Plaintext
CC Newsletter - Issue No. 3
1
2
CC Newsletter - Issue No. 3
MESSAGE
Dear All,
I know the ccNewsletter is a bit early, but I wanted to make sure to highlight some
interesting things that have happened recently before the launch of our 3rd annual
fundraising campaign.
We here at CC thank you for your interest in and support of Creative Commons. We exist
because of you and because of that I welcome any questions, suggestions, or ideas that
you may have about the ccNewsletter content.
All the best, Above: Ito, Joi. “Melissa Reeder.”
CC BY 2.0 http://flickr.com/
Melissa Reeder photos/joi/463728506/
Development Coordinator
Creative Commons
Highlight: As alluded on the left, we are ramping up for
the launch of our 3rd annual online fundraising campaign
which starts Oct. 1st. Look for our new website redesign,
limited edition tshirt, revamped "Lessig Letter" series -- This PDF version of the ccNewsletter was remixed by Creative
subscribe at http://creativecommons.org/about/lessigletter Commons Philippines. The repackaged newsletter is licensed
-- and all the CC competitions and events that you could under http://creativecommons.org/licenses/by/3.0/
hope for.
CONTENTS
gre/16460056/
“shyness is nice” CC BY-SA 2.0 http://www.flickr.com/photos/
of an image derived from the photo of Grevel/Greta PPP.
Backgrounds: Guerrero, Berne. Monochrome adaptation
CC NEWS 10 A report from Science Foo camp (SciFoo)
3 CC File Info panel for Adobe applications
4 Lawsuit Against Virgin Mobile and Creative CC IN BUSINESS
Commons -- FAQ 11 CC, UGC platform integration and customer
5 'Copyright, Fair Use, and the Cultural Commons' acquisition
now on MIT World 12 -Sony uses CC in Blu-ray marketing campaign
6 Report from the Bandwidth Music/Technology -Wiki to books: Wikitravel Press launches
Conference
7 -Dutch Collecting Societies Welcome CC C ONGRATULATIONS , SHOUTOUTS , USE CASES AND
-Unlocking the Potential Through Creative INTERESTING TID-BITS
Commons 13 -C-Shirts, Code, and Music in Japan
8 -LiveContent continues with Fedora and -First CC-licensed Photography Contest in China
Worldlabel.com 14 The $2.2 trillion fair use (U.S.) economy
-CC is hiring a full-time accountant in San Francisco 15 -Internet Archive web-based upload
-Behold: High-Quality Flickr Image Search
SCIENCE COMMONS NEWS 16 60sox - more CC coolness from Australia
9 -A web without science... 18 Jamglue: Remix T. Pain, The Blue Scholars, and R.
- 'Cyberinfrastructure for Knowledge Sharing' Kelly
We rely on our supporters to continue our work enabling stories Creative Commons is sustained by the generous support of
like those listed above. Check it out: various organizations including the John D. and Catherine
T. MacArthur Foundation, the Hewlett Foundation, and the
DONATE Rockefeller Foundation as well as members of the public.
http://support.creativecommons.org/donate
CC STORE
http://support.creativecommons.org/store
CC News
FILE INFO PANEL FOR ADOBE APPLICATIONS
by Asheesh Laroia This file info panel is possible because Adobe published
14 September 2007 an Extensible Metadata Platform (”XMP”) standard as well
http://creativecommons.org/weblog/entry/7648 as Freely-licensed software that implements the platform
in addition to supporting it in their own applications. To
get started displaying CC metadata in the Adobe programs
We’re pleased to announce a user-friendly installer[1] for that support it, simply install our panel[2] (available for
our software to examine Creative Commons licensing both Windows and Mac, the two Adobe-supported
from inside Adobe applications like Photoshop. platforms). If you want to mark a work as licensed under
Furthermore, the licensing metadata that you see in a CC license, simply choose a license[3] and select the
Photoshop is interoperable with other metadata packages option labeled “To mark a PDF or other XMP-supported
in Free Software like Exempi. file, save this template”. Open that with the Adobe
program and your file is marked. We had written about
A week ago I took this picture of our lovely web engineer the panel before;[4] this refresh provides an easy installer
Nathan Kinkade along with our community manager, Jon as well updates it for changes to our metadata namespace.
Phillips. After opening it in Adobe Photoshop and tagging
it with a Creative Commons Attribution 3.0 license, I And remember that this metadata standard is cross-
clicked on “File Info” from the File menu. Here’s what platform. We’ve written before about other people
that looks like: including XMP support in pdflatex,[5] PHP,[6] PDF files,[7]
and Tracker,[8] just to name a few examples of Free
Software support for XMP.
Endnotes
1 http://wiki.creativecommons.org/
Creative_Commons_Panel
2 http://wiki.creativecommons.org/
Creative_Commons_Panel
3 http://creativecommons.org/license
4 http://creativecommons.org/weblog/entry/4007
We’ve always said that the Creative Commons licenses 5 http://creativecommons.org/weblog/entry/4270
come in three forms: lawyer-readable, human-readable, 6 http://creativecommons.org/weblog/entry/6074
and machine-readable. Metadata is the “information about 7 http://creativecommons.org/weblog/entry/7567
8 http://techblog.creativecommons.org/2007/07/10/
information” that allows software to tell you more about
sidecar-xmp-and-license-extractors-in-tracker/
the file you are examining.
Cover: Guerrero, Berne. “Publicity Rights?” CC BY-SA 3.0. Includes images from Grevel/
Greta PPP. “shyness is nice” CC BY-SA 2.0 http://www.flickr.com/photos/gre/16460056/;
ibanda. “Another creative commons 'remix'” CC BY-SA 2.0 http://www.flickr.com/photos/
ibanda/19324960/; burnstation-cordoba. CC BY-SA 2.0 http://www.flickr.com/photos/
burnstation-cordoba/1100301540/ and http://www.flickr.com/photos/burnstation-cordoba/
1099864159/; esenabre/Enric senabre "Creative Commons Remix party" CC BY-SA 2.0
http://www.flickr.com/photos/esenabre/1364711129/; dmcdevit. "Joi Ito at Wikimania" CC
BY-SA 2.0 http://www.flickr.com/photos/dmcdevit/1186753657/; aksi_great "DCP_3293"
CC BY-SA 2.0 http://www.flickr.com/photos/43964938@N00/1096724762/; vlidi
"IMG_0346_w.jpg" CC BY-SA 2.0 http://www.flickr.com/photos/vlidi/1017132608/; bovinity/
alex roberts. "CC Salon - September" CC BY-SA 2.0 http://www.flickr.com/photos/bovinity/
1326389791/ and "CC Stickers" CC BY-SA 2.0 http://www.flickr.com/photos/bovinity/
1327285400/
CC Newsletter - Issue No. 3
3
4
CC Newsletter - Issue No. 3
cc News
LAWSUIT AGAINST VIRGIN MOBILE AND CREATIVE COMMONS
– FAQ
by Mike Linksvayer license” pages within Flickr also link to the Creative
27 September 2007 Commons site which explains, in detail, how the different
http://creativecommons.org/weblog/entry/7680 licenses work. [5]
Is Creative Commons liable?
