# articles

feed_id: https://creativecommons.org/?p=54880
uri: European-Parliament-s-Legal-Affairs-Committee-Gives-Green-Light-to-H
title:
European Parliament’s Legal Affairs Committee Gives Green Light to Harmful Link Tax and Pervasive Platform Censorship

url:
https://creativecommons.org/2018/06/20/european-parliaments-legal-affairs-committee-gives-green-light-to-harmful-link-tax-and-pervasive-platform-censorship/

content:
<p><span style="font-weight: 400;">Today, the European Parliament the Legal Affairs Committee voted in favor of the most harmful provisions of the proposed </span><a href="https://ec.europa.eu/digital-single-market/en/news/proposal-directive-european-parliament-and-council-copyright-digital-single-market"><span style="font-weight: 400;">Directive on Copyright in the Digital Single Market</span></a><span style="font-weight: 400;">. </span></p>
<p><span style="font-weight: 400;">The outcome reflects a disturbing path toward increasing control of the web to benefit powerful rights holders at the expense of the open internet, freedom of expression, and the rights of users and the public interest in the digital environment.</span></p>
<p><span style="font-weight: 400;">The committee voted 13-12 in favor of </span><a href="https://juliareda.eu/eu-copyright-reform/extra-copyright-for-news-sites/"><span style="font-weight: 400;">Article 11</span></a><span style="font-weight: 400;">, the provision known as the “link tax,” which grants an additional right to press publishers requiring anyone using snippets of journalistic content to first get a license or pay a fee to the publisher for its use online. Article 11 is ill-suited to address the challenges in supporting quality journalism, and it will further decrease competition and innovation in news delivery. Similar efforts have already </span><a href="http://fortune.com/2016/03/24/eu-ancillary-copyright/"><span style="font-weight: 400;">failed miserably</span></a><span style="font-weight: 400;"> in Germany and Spain. </span></p>
<p><span style="font-weight: 400;">The committee voted 15-10 in favor of </span><a href="https://juliareda.eu/eu-copyright-reform/censorship-machines/"><span style="font-weight: 400;">Article 13</span></a><span style="font-weight: 400;">, the provision that would require online platforms to monitor their users’ uploads and try to prevent copyright infringement through automated filtering. Article 13 will limit freedom of expression, as the required upload filters won’t be able to tell the difference between copyright infringement and permitted uses of copyrighted works under limitations and exceptions. It puts into jeopardy the sharing of video remixes, memes, parody, and code, even works that include openly licensed content.</span></p>
<p><span style="font-weight: 400;">As Communia </span><a href="https://www.communia-association.org/2018/06/20/legal-affairs-committee-european-parliament-sells-user-rights-big-content-big-tech/"><span style="font-weight: 400;">reports</span></a><span style="font-weight: 400;">, the committee voted </span><b>against </b><span style="font-weight: 400;">nearly all measures that would attempt to grant more rights to users, such as commonsense proposals for limitations and exceptions for freedom of panorama and user generated content. The committee adopted some positive improvements to the provisions having to do with education, access to works in the cultural heritage sector, and in research, but many of the changes are superficial, leaving the underlying effect of the article quite restrained. </span></p>
<p><span style="font-weight: 400;">Over the last months we contributed to massive online campaigns to </span><a href="https://savethelink.org/"><span style="font-weight: 400;">#SaveTheLink</span></a><span style="font-weight: 400;">, </span><a href="https://saveyourinternet.eu/"><span style="font-weight: 400;">stop the #CensorshipMachines</span></a><span style="font-weight: 400;">, </span><a href="https://www.copyrightforeducation.eu/"><span style="font-weight: 400;">protect education</span></a><span style="font-weight: 400;">, and </span><a href="https://voxscientia.eu/"><span style="font-weight: 400;">promote innovation in research and text and data mining</span></a><span style="font-weight: 400;">. These efforts were organised by dozens of civil society and digital rights organizations, and hundreds of thousands of people made their voices heard in calling for a more progressive and balanced copyright in the EU. </span></p>
<p><span style="font-weight: 400;">The fight is not over. EDRi </span><a href="https://edri.org/next-steps-copyright-directive-article-13/"><span style="font-weight: 400;">notes</span></a><span style="font-weight: 400;"> that there are several additional steps before the Directive can be fully adopted. In the vote today, the Parliament gave itself a mandate to negotiate a final deal with the EU Council (the EU Member States). But this decision can be challenged in the next plenary meeting (all 751 MEPs), where the Parliament could decide to reopen the copyright reform for debate within the larger forum, thus potentially offering an opportunity to make other changes to the text. This vote would likely happen on July 4.</span></p>
<p><span style="font-weight: 400;">The work to #FixCopyright in the EU is far from complete. We’ll be there advocating for copyright rules that protects and promotes the commons and the open web. We need your help </span><a href="https://saveyourinternet.eu/the-european-parliament-legal-affairs-committee-voted-for-the-article-13-censorshipmachine-what-happens-next/"><span style="font-weight: 400;">to make sure that our voice is heard even louder this time</span></a><span style="font-weight: 400;">.</span></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/06/20/european-parliaments-legal-affairs-committee-gives-green-light-to-harmful-link-tax-and-pervasive-platform-censorship/">European Parliament’s Legal Affairs Committee Gives Green Light to Harmful Link Tax and Pervasive Platform Censorship</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=54885
title: Portuguese Translation of 4.0 now available
uri: Portuguese-Translation-of-4-0-now-available
url: https://creativecommons.org/2018/06/26/portuguese-translation-of-4-0-now-available/
content:
<p><img data-attachment-id="54888" data-permalink="https://creativecommons.org/2018/06/26/portuguese-translation-of-4-0-now-available/untitled-design-6/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/06/Untitled-design-6.png" data-orig-size="1024,512" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="Untitled design (6)" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/06/Untitled-design-6.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/06/Untitled-design-6.png" class="wp-image-54888 aligncenter" src="media/c0f49448.Untitled-design-6.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/06/Untitled-design-6.png" alt="brazil-portugal-flags" width="538" height="269" /></p>
<p>In a unique joint translation process, community members from Creative Commons Portugal and Brazil came together to release a single Portuguese translation of the CC 4.0 license suite. Portuguese is the sixth most spoken language in the world, and the translation will reach over 220 million Portuguese speakers around the world.</p>
<p>Thank you to our translation team: Teresa Nobre, CC Portugal; Mariana Valente, CC Brazil; Pedro Mizukami, CC Brazil; Luiz Moncau, CC Brazil; and Eduardo Magrani, CC Brazil.</p>
<p>The first draft of the license translation was submitted in July 2014, with a public comment period from November 2014 to January 2015. This month’s translation represents years of work by the Creative Commons Portuguese and Brazilian communities, and marks the 18th translation of 4.0 (with many more to come!)</p>
<p>Parabéns pela tradução, CC Brasil e CC Portugal!</p>
<p><a href="https://creativecommons.org/licenses/by/4.0/legalcode.pt">View the translation</a></p>
<p><a href="https://creativecommons.org/licenses/by/4.0/legalcode.pt">Veja a tradução</a></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/06/26/portuguese-translation-of-4-0-now-available/">Portuguese Translation of 4.0 now available</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=54937
title: We’ve Redesigned the CC License “Legal Code” Pages
uri: We-ve-Redesigned-the-CC-License-Legal-Code-Pages
url: https://creativecommons.org/2018/07/11/licenseredesign/
content:
<p>Last week, we launched a redesign of Creative Commons&#8217; various license (aka &#8220;legal code&#8221;) pages. <a href="https://creativecommons.org/licenses/by/4.0/legalcode">See one for yourself.</a> In this post, I&#8217;ll spell out what the changes are and why we made them.</p>
<p>The most obvious change we made is updating the overall look of the pages so that they resemble the rest of the Creative Commons website, which was <a href="https://creativecommons.org/2016/09/16/long-awaited-new-look-website/">redesigned back in September 2016</a>, as well as the CC license &#8220;deed&#8221; pages (e.g. <a href="https://creativecommons.org/licenses/by/4.0/">the CC BY 4.0 deed</a>), which were redesigned in 2017. We&#8217;d always intended to pull the design of the license/legal code pages up in line with the deeds, but the deeds took precedence, since they are the most frequently viewed pages on our website. I&#8217;m happy to say that we&#8217;ve finished the project with this latest design update.</p>
<figure id="attachment_54949" style="width: 576px" class="wp-caption aligncenter"><a href="media/ac0f7361.newlegalcode.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/07/newlegalcode.png"><img data-attachment-id="54949" data-permalink="https://creativecommons.org/2018/07/11/licenseredesign/newlegalcode_sm/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/07/newlegalcode_sm.png" data-orig-size="576,376" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="newlegalcode_sm" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/07/newlegalcode_sm.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/07/newlegalcode_sm.png" class="wp-image-54949 size-full" src="media/da362378.newlegalcode_sm.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/07/newlegalcode_sm.png" alt="new-license" width="576" height="376" /></a><figcaption class="wp-caption-text">The new design</figcaption></figure>
<figure id="attachment_54950" style="width: 576px" class="wp-caption aligncenter"><a href="media/6df98e66.oldlegalcode.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/07/oldlegalcode.png"><img data-attachment-id="54950" data-permalink="https://creativecommons.org/2018/07/11/licenseredesign/oldlegalcode_sm/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/07/oldlegalcode_sm.png" data-orig-size="576,293" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="oldlegalcode_sm" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/07/oldlegalcode_sm.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/07/oldlegalcode_sm.png" class="wp-image-54950 size-full" src="media/7ebea3a5.oldlegalcode_sm.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/07/oldlegalcode_sm.png" alt="old-design" width="576" height="293" /></a><figcaption class="wp-caption-text">The retired design</figcaption></figure>
<p>Along with this look-and-feel overhaul, we wanted to ensure that the license/legal code pages were more mobile-friendly. The previous design was released well over a decade ago, before the typical web user was likely to be viewing CC licenses in a mobile display. We noticed that reading the text of a CC license was difficult on many types of mobile devices, and it was important to us to fix this. Text and images in the new design automatically adjust to better fit the type of experience you are using to view the license.</p>
<p>We also added a brand new feature&#8211;one we liked so much that in tandem with the license page overhaul, we ended up extending it to the deed pages as well. This is the translation menu pulldown tool, also known as the &#8220;language switcher.&#8221; Previously, to see the content of a license or deed page in another of its translated languages, you would hit a link at the top of the page (&#8220;Official translations of this license are available in other languages&#8221;) or scroll to get to the very bottom of the page where you would then see a list of the other available languages, each one linked to the corresponding translated page. This worked fine, but we wanted to improve the experience of getting to a new translation. The new translation menu tool sits right at the top right of the license and deed pages and enables you to easily identify which languages the page has been translated into, and more quickly select the one you&#8217;d like to view. We also kept the list of translated languages at the bottom of these pages intact, in order to accommodate those who are used to identifying and viewing translations that way.</p>
<figure id="attachment_54938" style="width: 891px" class="wp-caption aligncenter"><img data-attachment-id="54938" data-permalink="https://creativecommons.org/2018/07/11/licenseredesign/translationtool/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/07/translationtool.png" data-orig-size="891,251" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="translationtool" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/07/translationtool.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/07/translationtool.png" class="wp-image-54938 size-full" src="media/01bfcd8f.translationtool.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/07/translationtool.png" alt="language-switcher" width="891" height="251" /><figcaption class="wp-caption-text">The new translation menu tool (aka the &#8220;language switcher&#8221;)</figcaption></figure>
<p>Additionally, we made a handful of smaller changes that are intended to help people better use the licenses. First, the new design includes the website header that is used across the rest of creativecommons.org. The old license design did not include this, making it somewhat difficult for a person who landed on the license page via a search result or a link from an external site to understand where exactly on the web they were. By adding the website header to the license pages, we hope to do a better job contextualizing for people that the license is part of a much larger system, and to give them a much more direct path to learning about Creative Commons generally and getting involved with the CC community.</p>
<p>Lastly, we made two more tweaks focused on improving the experience of using the licenses. There have long been two pieces of text that precede the actual terms of a Creative Commons license on the license pages&#8211;a disclaimer at the top followed by a brief list of considerations (the part entitled &#8220;Using Creative Commons Public Licenses&#8221;). This content is extremely important, but we realized that in the previous design of the pages, it could be tough to differentiate between it and the license terms that follow. In the new design, the disclaimer appears in italics, while the considerations are presented in a truncated style&#8211;the first few lines of each of the two considerations appear above a small button that enables you to expand these sections to read more.</p>
<p>We&#8217;re excited about these changes and hope that the public finds them useful. A big thank-you to Diane Peters and Sarah Hinchliff Pearson, CC&#8217;s general counsel and senior counsel, respectively, for all their help in getting our list of changes into shape. Also a huge thanks to the folks at <a href="https://affinitybridge.com/">Affinity Bridge</a>, the web development and design firm who helped us take our ideas for these revised pages and make them live.</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/07/11/licenseredesign/">We&#8217;ve Redesigned the CC License &#8220;Legal Code&#8221; Pages</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=54959
title: All the news that’s fit to share: Melody Kramer on CC and the power of media
uri: All-the-news-that-s-fit-to-share-Melody-Kramer-on-CC-and-the-power
url: https://creativecommons.org/2018/07/13/melody-kramer/
content:
<p><figure id="attachment_54960" style="width: 515px" class="wp-caption aligncenter"><img data-attachment-id="54960" data-permalink="https://creativecommons.org/2018/07/13/melody-kramer/melodykramer_portrait-1/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/07/MelodyKramer_Portrait-1.jpg" data-orig-size="1920,1280" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="MelodyKramer_Portrait (1)" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/07/MelodyKramer_Portrait-1.jpg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/07/MelodyKramer_Portrait-1.jpg" class="wp-image-54960 " src="media/0349596e.MelodyKramer_Portrait-1.jpg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/07/MelodyKramer_Portrait-1.jpg" alt="mel-kramer" width="515" height="343" /><figcaption class="wp-caption-text">By ZMcCune (WMF) [<a href="https://creativecommons.org/licenses/by-sa/4.0">CC BY-SA 4.0 </a>], <a href="media/5a72fbab.FileMelodyKramer_Portrait.jpg" data-original-source="https://commons.wikimedia.org/wiki/File:MelodyKramer_Portrait.jpg">from Wikimedia Commons</a></figcaption></figure>Melody Kramer is a media expert with a special gift for uplifting open knowledge and demonstrating the power of the Commons. Previously, she held roles in public media and government and currently works as the <a href="https://meta.wikimedia.org/wiki/User:MKramer_(WMF)">Senior Audience Development Manager at Wikimedia.</a> A prolific content producer and media mover and shaker, Kramer is also the Reese News Lab Fellow at the UNC School of Media and Journalism, where she&#8217;s completing research to better understand the needs of journalists across North Carolina. She writes a weekly column on the future of news for the <a href="https://www.poynter.org/person/melody-kramer">Poynter Institute</a> and devoted that column to CC and its necessary role in journalism in 2016.</p>
<p>Melody also runs an email newsletter about <a href="https://www.hedgehogandfox.net/">creative and magical projects</a> and tweets brilliantly <a href="https://twitter.com/mkramer">@mkramer.</a></p>
<p><strong>You wrote in Poynter in March 2016 that &#8220;it&#8217;s time for news organizations to embrace Creative Commons.&#8221; With the events of the past few years and the increasing awareness of so-called &#8220;fake&#8221; news, do you still feel that way? What&#8217;s changed since you wrote that article? What can newsrooms do to leverage the power of Open?<br />
</strong>I point to ProPublica as an organization that leverages Creative Commons licensing in an incredibly strategic and smart way. ProPublica is an organization that deeply cares about the impact of their journalism, and they want their journalism to reach the widest audience possible — even if that means that other organizations publish their material under the CC license. But ProPublica also requires organizations to add a <a href="https://www.propublica.org/pixelping">snippet of Javascript</a> so that they can track metrics, and also has <a href="https://www.propublica.org/steal-our-stories/">a list of requirements</a> (none particularly taxing) that ensure reprints are on the up-and-up. In short, this helps fulfill ProPublica’s mission, gives them audiences they might otherwise not have, and does all of this leveraging the power of free and open licensing.</p>
<p>I do not think Creative Commons licensing is right for every news organization or every story published – there are different revenue strategies for every news organization. But for enterprise stories that will deliver a large impact, I think it makes sense to examine whether following ProPublica’s lead makes sense — particularly if showing greater impact can lead to greater funding. (And the uptick in misinformation and disinformation makes getting good, enterprise journalism out to audiences all the more important.)</p>
<p>Publishers should be allowed to determine their own revenue strategy and the way in which others can use their work. Josh Stearns once <a href="https://medium.com/the-engaged-journalism-lab/new-revenue-for-news-52-ideas-to-support-local-journalism-1ee3720a7897">outlined 52 different revenue strategies</a> for news organizations and many of them (but not all) benefit from having their content freely available to the public.</p>
<p><strong>In your role as Senior Audience Development Manager at Wikimedia, you work to better communicate free and open access to knowledge around the world. How can open movements better communicate our message? How can we leverage our collective power?</strong><br />
It’s a tricky message to convey, and I’m grateful that we’re part of a larger ecosystem of organizations that think deeply about how to talk about this stuff. I really like tools like <a href="https://choosealicense.com/">Choose a License</a> which basically give people the information that they need in a really easy-to-understand way. I’m a big believer in thinking through:</p>
<p><em>What does someone need to know?</em><br />
<em>When do they need to know it?</em><br />
<em>Why?</em><br />
<em>What’s too much information?</em></p>
<p>I also look outside of the open ecosystem for really good examples of explaining tough concepts. For example, <a href="http://khanacademy.org">Khan Academy</a> takes tough academic concepts and creates very easy-to-understand, short videos. I think about their videos a lot.</p>
<p><strong>The hidden labor (particularly by women) in Open is a major issue for the movement. You have a prolific output as a writer and culture maker on the web. How do you balance your personal projects and interests with the work you do for Wikimedia? How do you value your labor in the Commons and make the choice to share? Not to put too fine a point on it, but where do you find the time?</strong><br />
It’s really, really hard. I really love writing and it’s both a passion and a discipline for me — so it is relaxing and enjoyable for me. But I’m also a relatively new mom, and have cut back a bit recently because I don’t always want to be in front of a screen; I want to focus my full attention on my son when I’m not working. In my writing, I try to abide by the philosophy of “good enough.” It would take me a very, very long time to write something perfect that I would be perfectly content and happy about, so I don’t do that. I write “good enough” which gets the point across, but maybe isn’t the most eloquent way of putting something (for the writing I do in my personal time.) And I’ve also started saying no more. I may Skype into something that I previously would attend in person. I might do a phone call or a Hangout instead of something more taxing. Balance is something I’m constantly striving towards (which doesn’t sound very balanced.) It helps that I live in a small town in the South, where a lot of people get off screens to make music and enjoy each other’s company.</p>
<p><strong>What are some CC things you love? What gets you psyched about working on the web these days?</strong><br />
I really find myself missing the old days of the web, when you would stumble down a random rabbit hole and learn about topics like bicycle repair or cheesemaking or advanced math. There were so many syllabi online in those days, and they really helped me with my own coursework (and with just learning material on my own.) I’m always happy to see when professors still put their syllabi online with a CC license. (<a href="https://www.cs.princeton.edu/courses/archive/fall16/cos418/syllabus.html">Example</a>.) It really helps spread knowledge and make it accessible.</p>
<p>What’s psyching me about working on the web these days is how many people seem to be returning to the wild quirky 90s days of the web. I love blogs. I love single purpose sites. They’re increasingly hard to find due to search engines – but I return again and again to sites like Metafilter which surface all sorts of links I wouldn’t otherwise see.</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/07/13/melody-kramer/">All the news that&#8217;s fit to share: Melody Kramer on CC and the power of media</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=54964
title: CC Certificates courses, OER, and multiple ways to get involved!
