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

3. Creative Commons

4. Creative Commons
Reusable Culture

5. Creative Commons
Reusable Culture
Yahoo! Creative Talks: 07/11/07

7. Commons?

8. Commons?
•Resources that are freely accessible to any member of a given community

9. Commons?
•Resources that are freely accessible to any member of a given community
•Natural resources (air, water, parks)

10. Commons?
•Resources that are freely accessible to any member of a given community
•Natural resources (air, water, parks)
•Cultural resources (creative works, scientific works, public knowledge)

12. Creative Commons

13. Creative Commons
• Nonprofit org started in December 2002 to help simplify the
development of a pool of free and legal reusable cultural content

14. Creative Commons
• Nonprofit org started in December 2002 to help simplify the
development of a pool of free and legal reusable cultural content
• Provides free tools that let authors, scientists, artists, and educators
easily mark their creative work with the freedoms they want it to
carry

15. Creative Commons
• Nonprofit org started in December 2002 to help simplify the
development of a pool of free and legal reusable cultural content
• Provides free tools that let authors, scientists, artists, and educators
easily mark their creative work with the freedoms they want it to
carry
• CC offers an alternative to full copyright; lets you easily change your
copyright terms from “All Rights Reserved” to “Some Rights
Reserved.”

16. Creative Commons
• Nonprofit org started in December 2002 to help simplify the
development of a pool of free and legal reusable cultural content
• Provides free tools that let authors, scientists, artists, and educators
easily mark their creative work with the freedoms they want it to
carry
• CC offers an alternative to full copyright; lets you easily change your
copyright terms from “All Rights Reserved” to “Some Rights
Reserved.”
• Voluntary tools for creating a public good – more freely available
cultural resources

18. Why?

20. ©

21. ©
Copyright

23. Copyright?

24. Copyright?
• Law designed to govern creative and expressive works

25. Copyright?
• Law designed to govern creative and expressive works
• We like copyright!

26. Copyright?
• Law designed to govern creative and expressive works
• We like copyright!
• It encourages creation

27. Copyright?
• Law designed to govern creative and expressive works
• We like copyright!
• It encourages creation
• It promotes dissemination

28. Copyright?

29. Copyright?
• Applies automatically upon fixation of a creative work
to tangible form

30. Copyright?
• Applies automatically upon fixation of a creative work
to tangible form

31. Copyright?

32. Copyright?
• Grants copyright owner a bundle of exclusive rights

47. Copy/Distribute Publicly Perform Publicly Display Build Upon Digitally Distribute

48. If you want to ...
Copy/Distribute Publicly Perform Publicly Display Build Upon Digitally Distribute
then you need to ASK.

49. So, what’s the problem?

50. So, what’s the problem?
• Digital technologies have revolutionized how
creative works are made, distributed, and used

51. So, what’s the problem?
• Digital technologies have revolutionized how
creative works are made, distributed, and used
• Digital technologies implicate the right to copy
through the sheer nature of how they work

52. So, what’s the problem?
• Digital technologies have revolutionized how
creative works are made, distributed, and used
• Digital technologies implicate the right to copy
through the sheer nature of how they work
• The potential that digital technologies offer also
implicates the right to make derivative works

53. So, what’s the problem?

54. So, what’s the problem?
• Sometimes full copyright discourages creation and
dissemination, even though the creator may want to
encourage these things.

55. So, what’s the problem?
• Sometimes full copyright discourages creation and
dissemination, even though the creator may want to
encourage these things.
• It can prohibit people who might benefit from
creative work from being able to legally use it.

56. So, what’s the problem?
• Sometimes full copyright discourages creation and
dissemination, even though the creator may want to
encourage these things.
• It can prohibit people who might benefit from
creative work from being able to legally use it.
• What if you want to give up some of your
copyright rights and contribute creative work to
the commons for sharing and reuse?

59. Creative Commons
copyright licenses

65. Provide a legal
infrastructure for creators
that is both easy to
understand and use

67. creativecommons.org

68. creativecommons.org

69. License

71. Three dierent formats

72. From 50footwave.com
© ThrowingMusic

73. From 50footwave.com
© ThrowingMusic

76. Global

80. Millions of pieces of creative
content available to the public
for free and legal use under
Creative Commons licenses

81. Search

82. Using metadata

83. From yahoo.com
© Yahoo! Inc.

84. From google.com
© Google

87. Reuse

88. Top graphic from charlierose.com
© Charlie Rose Inc.
Photo and text from flickr.com/photos/jurvetson
© Steve Jurvetson

89. From gifttrap.com
© GiftTRAP

90. First court case

91. From flickr.com/photos/adamc1999/
© Adam Curry

92. From flickr.com/photos/adamc1999/
© Adam Curry

93. Page from Weekend, which used
Curry’s photos in a way that violated
the CC license

94. “In principle, Curry owns the copyright in the four photos, and the
photos, by their posting on that website, are subject to the [Creative
Commons] License. Therefore Audax should observe the conditions
that control the use by third parties of the photos as stated in the
License…The claim [...] will therefore be allowed; defendants will be
enjoined from publishing all photos that [Curry] has published on
www.flickr.com, unless this occurs in accordance with the conditions of
the License.”
Curry v. Audax, District Court of Amsterdam – March 9, 2006,
Interim measure, Case no. 334492 / KG 06-176 SR

95. Creative Commons
and Music

96. Music Case Study 1 / Fort Minor
Photo © Warner Bros. Records /
Machine Shop Recordings

97. Music Case Study 1 / Fort Minor
• As part of a CC-sponsored remix contest, Warner Bros. used Creative Commons
licenses to license remixable elements of the Fort Minor single “Remember the Name”
to the general public for noncommercial purposes.