Many people have asked us for information about the
lawsuit prepared to be filed in Texas against Virgin Mobile No.
and Creative Commons. The plaintiffs of the lawsuit are
the parents of a student whose image in a CC-licensed Do you have any authority for that answer
photograph was used by Virgin Mobile in an advertising beyond your own (some might say self-serving)
campaign and the photographer who took the original views?
picture of the student and posted it on Flickr. We have
prepared the FAQ below, which should answer many of Well, listen to the lawyer who brought this case in his
your questions. We also recommend that you read Creative interview with CNN.[6] At approximately the 2:16 mark of
Commons CEO Lawrence Lessig’s blog post[1] about the the interview, he’s asked how there could be a lawsuit
situation. here given that the photographer’s license authorized
commercial use. “The commercial use has really been
Has Creative Commons been sued? blown out of proportion. It’s really irrelevant to our case,”
he says. “What’s important here is that Alison has a
Yes, Creative Commons has been named as a defendant separate and independent right of privacy.”
in a lawsuit[2] filed in a Texas state district court.
That’s a pretty sensible answer by this lawyer. The lawsuit
So what has Creative Commons been sued for? is also against Virgin Mobile (specifically, Virgin Mobile
USA, LLC and Virgin Mobile PTY Ltd.). The complaint
The complaint alleges that a photographer, Justin Wong, alleges that Virgin Mobile used a photograph of a student
took a picture of a student, Alison Chang, and posted it commercially without getting permission from the student
on to Flickr. The photographer posted the photo under a or her parents. That claim does not involve copyright law,
Creative Commons Attribution license.[3] He selected that it involves the rights of publicity. As we say in our Creative
license from within Flickr, via one of the site’s “Set a Commons licensing FAQ, Creative Commons licenses say
license” pages, which gives all users the option to license nothing about rights of publicity. [7]
their photos under any of CC’s six copyright licenses.
Virgin Mobile in Australia then used the photographer’s In his CNN interview, the photographer’s lawyer did not
picture in an advertisement (that is, commercially). talk about the claim against Creative Commons.
Although the photographer licensed the photo to the public
for commercial use under one of CC’s commercial So then are you happy?
licenses, Virgin’s commercial use of the picture apparently
surprised him. So now he is suing CC, claiming that we Totally unhappy. The photographer in this case alleges
failed “to adequately educate and warn him … of the that he misunderstood our license. Anytime that happens,
meaning of commercial use and the ramifications and we’re not happy. Our aim is to make this copyright stuff
effects of entering into a license allowing such use.” simpler.
Of course, users do not have to license their photos when So what are you going to do?
they use Flickr; CC licensing is a special option within
Flickr for only those users who are specifically looking to We are always looking for ways to improve Creative
grant certain copyright rights to the general public. The Commons licenses, and we will continue to make changes
set of CC license options available within Flickr includes to the licenses when we think we’ve found an improvement
three “noncommercial” licenses, which are clearly that can be made.
marked as such (full page screenshot).[4] The “Set a
CC News
‘COPYRIGHT, FAIR USE, AND THE
C ULTURAL C OMMONS ’ NOW ON
MIT WORLD
Does this lawsuit mean that the Virgins of the by Kaitlin Thaney
world can use my CC-licensed work any way they 10 September 2007
want to? http://creativecommons.org/weblog/entry/7636
http://sciencecommons.org/weblog/archives/2007/09/
We don’t think so. First, if like the majority of CC users 10/copyright-fair-use-cultural-commons/
you chose the “noncommercial restriction” when licensing
your work, no Virgin should want to have anything to do From the Science Commons blog: [1]
with your work without asking you for permission first.
Second, now that this lawsuit has received so much Now up on MIT World,[2] “Copyright, Fair Use, and the
attention, if you’ve released a photo of a person under a Cultural Commons.”[3] The Web cast is from the April 28,
CC license (or under no license at all), you could 2007 panel discussion featuring Creative Commons‘[4]
reasonably expect that no Virgin would consider using own Hal Abelson,[5] William Uricchio[6] (who moderated
that photo commercially without making sure the person the event), Wendy Gordon,[7] Gordon Quinn,[8] and Pat
pictured in the photo is OK with that. Aufderheide. [9]
But there you go again with the word “commercially.” I From the Web site: [10]
thought you (or at least the lawyer suing you) said
“commercial use … is really irrelevant to our case.” “Moderator William Uricchio sets the scene for panelists’
discussion of current copyright wars with a brief historical
That’s true in the sense that this lawsuit is not about whether overview of copyright protection. In 1790, when news
the commercial use of this photograph was a violation of traveled by horse and carriage, copyright protection was
copyright law. But the right of privacy or publicity alleged good for 14 years. Today, when a digital, networked society
to have been violated by Virgin Mobile depends upon the enables instant transmission of data, protection lasts 70-
manner in which the company used the photograph. By plus years. Uricchio notes, “Bizarrely, the faster
using it as they did, commercially, they triggered the information circulates, the longer we’re extending
question as to whether they have violated Ms. Chang’s copyright protection. It seems totally at odds with where
rights of privacy or publicity. our constitution framers and case law emerged from.”
[…]
So did the photographer violate Ms. Chang’s
rights? Hal Abelson [Professor of Computer Science and
Engineering, MIT School of Engineering] offers his sense
We certainly don’t think so. We don’t believe any court of how copyright concerns constrict life at the academy.
should find that Justin Wong had violated Ms. Chang’s MIT, he says, has begun putting fences up around its own
rights simply by posting this photo of her in Flickr, however course materials, including the most basic and central of
it was licensed. Cool (as in using Flickr, and even better, thinkers. For instance, it has limited online, published
using Flickr with CC licenses) can’t be a crime. versions of Aristotle, Pascal and Fermat to students in a
particular course, for a single semester. Huge expense
Endnotes
goes into getting permissions from faculty, and university
1 http://lessig.org/blog/2007/09/ lawyers are so concerned about offending copyright
on_the_texas_suit_against_virg.html holders that they bar reams of material from MIT’s
2 http://lessig.org/blog/complaint.pdf OpenCourseWare site. Abelson believes these fences risk
3 http://creativecommons.org/licenses/by/2.0/ “destroying the university as an intellectual community,”
4 http://mirrors.creativecommons.org/blimg/flickr-default- and recommends using open content (granting Creative
license-pref.png Commons licenses) as much as possible, as well as
5 http://creativecommons.org/licenses/ aggressively exercising fair use.”