uri: CC-Certificates-courses-OER-and-multiple-ways-to-get-involved
url: https://creativecommons.org/2018/07/20/cc-certificates/
content:
<figure id="attachment_54965" style="width: 555px" class="wp-caption aligncenter"><img data-attachment-id="54965" data-permalink="https://creativecommons.org/2018/07/20/cc-certificates/lillian_cert/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/07/lillian_cert.jpg" data-orig-size="720,480" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="lillian_cert" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/07/lillian_cert.jpg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/07/lillian_cert.jpg" class=" wp-image-54965" src="media/1677deb1.lillian_cert.jpg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/07/lillian_cert.jpg" alt="lillian-certificate" width="555" height="370" /><figcaption class="wp-caption-text">Photo by Lillian Rigling, <a href="https://creativecommons.org/licenses/by/4.0">CC BY 4.0</a></figcaption></figure>
<p>On July 16, the first four Creative Commons Certificate courses began. Two cohorts of 25 librarians and two cohorts of 25 educators joined us from Bangladesh, Canada, Great Britain, Hong Kong, Netherlands, Romania, Sweden, and the US. Immediately apparent in this group is the diverse experience, impressive expertise, and personal interest participants bring to the courses. Participants have already begun working on assignments and volunteering openly licensed resources they’ve created. We are compiling a list of the participant-shared Open Educational Resources (OER) which we will share at the end of the courses.</p>
<p>As an instructor, I’m humbled and delighted by the chance to learn from so many new colleagues. I look forward to seeing the number of CC-certified, commons experts increase, and the network of “open” advocates grow. We also recognize that the CC Certificate course is not yet available to many people who would like access to it. We aim to increase course accessibility through a scholarship program, language translations, building instructor capacity, and other improvements. We will be working on all of these efforts over the next year.</p>
<p><strong>In the short term, here are some immediate ways you can get involved. </strong></p>
<ol>
<li>We offer the <a href="https://certificates.creativecommons.org/about/certificate-resources-cc-by/">CC Certificate content to everyone as OER</a>, under the CC BY license, in downloadable, editable file formats on our website. We invite you to reuse and remix the content! Please let us know what content is useful to you and/or how you use it by emailing <a href="mailto:jennryn@creativecommons.org">jennryn@creativecommons.org</a>. Understanding how our shared content is useful to you helps us further advance a culture of sharing and engagement.</li>
<li>We are piloting work with Hypothes.is, a non-profit organization that enables anyone to annotate resources online, to make it simple for everyone to publicly add comments to the CC Certificate content. Join CC Certificate participants in this public forum for annotation of Certificate content. CC will monitor these public annotations to learn how we can make improvements to future iterations of the CC Certificate. Your feedback in this global conversation will help strengthen the course. Get involved on the <a href="https://certificates.creativecommons.org/about/certificate-resources-cc-by/">CC Certificate Resources</a> page, or <a href="https://certificates.creativecommons.org/cccerteducomments/">annotate content directly</a>.</li>
<li>While the CC Certificate is currently sold out for 2018, we will open 2019 course registration in the fall and look forward to sharing additional updates with you as our 2018 courses progress. For example, we will share compiled lists of CC licensed resources and projects participants generate, and invite you to use them for your own learning and advocacy efforts. Follow #cccert on Twitter, join our <a href="https://creativecommons.org/about/contact/newsletter/">newsletter</a> and check out our <a href="https://certificates.creativecommons.org/">CC Certificate website</a> for updates.</li>
</ol>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/07/20/cc-certificates/">CC Certificates courses, OER, and multiple ways to get involved!</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=54976
title: Flipping the Switch on a Revitalized CC Network
uri: Flipping-the-Switch-on-a-Revitalized-CC-Network
url: https://creativecommons.org/2018/07/26/flipping-the-switch-on-a-revitalized-cc-network/
content:
<p>I’m excited to share an update on the implementation of the CC Global Network Strategy, and to move forward on an important next step that will, for the first time, put the Network in the hands of the Network: <strong>the first meeting of Chapter representatives to the Global Network Council.</strong></p>
<p>We started this process together in 2015, at the Global Summit hosted by CC Korea, in Seoul, South Korea. Many leaders in our community wanted to revitalize our network and help it grow, and it was soon after I had joined CC with a mandate from the Board of Directors to put community back at the center of our work.</p>
<p>The previous affiliate structure was top-down, where each affiliate was selected by CC HQ, and only those with a memorandum of understanding with HQ were permitted to join. The affiliates had only the rights granted by MOU, and their workplans were approved by HQ. While much good work was done, there was a desire from the community to do more, and work more collaboratively. Together, <a href="https://github.com/creativecommons/global-network-strategy/blob/master/GlobalNetworkStrategy-Final.md#a-community-led-process-to-revitalize-and-grow-the-cc-network">we initiated a community-driven process</a> to evaluate, evolve, and invigorate the network.</p>
<p>A <a href="https://wiki.creativecommons.org/wiki/Global_Network_Strategy/DC_Meeting">small group of community leaders</a> — both new and longstanding contributors from around the world — formed a strategy committee, chaired by myself and Alek Tarkowski from CC Poland. We designed <a href="https://consultation.creativecommons.org/">a global consultation and collaborative design process</a> to create a new network. We commissioned independent research, and a committee of affiliates and community members explored new models and ways of engagement and governance. They reviewed hundreds of comments, and drafted <a href="media/19013a68.GlobalNetworkStrategy-Final.pdf" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2017/05/GlobalNetworkStrategy-Final.pdf">a new strategy, </a><a href="https://creativecommons.org/network/charter/">a new charter,</a> and a new <a href="https://github.com/creativecommons/global-network-strategy/blob/master/docs/Global_Network_Membership_Charter.md#codes-of-conduct">code of conduct.</a></p>
<p>The model, built around a structure of Chapters and a Global Council, was designed by the network, and the members are being approved by the network, for the first time in our history. We decoupled the local teams from institutions to allow leading individuals to join and remain connected no matter where they went. We built clear processes, so that anyone who shared our values and had done work to contribute to the Commons could join. We also added a layer of governance that allows the network to lead the network, with partnership and support from the global organization.</p>
<p>To support these new Chapters, we built a <a href="https://network.creativecommons.org/">network website</a> to drive engagement and support a connected, active community. CC hired new staff to support local communities and develop a strong global ecosystem. We made our Global Summit an annual event to give us more opportunities to organize and connect. We provided financial support to local projects.</p>
<p>The network decided that each of its members must be endorsed or vouched by two other community members who know them personally and who know their work. It has been quite meaningful to me to be asked to vouch for community members, to share my endorsements of their accomplishments, and to read the statements others write about their colleagues to extoll their virtues and achievements over the years. We have a lot to celebrate, and much more to do.</p>
<p>This is a major shift, and I respect that it comes with some adjustment, especially for longtime affiliates. Change can be difficult and frustrating, and I’m grateful to each of you for working together to make it work.</p>
<p>Today, the new Global Network is growing rapidly, with a dozen formally-established chapters, over 252 individual members and 19 institutional members in 62 countries, and more coming online every day. We are more decentralized, collaborative, and community-led than ever before. I’m proud of the work we’ve done together, and inspired by the energy and passion for the CC community.</p>
<h3><strong>What’s Next?</strong></h3>
<p>With many Chapters now established, and many more to come, it’s time to hold the first meeting of the Global Network Council. The meeting will take place in late September or early October. We’ll canvass Chapters on the ideal times and provide lots of advance notice.</p>
<p><strong>If you are in a community that hasn’t set up its Chapter yet, now is the time. </strong>Our staff are here to help — it’s a simple process of connecting with the members in your country, hosting an online meeting, and selecting a public lead and a representative to the Global Network Council. For some Chapters, there will be more structure needed, and for others it will be less formal. We’ve produced <a href="https://github.com/creativecommons/global-network-strategy/blob/master/docs/Guide_for_creating_a_chapter.md#first-chapter-meeting-toolkit">a guide to help you through the process</a>, and there’s a #network-support channel in the CC Slack to get help from your peers.</p>
<p>Thank you again for all your energy and passion for Creative Commons’ community. In particular, I want to thank the network strategy group, the transition team, and the Interim Membership Council, who have all given their time to help establish the new Network. I also want to single out Claudio Ruiz, Simeon Oriko, Rob Myers, Diane Peters, Sarah Pearson, and George Hari Popescu for their work as staff to support this new strategy.</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/07/26/flipping-the-switch-on-a-revitalized-cc-network/">Flipping the Switch on a Revitalized CC Network</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=54988
uri: Creative-Commons-awarded-800-000-from-Arcadia-to-support-discovery-an
url: https://creativecommons.org/2018/08/08/arcadia-announcement/
title:
Creative Commons awarded $800,000 from Arcadia to support discovery and collaboration in the global commons

content:
<p>Creative Commons is pleased to announce an award of new funding in the amount of $800,000 over two years from <a href="https://www.arcadiafund.org.uk/">Arcadia</a>, a charitable fund of Lisbet Rausing and Peter Baldwin, in support of CC Search, a Creative Commons technology project designed to maximize discovery and use of openly licensed content in the Commons. Arcadia supports charities and scholarly institutions to preserve cultural heritage, protect the environment, and promote open access. Since 2002, Arcadia has awarded more than $500 million in grants to projects around the world.</p>
<p>The digital commons — made up of over 1.4 billion CC licensed, public domain, and other openly licensed works — is massive, distributed, and growing. The Commons extends well beyond photos and video to include a myriad of content types — from open educational resources (OER) and scientific research to 3D models; from video games to VR landscapes. There is no larger compendium of shared human knowledge and creativity, available to everyone to reuse under simple, permissive terms. Despite the tremendous growth of the Commons and the widespread use of CC licenses, there is no simple user-friendly way to maximize discovery, use, and engagement with all of that content.</p>
<p>CC Search — together with the Commons Metadata Library and the Commons API — will form the Commons Collaborative Archive and Library, a suite of tools for discovery and collaboration. CC aims through the development of this suite of tools to make the global commons of openly licensed content more searchable, usable, and resilient, and to provide essential infrastructure for collaborative online communities. The project elements will feature an index of every openly licensed and public domain work on the web (the Library); an API allowing developers to query the metadata library and to develop services and integrations for content in the Commons; and CC Search, a search engine that harnesses the power of open repositories and allows users to search across a variety of open content through a single interface.</p>
<p>Creative Commons is deeply appreciative of Arcadia’s generous support of this work. Arcadia has previously supported Creative Commons with an award for development of <a href="https://creativecommons.org/2018/05/07/strengthening-author-rights/">an academic suite of legal tools</a> that work in combination with CC licenses to enable and accelerate Open Access publication and expansion of the commons. We are pleased to build on that work to expand and enhance the discoverability of open resources.</p>
<p>For more information, contact Eric Steuer, Director of Content and Community, at <a href="mailto:eric@creativecommons.org">eric@creativecommons.org</a>.</p>
<p><img data-attachment-id="54989" data-permalink="https://creativecommons.org/2018/08/08/arcadia-announcement/arcadia_strap/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/08/arcadia_strap.jpg" data-orig-size="2961,452" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="arcadia_strap" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/08/arcadia_strap.jpg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/08/arcadia_strap.jpg" class="aligncenter size-full wp-image-54989" src="media/12adbb85.arcadia_strap.jpg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/08/arcadia_strap.jpg" alt="arcadia-logo" width="2961" height="452" /></p>
<p><a href="https://www.arcadiafund.org.uk/"><strong>Arcadia</strong></a>, a charitable fund of Lisbet Rausing and Peter Baldwin, supports charities and scholarly institutions to preserve cultural heritage, protect the environment, and promote open access. Since 2002, Arcadia has awarded more than $500 million in grants to projects around the world.</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/08/08/arcadia-announcement/">Creative Commons awarded $800,000 from Arcadia to support discovery and collaboration in the global commons</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55011
title: A warm welcome to three new staff members: Alden Page, Steven Bellamy, and Jami Vass
uri: A-warm-welcome-to-three-new-staff-members-Alden-Page-Steven-Bellamy
url:
https://creativecommons.org/2018/08/09/a-warm-welcome-to-three-new-staff-members-alden-page-steven-bellamy-and-jami-vass/

content:
<p>Please join CC in extending a warm welcome to three new members of the CC team! On our Product team, Alden Page and Steven Bellamy have joined us as Front End Engineer and Back End Engineer, respectively. On the fundraising and development team, we’re welcoming Jami Vass as Director of Development.</p>
<p><img data-attachment-id="55012" data-permalink="https://creativecommons.org/2018/08/09/a-warm-welcome-to-three-new-staff-members-alden-page-steven-bellamy-and-jami-vass/aldenpage/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/08/aldenpage.jpg" data-orig-size="574,562" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="aldenpage" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/08/aldenpage.jpg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/08/aldenpage.jpg" class="alignleft wp-image-55012" src="media/57778b62.aldenpage.jpg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/08/aldenpage.jpg" alt="alden" width="250" height="245" />Alden Page is a backend software developer on CC&#8217;s Product team and strives to build the infrastructure that will power a rich ecosystem of applications on top of the digital commons, beginning with CC Search.</p>
<p>Prior to joining Creative Commons, Alden developed and operated a real-time market risk management system used by equity derivatives traders at Deutsche Bank. He also has experience contributing to free software, and worked in the ad-tech industry. Alden currently lives in New York City and enjoys cycling in his free time.</p>
<p><img data-attachment-id="55013" data-permalink="https://creativecommons.org/2018/08/09/a-warm-welcome-to-three-new-staff-members-alden-page-steven-bellamy-and-jami-vass/stephen_photo/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/08/stephen_photo.jpg" data-orig-size="1536,2048" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;2.4&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;iPhone X&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1532622070&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;6&quot;,&quot;iso&quot;:&quot;125&quot;,&quot;shutter_speed&quot;:&quot;0.032258064516129&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="stephen_photo" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/08/stephen_photo.jpg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/08/stephen_photo.jpg" class="alignleft wp-image-55013" src="media/6e920acb.stephen_photo.jpg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/08/stephen_photo.jpg" alt="stephen" width="254" height="339" />Steven Bellamy has over 15 years experience with developing interfaces for the web and architecting JavaScript solutions.</p>
<p>Previously, he worked on enterprise level applications for various startups, the Department of Defense, and the Consumer Finance Protection Bureau (CFPB). Steven currently lives in Alexandria VA, where he spends much of his time listening to jazz.</p>
<p>&nbsp;</p>
<p>&nbsp;</p>
<p><img data-attachment-id="55014" data-permalink="https://creativecommons.org/2018/08/09/a-warm-welcome-to-three-new-staff-members-alden-page-steven-bellamy-and-jami-vass/jami-photo/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/08/Jami-Photo.jpg" data-orig-size="600,450" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;2.2&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;iPhone 5s&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1406663241&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;4.12&quot;,&quot;iso&quot;:&quot;40&quot;,&quot;shutter_speed&quot;:&quot;0.033333333333333&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="Jami Photo" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/08/Jami-Photo.jpg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/08/Jami-Photo.jpg" class="alignleft wp-image-55014" src="media/06f0b2ad.Jami-Photo.jpg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/08/Jami-Photo.jpg" alt="jami" width="321" height="241" />Jami Vass is excited to join the Creative Commons team as Director of Development, where she will lead global fundraising efforts to support CC&#8217;s mission. Jami brings over 17 years of diverse fundraising experience to CC.</p>
<p>Formerly, she led development efforts in the Southeast US at the ASPCA. She holds a Bachelor’s degree in Social Anthropology and a Masters Certificate in Nonprofit Management. When Jami is not fundraising, she plays the piano or spends time with her horses.</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/08/09/a-warm-welcome-to-three-new-staff-members-alden-page-steven-bellamy-and-jami-vass/">A warm welcome to three new staff members: Alden Page, Steven Bellamy, and Jami Vass</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55025
title: Save the date: CC Global Summit is happening May 9-11 in Lisbon!
