribution, such as software. Our own research tends to indicated that works in creative industries only get remixed twice, but there is scope for improving the way in which works are shared. \n
  501. There are problems about licence complexity, particularly in works that have long chains of distribution, such as software. Our own research tends to indicated that works in creative industries only get remixed twice, but there is scope for improving the way in which works are shared. \n
  502. There are problems about licence complexity, particularly in works that have long chains of distribution, such as software. Our own research tends to indicated that works in creative industries only get remixed twice, but there is scope for improving the way in which works are shared. \n
  503. There are problems about licence complexity, particularly in works that have long chains of distribution, such as software. Our own research tends to indicated that works in creative industries only get remixed twice, but there is scope for improving the way in which works are shared. \n
  504. There are problems about licence complexity, particularly in works that have long chains of distribution, such as software. Our own research tends to indicated that works in creative industries only get remixed twice, but there is scope for improving the way in which works are shared. \n
  505. There are problems about licence complexity, particularly in works that have long chains of distribution, such as software. Our own research tends to indicated that works in creative industries only get remixed twice, but there is scope for improving the way in which works are shared. \n
  506. There are problems about licence complexity, particularly in works that have long chains of distribution, such as software. Our own research tends to indicated that works in creative industries only get remixed twice, but there is scope for improving the way in which works are shared. \n
  507. There are problems about licence complexity, particularly in works that have long chains of distribution, such as software. Our own research tends to indicated that works in creative industries only get remixed twice, but there is scope for improving the way in which works are shared. \n
  508. There are problems about licence complexity, particularly in works that have long chains of distribution, such as software. Our own research tends to indicated that works in creative industries only get remixed twice, but there is scope for improving the way in which works are shared. \n
  509. There are problems about licence complexity, particularly in works that have long chains of distribution, such as software. Our own research tends to indicated that works in creative industries only get remixed twice, but there is scope for improving the way in which works are shared. \n
  510. There are problems about licence complexity, particularly in works that have long chains of distribution, such as software. Our own research tends to indicated that works in creative industries only get remixed twice, but there is scope for improving the way in which works are shared. \n
  511. There are problems about licence complexity, particularly in works that have long chains of distribution, such as software. Our own research tends to indicated that works in creative industries only get remixed twice, but there is scope for improving the way in which works are shared. \n
  512. There are problems about licence complexity, particularly in works that have long chains of distribution, such as software. Our own research tends to indicated that works in creative industries only get remixed twice, but there is scope for improving the way in which works are shared. \n
  513. There are problems about licence complexity, particularly in works that have long chains of distribution, such as software. Our own research tends to indicated that works in creative industries only get remixed twice, but there is scope for improving the way in which works are shared. \n
  514. There are problems about licence complexity, particularly in works that have long chains of distribution, such as software. Our own research tends to indicated that works in creative industries only get remixed twice, but there is scope for improving the way in which works are shared. \n
  515. There are problems about licence complexity, particularly in works that have long chains of distribution, such as software. Our own research tends to indicated that works in creative industries only get remixed twice, but there is scope for improving the way in which works are shared. \n
  516. There are problems about licence complexity, particularly in works that have long chains of distribution, such as software. Our own research tends to indicated that works in creative industries only get remixed twice, but there is scope for improving the way in which works are shared. \n
  517. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  518. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  519. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  520. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  521. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  522. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  523. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  524. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  525. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  526. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  527. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  528. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  529. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  530. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  531. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  532. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  533. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  534. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  535. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  536. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  537. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  538. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  539. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  540. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  541. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  542. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  543. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  544. This is a big concern for us, as the more licences we have, the more likely there will be incompatibilities between licences. CC is aware of this, and we are working to reduce the number of licences used by the public. \n
  545. Another concern. Creating new standards is well and good, but incompatible standards are problematic. \n
  546. Another concern. Creating new standards is well and good, but incompatible standards are problematic. \n
  547. Another concern. Creating new standards is well and good, but incompatible standards are problematic. \n
  548. Another concern. Creating new standards is well and good, but incompatible standards are problematic. \n
  549. Another concern. Creating new standards is well and good, but incompatible standards are problematic. \n
  550. Another concern. Creating new standards is well and good, but incompatible standards are problematic. \n
  551. Another concern. Creating new standards is well and good, but incompatible standards are problematic. \n
  552. Another concern. Creating new standards is well and good, but incompatible standards are problematic. \n
  553. Another concern. Creating new standards is well and good, but incompatible standards are problematic. \n
  554. Another concern. Creating new standards is well and good, but incompatible standards are problematic. \n
  555. Another concern. Creating new standards is well and good, but incompatible standards are problematic. \n
  556. Another concern. Creating new standards is well and good, but incompatible standards are problematic. \n
  557. Another concern. Creating new standards is well and good, but incompatible standards are problematic. \n
  558. Another concern. Creating new standards is well and good, but incompatible standards are problematic. \n
  559. Another concern. Creating new standards is well and good, but incompatible standards are problematic. \n
  560. Another concern. Creating new standards is well and good, but incompatible standards are problematic. \n
  561. Another concern. Creating new standards is well and good, but incompatible standards are problematic. \n
  562. Another concern. Creating new standards is well and good, but incompatible standards are problematic. \n
  563. Another concern. Creating new standards is well and good, but incompatible standards are problematic. \n
  564. Another concern. Creating new standards is well and good, but incompatible standards are problematic. \n
  565. Another concern. Creating new standards is well and good, but incompatible standards are problematic. \n
  566. Another concern. Creating new standards is well and good, but incompatible standards are problematic. \n
  567. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  568. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  569. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  570. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  571. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  572. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  573. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  574. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  575. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  576. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  577. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  578. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  579. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  580. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  581. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  582. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  583. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  584. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  585. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  586. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  587. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  588. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  589. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  590. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  591. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  592. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  593. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
  594. I have been heartened by some of the talk in the panels I have managed to attend. There seems to be recognition that different approaches are needed. Creative industries, pubic sector and international institutions should not wait to be dragged down screaming to change. CC suggests that other avenues are open, not as competition, but to complement existing models. \n
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