6 http://www.cnn.com/video/#/video/us/2007/09/24/
intv.virgin.flickr.lawsuit.cnn MIT World > 17
7 http://wiki.creativecommons.org/
FAQ#When_are_publicity_rights_relevant.3F
CC Newsletter - Issue No. 3
5
6
CC Newsletter - Issue No. 3
CC News
R EPORT FROM THE B ANDWIDTH M USIC /T ECHNOLOGY
CONFERENCE
by Mike Linksvayer think its experience will be any different?” I’m still
11 September 2007 wondering about that.
http://creativecommons.org/weblog/entry/7641
CC Creative Director Eric Steuer was on a later panel
called “Sue Me, Sue You, Sue Everybody!” in which there
A late report on Bandwidth 2007,[1] “The “Music | was a pretty strong consensus that suing fans is a pretty
Technology Conference” held in San Francisco August stupid strategy that also hasn’t worked out well for the
17-18. industry. As previosuly mentioned, the really smart people
are going beyond just not suing fans, but empowering
I moderated “The DRM Panel”, retitled from “Mano-A- fans with CC licenses.
Mano: The DRM Panel”, as it seemed the panelists would
largely be in agreement. This was the case. None of the
panelists were tied to a hard-core anti-DRM position or a
die-hard DRM defense. Most were involved in businesses
that serve as intermediaries between labels and online
distribution.
There was broad agreement that in music, there has been
a seismic shift away from DRM, for entirely pragmatic
reasons — DRM is a pain for consumers, so has driven
some to filesharing, concentration on protection has meant
that the industry has not built services that use technology
to provide value to consumers, leaving the likes of
MySpace and Apple to slowly fill the gap. The DRM Panel
One interesting observation was that the decline in CD
sales is creating an opening for those in the industry who
have been clamoring for a different approach for years.
The alternative would be more circling the wagons with
DRM, but that has already been tried.
There are many smart, progressive people in the music
industry — we’ve seen a number [2] [3] [4] [5] of them
experimenting with using CC licensing as part of their
strategy — but it was cool to hear that they may be finally
gaining the upper hand. There has of course been a ton
of “Music 2.0? innovation happening at the edges for
years, but there’s no reason that shouldn’t kick into a Sue Me, Sue You, Sue Everybody!
Photos by Jason Schultz (http://lawgeek.typepad.com/) under CC
higher gear with the involvement of and non-persecution Attribution-NonCommercial. (http://creativecommons.org/
by the majors. licenses/by-nc/2.0/)
We didn’t discuss this on the panel, but during the pre- Endnotes
panel preparation there seemed to be agreement that
although DRM is on its way out for music, the movie 1 http://www.bandwidthconference.com/schedule.html
industry would stick with DRM for a long time. My question, 2 http://creativecommons.org/weblog/entry/7557
if there had been time, would have been “DRM didn’t 3 http://creativecommons.org/weblog/entry/7603
work for the music industry, so why does the movie industry 4 http://creativecommons.org/weblog/entry/5812
5 http://creativecommons.org/weblog/entry/4488
cc News CC News
D UTCH C OLLECTING S OCIETIES U NLOCKING THE P OTENTIAL
WELCOME CC THROUGH CREATIVE COMMONS
by Melissa Reeder by Mike Linksvayer
23 August 2007 27 August 2007
http://creativecommons.org/weblog/entry/7622 http://creativecommons.org/weblog/entry/7626
From Paul Keller[1] - CC Netherlands[2] Project Lead: Creative Commons Australia has just published an amazing
65 page report [1]on the use and potential of CC licenses
On August 23, 2007, Dutch collecting societies in various sectors of the Australian economy, government,
Buma and Stemra and Creative Commons and media.
Netherlands launched a pilot project[3] that seeks
to provide Dutch musicians with more In November 2006, the Australian Research Council
opportunities to promote their own repertoire. Centre of Excellence for Creative Industries and
This project enables members of Buma/Stemra[4] Innovation[2] (CCi), in conjunction with the Queensland
to use the 3 non-commercial CC licenses for University of Technology,[3] hosted the CCau Industry
non-commercial distribution of their works. It also Forum, a research-focused industry engagement event.
allows Dutch composers and lyricists who already The event was run by the CCi ccClinic[4] and CC + OCL
use the CC NonCommercial license to join Research projects,[5] and aimed to evaluate understanding
Buma/Stemra and have them collect their of and attitudes towards copyright, OCL and CC in
royalties for commercial use of their works. Australia. The Forum focused on the government,
education and the creative industries sectors.
Before now Dutch authors have not been able to
make their work available online under the CC Unlocking the Potential Through Creative Commons: An
NC license while at the same time having Buma/ Industry Engagement and Action Agenda evaluates and
Stemra collect their royalties for commercial use responds to the outcomes of this Forum and presents a
of those works. The Netherlands is the first country strategy for continued research into Creative Commons
to bring such a collaboration between a music in Australia.
copyright organization and Creative Commons,
a move applauded by Lawrence Lessig, the Please download the report at http://
founder and chairman of Creative Commons creativecommons.org.au/materials/report_FINAL.pdf.
International, as “the first step towards more
freedom of choice in the field of exploiting music The report is of course licensed under CC Attribution 2.5
works in the digital world.” Australia.[6]
The press release by Creative Commons Netherlands Endnotes
and Buma Stemra can be found at http://
w w w. c r e a t i v e c o m m o n s . n l / b u m a p i l o t / 1 http://creativecommons.org.au/unlockingthepotential
070823persbericht_en_web.pdf. And for more 2 http://www.cci.edu.au/
3 http://www.qut.edu.au/
information about what’s going on in the Netherlands
4 http://www.cci.edu.au/ccc
check out CC Netherlands website.[5] 5 http://www.cci.edu.au/ccr
6 http://creativecommons.org/licenses/by/2.5/au/
Endnotes
1 http://www.kennisland.nl/nl/mensen/paul/index.html
2 http://www.creativecommons.nl/
3 http://creativecommons.nl/2007/08/23/cc-nl-start-pilot-
flexibel-rechtenbeheer-samen-met-bumastemra/
4 http://www.bumastemra.nl/
5 http://www.creativecommons.nl/
CC Newsletter - Issue No. 3
7
8
CC Newsletter - Issue No. 3
CC News CC News
LIVE C ONTENT CONTINUES WITH FUN WITH NUMBERS
FEDORA AND WORLDLABEL.COM
by Timothy Vollmer by Jennifer Yip
17 September 2007 26 September 2007
http://creativecommons.org/weblog/entry/7652 http://creativecommons.org/weblog/entry/7678
Creative Commons is searching for a full-time accountant[1]
to join our team in San Francisco. Please send along
anyone who may fit the job description and would be
interested in working at our office. We welcome applicants
from the Bay area and beyond to apply by emailing
materials to me[2] or via fax (415.278.9419).