uri: Save-the-date-CC-Global-Summit-is-happening-May-9-11-in-Lisbon
url: https://creativecommons.org/2018/08/28/summit-locations-may-9-11/
content:
<p><img data-attachment-id="55026" data-permalink="https://creativecommons.org/2018/08/28/summit-locations-may-9-11/lisbon_summit/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/08/lisbon_summit.png" data-orig-size="1024,512" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="lisbon_summit" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/08/lisbon_summit.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/08/lisbon_summit.png" class="alignleft size-full wp-image-55026" src="media/4ae91214.lisbon_summit.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/08/lisbon_summit.png" alt="lisbon" width="1024" height="512" /></p>
<p>Drumroll, please…. after two successful years in Toronto, Canada, the 2019 Global Summit will be held in <strong>Lisbon, Portugal May 9-11 2019.</strong> Please save the date!</p>
<p>Since 2015, the CC Summit has nearly doubled in size. We&#8217;ve lined up two great venues to host this international event. Workshops, talks, planning sessions, and small group sessions will be held in <a href="http://www.museudooriente.pt/">Museu do Oriente</a>, a vibrant new museum in a refurbished industrial building on the Alcântara Waterfront. Our keynotes and our Friday night party will be held at <a href="https://www.capitolio.pt/en/">Cineteatro Capitólio</a>, a major Art Deco cultural landmark that recently reopened its doors. The event will be co-hosted by CC and CC Portugal, and we owe tremendous gratitude to the CC Portugal team for their insight and assistance. We also want to congratulate and thank Teresa Nobre and Timothy Vollmer, our Program Committee Chairs, for stepping up to lead our community planning.</p>
<p>We’ve grown the CC Global Summit every year as hundreds of leading activists, advocates, librarians, educators, lawyers, technologists, and more have joined us for discussion and debate, workshops and planning, talks and community building. It’s a can’t-miss event for anyone interested in the global movement for the commons.</p>
<p><strong>Last year’s stream and keynotes from leading global activists:</strong></p>
<div class="jetpack-video-wrapper"><iframe class='youtube-player' type='text/html' width='840' height='473' src='https://www.youtube.com/embed/videoseries?list=PLPDjhzarwzCgJ0dra9j1pOk_FrjMzgV3n&#038;hl=en_US' allowfullscreen='true' style='border:0;'></iframe></div>
<p>Information on programming and how you can get involved coming soon. For updates, subscribe to our <a href="https://summit.creativecommons.org/">Summit mailing list</a> or join us on <a href="http://slack-signup.creativecommons.org">Slack. </a></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/08/28/summit-locations-may-9-11/">Save the date: CC Global Summit is happening May 9-11 in Lisbon!</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55067
title: It’s now or never: EU copyright must protect access to knowledge and the commons
uri: It-s-now-or-never-EU-copyright-must-protect-access-to-knowledge-and
url:
https://creativecommons.org/2018/09/07/its-now-or-never-eu-copyright-must-protect-access-to-knowledge-and-the-commons/

content:
<p><a href="http://saveyourinternet.eu"><img data-attachment-id="55068" data-permalink="https://creativecommons.org/2018/09/07/its-now-or-never-eu-copyright-must-protect-access-to-knowledge-and-the-commons/syiactionweekwebbanner/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/SYIActionWeekWebBanner.png" data-orig-size="1200,537" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="SYIActionWeekWebBanner" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/SYIActionWeekWebBanner.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/SYIActionWeekWebBanner.png" class="aligncenter size-full wp-image-55068" src="media/df7e9c45.SYIActionWeekWebBanner.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/SYIActionWeekWebBanner.png" alt="" width="1200" height="537" /></a></p>
<p><span style="font-weight: 400;">We’re coming up on a crucial decision on changes to copyright in the European Union that will govern how creativity is accessed and shared for years to come. On 12 September the European Parliament will vote on the draft </span><a href="https://en.wikipedia.org/wiki/Directive_on_Copyright_in_the_Digital_Single_Market"><span style="font-weight: 400;">Directive on Copyright in the Digital Single Market</span></a><span style="font-weight: 400;">. </span></p>
<h3><b>If you’re in the EU, go to </b><a href="https://saveyourinternet.eu/"><b>https://saveyourinternet.eu/</b></a><b> and tell your MEPs to stop the harmful Article 13 upload filters and support a balanced copyright reform</b></h3>
<p><span style="font-weight: 400;">MEPs should </span><b>vote against Article 13</b><span style="font-weight: 400;"> upload filters, which would scan all content uploaded to online platforms for any copyrighted works and prevent those works from going online if a match is discovered. It</span> will limit freedom of expression, as the required upload filters won’t be able to tell the difference between copyright infringement and permitted uses of copyrighted works under limitations and exceptions. It puts into jeopardy the sharing of video remixes, memes, parody, and code, even works that incorporate openly licensed content.</p>
<p><span style="font-weight: 400;">MEPs should </span><b>vote against Article 11</b><span style="font-weight: 400;">, the unnecessary and counterproductive press publishers right that would require anyone using snippets of journalistic content to first get a license or pay a fee to the publisher for its use online. </span></p>
<p><span style="font-weight: 400;">MEPs </span><b>should support amendments that expand</b> <b>Article 4</b><span style="font-weight: 400;">, the </span><a href="https://www.copyrightforeducation.eu/"><span style="font-weight: 400;">copyright exception for education</span></a><span style="font-weight: 400;">, and </span><b>Article 3</b><span style="font-weight: 400;">, the exception for text and data mining, which needs to be broadened so that the “right to read is the right to mine.” There’s also some last minute amendments that should be supported, such as the exception that would improve the ability to share remixes and other user-generated content, as well as an exception to enable the commonsense practice of being able to take and share photographs of works of art in public spaces, called “freedom of panorama.”</span></p>
<p><span style="font-weight: 400;">Even though the Parliament’s Legal Affairs committee </span><a href="https://creativecommons.org/2018/06/20/european-parliaments-legal-affairs-committee-gives-green-light-to-harmful-link-tax-and-pervasive-platform-censorship/"><span style="font-weight: 400;">approved</span></a><span style="font-weight: 400;"> some of the most harmful measures on the docket back in June, the 5 July plenary vote </span><a href="https://www.communia-association.org/2018/07/06/victory-internet-users-european-parliament-snubs-voss-copyright-mandate/"><span style="font-weight: 400;">opened up the debate</span></a><span style="font-weight: 400;"> on the directive to the full Parliament. </span><a href="https://www.change.org/p/european-parliament-stop-the-censorship-machinery-save-the-internet"><span style="font-weight: 400;">Hundreds of thousands of people made their voices heard</span></a><span style="font-weight: 400;">, urging for a better and more progressive copyright that will stop the backward proposals like the content filters suggested by Article 13.  </span></p>
<p><span style="font-weight: 400;">Much of the copyright directive has been narrowly tailored to serve the interests of the most powerful rights holders from the entertainment and publishing sectors. These powerful actors wish to prevent any deviation from their bottom line profits by the revolutionary changes brought about by digital technologies and the internet. </span></p>
<p><span style="font-weight: 400;">These voices do not represent the incredible diversity of creativity online. On the internet, everyone is a creator, and we want to share knowledge, artistic and political expression, photos and home movies, news, and even code with others in the global commons, on platforms from Wikipedia to YouTube to open access journals to online learning websites. We need progressive policies that support this type of sharing and access if we want to achieve our </span><a href="https://creativecommons.org/about/mission-and-vision/"><span style="font-weight: 400;">vision</span></a><span style="font-weight: 400;"> of universal access to research and education and full participation in culture to drive a new era of development, growth, and productivity.</span></p>
<p><span style="font-weight: 400;">Now is the time for Europe to secure progressive rules on copyright that will truly protect all creators and users, not just special interests. MEPs need to listen to the countless voices that represent the future of creativity, innovation, and online sharing. </span></p>
<p><a href="https://saveyourinternet.eu/"><b>Tell them now before it’s too late</b></a><span style="font-weight: 400;">. </span></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/09/07/its-now-or-never-eu-copyright-must-protect-access-to-knowledge-and-the-commons/">It’s now or never: EU copyright must protect access to knowledge and the commons</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55079
uri: Spanish-Translation-of-4-0-now-available-(La-traducción-al-castellano
title:
Spanish Translation of 4.0 now available (La traducción al castellano de la versión 4.0 de las licencias está ahora disponible)

url:
https://creativecommons.org/2018/09/11/spanish-translation-of-4-0-now-available-la-traduccion-al-castellano-de-la-version-4-0-de-las-licencias-esta-ahora-disponible/

content:
<figure id="attachment_55082" style="width: 461px" class="wp-caption aligncenter"><img data-attachment-id="55082" data-permalink="https://creativecommons.org/2018/09/11/spanish-translation-of-4-0-now-available-la-traduccion-al-castellano-de-la-version-4-0-de-las-licencias-esta-ahora-disponible/se_oye-2/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/se_oye-1.jpg" data-orig-size="1075,733" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="se_oye" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/se_oye-1.jpg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/se_oye-1.jpg" class="wp-image-55082 " src="media/75e8a08a.se_oye-1.jpg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/se_oye-1.jpg" alt="se oye" width="461" height="314" /><figcaption class="wp-caption-text">Se Oye Libre Radio by @creativecommons Colombia @monequerias @julianitaquetal y su invitada especial @pepebrrs director #iff <a href="https://www.instagram.com/p/BTcFYGyhYyF/?taken-by=creativecommons">Creative Commons Instagram</a></figcaption></figure>
<h3>CC licenses reach 1/2 billion more creators and users!</h3>
<p>After more than three years and many rounds of consultation with legal experts throughout Latin America and Europe, including Spain, Creative Commons is proud to announce the release of the Spanish language translation of the CC 4.0 license suite. This process included standardizing legal terms across multiple Spanish speaking-countries with differing legal systems, and involved the active participation of dozens of community members from different countries. Check out the CC Attribution license (CC BY) in <a href="https://creativecommons.org/licenses/by/4.0/legalcode.es">Spanish</a>.</p>
<p>Spanish is the second most-spoken language in the world, with approximately 447 million native speakers and an estimated 570 million total speakers worldwide. It is also one of the most geographically widespread languages, reaching a vast number of countries that recognize Spanish as an official language. This brings the total number of people who are able to understand our 4.0 licenses in their first language to more than 2.2 billion.</p>
<p>Spanish speaking communities have been active ever since the launch of Creative Commons in 2001 and some of the oldest chapters were formed in Latin America and Spain. Under the new structure of the CC Global Network, we’re seeing an increase in the number of Spanish-speaking chapters. As more chapters are formed to promote the licenses and the communities that depend on them for sharing, we expect that the Spanish license suite will help more institutions, creators and artists in these countries embrace CC licensing.</p>
<p>We would like to thank the incredible leadership of María Juliana Soto (CC Colombia) and Ignasi Labastida (CC Spain) in drafting the first versions of the translation, and the work of several contributors around the CC Community, including: María Paz Canales (CC Chile); Claudia Cristiani (CC El Salvador); Evelin Heidel (a.k.a. Scann, CC Argentina), as well as the support of CC Staff to bring this forward.</p>
<p>¡Felicitaciones por el trabajo realizado, equipo!</p>
<h2>En Español:</h2>
<h3>La traducción al castellano de la versión 4.0 de las licencias está ahora disponible<br />
¡Las licencias CC ahora alcanzan a medio billón más de usuarios y creadores!</h3>
<p>Luego de más de tres años y varias rondas de consulta con expertos legales a lo largo de América Latina y España, Creative Commons se enorgullece en anunciar el lanzamiento de la traducción al español de las licencias CC 4.0. Este proceso incluyó estandarizar el conjunto de las licencias a lo largo de múltiples países hispano-parlantes, con la participación activa de decenas de miembros de la comunidad de varios países. Pueden ver la licencia CC Atribución (CC BY) en <a href="https://creativecommons.org/licenses/by/4.0/legalcode.es">español</a>.</p>
<p>El español es la segunda lengua más hablada en el mundo, con alrededor de 442 millones de hablantes nativos y un estimado de 570 millones de hablantes en el mundo. También es uno de los idiomas más difundidos geográficamente, alcanzando un gran número de países que lo reconocen como su idioma oficial. Esto lleva a que más de 2.2 billones de personas puedan entender nuestras licencias 4.0 en su idioma materno.</p>
<p>Las comunidades hispano-parlantes han estado muy activas desde el lanzamiento de Creative Commons en 2001. Algunos de los capítulos más antiguos fueron formados en América Latina y España. Bajo la nueva estructura de la Red Global de CC, estamos viendo un incremento de capítulos hispano-parlantes. A medida que se forman más capítulos para promover las licencias y las comunidades que dependen de ellas para compartir, esperamos que las licencias en español ayudarán a más instituciones, creadores y artistas a adoptar CC en estos países.</p>
<p>Nos gustaría agradecer el increíble liderazgo de María Juliana Soto (CC Colombia) e Ignasi Labastida (CC Spain) en armar los primeros borradores de la traducción, y el trabajo de varios colaboradores en la comunidad de CC: María Paz Canales (CC Chile); Claudia Cristiani (CC El Salvador); Evelin Heidel (a.k.a. Scann, CC Argentina), así como el apoyo del staff de CC para completar esta tarea.</p>
<p>¡Felicitaciones por el trabajo realizado, equipo!</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/09/11/spanish-translation-of-4-0-now-available-la-traduccion-al-castellano-de-la-version-4-0-de-las-licencias-esta-ahora-disponible/">Spanish Translation of 4.0 now available (La traducción al castellano de la versión 4.0 de las licencias está ahora disponible)</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55086
title: With the European Parliament vote on the copyright directive, the internet lost – for now
uri: With-the-European-Parliament-vote-on-the-copyright-directive-the-inte
url:
https://creativecommons.org/2018/09/12/with-the-european-parliament-vote-on-the-copyright-directive-the-internet-lost-for-now/

content:
<figure id="attachment_55088" style="width: 800px" class="wp-caption aligncenter"><a href="https://www.flickr.com/photos/european_parliament/30769286538/"><img data-attachment-id="55088" data-permalink="https://creativecommons.org/2018/09/12/with-the-european-parliament-vote-on-the-copyright-directive-the-internet-lost-for-now/30769286538_918e8914a4_h/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/30769286538_918e8914a4_h.jpg" data-orig-size="1600,1067" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="30769286538_918e8914a4_h" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/30769286538_918e8914a4_h.jpg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/30769286538_918e8914a4_h.jpg" class="wp-image-55088" src="media/7e51f108.30769286538_918e8914a4_h.jpg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/30769286538_918e8914a4_h.jpg" alt="" width="800" height="534" /></a><figcaption class="wp-caption-text">© European Union 2018 &#8211; European Parliament, <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/">CC BY-NC-ND 4.0</a></figcaption></figure>
<p><span style="font-weight: 400;">Today the European Parliament voted 438-226 (with 39 abstentions) to approve drastic changes to </span><a href="https://en.wikipedia.org/wiki/Directive_on_Copyright_in_the_Digital_Single_Market"><span style="font-weight: 400;">copyright law</span></a><span style="font-weight: 400;"> that, if ultimately enacted, would negatively affect creativity, freedom of expression, research, and sharing across the EU. </span></p>
<h3><b>The Parliament voted in favor of almost all provisions that extend more rights to the establishment copyright industries while failing to protect users and new creators online. </b></h3>
<p><span style="font-weight: 400;">The Parliament voted in favor of Article 13, which will essentially force online platforms to install expensive content filters to police user uploads and remove content if there’s any whiff of unauthorized sharing of copyrighted materials. The rule covers all types of content, from music to video to images. If platforms don&#8217;t take action, they assume liability for what their uses publish online. Upload filters will limit freedom of expression, as the technologies can&#8217;t tell the difference between copyright infringement and permitted uses of copyrighted works, such as memes shared as parody, or the incidental capture of an advertisement in the background of a selfie. </span></p>
<p><span style="font-weight: 400;">They approved Article 11, which provides extra copyright-like rights to press publishers. Article 11 would force news aggregators to pay publishers for linking to their stories. The rule covers links and snippet over a single word. The Parliament’s vote also included giveaways to other groups, such as a new right for sporting event producers to lock down the sharing of fan photography and short videos at sporting events. </span></p>
<p><span style="font-weight: 400;">The Parliament refused to make much needed changes to the text that would help ensure that Europe can remain a relevant player for research and innovation. It approved only a limited copyright exception for text and data mining that restricts its use only for approved non-profit research organisations, instead of providing a blanket exception supported by libraries, research organisations, and the EU startup community that would make “the right to read is the right to mine.” As a result, investment and innovation in this space will move to outside of Europe where there’s a more conducive legal environment for text and data mining, such as the United States. </span></p>
<p><span style="font-weight: 400;">Not only does the plan approved by the Parliament fail to produce benefits for its intended frame, the digital single market, it also does almost nothing to protect user rights, improve the ability to share remixes and other user-generated content (UGC), or protect the public domain. The commonsense amendments in support of UGC, freedom of panorama, and calling for support of the public domain were all voted down. </span></p>
<p><span style="font-weight: 400;">Ryan Merkley, CEO of Creative Commons, appeared on BBC Radio this afternoon for an </span><a href="https://www.bbc.co.uk/radio/play/b0bj2zt7"><span style="font-weight: 400;">interview</span></a><span style="font-weight: 400;"> on the copyright directive vote. He reiterated that artists should be able to receive fair and appropriate compensation for their work, and that Creative Commons was formed in order to provide alternative choices for creators in how they share creativity online. But he said that most of the provisions passed in today’s EU Parliament vote only benefited major rights holders like TV networks or music labels: </span></p>
<blockquote><p><i><span style="font-weight: 400;">If you&#8217;re a regular person or an independent artist who needs the internet for your every day life or for work or for fun, if you’re somebody who reads articles online or makes your own music or has an idea for a startup, or you&#8217;re a scientist who wants to cure a disease, you lose in this proposal. The EU is a less good place to make your art, to make your music, or to drive innovation or discovery. </span></i></p></blockquote>
<p><b>What’s next? </b></p>
<p><span style="font-weight: 400;">Now the Parliament enters into closed-door three-way negotiations with the Council of the European Union (the EU Member State governments) and the European Commission (the EU executive body which proposed the original text of the copyright directive). These three bodies will work to reconcile their versions of the directive text, and the final text will again be voted on in the European Parliament probably early in 2019. </span></p>
<p><span style="font-weight: 400;">The European Parliament was given the chance to fix copyright for 500 million Europeans, and signal to the world that progressive changes to law can empower new creators and champion creativity and the open web. Instead, they chose to side with the most powerful corporate rights holders whose sole objective is to minimize the impact brought about by digital technologies and the internet on their legacy business models. </span></p>
<p><span style="font-weight: 400;">The fight for the future of the internet is far from over. While today’s Parliament vote was a major setback, it’s up to all of us to continue to organize and advocate for the free and open web we want and need, in the EU and beyond.</span></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/09/12/with-the-european-parliament-vote-on-the-copyright-directive-the-internet-lost-for-now/">With the European Parliament vote on the copyright directive, the internet lost – for now</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55091
title: Traditional Knowledge and the Commons: The Open Movement, Listening, and Learning
uri: Traditional-Knowledge-and-the-Commons-The-Open-Movement-Listening-a
url:
https://creativecommons.org/2018/09/18/traditional-knowledge-and-the-commons-the-open-movement-listening-and-learning/

content:
<p><span style="font-weight: 400;">CC licenses and public domain tools help individuals, organisations, and public institutions better disseminate digital resources and data, breaking down the typical barriers associated with traditional “all rights reserved” copyright. At the same time, CC licenses can’t do everything for everyone. First, the licenses operate in the sphere of copyright and similar rights. They do not attempt to license, say, personality rights, trademark, or patent rights. Also, the CC community recognizes that voluntary licensing schemes will never be a comprehensive solution for access to and reuse of knowledge and creativity around the world. This is one reason why CC works on international </span><a href="https://creativecommons.org/about/program-areas/policy-advocacy-copyright-reform/reform/"><span style="font-weight: 400;">copyright reform</span></a><span style="font-weight: 400;"> issues, including the protection and expansion of user rights. </span></p>
<p><span style="font-weight: 400;">Another dimension of openness that could be better understood from the perspective of the “open” community is the sharing of cultural works related to indigenous communities. This has been talked about with terms such as “traditional knowledge”. </span><a href="media/c7daa9f7.wipo_grtkf_ic_31_4.pdf" data-original-source="http://www.wipo.int/edocs/mdocs/tk/en/wipo_grtkf_ic_31/wipo_grtkf_ic_31_4.pdf"><span style="font-weight: 400;">Traditional knowledge</span></a><span style="font-weight: 400;"> consists of a wide range of skills, cultural works, and practices that have been sustained and developed over generations by indigenous communities around the world. These communities hold entitlement over this knowledge as well as responsibility for the preservation of their knowledge, but haven’t always had the autonomy to decide what can be done with their knowledge. </span><a href="media/33cf401f.Mapping20Indigenous20IP20rimmer.pdf" data-original-source="https://schd.ws/hosted_files/ccglobalsummit2018/0a/Mapping%20Indigenous%20IP%20rimmer.pdf"><span style="font-weight: 400;">International and national instruments</span></a><span style="font-weight: 400;"> have attempted to codify the value of traditional knowledge and rights of indigenous peoples, but the place of such knowledge within conventional intellectual property structures remains  deeply contested and </span><a href="http://www.ip-watch.org/2013/08/20/interviews-what-protection-of-traditional-knowledge-means-to-indigenous-peoples/"><span style="font-weight: 400;">uncertain</span></a><span style="font-weight: 400;">. </span></p>
<p><span style="font-weight: 400;">These issues and more were brought up at the 2018 </span><a href="https://ccglobalsummit2018.sched.com/event/E6tu/indigenous-cultural-and-intellectual-property-traditional-knowledge-copyright-and-creative-commons-a-discussion-of-practices-and-principles"><span style="font-weight: 400;">Creative Commons Global Summit</span></a><span style="font-weight: 400;"> as well, and has since started an important conversation within the CC community. I’m an attorney and doctoral candidate at UC-Berkeley Law, and over the summer I worked as a research fellow for Creative Commons to conduct an investigation into the current issues regarding traditional knowledge and its intersection with the open movement. </span><b>A </b><a href="https://docs.google.com/document/d/145pLFWTLhhm__Q-fHXUmaIXau9hsT0xln_8ywjDpyxw/edit"><b>draft of the paper is complete</b></a><b>, and we welcome your thoughts and suggestions to it. </b></p>
<p><b>In addition, we’ll be </b><a href="http://www.cvent.com/events/5th-global-congress-on-intellectual-property-and-the-public-interest/agenda-cf2ca0aa63414d4d9dd9dafed6a09a4c.aspx"><b>hosting a session</b></a><b> on the topic on Thursday, September 27 at 3:00p at the 5th Global Congress on Intellectual Property and the Public Interest in Washington, D.C.</b></p>
<p><span style="font-weight: 400;">The tension between traditional knowledge protection and IP frameworks is exacerbated by digital technologies that have made the creation, dissemination, appropriation and remixing of knowledge and cultural artifacts easier than ever before. Indigenous communities’ preservation efforts and control over traditional knowledge sometimes also seem to conflict with the ‘open’ ecosystem, which consists of organizations, communities, and individuals supporting open and free culture, open licensing and access to knowledge. This is because traditional knowledge is often perceived as being part of the </span><a href="media/eaa84327.Paper20no.176.pdf" data-original-source="https://www.cigionline.org/sites/default/files/documents/Paper%20no.176.pdf"><span style="font-weight: 400;">public domain by default</span></a><span style="font-weight: 400;">, when it is not. </span></p>
<p><span style="font-weight: 400;">There is a colonial history of this perception. The doctrine of </span><a href="http://www.ip-watch.org/2017/03/02/indigenous-peoples-wipo-call-respect-sovereign-rights-prevention-cultural-genocide/"><span style="font-weight: 400;">discovery</span></a><span style="font-weight: 400;">, which was used to legitimize and expand colonization, held the assumption that indigenous peoples were “uncivilized,” and hence could not own property like </span><a href="https://onlinelibrary.wiley.com/doi/full/10.1111/jwip.12096"><span style="font-weight: 400;">European settlers</span></a><span style="font-weight: 400;">. Therefore, the land and knowledge of indigenous peoples were seen as part of the commons, open for ‘discovery’ and appropriation. Another oft repeated concern that traditional community representatives have voiced at global venues like </span><a href="https://en.wikipedia.org/wiki/World_Intellectual_Property_Organization"><span style="font-weight: 400;">WIPO</span></a><span style="font-weight: 400;"> is the misuse and appropriation of their knowledge. Appropriation refers not just to taking something of value to a community, but also reaping economic benefit from it. For these reasons, the public domain may be perceived as detrimental to the interests of indigenous communities. It’s important to recognize this because it affects how these communities might perceive open and free culture movements. </span></p>
<p><span style="font-weight: 400;">Copyright law in particular is based on a number of assumptions that are sometimes at odds with the protection of indigenous knowledge. For instance, sometimes it can be difficult to identify an author of a cultural work because “ownership” might vest in a community, is sometimes continually being </span><a href="https://scholarship.law.duke.edu/lcp/vol70/iss2/6/"><span style="font-weight: 400;">invented</span></a><span style="font-weight: 400;">, or might be passed from generation to generation. The categories of copyright law may not encompass the kinds of expressions found in traditional knowledge. For example, a dance could be manifested in several ways and may have a sequential unique style over several </span><a href="https://scholarship.law.umn.edu/cgi/viewcontent.cgi?article=1371&amp;context=mjlst"><span style="font-weight: 400;">performances</span></a><span style="font-weight: 400;">. One sequence might be removed and placed in a western song or performance. Not only would there be no protection for this disparate piece, any social or spiritual meaning that might be attached to that dance would also be lost. Furthermore, some traditions are conveyed and preserved orally, and this might not be ‘fixed’ in a tangible form to receive conventional copyright protection.</span></p>
<p><span style="font-weight: 400;">This perceived disconnect with copyright law in particular puts Creative Commons in a challenging position with regards to indigenous knowledge. On the one hand, Creative Commons strives to make knowledge and information as widely and freely accessible as possible. It seeks to empower individuals who want to define the terms of access to their works. On the other hand, Creative Commons must grapple with ownership structures of traditional knowledge, its position within copyright law, and the terms of access of different kinds of traditional knowledge online. The CC licenses were never meant to be applied to content that is not meant to be shared broadly — so to the extent such content is not intended to be shared broadly or if open licenses do not adequately meet the needs of these communities for reasons described above, then it makes sense not to expect acceptance or use of open licenses as currently available. </span></p>
<p><span style="font-weight: 400;">Despite these challenges, digital technologies also represent an opportunity to help resolve some of the tensions between IP structures and traditional knowledge and have been used by indigenous communities. Projects like </span><a href="http://mukurtu.org/"><span style="font-weight: 400;">Mukurtu</span></a><span style="font-weight: 400;"> and </span><a href="http://localcontexts.org/"><span style="font-weight: 400;">Local Contexts</span></a><span style="font-weight: 400;"> help preserve and label traditional works while giving indigenous communities autonomy to set the terms for sharing. Local Contexts also provides guidance to indigenous communities about controlling access and preservation of their knowledge. There are flexibilities within CC licenses that could be used in empowering ways by communities that want to make their works open. The conversation needs to involve more communities, policymakers and scholars and the Creative Commons team is exploring the possibilities of working with other projects and involving indigenous communities more closely to understand the role CC licenses could play in the protection and dissemination of traditional knowledge. </span></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/09/18/traditional-knowledge-and-the-commons-the-open-movement-listening-and-learning/">Traditional Knowledge and the Commons: The Open Movement, Listening, and Learning</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55113
title: Big changes for CC Search beta: updates released today!
uri: Big-changes-for-CC-Search-beta-updates-released-today
url: https://creativecommons.org/2018/09/24/big-changes-for-cc-search-beta-updates-released-today/
content:
<p><span style="font-weight: 400;">Today, we’ve released a significant update to our working beta of the <a href="http://ccsearch.creativecommons.org">CC Search</a> product. We launched the project in February 2017 to provide a new “front door” to the Commons with the ultimate goal to find and index all 1.4 billion+ CC licensed works on the web. Since then, our newly formed tech team – myself, Alden Page, Sophine Clachar, and Steven Bellamy – have been working to move this project toward its next iteration, which I am proud to share today.</span></p>
<h2><span style="font-weight: 400;">More providers, better metadata</span></h2>
<p><a href="http://ccsearch.creativecommons.org"><img data-attachment-id="55114" data-permalink="https://creativecommons.org/2018/09/24/big-changes-for-cc-search-beta-updates-released-today/cc-search/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/cc-search.jpg" data-orig-size="2000,723" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="cc search" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/cc-search.jpg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/cc-search.jpg" class="wp-image-55114 aligncenter" src="media/40b5d48f.cc-search.jpg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/cc-search.jpg" alt="search-screenshot" width="686" height="248" /></a></p>
<p><span style="font-weight: 400;">This is a work in progress — it has great new features, and also has a few bugs, which we’re working on as we go (you can leave feedback <a href="https://docs.google.com/forms/d/1Z_lwUoiTRBw-fr4wQVDZBSq8-T2kr93XezOEU-ISHBU/viewform?edit_requested=true">here</a> or file issues at <a href="https://github.com/creativecommons/cccatalog-frontend">Github</a>). This iteration of CC Search integrates access to more than 10 million images across 13 content providers. The data was obtained by processing 36 months of web crawl data from the </span><a href="http://commoncrawl.org/"><span style="font-weight: 400;">Common Crawl corpus</span></a><span style="font-weight: 400;"> (an open repository of web crawl data maintained by the Common Crawl Foundation).</span></p>
<p><span style="font-weight: 400;">The full list of providers:</span></p>
<table>
<tbody>
<tr>
<td><b>Provider</b></td>
<td><b>Domain</b></td>
<td><b># CC Licensed Works</b></td>
</tr>
<tr>
<td><b>Animal Diversity Web</b></td>
<td><a href="https://animaldiversity.org/"><span style="font-weight: 400;">https://animaldiversity.org/</span></a></td>
<td><span style="font-weight: 400;">14,839</span></td>
</tr>
<tr>
<td><b>Behance</b></td>
<td><a href="https://www.behance.net/"><span style="font-weight: 400;">https://www.behance.net/</span></a></td>
<td><span style="font-weight: 400;">5,245,785</span></td>
</tr>
<tr>
<td><b>Deviantart</b></td>
<td><a href="https://www.deviantart.com/"><span style="font-weight: 400;">https://www.deviantart.com/</span></a></td>
<td><span style="font-weight: 400;">206,506</span></td>
</tr>
<tr>
<td><b>Digitalt Museum</b></td>
<td><a href="https://digitaltmuseum.org/"><span style="font-weight: 400;">https://digitaltmuseum.org/</span></a></td>
<td><span style="font-weight: 400;">88,970</span></td>
</tr>
<tr>
<td><b>Encyclopedia of Life</b></td>
<td><a href="http://eol.org/"><span style="font-weight: 400;">http://eol.org/</span></a></td>
<td><span style="font-weight: 400;">547,488</span></td>
</tr>
<tr>
<td><b>Flickr</b></td>
<td><a href="https://www.flickr.com/"><span style="font-weight: 400;">https://www.flickr.com/</span></a></td>
<td><span style="font-weight: 400;">426,214</span></td>
</tr>
<tr>
<td><b>Flora-On</b></td>
<td><a href="http://flora-on.pt/"><span style="font-weight: 400;">http://flora-on.pt/</span></a></td>
<td><span style="font-weight: 400;">26,498</span></td>
</tr>
<tr>
<td><b>Geograph UK</b></td>
<td><a href="http://www.geograph.org.uk/"><span style="font-weight: 400;">http://www.geograph.org.uk/</span></a></td>
<td><span style="font-weight: 400;">1,018,560</span></td>
</tr>
<tr>
<td><b>IHA Holiday Ads</b></td>
<td><a href="http://www.iha.com/"><span style="font-weight: 400;">http://www.iha.com/</span></a></td>
<td><span style="font-weight: 400;">2,058,272</span></td>
</tr>
<tr>
<td><b>McCord Museum</b></td>
<td><a href="http://www.musee-mccord.qc.ca/en/"><span style="font-weight: 400;">http://www.musee-mccord.qc.ca/en/</span></a></td>
<td><span style="font-weight: 400;">108,800</span></td>
</tr>
<tr>
<td><b>The Metropolitan Museum of Art</b></td>
<td><a href="https://www.metmuseum.org/"><span style="font-weight: 400;">https://www.metmuseum.org/</span></a></td>
<td><span style="font-weight: 400;">96,260</span></td>
</tr>
<tr>
<td><b>Museums Victoria</b></td>
<td><a href="https://collections.museumvictoria.com.au/"><span style="font-weight: 400;">https://collections.museumvictoria.com.au/</span></a></td>
<td><span style="font-weight: 400;">64,719</span></td>
</tr>
<tr>
<td><b>Science Museum &#8211; UK</b></td>
<td><a href="https://www.sciencemuseum.org.uk/"><span style="font-weight: 400;">https://www.sciencemuseum.org.uk/</span></a></td>
<td><span style="font-weight: 400;">14,280</span></td>
</tr>
</tbody>
</table>
<p><span style="font-weight: 400;">In addition, the new release contains several new features, including AI image tags generated from our collaborator, </span><a href="https://clarifai.com/"><span style="font-weight: 400;">Clarifai</span></a><span style="font-weight: 400;">. Clarifai is a best in class image classification software that provides tagging support and visual recognition. Clarifai’s API was integrated in the process-flow as a means to automatically generate tags for the new and existing images. This means that CC search has machine generated tags, user-defined tags, and platform-defined tags that were obtained from the web crawl data. Collectively, these will enhance the user’s search experience and improve the quality of the results. Currently, 10.3 million images have their respective Clarifai tags and the outstanding images will be integrated on an ongoing basis. Thank you to Clarifai for their support.</span></p>
<p><img data-attachment-id="55115" data-permalink="https://creativecommons.org/2018/09/24/big-changes-for-cc-search-beta-updates-released-today/clarifai/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/clarifai.png" data-orig-size="489,103" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="clarifai" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/clarifai.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/clarifai.png" class="wp-image-55115 aligncenter" src="media/037b48e9.clarifai.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/clarifai.png" alt="clarifai" width="565" height="119" /></p>
<h2><span style="font-weight: 400;">A New Look</span></h2>
<p><span style="font-weight: 400;"><a href="media/11e0e9a6.cc-search-scroll-sm.gif" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/cc-search-scroll-sm.gif"><br />
</a><a href="http://ccsearch.creativecommons.org"><img data-attachment-id="55130" data-permalink="https://creativecommons.org/2018/09/24/big-changes-for-cc-search-beta-updates-released-today/unnamed/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/unnamed.gif" data-orig-size="512,254" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="unnamed" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/unnamed.gif" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/unnamed.gif" class="wp-image-55130 aligncenter" src="media/69056ad9.unnamed.gif" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/unnamed.gif" alt="gif-search" width="798" height="396" /></a>The new design allows users to search by category, see popular images, and search more accurately across a wide range of content.</span></p>
<p><span style="font-weight: 400;">Users can also now share content and create public lists of images without an account using an anonymous authentication scheme. Shares.cc is a new a link shortening system that makes it easy to share cool stuff you find on our platform to social media – users can share both images and lists, no login required. In addition, the new platform provides the ability to filter by provider, license, creator, tag (including those generated by Clarifai), or title. </span></p>
<p><b>(Please note: </b>If you made private lists in the previous system, they will not carry over to this release. We&#8217;re sorry for any inconvenience this may have caused. If there is a list you would like us to recover, please email us at <a href="mailto:info@creativecommons.org">info@creativecommons.org</a>.<b>)</b></p>
<h2><span style="font-weight: 400;">With gratitude</span></h2>
<p><span style="font-weight: 400;">CC Search is made possible by a number of institutional and individual sponsors. Specifically, we would like to thank </span><a href="https://www.arcadiafund.org.uk/about-peter-baldwin-lisbet-rausing/"><span style="font-weight: 400;">Arcadia</span></a><span style="font-weight: 400;"> – a charitable fund of Lisbet Rausing and Peter Baldwin, </span><a href="https://www.mozilla.org/en-US/foundation/"><span style="font-weight: 400;">Mozilla</span></a><span style="font-weight: 400;">, and the Brin Wojcicki Foundation for their support. With the generous support of our funders, Creative Commons is able to significantly advance its work in pursuit of a more open and sharing world that illuminates the Commons and recognizes the major potential of transformative human knowledge.</span></p>
<p><em><span style="font-weight: 400;">Full release notes available </span><a href="https://gist.github.com/sebworks/7a6f8ddce88a2377624165cfc32e56f5"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span></em></p>
<p>&nbsp;</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/09/24/big-changes-for-cc-search-beta-updates-released-today/">Big changes for CC Search beta: updates released today!</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55141
title: Findings from the Discovery phase of CC usability
uri: Findings-from-the-Discovery-phase-of-CC-usability
url: https://creativecommons.org/2018/09/25/findings-from-the-discovery-phase-of-cc-usability/
content:
<p><span style="font-weight: 400;">In January, Creative Commons kicked off an </span><a href="https://creativecommons.org/2018/01/18/entering-discovery-phase-cc-usability/"><span style="font-weight: 400;">exciting new initiative</span></a><span style="font-weight: 400;"> called </span><a href="https://docs.google.com/document/d/1EIQLLsELWXH6NC6b5k80NSIzZTklXFnc6rkIjSM41Co/edit#"><i><span style="font-weight: 400;">CC usability</span></i></a><span style="font-weight: 400;"> with two primary goals: </span></p>
<ol>
<li><span style="font-weight: 400;">To update the experience of CC licensing and discovery to reflect the realities of how people are sharing in 2018</span></li>
<li><span style="font-weight: 400;">To anticipate and design for the future of digital content sharing</span></li>
</ol>
<p><span style="font-weight: 400;">In the next two sections, I provide background on the initiative and the process we used to conduct the research. If you’re short on time, you can skip all of it and go directly to the </span><span style="font-weight: 400;">findings</span><span style="font-weight: 400;">. You can also peruse </span><a href="https://drive.google.com/file/d/1qoGVRlFtFL99pKzwg6Tefh1oqOz5dSIB/view?usp=sharing"><span style="font-weight: 400;">this slide deck</span></a><span style="font-weight: 400;"> for a quick visual summary.</span></p>
<p><span style="font-weight: 400;">I’m also pleased to announce that in order to further this work, I have stepped into a new role at CC. As the </span><a href="https://creativecommons.org/author/janeparkcreativecommons-org/"><span style="font-weight: 400;">Director of Product and Research</span></a><span style="font-weight: 400;">, I will </span><span style="font-weight: 400;">lead the strategy, design, and implementation of CC’s product vision for CC Search and related products. Our work will be driven by a research-based approach, which you can learn more about below.</span></p>
<p><span id="more-55141"></span></p>
<h2 style="text-align: left;"><span style="font-weight: 400;">Background</span></h2>
<p style="text-align: center;"><i><span style="font-weight: 400;">“Relevance to the real world is what separates innovation from invention. Understanding why and how people do what they do today is essential to making new concepts fit into their lives tomorrow.” </span></i><span style="font-weight: 400;"> </span></p>
<p style="text-align: center;"><span style="font-weight: 400;">— Erika Hall, Director of Strategy at Mule Design, </span><i><span style="font-weight: 400;">Just Enough Research</span></i></p>
<p><span style="font-weight: 400;">The driving motivation behind this initiative is </span><i><span style="font-weight: 400;">relevance</span></i><span style="font-weight: 400;">. CC was founded in 2001 and launched its first licenses in 2002, and in the 16 years since, the landscape of the internet has changed a great deal. The CC licenses have been versioned several times over to adapt to international copyright laws and trade agreements, and we’ve developed some new tools (Public Domain Mark, CC0). Lots of programs have been founded and re-founded, driving growth of a global commons of </span><a href="https://stateof.creativecommons.org/"><span style="font-weight: 400;">1.4 billion works</span></a><span style="font-weight: 400;">, fostering collaboration across an international network of advocates and practitioners, and shifting norms and policies within governments and educational institutions.</span></p>