98. Music Case Study 1 / Fort Minor
• Remixers created nearly 600 new versions of “Remember the Name.” These remixes
were shared legally with friends and posted on MySpace pages, blogs, etc. These
remixes helped build excitement about the song without diluting the commercial value of
its original version.

99. Music Case Study 1 / Fort Minor
• Fort Minor went on to commercially license the track to TNT to use as the theme for the
2006 NBA playoffs. Additionally, the song became a radio hit and was licensed for use
in several TV and film soundtracks, proving that noncommercial public copyright
licensing can easily work in tandem with commercial licensing arrangements.

100. Music Case Study 2 / Crammed Discs
Photo © Kevin Westenberg /
Crammed Discs

101. Music Case Study 2 / Crammed Discs

102. Music Case Study 2 / Crammed Discs
• Successful Belgian indie label Crammed Discs decided to release a
remix album featuring reworked versions of songs by its most popular
artists.

103. Music Case Study 2 / Crammed Discs
• Successful Belgian indie label Crammed Discs decided to release a
remix album featuring reworked versions of songs by its most popular
artists.
• Crammed needed them quickly and wanted to avoid the costly
process of commissioning them from “big name” producers.

104. Music Case Study 2 / Crammed Discs
• Successful Belgian indie label Crammed Discs decided to release a
remix album featuring reworked versions of songs by its most popular
artists.
• Crammed needed them quickly and wanted to avoid the costly
process of commissioning them from “big name” producers.
• So, Crammed used Creative Commons licenses.

105. Music Case Study 2 / Crammed Discs

106. Music Case Study 2 / Crammed Discs
• Crammed published the remixable components of several songs in its
catalog under a CC license.

107. Music Case Study 2 / Crammed Discs
• Crammed published the remixable components of several songs in its
catalog under a CC license.
• Over the course of a month, more than 100 submissions were entered
by members of the Creative Commons community.

108. Music Case Study 2 / Crammed Discs
• Crammed published the remixable components of several songs in its
catalog under a CC license.
• Over the course of a month, more than 100 submissions were entered
by members of the Creative Commons community.
• The label was amazed by the results.

109. Music Case Study 2 / Crammed Discs

110. Music Case Study 2 / Crammed Discs
• Crammed chose nine remixes and licensed them from their creators
for commercial use and is releasing them as a Crammed remix
compilation.

111. Music Case Study 2 / Crammed Discs
• Crammed chose nine remixes and licensed them from their creators
for commercial use and is releasing them as a Crammed remix
compilation.
• This strategy provided a no-cost way for a small label to acquire
quality remixes, and for members of the remix community to profit
from their work.

112. Music Case Study 3 / Minus Kelvin
From flickr.com/photos/rs
© Robin Sloan

113. Music Case Study 3 / Minus Kelvin

114. Music Case Study 3 / Minus Kelvin
•High school physics and calculus teacher Minus Kelvin began creating sample-
based songs and remixes using tracks from ccMixter as source material.

115. Music Case Study 3 / Minus Kelvin
•High school physics and calculus teacher Minus Kelvin began creating sample-
based songs and remixes using tracks from ccMixter as source material.
•He posted his remixes on ccMixter for other members to hear, review, and mash-
up. Pat Chilla, a music contributor for the CW Network found Minus Kelvin's remixes
and loved them.

116. Music Case Study 3 / Minus Kelvin
•High school physics and calculus teacher Minus Kelvin began creating sample-
based songs and remixes using tracks from ccMixter as source material.
•He posted his remixes on ccMixter for other members to hear, review, and mash-
up. Pat Chilla, a music contributor for the CW Network found Minus Kelvin's remixes
and loved them.
•Pat signed Minus Kelvin and helped arrange a licensing deal for Minus Kelvin to
compose music for America's Next Top Model.

117. Music Case Study 3 / Minus Kelvin
•High school physics and calculus teacher Minus Kelvin began creating sample-
based songs and remixes using tracks from ccMixter as source material.
•He posted his remixes on ccMixter for other members to hear, review, and mash-
up. Pat Chilla, a music contributor for the CW Network found Minus Kelvin's remixes
and loved them.
•Pat signed Minus Kelvin and helped arrange a licensing deal for Minus Kelvin to
compose music for America's Next Top Model.
•In short, Minus Kelvin used CC’s legal infrastructure to free up his work for people
to sharing, use, and remixing. This approach helped him score commercial deals
with a label and TV show.

118. Other projects

119. Science Commons

120. From plos.org
© PLoS

121. CC Learn

122. From ocw.mit.edu
© MIT

125. Some Rights Reserved
Except where noted, the contents of this presentation are licensed to the public under the
Creative Commons Attribution license. The terms of this license are available at
http://creativecommons.org/licenses/by/3.0/.