Endnotes
1 http://creativecommons.org/about/opportunities/
tvol/Timothy Vollmer. "Creative Commons & Fedora @ #accountant
LinuxWorld 2007" CC BY 2.0 http://www.flickr.com/photos/ 2 mailto:jennifer@creativecommons.org
sixteenmilesofstring/1042943994/
The LiveContent[1] project lives on at Creative Commons.
Over the summer, Creative Commons teamed up with
Fedora [2]and Worldlabel.com[3] to build a LiveCD[4] that
runs open source software and showcases Creative
Commons and other open content. The first iteration of
the project was[5] released[6] at the LinuxWorld Expo in
San Francisco, with the help of many hardworking interns
and the CC community.
In the coming weeks we’re aiming to release version 2.0[7]
of LiveContent, for distribution to libraries, with more free
and open content, documentation and demos of Creative
Commons and open content movement, and some
concrete examples of how users can create and share
more open content with the free, open source tools
tvol/Timothy Vollmer. "creative commons office sf" CC BY 2.0
provided on the disc. http://www.flickr.com/photos/sixteenmilesofstring/536156367/
Please check it out and continue to champion the project
with creative ideas, suggestions, and technical support!
Endnotes
1 http://creativecommons.org/project/livecontent
2 http://fedoraproject.org/
3 http://www.worldlabel.com/
4 http://en.wikipedia.org/wiki/LiveDistro
5 http://flickr.com/photos/creativecommons/sets/
72157601470288199/
6 http://flickr.com/photos/sixteenmilesofstring/sets/
72157601288073551/
7 http://wiki.creativecommons.org/LiveContent_2_0
Science Commons News Science Commons News
A WEB WITHOUT SCIENCE … ‘C YBERINFRASTRUCTURE FOR
KNOWLEDGE SHARING’
by Kaitlin Thaney by Kaitlin Thaney
4 September 2007 21 August 2007
http://creativecommons.org/weblog/entry/7631 http://creativecommons.org/weblog/entry/7620
From the Science Commons blog:[1] In Science Commons news: [1]
James Boyle’s[2] latest column in The Financial Times[3] - Check out the latest issue of CTWatch Quarterly[2] for an
“The irony of a web without science”[4] - examines how article by John Wilbanks. [3] The article,
the lessons learned from the world wide web can and “Cyberinfrastructure for Knowledge Sharing”, [4] explores
should be applied to the sciences. From research funding the reasons behind the inefficiencies in knowledge sharing,
to commercial publishing, Boyle posits that the capabilities and what role Science Commons’ efforts[5] play in this
made available through the advent of the Web and its debate.
design are not adequately being applied to scientific
research. The issue, “The Coming Revolution in Scholarly
Communication & Cyberinfrastructure”[6] was guest edited
Boyle writes: by Lee Dirks and Tony Hey of Microsoft Corporation. Also
in this issue are pieces by Clifford Lynch[7] (CNI),[8] Timo
“The greatest irony, though, is this. The world Hannay[9] (Nature Publishing Group),[10] Peter Suber,[11]
wide web was designed in a scientific laboratory and many others. For a complete list of this issue’s
to facilitate access to scientific knowledge. In every contents, visit CTWatch’s Web site.[12] All articles are OA-
other area of life - commerce, social networking, related, and well worth a read.
pornography - it has been a smashing success.
But in the world of science itself? With the virtues Endnotes
of an open web all around us, we have
proceeded to build an endless set of walled 1 http://sciencecommons.org/weblog/archives/2007/08/
gardens, something that looks a lot like 21/cyberinfrastructure-knowledge-sharing-ctwatch/
2 http://www.ctwatch.org/quarterly/
Compuserv or Minitel and very little like a world
3 http://sciencecommons.org/about/whoweare/wilbanks/
wide web for science.” 4 http://www.ctwatch.org/quarterly/articles/2007/08/
cyberinfrastructure-for-knowledge-sharing/
The article notes a key element of Science Commons 5 http://sciencecommons.org/projects/
philosophy - the almost-mythical “e-research” world, 6 http://www.ctwatch.org/quarterly/
where collaboration is the norm and we design our 7 http://www.ctwatch.org/quarterly/articles/2007/08/the-
systems for the network. Meaningful e-research is going shape-of-the-scientific-article-in-the-developing-
to require a fundamental redefinition of infrastructure. cyberinfrastructure/
Infrastructure is more than just ethernet and fiberoptic 8 http://ww.cni.org/
9 http://www.ctwatch.org/quarterly/articles/2007/08/web-
cable. Content is part of the infrastructure, too, and likely
20-in-science/
the underlying ICT infrastructure content needs to be open 10 http://www.nature.com/
by default and governed by open, standard protocols. 11 http://www.ctwatch.org/quarterly/articles/2007/08/
We won’t get to the e-research future any other way. trends-favoring-open-access/
12 http://www.ctwatch.org/quarterly/
Please see the Neurocommons pages[5] for a sense of
what an e-research project looks like. If only we had as
much access to the literature online as we do to digital
data …
Web without science > 17
CC Newsletter - Issue No. 3
9
10
CC Newsletter - Issue No. 3
Science Commons News
A REPORT FROM SCIENCE FOO CAMP (SCIFOO)
by Kaitlin Thaney scifoo_day_two_good_morning_mashup). The first
9 August 2007 half of the session was spent rehashing the current
http://creativecommons.org/weblog/entry/7608 state and frustrations with publishing, breeding a
http://sciencecommons.org/weblog/archives/2007/08/ culture of fear and anxiety. (for more, see Alex
09/a-report-from-science-foo-camp/ Palazzo [13] notes, at http://scienceblogs.com/
transcript/2007/08/scifoo_day_2_dinner.php.) Fear
I recently attended the second annual Science Foo of not getting published, tenure concerns, and more
Camp,[1] co-sponsored by O’Reilly[2] and Nature.[3] See of the “publish or perish mentality”.
my entry on the Science Commons blog[4] for a more in
depth look at the discussion surrounding Open Science. 3. A follow-up session born out of “Open Science 2.0”
looked at these issues from the perspective and
And, once again, many thanks to those from O’Reilly and relating to young scientists (led by Andrew
Nature for putting together such a spectacular event, and Walkingshaw and Alex Palazzo. Notes at http://
Google[5] for hosting us. wwmm.ch.cam.ac.uk/blogs/walkingshaw/, http://
scienceblogs.com/transcript/2007/08/
A report from Science Foo camp,[6] held this past weekend scifoo_day_2_dinner.php and http://
(Aug. 3-5) at the Googleplex.[7] wwmm.ch.cam.ac.uk/blogs/murrayrust/?p=467.)