<p><span style="font-weight: 400;">But one thing that has not changed in the past decade or so that I’ve been with Creative Commons is </span><i><span style="font-weight: 400;">how to actually CC license a work</span></i><span style="font-weight: 400;">. Or for that matter, how to figure out which license is right for you. Or how to add license information so that your computer can detect it. And really, the following things have not changed much either: How to find licensed works. How to attribute authors. How to know whether your application of a CC license is even the right call, since your work may very well fall into the nebulous land of “emerging media and technology” that didn’t exist 16, ten or even a few years ago. </span></p>
<p><span style="font-weight: 400;">All of this is to say that while the internet and platform technologies for sharing content have changed pretty drastically — the trend towards a few major companies monopolizing content sharing and distribution, machine algorithms determining the content you consume, mobile becoming ubiquitous, media emerging that didn’t exist before like 3D printing and virtual reality — the technicalities and user experience of CC licensing and discovery have remained largely the same, raising the question of CC’s relevance in the internet of 2018. </span></p>
<p><i><span style="font-weight: 400;">Is CC still relevant? </span></i><span style="font-weight: 400;">CC’s tools are used in many different fields, so there’s no one answer on how to be relevant, but in all fields we know the landscape has changed. The way content is created and shared has changed, and even the number and composition of the communities who do the creating and sharing has changed. </span></p>
<p><span style="font-weight: 400;">I’m happy to report that after six months of user research, I do think CC is still relevant, namely because 80+ people told us as much, and we did not just speak with the choir.</span></p>
<p><span style="font-weight: 400;">The catch? In order to </span><i><span style="font-weight: 400;">remain</span></i><span style="font-weight: 400;"> relevant, CC will have to evolve. </span></p>
<h2><span style="font-weight: 400;">Human-Centered Design</span></h2>
<p style="text-align: center;"><i><span style="font-weight: 400;">“Human-centered design is all about starting with people and building deep empathy; generating lots of possible ideas; building and testing prototypes with the people you’re designing for; and eventually putting new solutions out into the world to improve lives.” </span></i></p>
<p style="text-align: center;"><span style="font-weight: 400;"> — IDEO.org</span></p>
<p><span style="font-weight: 400;">We adapted human-centered design principles to conduct our research. HCD is a philosophy and set of tools that have permeated all aspects of user experience and product design today. The specific term — </span><i><span style="font-weight: 400;">human-centered design</span></i><span style="font-weight: 400;"> — was popularized by IDEO, the design consulting firm, which became known for its multidisciplinary approach to solving real world problems. HCD consists of three phases: discovery, design, and development. Discovery is research, including ongoing background research and reading, but most importantly, talking directly to the people who you are designing for, which in our case are the actual users and creators of digital content. </span></p>
<p><span style="font-weight: 400;">From February through July, we conducted a total of 81 interviews, in addition to pulling 36 interviews from relevant publications (</span><a href="https://creativecommons.org/tag/cctalkswith/"><span style="font-weight: 400;">CC Talks With</span></a><span style="font-weight: 400;">, </span><a href="https://soundcloud.com/wearecc/sets/humans-of-the-commons"><span style="font-weight: 400;">Humans of the Commons</span></a><span style="font-weight: 400;">, </span><a href="https://creativecommons.org/use-remix/made-with-cc"><span style="font-weight: 400;">Made with Creative Commons</span></a><span style="font-weight: 400;">). We interviewed super, expert, and future users and creators of all kinds of media, including images, text, data, audio, 3D designs, games, virtual and augmented reality assets. We defined super users as those creators or users who have been using CC for years. We considered expert users people at the forefront of their fields, like academics and company founders, who think a lot about how CC and their subject matter intersect. And we wanted future users that were both professionals in fields like photography who don’t currently use CC but could, and those who have yet to enter a profession because they are too young, like Generation Z (yes, there is a generation after the oft talked about Millennials!). We talked to each person for roughly an hour about their motivations, behaviors, problems, and ideal outcomes for sharing content online, with and without CC licensing. </span></p>
<p><span style="font-weight: 400;">Then we aggregated, analyzed, and synthesized everything people said in all 117 interviews.</span></p>
<p><span style="font-weight: 400;"><img data-attachment-id="55144" data-permalink="https://creativecommons.org/2018/09/25/findings-from-the-discovery-phase-of-cc-usability/constellations-map_text/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/Constellations-Map_TEXT.jpg" data-orig-size="640,480" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;2.2&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;iPhone 6s&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1532245942&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;4.15&quot;,&quot;iso&quot;:&quot;40&quot;,&quot;shutter_speed&quot;:&quot;0.033333333333333&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="Constellations Map_TEXT" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/Constellations-Map_TEXT.jpg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/Constellations-Map_TEXT.jpg" class="aligncenter wp-image-55144 size-full" src="media/823e4784.Constellations-Map_TEXT.jpg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/Constellations-Map_TEXT.jpg" alt="image-wall" width="640" height="480" /></span></p>
<h2><span style="font-weight: 400;">Findings</span></h2>
<p style="text-align: center;"><i><span style="font-weight: 400;">“An Insight is both an opportunity and a problem statement — two things with tension, two things where you can’t readily have both. For example, share stuff for free but also make money.” </span></i></p>
<p style="text-align: center;"><span style="font-weight: 400;">~ Tom De Blasis, Design Strategy Consultant at (tbd) collective</span></p>
<p><span style="font-weight: 400;">Working closely with two experienced design consultants, we pulled patterns from the data, ultimately extracting nine key insights pertaining specifically to the sharing of images and longform texts (we tabled the domains of data and emerging media/tech for a later date). Insights fell loosely into three categories: </span></p>
<ul>
<li><span style="font-weight: 400;">i) insights pertaining to CC’s current tools, </span></li>
<li><span style="font-weight: 400;">ii) insights pertaining to the core experience of sharing content, and </span></li>
<li><span style="font-weight: 400;">iii) insights about futures CC might help build. </span></li>
</ul>
<p><span style="font-weight: 400;">The following nine insights are a direct result of many people voicing the same needs and concerns across 117 interviews. To preserve the privacy of our interviewees, we will not share the full interviews, but anonymous quotes are included in the </span><a href="https://drive.google.com/file/d/1qoGVRlFtFL99pKzwg6Tefh1oqOz5dSIB/view?usp=sharing"><span style="font-weight: 400;">slide deck</span></a><span style="font-weight: 400;">. </span></p>
<p><span style="font-weight: 400;">The nine insights are: </span></p>
<ol>
<li style="font-weight: 400;"><span style="font-weight: 400;">People understand that CC stands for free content sharing, but the nuances of the specific licenses are lost on them — including experts and longtime CC users.</span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">People are motivated to license their work under CC, but have a hard time figuring out how to do it.</span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">People are motivated to give credit to other people, but they find attribution complicated and a hassle. </span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">People like seeing how their work is used, where it goes, and who it touches, but have no easy way to find this out. This insight incorporated the following two insights: </span>
<ul>
<li style="font-weight: 400;"><span style="font-weight: 400;">People care that the work they share resonates with people, especially personally, but can only know this if they are told directly by the person it resonated with.</span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">People want their work to have real world or social impact, but their sense about what these impacts are are vague. However, people can identify some real or potential outcomes from sharing their work that they enjoy.   </span></li>
</ul>
</li>
<li style="font-weight: 400;"><span style="font-weight: 400;">People are often first introduced to CC when they have completed a work, but at that point they are more interested in getting the work out there than thinking through a whole new system for sharing.  </span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">People want to share and find good work, but find it difficult to navigate the abundance of content and information online.</span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">People like the efficiency of sharing via centralized platforms, but are frustrated by the lack of control and ownership over their work, and increasing devaluation of individual creativity.  </span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">People aren’t driven to create for the money, but money is always a good outcome. People like sharing freely, but if someone is making a lot of money off their work, they want to be fairly compensated.</span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">People have a desire to create work that is lasting and meaningful, that eventually has a life of its own, but don’t know what to do with a work beyond publishing it.</span></li>
</ol>
<p><span style="font-weight: 400;">Insights 1-3 pertain to CC’s current tools; insights 4-6 pertain to the core experience of sharing content, and insights 7-9 are about futures CC might help build. </span></p>
<p><span style="font-weight: 400;">Some of these insights may seem obvious. If so, then we did our job by bringing what was obvious to the forefront, but this time backed by data and not conjecture. Other insights are less obvious, such as the one about introducing the concept of CC too late in the process of creation. These are the kinds of insights we relish, and we dug into all insights by developing specific design challenges and generating potential solutions to meet them.</span></p>
<p><img data-attachment-id="55145" data-permalink="https://creativecommons.org/2018/09/25/findings-from-the-discovery-phase-of-cc-usability/img_1396/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/IMG_1396.jpg" data-orig-size="4032,3024" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;2.2&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;iPhone 6s&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1532623695&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;4.15&quot;,&quot;iso&quot;:&quot;40&quot;,&quot;shutter_speed&quot;:&quot;0.033333333333333&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="IMG_1396" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/IMG_1396.jpg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/IMG_1396.jpg" class="aligncenter wp-image-55145 size-full" src="media/4de16320.IMG_1396.jpg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/IMG_1396.jpg" alt="image wall" width="4032" height="3024" /></p>
<p><span style="font-weight: 400;">This occurred in a design workshop with CC staff from legal, product, development, and communications. Over the course of 2.5 days, we generated 250+ ideas, heat mapped them to find common issues and approaches, fleshed out the most viable ideas, and decided on nine interventions to bring forward into the Design phase. They are not the only things we’ll ever do, but they are experiments we want to try to see if they can meaningfully address the needs we have identified. </span></p>
<p><span style="font-weight: 400;">The nine interventions are: </span></p>
<p><span style="font-weight: 400;">1) New step-through process / Redo language + pathway </span></p>
<p><span style="font-weight: 400;">Prototype a new pathway and educational tool that clearly communicates the licenses and leads the creator to the appropriate license for her needs. (Insights addressed: 1, 2)</span></p>
<p><span style="font-weight: 400;">2) Publish a “How To Guide” for where to find your work</span></p>
<p><span style="font-weight: 400;">Develop and publish a guide to finding where your CC-licensed work was used online, e.g. via reverse image search. (Insights addressed: 4)</span></p>
<p><span style="font-weight: 400;">3) Button for contact</span></p>
<p><span style="font-weight: 400;">Prototype an easy way for a user to get in touch with a creator and/or vice versa that ties to a CC license or tool. This could be done in a number of ways, including a button that is chosen from a new CC chooser, a deed + platform solution that connects users to creators, or a separate “contact me” button. (Insights addressed: 4)</span></p>
<p><span style="font-weight: 400;">4) Archiving</span></p>
<p><span style="font-weight: 400;">Prototype a few concepts that provide creators with the choice of archiving a version of their works when CC licensing. This could be an archive we provide as a service, tied to a new chooser tool, a separate web page for preserving your work, and also in partnership with an organization like the Internet Archive. (Insights addressed: 7, 9)</span></p>
<p><span style="font-weight: 400;">5) Reward &amp; Delight &#8212; infuse through all prototypes, esp #1</span></p>
<p><span style="font-weight: 400;">Use this as a framework for all prototypes we develop. In addition, prototype a small, fun idea that gives reward and delight to users, e.g. a graphic CC mascot overlaid to help users navigate the licensing process. (Insights addressed: All)</span></p>
<p><span style="font-weight: 400;">6) “Polaroid” watermark</span></p>
<p><span style="font-weight: 400;">Prototype a CC branded watermark that lives outside the image that can be added on download from CC search, as part of “no click attribution.” (Insights addressed: 3, 4)</span></p>
<p><span style="font-weight: 400;">7) No click attribution</span></p>
<p><span style="font-weight: 400;">Prototype a tool that removes </span><i><span style="font-weight: 400;">all</span></i><span style="font-weight: 400;"> friction for users providing correct attribution. This could play out in a number of ways, including having attribution and related information attach upon download of an image (0 click attribution) in CC search, an attribution filter/plugin service that bulk links attribution, or a credit that is automatically added by a platform or related service. (Insights addressed: 3)</span></p>
<p><span style="font-weight: 400;">8) Narrow use case search </span></p>
<p><span style="font-weight: 400;">Prototype in CC search a way to search for specific materials to use for specific types of projects, starting with the most popular use cases, e.g. CC music for videos or podcasts. (Insights addressed: 6)</span></p>
<p><span style="font-weight: 400;">9) Obtain a unique ID to track your work </span></p>
<p><span style="font-weight: 400;">Prototype a CC unique ID registry that links to the CC catalog and provides information about each CC work through the ID, e.g. CC/12345 would display information such as author, number of shares, etc. (Insights addressed: 3, 4, 6)</span></p>
<h2><span style="font-weight: 400;">What’s next</span></h2>
<p><span style="font-weight: 400;">These nine interventions will be developed or prototyped over the next 3-6 months (pending alignment with CC’s overall product strategy given my new role). Ready prototypes, including those built related to CC Search, will be demo-ed and tested at the Mozilla Festival and Nonprofit Software Development Summit in October and November. Following the design phase, CC will reassess prototypes along user feedback and against new organizational objectives to decide which to phase into development. It’s important to note that some of these ideas might not work out, and might not solve the problems they seek to address. That’s part of the iterative process of human-centered design. Separately, CC will evaluate findings from usability research that did not make it to the design phase as part of its other organizational objectives.</span></p>
<p><span style="font-weight: 400;">The question of CC’s relevance to various user groups, particularly mainstream creators, is ongoing. We will bring forward a plan to engage more deeply in that work in the next phase of the initiative in 2019, and will engage the community in that discussion at the </span><a href="https://summit.creativecommons.org/"><span style="font-weight: 400;">CC Global Summit</span></a><span style="font-weight: 400;"> in Lisbon next May.</span></p>
<h2><span style="font-weight: 400;">Get involved</span></h2>
<p><span style="font-weight: 400;">If there’s </span><i><span style="font-weight: 400;">one</span></i><span style="font-weight: 400;"> thing you can do now, it’s to join the </span><a href="https://creativecommons.slack.com/messages/CCS9CF2JE/details/"><span style="font-weight: 400;">#cc-usability</span></a><span style="font-weight: 400;"> channel over at the Creative Commons Slack (</span><a href="https://slack-signup.creativecommons.org/"><span style="font-weight: 400;">https://slack-signup.creativecommons.org</span></a><span style="font-weight: 400;">) and say — Hi! I’m interested in providing feedback on CC search and usability prototypes as you roll them out — or something to that effect. I’d just like to get to know you and where you’re coming from, like we got to know the 81 people we talked to earlier this year. </span></p>
<p><span style="font-weight: 400;">You can also follow me (</span><a href="https://twitter.com/janedaily"><span style="font-weight: 400;">@janedaily</span></a><span style="font-weight: 400;">) on Twitter, where I’ll post updates and conferences I’ll be at. </span></p>
<p><span style="font-weight: 400;">If you’re a developer, or versed in the ways of developers, you can follow our progress on each prototype at CC’s public Github repos. We have one specifically for intervention #4 (Archiving) at </span><a href="https://github.com/creativecommons/cc-archive"><span style="font-weight: 400;">https://github.com/creativecommons/cc-archive</span></a><span style="font-weight: 400;">, and will be posting the rest as part of other repos at </span><a href="https://github.com/creativecommons"><span style="font-weight: 400;">https://github.com/creativecommons</span></a><span style="font-weight: 400;">. </span></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/09/25/findings-from-the-discovery-phase-of-cc-usability/">Findings from the Discovery phase of CC usability</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55189
title: Board statement on harassment, openness, and CC community
uri: Board-statement-on-harassment-openness-and-CC-community
url: https://creativecommons.org/2018/09/28/board-statement/
content:
<p>Creative Commons is firmly committed to a workplace, community, and culture of mutual respect, free of harassment. We take all allegations of harassment and misconduct very seriously. We care deeply about the pain and anguish that is felt by victims of harassment, even many years after the fact.</p>
<p>CC has recently become aware that former intern and employee, Billy Meinke, has published an open letter to the Board of Directors about his experience working at CC from 2012-2013. Mr. Meinke also blogged in 2017 about his experiences. In response to that post last year, the Board carefully reviewed all the facts and processes related Mr. Meinke’s 2014 complaint to ensure the matter had been handled appropriately and fairly. We were confident that Mr. Meinke’s claims were promptly and thoroughly investigated when first reported, that CC’s response was appropriate, and that all processes and procedures were properly followed.</p>
<p>We take our role as a leading organization in the open community very seriously. Our strategy, policies, content, and code are all shared in an open community. These are our values, and our commitment is to be as open as we can in all of our work, because we believe it builds healthy, collaborative communities. However, sharing anything related to such sensitive matters must always be done with proper respect for the privacy and safety of the individuals involved. In light of Mr. Meinke&#8217;s decision to make his allegations public last year, we wanted to make it clear to the community that CC responds quickly to such claims and that harassment has no place in our workplace or community. We also wanted to ensure that our policies — which are overseen by the Audit Committee of the Board — are well-communicated to our employees and the public. At the time, CC <a href="https://medium.com/@ryanmerkley_27591/building-safe-and-welcoming-workspaces-at-cc-a0beee56ff9e">shared as much detail as we felt we could in response</a> to Mr. Meinke’s public post.</p>
<p>The Board has continued confidence in our leadership and staff for their response to these matters, and their efforts to ensure a positive and safe work environment for CC staff and community. Our policies apply to all staff, board members and officers, and to community members who participate in our global network and public events. These policies are designed to prevent harassment, protect victims, respond to complaints, and ensure the fair and prompt resolution of all allegations. Our policies are available for public review on our website, and are also aggregated on our <a href="https://wiki.creativecommons.org/wiki/Public_reports#Policies_for_staff.2C_board_and_officers.2C_and_community_members">public policies page</a>.</p>
<p>Any member of the public may submit complaints about misconduct via email to the CC Audit Committee at <a href="mailto:audit@creativecommons.org">audit@creativecommons.org</a>. Complaints received by the Committee at that address are promptly handled in accordance with our policies and procedures.</p>
<p>Sincerely,</p>
<p>Creative Commons Board of Directors (Molly Shaffer Van Houweling, Chair)</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/09/28/board-statement/">Board statement on harassment, openness, and CC community</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55198
title: New NAFTA Would Harm Canadian Copyright Reform and Shrink the Public Domain
uri: New-NAFTA-Would-Harm-Canadian-Copyright-Reform-and-Shrink-the-Public-D