Though I sadly had to miss the session, I was able to
SciFoo[8] is an O’Reilly[9]-Nature[10] event. Over 200 catch up with Andrew later that day, as well as read
leading scientists, science fiction writers, technologists, and write-ups after the fact. Alex brought up a good point
an assortment of others are invited to the Googleplex,[11] in that unless a general consensus comes from all of
making this a truly cross-disciplinary and engaging event. the players (publishers, funders, academics, etc.),
Although there were numerous topics discussed, Open junior scientists are less likely to participate in new
Science was a key theme. A few interesting points on the 2.0-esque and exploratory methods of scientific
topic: communication. Too much of a risk exists that could
have lasting effects on the young scientists’ careers.
1. There was an overwhelming consensus that a
problem exists with the current way science is 4. A good amount of attention was paid to recent
communicated, be it in respect to publishing and technological advances, especially social networking,
journals, or in communication between scientists. And blogs, wiki-science and so forth. A session on social-
with the growing interest and attention given to “Web networking and nature, led by Josh Knauer[14] and
2.0” and all that comes with, many believe that those John Durant,[15] looked into how to best take
developments are part of the big push to change advantages of these applications and what, if any,
how this is done. (“this” being the problems specified place they had in the future of science on the Web.
above, briefly touched upon for sake of time.)
This is only the tip of the iceberg, when it comes to what
2. More than one session looked into the reasons behind can be written in the days following SciFoo. To follow the
the apprehension existing in the community preventing other chatter from the science blogging community, you
the full adoption of current advances of the Web by can visit http://www.lexical.org.uk/planetscifoo/, graciously
scientists. There was also a lot of discussion about the set up to aggregate participants’ blogs.
further exploration of innovate modes of scientific
collaboration. Endnotes
This topic was first visited in a session entitled “Open 1 http://www.nature.com/nature/meetings/scifoo/
index.html
Science 2.0” on Saturday morning. (for an in-depth
2 http://oreilly.com/
look at that session, see Duncan Hull’s[12] recap at
http://www. n o d a l p o i n t . o r g / 2 0 0 7 / 0 8 / 0 6 / Science FooCamp > 17
CC in Business
CC, UGC PL ATFORM INTEGRATION AND CUSTOMER
ACQUISITION
by Mike Linksvayer
19 September 2007
http://creativecommons.org/weblog/entry/7662
Denise Howell writing at ZDNet has a nice report on IP Somewhat less obviously, CC integration is a cheap
and the user generated economy at TechCrunch40[1] customer acquisition strategy, if done thoroughly —
about new collaboration services that have affordances meaning CC licenses are exposed in a machine-readable
for CC licenses, and some that should: way in HTML, feeds, and custom APIs — i.e., integrated
into the platform, not merely the site. My favorite example
The clips forming the foundation of musicshake of this is web-based office software Thinkfree’s integration
creations are all licensed, and the company plans with Flickr’s CC search.[6] A small organization in Anytown,
to let users sell their creations, keeping some of Anywhere that merely wants to cut costs (mostly by having
the proceeds themselves and kicking some to to not maintain local IT infrastructure — they could save
those providing the clips on which the finished on MS Office licensing by using OpenOffice) starts using
work is built. It would be nice to see musicshake ThinkFree. Someone wants to add a picture to a document,
include Creative Commons[2] licensing, but there and it is very natural to use Flickr’s CC search embedded
was no mention of this today. Two companies in ThinkFree to do so. This user is very likely to come
who either are or are contemplating offering away satisfied with a great picture for their document,
Creative Commons licensing are docstoc [3] and given the 47 million licensed photos on Flickr. Not only is
AOL’s BlueString (mentioned above). docstoc, it likely this user has just been introduced to Flickr, they’ve
which blends document storage with sharing and been introduced in a very powerful way, which would be
social networking, bakes in Creative Commons almost impossible to reproduce with a marketing budget
licensing à la Flickr,[4] and BlueString’s terms[5] of any size.
advise users that they “may” have the option to
apply a Creative Commons license to what they Now Flickr (owned by Yahoo!) presumably does have a
put on the site. pretty big budget, and it is already very well known, at
least among the digerati (others are more likely to be
Good (probably) for docstoc and BlueString. For others, using a far less cool photo sharing site). A new service
it seems crazy to not build in the option of CC licensing probably has next to no marketing budget and is unknown
from the beginning (yes, I am biased). First, CC licensing to everyone by definition, making this story even more
assures “users” (really the creators who make such sites compelling.
valuable) that the site is not an attempt to turn the creators
into sharecroppers. Second, there are real legal issues The need for web sites to have “open” APIs has clicked
around UGC, especially collaboratively created media, with the masses (of digerati anyway) this year. Hopefully
that CC licenses help to address — and these licenses this helps make clear why CC licensing of user created
have been deployed for nearly five years, and benefit and collaborative content is an important part of such an
from many thousands of hours of international copyright “open” strategy.
expertise and community input. Third, unless the new
service intends to be a monopoly host for its content type Endnotes
(dream on), it makes sense to facilitate the flow of content
among services — may the best host win, and if a new 1 http://blogs.zdnet.com/Howell/?p=186
service isn’t better on some angle than existing ones, why 2 http://creativecommons.org/
3 http://www.docstoc.com/
bother? Fourth, there is no other way to give users access
4 http://www.flickr.com/creativecommons/
to tens of millions of photos and hundreds of thousands of 5 http://www.bluestring.com/terms.jsp
audio and video tracks to build upon legally — and allow 6 http://creativecommons.org/weblog/entry/5990
users to actually use their collaborative creations legally
outside of your silo, perhaps even inside it.
CC Newsletter - Issue No. 3
11
12
CC Newsletter - Issue No. 3
CC in Business CC in Business
S ONY USES CC IN B LU - RAY WIKI TO BOOKS: WIKITRAVEL PRESS
MARKETING CAMPAIGN LAUNCHES
by Mike Linksvayer by Mike Linksvayer
3 September 2007 3 August 2007
http://creativecommons.org/weblog/entry/7630 http://creativecommons.org/weblog/entry/7596
Sony Europe is releasing[1] marketing assets for its Blu- Wikitravel Press has launched[1] to produce printed books
ray Disc format under a Creative Commons Attribution- based on the pioneering CC BY-SA[2] licensed collaborative
NonCommercial-ShareAlike[2] license as an integral part travel site Wikitravel.[3] From the announcement:
of its campaign: [3]
Wikitravel Press is owned and operated by Jani
“By creating assets available exclusively online Patokallio, a long-time Wikitravel community
and licensing them under Creative Commons, leader and travel writer, and Evan Prodromou
we are encouraging increased interaction and Michele Ann Jenkins, the site founders. Books
between Sony and our target audience,” says will be sold at competitive prices (typically
James Kennedy, General Manager for US$10-20 plus shipping and other fees), initially
Communications Europe at Sony. through the Web and later through other
channels. The books will use the same Creative
… Commons license as Wikitravel Web pages, so
they can be copied and reused freely.
Leo Ryan, director at RMM explains the strategy
behind the campaign, “Previous work with Sony Wikitravel Press will ship its first guidebooks in
BRAVIA proves that amazing digital content can Fall 2007. The initial titles will be in English,
provoke online buzz around a campaign on its with other Wikitravel languages launched soon
own. However, we believe that it’s essential to after. Wikitravel Press will also provide “ad hoc”
use online PR and social media relations to amplify books, so travellers can roll their own from their
this buzz. We’re linking strong relationships with choice of destinations.
influential bloggers and social networks, with
natural search optimisation campaigns to ignite Many small steps for travelers, one long-haul flight for
debate, build buzz and drive visits to the website”. peer production. Also check out Evan’s new wiki project[4]–
it would not be bold to predict wine-stained peer-produced
It’s great to see that Sony and the marketing firms behind CC-licensed paper wine guides in a couple years.
this campaign see that “viral” marketing needs to
empower hosts for maximum impact. Endnotes
Endnotes 1 http://wikitravelpress.com/announcement
2 http://creativecommons.org/licenses/by-sa/1.0/
1 http://www.blu-ray.sony-europe.com/info/index.php/ 3 http://wikitravel.org/
archives/13 4 http://creativecommons.org/weblog/entry/7580
2 http://creativecommons.org/licenses/by-nc-sa/3.0/
3 h t t p : / / w w w. u k p r w i r e . c o m / D e t a i l e d /
A d v e r t i s i n g _ M a r k e t i n g /
Sony_Europe_ignites_conversations_on_Blu-
ray_Disc_9538.shtml
Congratulations, shoutouts, use cases, and interesting tidbits
C-SHIRTS, CODE, AND MUSIC IN F IRST CC- LICENSED
JAPAN P HOTOGRAPHY C ONTEST IN
CHINA
by Michelle Thorne by Michelle Thorne
21 September 2007 19 September 2007
http://creativecommons.org/weblog/entry/7666 http://creativecommons.org/weblog/entry/7659
The Creative Commons team in Japan[1] is ablaze with CC in China
activism. At Mozilla 24 in Tokyo[2] this September 15th, Mainland [1] has
the Japanese team invited participants in their workshop[3] partnered with the
to remix FireFox’s[4] squeezeably-cute new mascot online photo-
Foxkeh[5] into over 45 uniquely designed CC-licensed T- s h a r i n g
shirts, a continuation of the successful C-Shirt project [6] community
highlighted at the iSummit 2007 in Dubrovnik. nphoto.net[2] and
one of China’s
They also hosted LiveCoding[7] #4 during the 23:30- largest internet
03:00am stretch of Mozilla 24. With over 100 attendees p o r t a l s ,
and 5 x 20 min. of live & local hacking action, the CC sohu.com, [3] to
team in Japan ushered in daybreak with audience- co-sponsor the first CC-licensed photography contest[4] in
generated Open Content creation and then joined in the China Mainland. The first submissions were received on
streaming of Larry Lessig’s speech on Web n.0. [8] September 1st, 2007, and at the time of this posting,
entries now number around 3,500 and span three major
In other good news, Public Project Lead Dominick Chen[9] categories: society & humanity, nature & landscape, and
reports that mF247,[10] one of Japan’s largest net-labels, portrait.
now offers artists the option of
adding any CC license to their The contest is open to both professional and amateur
work. Domo arigato, Japan! photographers, and as the blog from CC in China
Mainland reports,[5] all entrants will select a localized CC
(Image credits: Mozilla Japan, license for their photos.
Creative Commons Attribution-
NonCommercial 2.1 Japan. Judging will be carried out in two phases, the first
http://creativecommons.org/ consisting of open, online voting ending October 15,
licenses/by-nc/2.1/jp/deed.en followed by a selection by a panel of experts. Awards will
Source: http://www.foxkeh.com/ be presented to the winners on November 3rd at the
downloads/) National Library of China[6] accompanying the opening
of a critically-acclaimed photography exhibition.
Endnotes
Official contest page: http://cc.nphoto.net/
1 http://creativecommons.jp/
2 http://www.mozilla24.com/en-US/programs/tokyo/ Endnotes
3 http://www.flickr.com/photos/hideyuki_emura/
1395985124/in/photostream/ 1 http://cn.creativecommons.org/en/
4 http://www.mozilla.com/en-US/firefox/ 2 http://www.nphoto.net/
5 http://www.foxkeh.com/ 3 http://www.sohu.com/
6 http://icommons.org/articles/too-sexy-for-your-c-shirt 4 http://cc.nphoto.net/
7 http://livecoding.org/ 5 http://cn.creativecommons.org/en/index.php/2007/09/
8 http://www.mozilla24.com/en-US/programs/stanford/ 19/first-cc-licensed-photography-contest-in-china/
g1-1.html 6 http://www.nlc.gov.cn/old/english.htm
9 http://www.tokyoartbeat.com/tablog/entries.en/author/
dominick/
10 http://www.mf247.jp/
CC Newsletter - Issue No. 3
13
14
CC Newsletter - Issue No. 3
Congratulations, shoutouts, use cases, and interesting tidbits
THE $2.2 TRILLION FAIR USE (U.S.) ECONOMY
by Mike Linksvayer While the particular numbers arrived at by the study may
12 September 2007 be challenged (it is the first attempt to quantify the fair
http://creativecommons.org/weblog/entry/7643 use economy in this way and the CCIA is composed of
interested parties), the overall points highlighted above
(emphasis added) are extremely compelling.
The Computer and Communications Industry Association
has released a study[1] claiming that the value added in Given the demonstrated criticality of fair use to the
the United States by industries dependent on fair use is economy and the steady diminishment of fair use, is there
$2.2 trillion dollars annually, or one sixth of the U.S. any reason to believe the current balance is optimal?
economy, apparently[2] almost 70% more than than value Even moreso outside the U.S., where fair dealing[3] and
added by copyright industries, as measured by other recent other exceptions to copyright are less liberal than fair
studies. From the release: use.