url: https://creativecommons.org/2018/10/01/new-nafta-would-harm-canada-and-shrink-the-public-domain/
content:
<p><span style="font-weight: 400;">Late yesterday the U.S., Canada, and Mexico reached an agreement on a new North American Free Trade Agreement (NAFTA). The </span><a href="https://ustr.gov/trade-agreements/free-trade-agreements/united-states-mexico-canada-agreement/united-states-mexico"><span style="font-weight: 400;">agreement</span></a><span style="font-weight: 400;"> (now rebranded as the U.S.-Mexico-Canada Agreement, or “USMCA”) </span><b>obligates Canada to increase its copyright term by an additional 20 years</b><span style="font-weight: 400;"> if the deal is passed.</span></p>
<p><a href="media/b0659960.2020Intellectual20Property.pdf" data-original-source="https://ustr.gov/sites/default/files/files/agreements/FTA/USMCA/20%20Intellectual%20Property.pdf"><img data-attachment-id="55199" data-permalink="https://creativecommons.org/2018/10/01/new-nafta-would-harm-canada-and-shrink-the-public-domain/usmca-copyright-term-extension-screenshot/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/10/USMCA-copyright-term-extension-screenshot.png" data-orig-size="656,139" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="USMCA copyright term extension screenshot" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/10/USMCA-copyright-term-extension-screenshot.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/10/USMCA-copyright-term-extension-screenshot.png" class="aligncenter wp-image-55199 size-full" src="media/27f941f6.USMCA-copyright-term-extension-screenshot.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/10/USMCA-copyright-term-extension-screenshot.png" alt="" width="656" height="139" /></a></p>
<p><span style="font-weight: 400;">Canada currently observes the minimum term of copyright as required by the Berne Convention, which is life of the author plus 50 years. USMCA requires all signatories to agree to a term of at least life of the author plus 70 years. </span></p>
<p><span style="font-weight: 400;">The extension of already-lengthy copyright terms will discourage new creativity in Canada. It will further prevent Canadians from accessing and using the rich pool of resources in the public domain, which means they can be used free of any copyright protections. </span><a href="https://creativecommons.org/about/videos/building-on-the-past/"><span style="font-weight: 400;">Creativity always builds upon the past</span></a><span style="font-weight: 400;">, and the public domain is our shared cultural commons used to create new works of art and science. Like a sedimentary rock, the “Commons” in Creative Commons starts with the public domain. Fulfilling our mission of protecting and expanding the public domain is why we’ve developed tools to better </span><a href="https://creativecommons.org/share-your-work/public-domain/pdm/"><span style="font-weight: 400;">mark</span></a><span style="font-weight: 400;"> and </span><a href="https://creativecommons.org/share-your-work/public-domain/cc0/"><span style="font-weight: 400;">dedicate</span></a><span style="font-weight: 400;"> content to the public domain. </span><i><span style="font-weight: 400;">We continue to advocate for changes to copyright policy that promote a robust and accessible public domain.</span></i></p>
<p><span style="font-weight: 400;">During the opaque renegotiation of NAFTA, we</span> <a href="https://creativecommons.org/2017/06/14/re-negotiating-nafta-opening-pandoras-box/"><span style="font-weight: 400;">urged</span></a> <span style="font-weight: 400;">negotiators to ensure that the copyright provisions in the agreement should not be expanded to create new (and likely more onerous) copyright rules. We worked with international groups to release the</span> <a href="media/662d6fb2.es-on-Copyright-Balance-in-Trade-Agreements-November-15-2017.pdf" data-original-source="http://infojustice.org/wp-content/uploads/2017/11/Washington-Principles-on-Copyright-Balance-in-Trade-Agreements-November-15-2017.pdf"><i><span style="font-weight: 400;">Washington Principles on Copyright Balance in Trade Agreements</span></i></a> <span style="font-weight: 400;">to restate the obvious fact that further copyright term extensions make no sense: “there is no evidence to suggest that the private benefits of copyright term extensions ever outweigh the costs to the public.”</span></p>
<p><span style="font-weight: 400;">The end of copyright protection in a work allows for the production of new works. That is why term length is a balance to be struck — and one which Canada has handled well. Ian Fleming’s literary character James Bond, for example, entered the public domain in Canada on January 1, 2015. This allowed Canadian authors David Nickle and Madeline Ashby to produce </span><a href="https://davidnickle.blogspot.com/2015/01/licence-expired-unauthorized-james-bond.html"><i><span style="font-weight: 400;">License Expired</span></i></a><span style="font-weight: 400;">, an anthology of unauthorized 007 stories for ChiZine Publications. </span></p>
<p><span style="font-weight: 400;">The introduction of the life +70 year copyright term is particularly damaging for Canada, which is in the middle of a national copyright reform process. Before these negotiations took place, an increase in copyright term was not  on the agenda for the Canadian reform. Last year, Canadian ministers responsible for the copyright review indicated some </span><a href="http://www.michaelgeist.ca/2017/12/bains-joly-copyright-review-letter/"><span style="font-weight: 400;">support of the public domain</span></a><span style="font-weight: 400;">, stating that an updated law “should ensure […] that users benefit from a public domain.” In our submission to the public consultation, we </span><a href="media/9216e4fb.Comments_from_Creative_Commons_on_review_of_Copyright_Act.pdf" data-original-source="https://wiki.creativecommons.org/images/4/40/Comments_from_Creative_Commons_on_review_of_Copyright_Act.pdf"><span style="font-weight: 400;">wrote</span></a><span style="font-weight: 400;">: </span></p>
<blockquote><p><span style="font-weight: 400;">We believe that Canada has been right to push back against any extension of copyright term or expansion of the scope. The copyright term of life of the author + 50 years is already far too long. Extremely long copyright terms prevent works from entering the public domain, where they may be used by anyone — including CC licensors — without restriction as the raw material for additional creative works.</span></p></blockquote>
<p><span style="font-weight: 400;">If the USMCA is adopted, it will clearly violate the direction of the Canadian copyright reform, which decided to leave the existing term as is.</span></p>
<p><span style="font-weight: 400;">The USMCA text shows the powerful hand of U.S. copyright interests. A copyright term extension was floated in earlier versions of the Trans-Pacific Partnership, and Creative Commons joined with dozens of other organisations to </span><a href="https://creativecommons.org/2014/07/09/an-open-letter-to-tpp-negotiators-copyright-term-extension-makes-no-sense/"><span style="font-weight: 400;">push back</span></a><span style="font-weight: 400;"> on it then. After President Trump withdrew the United States from the TPP last year, many of the most damaging intellectual property provisions </span><a href="https://creativecommons.org/2017/11/13/tpp-continues-without-worst-copyright-provisions/"><span style="font-weight: 400;">were suspended</span></a><span style="font-weight: 400;">, including any call for a copyright term extension. But USMCA shows a swing back in the other direction, almost surely a result of U.S. pressure to ratchet up copyright protection and enforcement measures.  </span></p>
<p><span style="font-weight: 400;">There are countless competing interests in a massive new trade agreement like the USMCA, and this concern is only one. But from a copyright perspective, it is discouraging to see the inclusion of yet another ill-advised term extension, especially at a time when Canada is actively debating a more progressive future for its own copyright law. </span></p>
<p><span style="font-weight: 400;">There is </span><a href="https://creativecommons.org/2018/01/15/copyright-term-extension-finally-done/"><span style="font-weight: 400;">no reason</span></a><span style="font-weight: 400;"> for any more copyright term extensions, which would harm the commons and are contrary to the policies and values supported by the Creative Commons community.</span></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/10/01/new-nafta-would-harm-canada-and-shrink-the-public-domain/">New NAFTA Would Harm Canadian Copyright Reform and Shrink the Public Domain</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55164
title: CC submits proposed Amicus Brief to 9th Circuit on Proper Interpretation of BY-NC-SA 4.0
uri: CC-submits-proposed-Amicus-Brief-to-9th-Circuit-on-Proper-Interpretati
url: https://creativecommons.org/2018/10/02/amicus-brief/
content:
<figure id="attachment_55179" style="width: 475px" class="wp-caption aligncenter"><img data-attachment-id="55179" data-permalink="https://creativecommons.org/2018/10/02/amicus-brief/4480625091_5db3ae1ebf_b/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/4480625091_5db3ae1ebf_b.jpg" data-orig-size="1024,576" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="4480625091_5db3ae1ebf_b" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/4480625091_5db3ae1ebf_b.jpg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/4480625091_5db3ae1ebf_b.jpg" class=" wp-image-55179" src="media/b8079d25.4480625091_5db3ae1ebf_b.jpg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/09/4480625091_5db3ae1ebf_b.jpg" alt="photocopier" width="475" height="267" /><figcaption class="wp-caption-text"><a href="https://www.flickr.com/photos/moonhouse/4480625091/">Photo copier</a> by David Hall, <a href="https://creativecommons.org/licenses/by/2.0">CC BY 2.0</a></figcaption></figure>
<p>Creative Commons (CC) has asked a U.S. appeals court for <a href="https://wp.me/a76yF2-elM">permission</a> to file an <a href="https://wp.me/a76yF2-elN">amicus brief</a> in a lawsuit brought by Great Minds against Office Depot, to aid the court in its proper interpretation of the CC BY-NC-SA 4.0 license.</p>
<p>This case involves a <a href="https://creativecommons.org/2016/08/30/defending-noncommercial-uses-great-minds-v-fedex-office/">dispute</a> between Great Minds, the creator of educational materials paid for with public funding and licensed under a CC BY-NC-SA 4.0 license, and Office Depot, a commercial copyshop hired to make copies of those materials by public school districts. Great Minds claims here, and in an almost identical lawsuit brought against FedEx Office, that the schools cannot hire outside help to make the copies they need to use the materials for their non commercial purposes in the classroom. Notably, Great Minds explicitly did not object to the idea of a school board employee going to an Office Depot and using a self-serve copier (where copies are sold to customers at a profit). It was only when they engaged an Office Depot employee to make the copies that GM objected.</p>
<p>In the litigation against Office Depot, the district court in California <a href="https://wp.me/a76yF2-elO">ruled</a> in favor of Office Depot, just as the New York <a href="https://wp.me/a76yF2-elS">district court</a> and the <a href="https://wp.me/a76yF2-elT">2nd Circuit Court of Appeals</a> ruled in FedEx Office’s favor. The California court agreed that so long as a copyshop is acting at the request of a non commercial actor, here the school district, the shop can make the copies and charge for and receive a profit to do so, without violating the license. This is because the copyshop is not acting on its own accord but as a delegate of school district, just as a paid employee of the school might when making copies for use in her classroom.</p>
<p>The brief we request be accepted reinforces what is already the established legal precedent established by the FedEx Office case in the 2nd Circuit Court of Appeals in the United States (spanning New York, Connecticut, and Vermont), as well as the law in the district court in California that Great Minds is now appealing.</p>
<p>CC supports the decision of the California court, which found Great Minds’ lawsuit was an attempt to re-argue the same facts in a different court &#8211; a previous lawsuit it had filed, appealed, and lost in the 2nd Circuit against FedEx Office. (See the court <a href="https://wp.me/a76yF2-elU">order</a> requiring Great Minds to pay Office Depot&#8217;s attorney fees for having done so). As both the 2nd Circuit concluded in a case involving FedEx Office [<a href="https://wp.me/a76yF2-elS">pdf</a>] and the district court concluded in California [<a href="https://wp.me/a76yF2-elW">pdf</a>], a <em>bona fide </em>non-commercial user may engage contractors to exercise the licensed rights on their behalf and at their direction, irrespective of whether the contractor is itself a non-commercial actor. Notably, in the course of all of its litigation, Great Minds has never objected to the idea of a school board employee going to an Office Depot and using a self-serve copier (where copies are sold to customers at a profit). Its concern has been limited to the nearly identical circumstance a school district employee paying an Office Depot employee to make the copies instead. <span style="font-weight: 400;">Were Great Minds’ theory to prevail, it would require every re-user to own the means for reproducing NC-licensed works and avoid using any for-profit actor in doing so, a result that our licenses never intended.</span></p>
<p>This is not a change from how our licenses have always worked. This does not mean, for example, that a commercial copyshop can independently make copies of NC-licensed textbooks and turn around and sell them. Nor does it mean a teacher can sell an NC-licensed textbook to her neighbor that she previously received from her school district to use in the classroom. In <em>those cases</em>, both the copyshop and the teacher are bound by the NC restriction because they are acting on their own and thus are licensees, in their own right, and the NC restriction would almost certainly be violated.</p>
<p>The filing and acceptance of amicus briefs is standard practice in U.S. appellate courts. Unfortunately, Great Minds has <a href="https://wp.me/a76yF2-elX">opposed</a> our request on grounds that CC&#8217;s interpretation of the very licenses that we wrote and steward will not be of assistance to the Court. Filing such an opposition is rare, and CC has filed a short <a href="https://wp.me/a76yF2-elY">reply</a> in response.</p>
<p>The outcomes of this case against Office Depot and the prior case against FedEx Office demonstrate the strength of the CC licenses, and we look forward to a successful conclusion in the 9th Circuit.</p>
<p>Finally, we want to thank Andy Gass and his team of lawyers at Latham &amp; Watkins for their expertise and valuable insights in connection with both lawsuits.</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/10/02/amicus-brief/">CC submits proposed Amicus Brief to 9th Circuit on Proper Interpretation of BY-NC-SA 4.0</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55209
title: Latvian 4.0 and Basque 4.0 and CC0 translations now available
uri: Latvian-4-0-and-Basque-4-0-and-CC0-translations-now-available
url:
https://creativecommons.org/2018/10/03/latvian-4-0-and-basque-4-0-and-cc0-translations-now-available/

content:
<p><img data-attachment-id="54292" data-permalink="https://creativecommons.org/?attachment_id=54292" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/03/legal_logo-1.png" data-orig-size="600,200" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="legal_logo" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/03/legal_logo-1.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/03/legal_logo-1.png" class="aligncenter size-full wp-image-54292" src="media/b6c50e7e.legal_logo-1.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/03/legal_logo-1.png" alt="legal-logo" width="600" height="200" /></p>
<p>Creative Commons is proud to announce the release of the official translations of the Latvian 4.0 licenses and Basque 4.0 licenses, as well as the Basque CC0 translation.</p>
<p>After one and a half years and many rounds of consultation, the <a href="https://creativecommons.org/licenses/by/4.0/legalcode.lv">Latvian 4.0 translation</a> is now published on the Creative Commons site and will benefit almost 2 million native speakers. We would like to thank Toms Ceļmillers and the Ministry of Environmental Protection and Regional Development of the Republic of Latvia for their dedicated efforts in coordinating this translation.</p>
<p>Thanks to an ambitious team, the Basque <a href="https://creativecommons.org/licenses/by/4.0/legalcode.eu">4.0</a> and <a href="https://creativecommons.org/publicdomain/zero/1.0/legalcode.eu">CC0</a> translations took only about six months of production. The translation team was comprised of Marko Txopitea, Gotzon Egia, and Ignasi Labastida i Juan. There are around 750,000 native Basque speakers in the world and almost 2 million passive speakers.</p>
<p>With the Spanish (Castellano) translation of 4.0 recently published and the Catalan translation underway, the CC licenses will be officially translated into three of the most frequently spoken languages in Spain.</p>
<p>If you are interested in helping with CC’s translation work, please join our <a href="https://creativecommons.slack.com/messages/C9LNTF002/details/">Translation Working Group on Slack</a>, where you can stay informed about materials that need to be translated and/or suggest new materials for the community to translate.</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/10/03/latvian-4-0-and-basque-4-0-and-cc0-translations-now-available/">Latvian 4.0 and Basque 4.0 and CC0 translations now available</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55224
title: We are seeking a new Director of Engineering
uri: We-are-seeking-a-new-Director-of-Engineering
url: https://creativecommons.org/2018/10/04/we-are-seeking-a-new-director-of-engineering/
content:
<figure id="attachment_55226" style="width: 640px" class="wp-caption alignnone"><img data-attachment-id="55226" data-permalink="https://creativecommons.org/2018/10/04/we-are-seeking-a-new-director-of-engineering/25900655562_df21f84bbc_z/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/10/25900655562_df21f84bbc_z.jpg" data-orig-size="640,428" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="25900655562_df21f84bbc_z" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/10/25900655562_df21f84bbc_z.jpg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/10/25900655562_df21f84bbc_z.jpg" class="wp-image-55226 size-full" src="media/bade0559.25900655562_df21f84bbc_z.jpg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/10/25900655562_df21f84bbc_z.jpg" alt="" width="640" height="428" /><figcaption class="wp-caption-text"><a href="https://www.flickr.com/photos/wocintechchat/25900655562/in/dateposted/">Photo</a> by WOCinTech Chat / <a href="https://creativecommons.org/licenses/by/2.0/">CC BY</a></figcaption></figure>
<p><span style="font-weight: 400;">A couple of weeks ago, I stepped into the role of </span><a href="https://creativecommons.org/2018/09/25/findings-from-the-discovery-phase-of-cc-usability/"><span style="font-weight: 400;">Director of Product and Research</span></a><span style="font-weight: 400;">. We are now in the middle of our second sprint for CC search (see results from the last one </span><a href="https://creativecommons.org/2018/09/24/big-changes-for-cc-search-beta-updates-released-today/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">) and seeking a new </span><a href="https://creativecommons.org/about/team/opportunities/director-of-engineering/"><span style="font-weight: 400;">Director of Engineering</span></a><span style="font-weight: 400;">. Paola Villarreal, our current Director of Product Engineering, will be leaving us in December for a new opportunity. While we are sad to see her leave, we are excited to shape and launch a new phase for Creative Commons that aligns our vision and strategy for product with real world user needs. </span></p>
<p><span style="font-weight: 400;">The new Director of Engineering will work closely with me, the Director of Product and Research, to lead the technical design, development and implementation of CC’s products and services. Right now that primarily means CC search and its supporting parts (the CC catalog and API), and in the future that may mean new product ideas resulting from user research and pending alignment with our new product vision and strategy (read more about current usability prototypes and research </span><a href="https://creativecommons.org/2018/09/25/findings-from-the-discovery-phase-of-cc-usability/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">). </span></p>
<p><span style="font-weight: 400;">The Director of Engineering will also work closely with our newly formed Tools and Product team, which consists of the following fantastic people:</span></p>
<p><a href="https://creativecommons.org/author/sclachar/"><span style="font-weight: 400;">Sophine Clachar</span></a><span style="font-weight: 400;"> (Data Engineer building the CC catalog that fuels CC search), </span><a href="https://creativecommons.org/author/aldencreativecommons-org/"><span style="font-weight: 400;">Alden Page</span></a><span style="font-weight: 400;"> (Software Engineer that is working on all things backend to CC search, in particular making the CC catalog accessible via an API), </span><a href="https://creativecommons.org/author/stevenbellamy/"><span style="font-weight: 400;">Steven Bellamy</span></a><span style="font-weight: 400;"> (Front-end Engineer that is making CC search elegant and usable for real people), </span><a href="https://creativecommons.org/author/dianecreativecommons-org/"><span style="font-weight: 400;">Diane Peters</span></a><span style="font-weight: 400;"> (General Counsel that makes sure CC is legally covered across all its tools and product offerings), </span><a href="https://creativecommons.org/author/sarahcreativecommons-org/"><span style="font-weight: 400;">Sarah Pearson</span></a><span style="font-weight: 400;"> (Senior Counsel that also serves as product counsel for CC search), and </span><a href="https://creativecommons.org/author/janeparkcreativecommons-org/"><span style="font-weight: 400;">myself</span></a><span style="font-weight: 400;">. A Core Systems Manager will also be joining our team next week.</span></p>
<p><span style="font-weight: 400;">You will be stepping into a role with a lot of moving parts, but with lots of support and excitement from your peers. We look forward to your application! </span></p>
<p><a href="https://creativecommons.org/about/team/opportunities/director-of-engineering/"><span style="font-weight: 400;">Job Opportunity: Director of Engineering</span></a></p>
<p>&nbsp;</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/10/04/we-are-seeking-a-new-director-of-engineering/">We are seeking a new Director of Engineering</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55230
title: What’s next with WIPO’s ill-advised broadcast treaty?