“As the United States economy becomes This is one place where Creative Commons comes in.
increasingly knowledge-based, the concept of CC licenses make it easy to grant permissions[4] beyond
fair use can no longer be discussed and the scope of fair use (and without ever restricting fair
legislated in the abstract. It is the very foundation use), shifting the balance by completely voluntary action.
of the digital age and a cornerstone of our This is not lost on leading companies in the fair use
economy,” said Ed Black, President and CEO of economy. For example, at least five CCIA members[5]
CCIA. “Much of the unprecedented economic have provided support for Creative Commons — Google,
growth of the past ten years can actually be Microsoft, Red Hat, Sun, and Yahoo!.
credited to the doctrine of fair use, as the Internet
itself depends on the ability to use content in a Those are huge, important companies, but a fraction of a
limited and nonlicensed manner. To stay on the $2.2 trillion fair use economy, and that’s not counting the
edge of innovation and productivity, we must world outside the U.S. Consider joining[6] these leaders
keep fair use as one of the cornerstones for — your business, or your job, may depend on it.
creativity, innovation and, as today’s study
indicates, an engine for growth for our country” Our annual fall fundraising campaign starts next month,
so keep the above in mind.
The Fair Use exception to U.S. copyright law, as
codified in Section 107 of the U.S. Copyright If your company is or should be interested in contributing
Act of 1976 states, “The fair use of a copyrighted to our corporate commoner giving program, please
work … is not an infringement of copyright.” contact our development coordinator at
Fair use permits a range of activities that are melissa@creativecommons.org.
critical to many high technology businesses such
as search engines and software developers. As Endnotes
the study indicates, however, fair use and related
1 http://www.ccianet.org/artmanager/publish/news/First-
exceptions to copyright are crucial to non- Ever_Economic_Study_Calculates_Dollar_Value_of.shtml
technology industries as well, such as insurance, 2 http://informationweek.com/news/
legal services, and newspaper publishers. The showArticle.jhtml?articleID=201805939
dependence of industries outside the high-tech 3 http://en.wikipedia.org/wiki/Fair_dealing
field illustrates the crucial need for balanced 4 http://creativecommons.org/license/
copyright law. 5 http://www.ccianet.org/members.html
6 http://support.creativecommons.org/
Congratulations, shoutouts, use cases, and interesting tidbits
I NTERNET A RCHIVE WEB - BASED BEHOLD: HIGH-QUALITY FLICKR
UPLOAD IMAGE SEARCH
by Mike Linksvayer by Cameron Parkins
30 August 2007 10 September 2007
http://creativecommons.org/weblog/entry/7629 http://creativecommons.org/weblog/entry/7637
The Internet Archive[1] has been the most important Behold[1] is a phenomenal resource that “attempts to
repository of Creative Commons licensed media since catalogue CC images with quality comparable to that of
Creative Commons launched over 4 1/2 years ago. professional image archives such as Getty Images[2] or
However, their ftp-based upload was a barrier to those Corbis,[3] by using the social structure of Flickr[4] and image
unfamiliar with that pre-web technology and the Internet content analysis”.
Archive’s upload workflow. A small price to pay for
otherwise free access to the repository most likely to make The ultimate aim of Behold is to offer graphic designers
your work available forever–that’s the point. And using and artists access to high quality images that they can
ftp made sense, as the Internet Archive wants to keep the freely use, a goal that is accomplished through the use of
highest quality files possible — that means huge files, CC licences. Very simply, users can define whether or
and web-based upload was not up to that task. not they want their results to be “free to use”, creating an
array of new options that would not have been so
CC wanted to make the Internet Archive more accessible conveniently realized prior.
to artists, so we created ccPublisher,[2] which hid ftp and
most of the workflow complexity, making upload a drag Flickr’s rich repository of open content is not only inspiring
and drop operation. This was imperfect, as it required in terms of the sheer amount of photos available, but
artists to install a desktop application and Creative even more so in terms for its ability to allow interesting
Commons to maintain a cross platform desktop application and innovative resources, such as Behold, to be built.
requiring network access, which takes a lot of work to do Even more promising is the wider[5] trend to incorporate
well across the many versions and configurations of CC-licensing into new content directories as they are built,
Windows, Mac, and Linux in widespread use — and the a movement that can only lead to even greater cultural
developer (Nathan Yergler, now our CTO) could only amenities.
dedicate a fraction of his time to the project.
Endnotes
Through some combination of factors–perhaps more
1 http://photo.beholdsearch.com/search.jsp
robust file upload code in browsers, on the server side,
2 h t t p : / / w w w. g e t t y i m a g e s . c o m / C r e a t i v e /
and wider deployment of broadband — web-based upload
CreativeHome.aspx?country=usa
for fairly large files now works well. So the Internet Archive 3 http://pro.corbis.com/
has rolled out a web-based uploader at archive.org/ 4 http://flickr.com/
create.[3] It doesn’t look all that interesting, but actually is 5 http://wiki.creativecommons.org/Content_Directories
very important — it dramatically lowers the barrier for
artists who want their work to be part of the permanent
record of free culture. Of course choosing a Creative
Commons license is a built-in part of the uploader.
So upload away![4] The Internet Archive still recommends
ftp or ccPublisher for files over 100MB, but that barrier
will fall eventually as well.
Endnotes
1 http://www.archive.org/
2 http://wiki.creativecommons.org/CcPublisher
3 http://www.archive.org/create/
4 http://www.archive.org/create/ CC Newsletter - Issue No. 3
15
16
CC Newsletter - Issue No. 3
Congratulations, shoutouts, use cases, and interesting tidbits
60SOX — MORE CC COOLNESS FROM AUSTRALIA
by Mike Linksvayer Kid Kenobi and Simon Cahill of Sony/BMG.
28 August 2007
http://creativecommons.org/weblog/entry/7627 As an important part of its ethos of sharing as a
http://creativecommons.org.au/node/128 vital part of promotion and creativity, 60Sox
encourages creators to upload their materials
CC Australia has another[1] cool announcement today: under a Creative Commons licence. 60sox’s
comprehensive, flexible and easy to follow
We here at CCAU are always excited to hear upload system places it right up there in the CC
about new concepts designed to help Australian/ best practice stakes. It uses the CC “Attribution–
Kiwi creators get paid for what they do, especially NonCommercial-ShareAlike Australia 2.5”
when CC licences are involved. So we’re very licence as its default upload licence, but gives
happy to call attention to the launch of 60Sox,[2] users the option to use another CC licence, or
a new initiative coming out of the Institute for even all rights reserved if they wish. By doing so,
Creative Industries and Innovation. [3] 60sox actively promotes the exchange of artistic
works in the digital domain and encourages
60Sox is an online network aimed at connecting creative interaction (eg through remixing), but
creative talent with industry professionals. By at the same time retains creators’ freedom to
providing a home to showcase their digital wares, choose their own licensing model to meet their
60sox gives creators the opportunity to generate own preferences.
exposure, make industry contacts, receive
feedback and critical appraisal from peers and The user interface clearly displays and explains
industry DSLs (dead set legends) and…wait for the default licence, which creators can choose
it… get paid for their work! to bypass to the main CC licence generator.