uri: What-s-next-with-WIPO-s-ill-advised-broadcast-treaty
url: https://creativecommons.org/2018/10/05/whats-next-with-wipos-ill-advised-broadcast-treaty/
content:
<figure id="attachment_55232" style="width: 800px" class="wp-caption aligncenter"><a href="https://www.flickr.com/photos/svoalex/62250936/"><img data-attachment-id="55232" data-permalink="https://creativecommons.org/2018/10/05/whats-next-with-wipos-ill-advised-broadcast-treaty/broadcast-tower/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/10/broadcast-tower.jpg" data-orig-size="1024,768" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;4.8&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;Canon PowerShot A70&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1131469858&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;16.21875&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0.005&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="broadcast tower" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/10/broadcast-tower.jpg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/10/broadcast-tower.jpg" class="wp-image-55232" src="media/57d06a35.broadcast-tower.jpg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/10/broadcast-tower.jpg" alt="" width="800" height="600" /></a><figcaption class="wp-caption-text"><a href="https://www.flickr.com/photos/svoalex/62250936/">Broadcast Tower</a> by <a href="https://www.flickr.com/photos/svoalex/">Alex</a>, <a href="https://creativecommons.org/licenses/by-nc-nd/2.0/">BY-NC-ND 2.0</a></figcaption></figure>
<p><span style="font-weight: 400;">Six years ago we wrote a blog post titled </span><a href="https://creativecommons.org/2012/11/14/wipos-broadcasting-treaty-still-harmful-still-unnecessary/"><i><span style="font-weight: 400;">WIPO’s Broadcasting Treaty: Still Harmful, Still Unnecessary</span></i></a><span style="font-weight: 400;">. At the time, the proposed </span><a href="http://www.wipo.int/pressroom/en/briefs/broadcasting.html"><span style="font-weight: 400;">treaty</span></a><span style="font-weight: 400;"> – which would grant to broadcasters a separate, exclusive copyright-like right in the signals that they transmit, separate from any copyrights in the content of the transmissions – had already been on WIPO’s docket for several years. It’s still on the table today, and now some countries are calling for actions to finalise the agreement.</span></p>
<h3><b>The broadcasting treaty is still harmful and still unnecessary. </b></h3>
<p><span style="font-weight: 400;">The current text contains many of the same </span><a href="https://www.keionline.org/27998"><span style="font-weight: 400;">damaging</span></a><span style="font-weight: 400;"> provisions, such as long term of protection (possibly 50 years) and little to no support for limitations and exceptions to the right which could provide needed protections for activities such as news reporting, quotation, education, personal use, and archiving.  </span></p>
<p><span style="font-weight: 400;">But the dealbreaker for CC is the fact that </span><b>the treaty would essentially invalidate the permissions that users of Creative Commons grant when they share their creativity under open licenses</b><span style="font-weight: 400;">, and instead gift new and unwarranted rights to broadcasting organizations that have added little or no value to the underlying work being transmitted. This is because the rights provided to broadcasters in the treaty would apply separately from copyright, thus permitting them to restrict how the content is shared even if the creator of the video or audio content has already released it under a Creative Commons license, or if it’s already in the public domain. </span></p>
<p><span style="font-weight: 400;">This week CC CEO Ryan Merkley presented at a </span><a href="https://www.keionline.org/29025"><span style="font-weight: 400;">seminar</span></a><span style="font-weight: 400;"> in Geneva hosted by </span><a href="https://www.keionline.org/"><span style="font-weight: 400;">Knowledge Ecology International</span></a><span style="font-weight: 400;">. The event examined the broadcast treaty in relation to access to culture.  </span></p>
<p><span style="font-weight: 400;">Below is an excerpt from Ryan’s talk. You can watch the entire event </span><a href="https://www.youtube.com/watch?v=NC5AdokTF2o"><span style="font-weight: 400;">online</span></a><span style="font-weight: 400;"> (Ryan’s remarks begin at 2:05:50). </span></p>
<blockquote><p><i><span style="font-weight: 400;">Journalists, documentary filmmakers, podcast creators and others are using CC licenses to share their works broadly, and some of this media are used by traditional broadcasters too. These creators who choose to share their works and enable some permissive uses expect their works to be broadly accessible to the public under the terms of the CC license they chose. And they should be applauded for sharing works under permissive terms so their audiences can view and use them. </span></i></p>
<p><i><span style="font-weight: 400;">All Creative Commons licensors permit their works to be used for at least non-commercial purposes. When an author applies a CC license to her work, she grants to the public a worldwide, royalty-free license to use the work under certain terms. And many authors simply want to share their creativity freely under open terms to benefit the public good. For example, educators and scholarly researchers create and share works primarily to advance education and to contribute to their field of study—not necessarily for financial remuneration.</span></i></p>
<p><i><span style="font-weight: 400;">CC has pushed back on other policy changes in the realm of IP that would downplay or break how the CC licenses work, or enclose works that should be in the public domain. I remain concerned that the current draft would have a number of negative impacts, because it grants rights that reach overtop of those of creators. </span></i></p>
<p><i><span style="font-weight: 400;">The broadcasters argue that their investment should give them this right. But this shouldn’t be the test. The same argument could be used to give Museums rights over the works on their walls (which of course they want, and which at least one museum in Germany has successfully argued for in their courts), Movie theatres a right over the light particles that pass from the projector to the screen, or Booksellers the right over the books they put on their shelves, or even the trucking company that moves the books from the warehouse to the bookstore. Promoting and delivering content should not convey rights over the content itself — whether we call it the signal or not. </span></i></p>
<p><i><span style="font-weight: 400;">One alarming element in the proposal gives rights over the broadcast signal of works that are in the public domain or openly licensed. </span></i></p>
<p><i><span style="font-weight: 400;">In no cases should the treaty give broadcasters post fixation rights in works that are in the public domain, or openly licensed. It violates the spirit and wording of Creative Commons licensing, and creators who wish to have their works travel freely without additional strings attached. Broadcasters don’t own the content, and have no rights to the content of public domain and Creative Commons licensed works. </span></i></p>
<p><i><span style="font-weight: 400;">Works in the public domain should be free of these copyright-like restrictions, as we’ve argued in other areas – such as the notion that digital reproductions of works in the public domain should also be in the public domain (and not give rise to new copyrights). </span></i></p></blockquote>
<p><span style="font-weight: 400;">Supporters of the broadcast treaty have failed to make a compelling, evidence-based case for a separate right, to identify the specific causes and resolutions for harm, and to show likely positive impacts of the treaty. However, there is significant risk that granting this new broadcasting right will limit access to information and culture. </span></p>
<p><span style="font-weight: 400;">Broadcasters already have legal remedies available to them to combat signal theft, and copyright law covers infringement in the underlying content. </span></p>
<p><span style="font-weight: 400;">WIPO should halt the proceedings of the broadcast treaty. With each passing year, it looks more and more like a solution in search of a problem. </span></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/10/05/whats-next-with-wipos-ill-advised-broadcast-treaty/">What’s next with WIPO’s ill-advised broadcast treaty?</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55239
title: Congratulations to the Graduates of our July 2018 Certificate Courses!
uri: Congratulations-to-the-Graduates-of-our-July-2018-Certificate-Courses
url: https://creativecommons.org/2018/10/10/congratulations-to-certificates/
content:
<p><img data-attachment-id="54575" data-permalink="https://creativecommons.org/2018/04/14/announcing-open-registration-for-cc-certificates/c6720579-68dc-45ce-906b-57eaaab33d6f/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/04/C6720579-68DC-45CE-906B-57EAAAB33D6F.jpeg" data-orig-size="2224,639" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="C6720579-68DC-45CE-906B-57EAAAB33D6F" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/04/C6720579-68DC-45CE-906B-57EAAAB33D6F.jpeg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/04/C6720579-68DC-45CE-906B-57EAAAB33D6F.jpeg" class="aligncenter  wp-image-54575" src="media/77a4f38a.C6720579-68DC-45CE-906B-57EAAAB33D6F.jpeg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/04/C6720579-68DC-45CE-906B-57EAAAB33D6F.jpeg" alt="Certificates-wordmark" width="579" height="166" /></p>
<p>From July 16-September 23, Creative Commons hosted two Educator Certificate courses and two Librarian Certificate Courses. Participants from Bangladesh, Canada, China, Great Britain, Netherlands, Romania, Sweden, and the US engaged in rigorous readings, assignments, discussions and quizzes. See examples of the assignments that participants participants’ assignments they’ve <a href="https://docs.google.com/document/d/1sEXWEMIzvLsR98NowMW5bsYtkzUFHZPTzVgbnmX6uIs/edit?usp=sharing">publicly shared</a> under CC licenses. With the course now complete, we are thrilled to announce <a href="https://certificates.creativecommons.org/about/certificate-graduates/">83 new graduates</a>.</p>
<p>The CC Certificate provides an in-depth study of Creative Commons licenses and open practices, uniquely developing participants’ open licensing proficiency and understanding of the broader context for open advocacy. The training content targets copyright law, CC legal tools, as well as the values and good practices of working in the global, shared commons. The CC Certificate is currently offered as a 10-week online course to educators and academic librarians. In 2019, Creative Commons will expand offerings to include 1-week boot camps, a Certificate instructor training, scholarships, and initial translations of the Certificate into multiple languages.</p>
<p>Interested in taking the CC Certificate, yourself? Visit our <a href="https://certificates.creativecommons.org/">Certificate website </a>at the end of this month for updates! We will share new updates and open registration for 2019 courses by 31 October.</p>
<p>Also, stay tuned for an updated list of our Certificate graduates by the end of the year. CC kicked off five new Educator and Librarian courses with 125 participants from 14 countries on 1 October and we look forward to welcoming more Certificate graduates at the end of these courses.</p>
<p><strong>We are inspired by our 83 recent graduates, and filled with gratitude for their amazing work. We congratulate them on successful completion of the Certificate, and look forward to their future open efforts!</strong></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/10/10/congratulations-to-certificates/">Congratulations to  the Graduates of our July 2018 Certificate Courses!</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55262
title: CC Working with Flickr to Protect the Commons
uri: CC-Working-with-Flickr-to-Protect-the-Commons
url: https://creativecommons.org/2018/11/01/flickr-2/
content:
<p>Flickr is one of the most important platforms to host and share CC licensed works on the web, and over 400 million of the photos there are CC licensed – representing over a quarter of all CC licensed works on the web. When Flickr was acquired by online photography service SmugMug last year, we were excited to see that a family-owned values-driven company had purchased it.</p>
<p><img data-attachment-id="55263" data-permalink="https://creativecommons.org/2018/11/01/flickr-2/screen-shot-2018-11-01-at-1-27-32-pm/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/11/Screen-Shot-2018-11-01-at-1.27.32-PM.png" data-orig-size="621,688" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="Screen Shot 2018-11-01 at 1.27.32 PM" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/11/Screen-Shot-2018-11-01-at-1.27.32-PM.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/11/Screen-Shot-2018-11-01-at-1.27.32-PM.png" class="aligncenter wp-image-55263" src="media/cec0356f.Screen-Shot-2018-11-01-at-1.27.32-PM.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/11/Screen-Shot-2018-11-01-at-1.27.32-PM.png" alt="smugmug-tweet" width="520" height="576" /></p>
<p>When I visited the SmugMug offices, I met a group of people with a deep passion for photography communities and a love for Flickr. They were also worried about its future after many years of neglect and a lack of a viable business model. They were committed to getting the service back on track — doing all the necessary back-end engineering, fixing things that users hated like Yahoo! login, and protecting and expanding the Commons.</p>
<p><img data-attachment-id="55264" data-permalink="https://creativecommons.org/2018/11/01/flickr-2/screen-shot-2018-11-01-at-1-29-12-pm/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/11/Screen-Shot-2018-11-01-at-1.29.12-PM.png" data-orig-size="619,523" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="Screen Shot 2018-11-01 at 1.29.12 PM" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/11/Screen-Shot-2018-11-01-at-1.29.12-PM.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/11/Screen-Shot-2018-11-01-at-1.29.12-PM.png" class="aligncenter size-full wp-image-55264" src="media/e7b42014.Screen-Shot-2018-11-01-at-1.29.12-PM.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/11/Screen-Shot-2018-11-01-at-1.29.12-PM.png" alt="flickr-tweet" width="619" height="523" /></p>
<p>For the first time in a long time, I was optimistic about Flickr and its future. I still am.</p>
<p>Today, <a href="https://www.flickr.com/lookingahead/">Flickr announced</a> that they will be limiting the number of photos in their free accounts to 1,000 images, and offering an extended Pro service for $49.99 a year. Users have 3 months to consider their options. Many users are concerned such a limit on free account capacity might cause millions of CC images to be deleted from the Commons. A lot of people have reached out to us directly and asked what we can do. I’m confident that together we can find solutions, if we assume goodwill and bring our collective creativity to the problem.</p>
<p>Creative Commons is working closely with Flickr and its parent company SmugMug to find ways to protect and preserve the Commons, and ultimately help it grow and thrive. We want to ensure that when users share their works that they are available online in perpetuity and that they have a great experience.</p>
<p>At the same time, I think it’s fair to say that the business models that have powered the web for so long are fundamentally broken. Storage and bandwidth for hundreds of millions (if not billions) of photos is very expensive. We’ve all benefited from Flickr’s services for so long, and I’m hopeful we will find a way forward together.</p>
<p>I’m glad that Flickr hasn’t turned to surveillance capitalism as the business model for its own sustainability plan – but that does mean they’ll have to explore other options. No one wants to see works from the Commons deleted, and we’ll be the first ones to step forward to help if that ever were to happen.</p>
<p>I have confidence in Don and Ben and the SmugMug and Flickr teams: they want to do right for the Commons, and they understand how deeply CC and the photo Commons is integrated into the goodwill that Flickr has retained over all these years. We welcome your ideas on how we can help Flickr support the Commons, and hope we’ll be able to share something with you soon.</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/11/01/flickr-2/">CC Working with Flickr to Protect the Commons</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55273
title: EU’s proposed link tax would [still] harm Creative Commons licensors
uri: EU-s-proposed-link-tax-would-still-harm-Creative-Commons-licensors
url:
https://creativecommons.org/2018/11/07/eus-proposed-link-tax-would-still-harm-creative-commons-licensors/

content:
<figure id="attachment_55275" style="width: 640px" class="wp-caption aligncenter"><a href="https://www.flickr.com/photos/christinamccarty/7264828160/"><img data-attachment-id="55275" data-permalink="https://creativecommons.org/2018/11/07/eus-proposed-link-tax-would-still-harm-creative-commons-licensors/chains-by-christina-mccarty/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/11/Chains-by-Christina-McCarty.jpg" data-orig-size="640,359" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="Chains by Christina McCarty" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/11/Chains-by-Christina-McCarty.jpg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/11/Chains-by-Christina-McCarty.jpg" class="wp-image-55275 size-full" src="media/2c768a59.Chains-by-Christina-McCarty.jpg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/11/Chains-by-Christina-McCarty.jpg" alt="" width="640" height="359" /></a><figcaption class="wp-caption-text"><a href="https://www.flickr.com/photos/christinamccarty/7264828160/">Chains</a> by <a href="https://www.flickr.com/photos/christinamccarty/">Christina McCarty</a>, <a href="https://creativecommons.org/licenses/by-nc-nd/2.0/">CC BY-NC-ND 2.0</a></figcaption></figure>
<p><span style="font-weight: 400;">In September the European Parliament </span><a href="https://creativecommons.org/2018/09/12/with-the-european-parliament-vote-on-the-copyright-directive-the-internet-lost-for-now/"><span style="font-weight: 400;">voted to approve drastic changes</span></a><span style="font-weight: 400;"> to copyright law that would negatively affect creativity, freedom of expression, research, and sharing across the EU. Now the Parliament and Council (representing the Member State governments) are engaged in closed-door negotiations, and their task over the coming months is to come up with a reconciled version of the directive text, which will again be voted on in the European Parliament next year.</span></p>
<h3><span style="font-weight: 400;">Article 11: The wrong solution to a real problem</span></h3>
<p><span style="font-weight: 400;">A major provision that will be discussed is Article 11, the new “press publisher’s right” (also known as the link tax). Both the Parliament and Council have already approved versions of this unnecessary and counterproductive “publisher’s right,” which would require news aggregators that wish to index or incorporate links and snippets of journalistic content to first get a license or pay a fee to the publisher for their use online.</span></p>
<p><span style="font-weight: 400;">The Parliament’s </span><a href="http://www.europarl.europa.eu/sides/getDoc.do?pubRef=-//EP//TEXT+TA+P8-TA-2018-0337+0+DOC+XML+V0//EN&amp;language=EN"><span style="font-weight: 400;">version</span></a><span style="font-weight: 400;"> of Article 11 says Member States must adopt the new right so press publishers “may obtain fair and proportionate remuneration for the digital use of their press publications by information society service providers.” </span></p>
<p><span style="font-weight: 400;">Article 11 is ill-suited to address the challenges in supporting quality journalism, and it will further decrease competition and innovation in news delivery. </span><a href="https://www.communia-association.org/2015/09/09/research-confirms-new-spanish-ancillary-copyright-is-actually-good-for-no-one/"><span style="font-weight: 400;">Spain</span></a><span style="font-weight: 400;"> and </span><a href="http://fortune.com/2016/03/24/eu-ancillary-copyright/"><span style="font-weight: 400;">Germany</span></a><span style="font-weight: 400;"> have already experimented with similar versions of this rule, and neither resulted in increased revenues for publishers. Instead, it likely decreased the visibility (and by extension, revenues) of published content—exactly the opposite of what was intended. Just last week a coalition of small- and medium-sized publishers </span><a href="http://mediapublishers.eu/2018/10/29/open-letter-to-the-austrian-presidency-of-the-european-council-and-rapporteur-axel-voss-mep-on-article-11-and-recital-32-of-the-proposed-copyright-directive/"><span style="font-weight: 400;">sent a letter</span></a><span style="font-weight: 400;"> to the trilogue negotiators outlining how they will be harmed if Article 11 is adopted. </span></p>
<h3><span style="font-weight: 400;">Collateral damage: those that want to share under CC</span></h3>
<p><span style="font-weight: 400;">Not only is a link tax bad for business, it would undermine the intention of authors who wish to share without additional strings attached, such as creators who want to share works under open licenses. This could be especially harmful to Creative Commons licensors if it means that remuneration must be granted notwithstanding the terms of the CC license. This interpretation is not far-flung. As IGEL </span><a href="https://ancillarycopyright.eu/news/2018-10-30/room-interpretations-could-lead-spanish-conditions"><span style="font-weight: 400;">wrote</span></a><span style="font-weight: 400;"> last week, </span></p>
<p><span style="font-weight: 400;">“the Parliament&#8217;s proposal makes it clear that press publishers should receive financial compensation from search engine providers in particular when they display links to publishers&#8217; websites. Member States, however, could now come up with the idea that this goal could be achieved most effectively if publishers could not waive their right to remuneration. Only the amount of the remuneration claim would then still be negotiable, but not its assertion.”</span></p>
<p><span style="font-weight: 400;">As we’ve </span><a href="https://creativecommons.org/2018/04/24/56-organsiations-tell-eu-legislator-to-delete-the-absurd-link-tax/"><span style="font-weight: 400;">said before</span></a><span style="font-weight: 400;">, such a right “directly conflicts with publishers who wish to share freely and openly using Creative Commons licenses. Forcing publishers who use CC to accept additional unwaivable rights to receive payment violates the letter and spirit of Creative Commons licensing and denies publishers the freedom to conduct business and share content as they wish.” </span></p>
<p><span style="font-weight: 400;">When an author applies a Creative Commons licenses to their work, they grant to the public a worldwide, royalty-free license to use the work under certain terms. The license text </span><a href="https://creativecommons.org/licenses/by/4.0/legalcode"><span style="font-weight: 400;">specifically states</span></a><span style="font-weight: 400;">, “To the extent possible, the Licensor waives any right to collect royalties from You for the exercise of the Licensed Rights, whether directly or through a collecting society under any voluntary or waivable statutory or compulsory licensing scheme.”</span></p>
<p><span style="font-weight: 400;">For example, the Spanish news site </span><a href="https://www.eldiario.es/"><span style="font-weight: 400;">eldiario.es</span></a><span style="font-weight: 400;"> releases all of their content </span><a href="https://www.eldiario.es/licencia/"><span style="font-weight: 400;">online for free</span></a><span style="font-weight: 400;"> under the </span><a href="https://creativecommons.org/licenses/by-sa/4.0/"><span style="font-weight: 400;">Creative Commons Attribution-ShareAlike</span></a><span style="font-weight: 400;"> license. By doing so, they are granting to the public a worldwide, royalty-free license to use the work under certain terms. Other news publishers in Europe using CC licenses that could also find themselves swept up under this new provision include </span><a href="https://www.lastampa.it/"><span style="font-weight: 400;">La Stampa</span></a><span style="font-weight: 400;">, </span><a href="https://www.20minutos.es/"><span style="font-weight: 400;">20 Minutos</span></a><span style="font-weight: 400;">, and </span><a href="https://www.opendemocracy.net/"><span style="font-weight: 400;">openDemocracy</span></a><span style="font-weight: 400;">. These outlets have made a conscious decision to share their works for free under Creative Commons licenses without having to jump through additional hoops of charging aggregators or search engines for displaying links and snippets to their stories. If Article 11 would be deemed an unwaivable right, would it prevent these news publishers from using CC altogether since the license would conflict with the legal requirement?   </span></p>
<p><span style="font-weight: 400;">We firmly believe the author’s right to choose to share, or to seek compensation for all or some uses of their works. At the same time, the EU copyright directive must find a solution that also honors those authors who choose to share with few or no restrictions.</span></p>
<h3><span style="font-weight: 400;">What can be done? </span></h3>
<p><span style="font-weight: 400;">Article 11 should be deleted. Publishers already benefit greatly from the copyrights they have in their content, and don’t need an additional exclusive right to protect or exploit those rights. It’s clear that an additional right for press publishers will not support quality journalism, increase the diversity of media content, or grow the digital single market. Instead, it will negatively affect access to information and the ability for publishers to share using the platforms, technologies, and terms beneficial to them. </span></p>
<p><span style="font-weight: 400;">For years academics and public interest advocates have advocated for an easier and more effective way to promote the aims of quality journalism and the ability of press publishers to sustain their efforts without a new press publishers right. This approach was presented in the Parliament by former JURI Rapporteur Comodini, and that would rely on a presumption that publishers are the rights holders, thus making it easier for these entities “to conclude licences and to seek application of the measures, procedures and remedies.” The </span><a href="https://www.communia-association.org/2017/10/12/european-parliament-research-confirms-obvious-press-publishers-right-terrible-idea-good-no-one/"><span style="font-weight: 400;">Parliament’s own research</span></a><span style="font-weight: 400;"> even recommended such an approach. This framing, which draws from Directive 2004/48/EC on the enforcement of intellectual property rights, already provides a robust legal framework for the protection of content without the negative aspects of introducing a new right.</span></p>
<p><span style="font-weight: 400;">If including some version of Article 11 is unavoidable, the Council version should be prioritised, since it already includes some protections for works under open licenses, or in the public domain. For instance, the previous Council text includes the following provision: “When a work or other subject-matter is incorporated in a press publication on the basis of a non-exclusive licence, the rights [&#8230;] may not be invoked to prohibit the use by other authorised users [or] works or other subject-matter whose protection has expired.” In addition, the Council text only permits a 1 year term of protection, as opposed to the 5 year term offered by the Parliament version. </span></p>
<p><span style="font-weight: 400;">So far, the direction of the EU copyright directive reflects a disturbing path toward increasing control of the web to benefit only powerful rights holders at the expense of the open internet, freedom of expression, and the rights of users and the public interest in the digital environment. In the current negotiations, the Parliament and Council should not double down and punish Creative Commons licensors and others who want to share broadly with the world. These authors and creators have made a deliberate choice to use CC legal tools so that others may benefit. Their contributions to the commons should be respected and protected.</span></p>
<hr />
<p>Authors:</p>
<p><em>Timothy Vollmer is Senior Public Policy Manager at Creative Commons. </em></p>
<p><em>Dr. Till Kreutzer is a lawyer,  journalist, and Creative Commons Global Network Council Representative for CC Germany. He leads the <a href="https://ancillarycopyright.eu/">Initiative Against An Ancillary Copyright For Press Publishers</a> (&#8220;Initiative gegen ein Leistungsschutzrecht&#8221;, or IGEL).</em></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/11/07/eus-proposed-link-tax-would-still-harm-creative-commons-licensors/">EU’s proposed link tax would [still] harm Creative Commons licensors</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55300
title: CC Summit registration is now open!