Members can set a default licence for all of their
The site acts as a meeting point for emerging works, and are reminded of this licence and given
creative practitioners and creative professionals the option to change it each time they upload.
by providing members with their own online Further, they can choose a different licence for
gallery, which others can access (particularly individual items and change the licence on a work
employers) to critique their work, monitor industry at any time.
trends and source new talent in a variety of
creative disciplines. 60Sox uses member ratings
to sort material, with the most highly rated items
‘floating’ to the top of the pile. It is also user
moderated, with a ‘dodgy’ button where
members can flag any item that they consider
might have inappropriate or infringing content.
But what sets 60Sox apart from the crowd is the
‘2bobmob’,[4] a forum of industry professionals
who provide constructive feedback and advice
to 60sox members. These professionals have
committed to commenting on a certain number 60sox is proving itself to be innovative in its rights
of works a month, and are able to provide their management of online digital content, and a great
own ratings to boost material to the front page. resource for participants at all levels in the
Although 60Sox has only been online for a few creative industries. So get out there and share!
weeks, the 2bobmob already includes such high-
profile experts as author John Birmingham, DJ 60Sox > 17
5 < MIT World 9 < Web without science
Visit MIT World’s Web site[11] to listen to this wonderful You can read Boyle’s article in its entirety at http://
discussion, as well as to learn more about the forum’s www.ft.com/cms/s/2/39166e30-5a7f-11dc-9bcd-
participants. 0000779fd2ac.html. Boyle is a William Neal Reynolds
professor at Duke Law School,[6] and a co-founder of
Endnotes Science Commons.[7] He also sits on the Creative
Commons[8] board.
1 http://sciencecommons.org/weblog/archives/2007/09/
10/copyright-fair-use-cultural-commons/ Endnotes
2 http://mitworld.mit.edu/
3 http://mitworld.mit.edu/video/469/ 1 http://sciencecommons.org/weblog/archives/2007/09/
4 http://creativecommons.org/ 04/a-web-without-science/
5 http://www-swiss.ai.mit.edu/~hal/hal.html 2 http://www.law.duke.edu/boylesite/
6 http://web.mit.edu/lit/www/faculty/uricchio.html 3 http://www.ft.com/
7 http://www.bu.edu/law/faculty/profiles/bios/full-time/ 4 http://www.ft.com/cms/s/2/39166e30-5a7f-11dc-9bcd-
gordon_w.html 0000779fd2ac.html
8 http://kartemquin.com/about/gordon-quinn 5 http://sciencecommons.org/projects/data/
9 http://www.centerforsocialmedia.org/about/staff/ 6 http://www.law.duke.edu/
aufderheide/ 7 http://sciencecommons.org/
10 http://mitworld.mit.edu/video/469/ 8 http://creativecommons.org/
11 http://mitworld.mit.edu/video/469/
10 < Science FooCamp 16 < 60Sox
3 http://www.nature.com/ article by Emma Carroll and Jessica Coates
4 http://sciencecommons.org/weblog/archives/2007/08/
09/a-report-from-science-foo-camp/ 60sox is a collaboration between the Australian
5 http://en.wikipedia.org/wiki/Googleplex Research Council (ARC), the Queensland
6 http://www.nature.com/nature/meetings/scifoo/ University of Technology (QUT), TAFESA, the
index.html
Queensland Government, the Australian
7 http://en.wikipedia.org/wiki/Googleplex
Interactive Media Industry Association (AIMIA),
8 http://www.nature.com/nature/meetings/scifoo/
index.html the Billy Blue School of Graphic Arts and the
9 http://oreilly.com/ Southbank Institute of Technology
10 http://www.nature.com/
11 http://en.wikipedia.org/wiki/Googleplex Endnotes
12 http://www.cs.man.ac.uk/~hulld/
13 http://scienceblogs.com/transcript/about.php 1 http://creativecommons.org/weblog/entry/7626
14 h t t p : / / w w w. m a y a . c o m / w e b / w h o / b i o s / 2 http://60sox.org.au/
who_bio_knauer.mtml
3 http://www.ici.qut.edu.au/
15 http://web.mit.edu/museum/index.html
4 h t t p : / / 6 0 s o x . o r g . a u /
main.aspx?page=2bobmob%20Who&mode=display
CC Newsletter - Issue No. 3
17
18
CC Newsletter - Issue No. 3
Congratulations, shoutouts, use cases, and interesting tidbits
JAMGLUE: REMIX T. PAIN, THE BLUE SCHOLARS, AND R. KELLY
by Cameron Parkins
7 August 2007
http://creativecommons.org/weblog/entry/7603
Jamglue, [1] an “online
community for creating and
personalizing audio,” has
just launched an amazing
remix contest featuring
“southern soulster” T. Pain[2]
and his song “Bartender”.
“Bartender” is available as
separate instrument tracks,
all of which are released
under a CC BY-NC-SA
license.[3] By utilizing CC
licencing, Jamglue offers its
community an open way to
interact with the culture
around them while
allowsingartists flexibility
over what rights they want
their songs to carry. Users
can upload their final cuts
for prizes and recognition,
the outcome being another great example [4] [5] [6] of a Endnotes
hybrid economy where sharing and commercial interests
exist symbiotically. 1 http://www.jamglue.com/
2 http://www.jamglue.com/contests/tpain
3 http://creativecommons.org/licenses/by-nc-sa/2.5/
Jamglue is holding a similar contest featuring Seattle hip-
4 http://creativecommons.org/weblog/entry/7595
hop duo Blue Scholars‘[7] “Fire for The People” and also 5 http://creativecommons.org/weblog/entry/7571
recently finished a contest around R. Kelly’s “I’m a Flirt”.[8] 6 http://creativecommons.org/weblog/entry/7564
Go and get your remix on. 7 http://www.jamglue.com/contests/bluescholars
8 http://www.jamglue.com/contests/rkelly
About Creative Commons
Creative Commons is a not-for-profit organization, founded in 2001, that promotes the creative re-use of intellectual
and artistic works, whether owned or in the public domain. Through its free copyright licenses, Creative Commons
offers authors, artists, scientists, and educators the choice of a flexible range of protections and freedoms that build
upon the "all rights reserved" concept of traditional copyright to enable a voluntary "some rights reserved" approach.
Creative Commons was built with and is sustained by the generous support of organizations including the Center for
the Public Domain, the Omidyar Network, The Rockefeller Foundation, The John D. and Catherine T. MacArthur
Foundation, and The William and Flora Hewlett Foundation, as well as members of the public.
For more information about Creative Commons, visit http://creativecommons.org.