uri: CC-Summit-registration-is-now-open
url: https://creativecommons.org/2018/11/21/cc-summit-registration-is-now-open/
content:
<div class="m_2388576157363302432en__component m_2388576157363302432en__component--textblock">
<p><a href="https://summit.creativecommons.org/register2019/"><img data-attachment-id="55301" data-permalink="https://creativecommons.org/2018/11/21/cc-summit-registration-is-now-open/ccsummit2019/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/11/ccsummit2019.png" data-orig-size="1024,512" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="ccsummit2019" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/11/ccsummit2019.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/11/ccsummit2019.png" class="aligncenter size-full wp-image-55301" src="media/8b61e613.ccsummit2019.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/11/ccsummit2019.png" alt="" width="1024" height="512" /></a></p>
<p>Great news! We&#8217;re excited to announce that <a href="https://summit.creativecommons.org/register2019/" target="_blank" rel="noopener" data-saferedirecturl="https://www.google.com/url?q=https://summit.creativecommons.org/register2019/&amp;source=gmail&amp;ust=1542845176965000&amp;usg=AFQjCNHYUuTO6WFs_3j19UKlXP31SsIYiw">registration for the 2019 Creative Commons Global Summit is now open</a>.</p>
</div>
<div class="m_2388576157363302432en__component m_2388576157363302432en__component--textblock">
<h2>The Creative Commons Global Summit will take place in Lisbon, Portugal, 9-11 May 2019.</h2>
<p>Join us for three days of dynamic programming at Museu do Oriente, with a special keynote evening event held at the historic Cineteatro Capitolio.</p>
<p>We’ve grown the CC Global Summit every year as hundreds of leading activists, advocates, librarians, educators, lawyers, technologists, and more have joined us for discussion and debate, workshops and planning, talks and community building. Whether you&#8217;re new to the community or a long-time contributor, the CC Global Summit is a can’t-miss event for anyone interested in the global movement for the commons.</p>
<p><strong>Your Participant Pass includes: </strong></p>
<ul>
<li>Access to all conference programming including workshops, talks, and keynotes (full schedule to be announced in early 2019)</li>
<li>Breakfast, lunch, and snacks served onsite every day</li>
<li>Evening events showcasing local Lisbon artists</li>
</ul>
<p><strong>Please be sure to read the event&#8217;s <a href="media/cfaa7740.The_CC_Code_of_Conduct_28GS29.pdf" data-original-source="https://wiki.creativecommons.org/images/a/a4/The_CC_Code_of_Conduct_%28GS%29.pdf" target="_blank" rel="noopener" data-saferedirecturl="https://www.google.com/url?q=https://wiki.creativecommons.org/images/a/a4/The_CC_Code_of_Conduct_%2528GS%2529.pdf&amp;source=gmail&amp;ust=1542845176965000&amp;usg=AFQjCNHUwSBY0ARmklzBqzRJ4HHevgNhZQ">Code of Conduct</a></strong>. All attendees, speakers, sponsors, and volunteers at our conference are expected to cooperate to help ensure a safe environment for everyone.</p>
</div>
<div class="m_2388576157363302432en__component m_2388576157363302432en__component--textblock m_2388576157363302432ui-draggable-dragging">
<h2>Submit a proposal for the CC Global Summit program!</h2>
<p>As always, the summit&#8217;s programming is built out of ideas from you. Are you an activist, artist, educator, creator, partner, community member, lawyer, journalist, or CC enthusiast? <a href="https://summit.creativecommons.org/proposals/" target="_blank" rel="noopener" data-saferedirecturl="https://www.google.com/url?q=https://summit.creativecommons.org/proposals/&amp;source=gmail&amp;ust=1542845176965000&amp;usg=AFQjCNFXT9bEfGlDRpp17nLXeOBAhUREXQ">Submit a proposal for a summit session.</a> We&#8217;re accepting proposals through December 10, 2018.</p>
<p>A huge thanks to the CC Portugal team for their ongoing support in co-hosting the event. We&#8217;re excited to see you in Lisbon in May!</p>
<p><em><span>Photo in graphic by Aurélien Maillet (aka <a href="https://pixabay.com/en/lisbon-colors-facades-lane-1766186/" target="_blank" rel="noopener" data-saferedirecturl="https://www.google.com/url?q=https://pixabay.com/en/lisbon-colors-facades-lane-1766186/&amp;source=gmail&amp;ust=1542845176965000&amp;usg=AFQjCNEMK_3hXg5ejsG2xF-_KDXThdR7Tg">sharkgraphic</a>), used under <a href="https://creativecommons.org/publicdomain/zero/1.0/deed.en" target="_blank" rel="noopener" data-saferedirecturl="https://www.google.com/url?q=https://creativecommons.org/publicdomain/zero/1.0/deed.en&amp;source=gmail&amp;ust=1542845176965000&amp;usg=AFQjCNEn_Mq_pOaTiB45W_tzV7mivn9SYA">CC0</a>. Thanks, Aurélien!</span></em></p>
</div>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/11/21/cc-summit-registration-is-now-open/">CC Summit registration is now open!</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55338
title: CC Certificate Changes and Improvements for 2019
uri: CC-Certificate-Changes-and-Improvements-for-2019
url: https://creativecommons.org/2018/12/03/cc-certificate-changes-and-improvements-for-2019/
content:
<p><i><span style="font-weight: 400;">Background</span></i><span style="font-weight: 400;">:</span><i><span style="font-weight: 400;"> T</span></i><i><span style="font-weight: 400;">he </span></i><a href="https://certificates.creativecommons.org/"><i><span style="font-weight: 400;">CC Certificate</span></i></a><i><span style="font-weight: 400;"> provides an-in depth study of Creative Commons licenses and open practices, developing participants’ open licensing proficiency and understanding of the broader context for open advocacy. The course content targets copyright law, CC legal tools, values and recommended practices of working in a global commons. The CC Certificate is a 10-week online course for educators and academic librarians.</span></i></p>
<p><span style="font-weight: 400;"><img data-attachment-id="55344" data-permalink="https://creativecommons.org/2018/12/03/cc-certificate-changes-and-improvements-for-2019/certs-logo-450/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/12/Certs-logo-450.png" data-orig-size="450,450" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="Certs-logo-450" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/12/Certs-logo-450.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/12/Certs-logo-450.png" class="alignleft size-full wp-image-55344" src="media/b87e96d0.Certs-logo-450.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/12/Certs-logo-450.png" alt="CC Certificates" width="450" height="450" />2018 was a big year for the Creative Commons Certificate program! We beta-tested the first two CC Certificate courses for educators and academic librarians, updated our course content, </span><a href="https://certificates.creativecommons.org/about/certificate-resources-cc-by/"><span style="font-weight: 400;">licensed it CC BY</span></a><span style="font-weight: 400;">, and shared it with the world; we launched nine official courses for 225 participants, and have since iterated on almost every aspect of the Certificate based on feedback from the global community. As we approach 2019, we are taking stock of 2018’s learnings and now proudly announce updates for the new year. </span></p>
<p><span style="font-weight: 400;">Our approach to the CC Certificate </span><span style="font-weight: 400;">is one of iteration based on community needs. Each year, we will evaluate what works and what can be improved, based on participant, instructor, and broader community feedback. Thanks to your input and our own lessons learned in 2018, we are making the following changes and improvements: </span></p>
<p><b>1) We’re updating our pricing</b><span style="font-weight: 400;">. Why? </span><span style="font-weight: 400;">First, because this program has to be sustainable &#8211; our new price will ensure we cover 100% of CC&#8217;s cost of delivery, including paying all community instructors who teach, technology and content maintenance, and program expansion and updates, including reaching new audiences and new languages. CC is a non-profit, and we want this program to thrive. </span></p>
<p><span style="font-weight: 400;">Second, from our initial launch, we knew that there would be some who couldn’t afford to pay full price for the program. As promised, we are creating a scholarship program so the Certificate can be more inclusive of colleagues with less ability to pay, especially CC’s vibrant communities in the Global South. Our new price allows us to build and replenish an annual scholarship fund, offering subsidized CC Certificates to as many participants as possible. Those who pay full price for the course subsidize those who are less able to do so. We will offer at least 15 scholarships in 2019, and hope to provide more as the program grows. </span></p>
<p><span style="font-weight: 400;">In 2019 and in years to come we will continue to make the CC Certificate both self-sufficient and financially accessible for our global audience.</span></p>
<p><span style="font-weight: 400;"><strong>2)</strong> There is more </span><b>community demand</b><span style="font-weight: 400;"> for the Certificate training than CC can currently accommodate. To address this, we have built and will beta-test a CC Certificate Facilitator Training starting in January 2019. Ensuring there are more well-trained and knowledgeable facilitators will allow us offer more CC Certificate courses in the future. </span></p>
<p><span style="font-weight: 400;"><strong>3)</strong> While the Certificate program has hosted participants from every global region, we have drawn more participation from the U.S. and Canada. Because the Certificate program is global, we will continue to engage a </span><b>more global, diverse community</b><span style="font-weight: 400;"> by: </span></p>
<ul>
<li style="font-weight: 400;"><span style="font-weight: 400;">Developing a scholarship program to support community members’ enrollment, particularly community members from the Global South (as mentioned above). </span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">Supporting translations of Certificate content. Community members have already volunteered to translate the Certificate in multiple languages, from Bahasa to Italian to Arabic. We will support translations in a responsible way, ensuring languages are aligned with course developments and annual updates. </span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">Developing more local case studies about copyright law and open licensing in different countries. Thanks to participants’ help, we have several case studies drafted. </span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">Launching in-person Certificate trainings, or “bootcamps” specialized for select groups that need CC Certification in a short time-frame.</span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">Assisting participants with new ways to learn and share with each other, since there is not one platform that works for everyone. For example, we learned a participant in China could only access our epub OER content (available </span><a href="https://certificates.creativecommons.org/about/certificate-resources-cc-by/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">) rather than content on our main learning platform, Canvas. </span><span style="font-weight: 400;">While we explore new avenues for learning and collaboration, we celebrate the ways participants are already doing this: hosting workshops and conference sessions, developing OER courses, and creating informational flyers for their institutions. </span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">Revising the CC Certificate must balance a global, inclusive, and iterative approach with focused, specialized expertise. While we continue to gather participant recommendations and feedback from the global community, we will also launch a </span><b>CC Certificate Advisory Board</b><span style="font-weight: 400;"> of legal and instructional design experts. The Advisory Board will provide input for annual content updates and engage with participants in online course webinars throughout the year. </span></li>
</ul>
<p><span style="font-weight: 400;">We are proud of the Certificate we’ve built together so far. We accept anyone interested in taking the Certificate course; our costs are as low as possible, while still offering a scholarship program and maintaining quality content and services; and the course is supporting learners beyond the certification program &#8212; several other programs are freely remixing portions of our CC BY licensed Certificate OER for their own audiences. We couldn’t have done it without the contributions of dozens of experts, CC community leaders, and over 100 beta testers from all over the world. Thank you.</span></p>
<p><span style="font-weight: 400;">We will continue offering the CC Certificate with the greatest flexibility, openness and affordability we can. As such, it is important to us to keep improving the CC Certificate course with community input. </span></p>
<p><b>Opportunities for your engagement</b></p>
<p><span style="font-weight: 400;">In addition to the developments mentioned above, we will explore other improvements to the program in 2019 &#8212; making the CC Certificate more inclusive and globally accessible, while ensuring self-sustainability. Have ideas for us? </span></p>
<ul>
<li style="font-weight: 400;"><span style="font-weight: 400;">Share your ideas with #cccert on Twitter. </span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">Continue to make notes and recommendations </span><a href="https://certificates.creativecommons.org/cccerteducomments/"><span style="font-weight: 400;">via Hypothes.is</span></a><span style="font-weight: 400;">. </span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">Use our CC BY licensed, downloadable and editable </span><a href="https://certificates.creativecommons.org/about/certificate-resources-cc-by/"><span style="font-weight: 400;">CC Certificate content</span></a><span style="font-weight: 400;">, then let us know what is most useful to you. </span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">Sign up to take a Certificate course and engage with the growing Certificate community of participants, alumni, mentors, facilitators, and content experts. Registration for courses in 2019 is open </span><a href="https://us.e-activist.com/page/7190/-/1"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">. </span></li>
<li style="font-weight: 400;"><span style="font-weight: 400;">Join us for an online Certificate overview and brainstorm session, exploring how to better deliver the Certificate and support open communities: 18:00 EST/ 23:00 UTC on </span><a href="https://www.uberconference.com/creativecommons"><span style="font-weight: 400;">https://www.uberconference.com/creativecommons</span></a><span style="font-weight: 400;">. If you cannot join, please share questions in advance and we will share a recording. We look forward to working with you!</span></li>
</ul>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/12/03/cc-certificate-changes-and-improvements-for-2019/">CC Certificate Changes and Improvements for 2019</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55331
title: Welcome Kriti Godey, CC’s new Director of Engineering
uri: Welcome-Kriti-Godey-CC-s-new-Director-of-Engineering
url: https://creativecommons.org/2018/12/04/welcome-kriti-godey/
content:
<p>I’m very excited to announce a new addition to the Creative Commons team. Please join me in welcoming Kriti Godey, who will be taking on the role of CC&#8217;s Director of Engineering.</p>
<p>Kriti joins our staff after four years as an Engineering Lead and Director at RideCell, and also in leadership roles at CasaHop. We asked Kriti if she&#8217;d be up for writing a brief bio for the CC site. It&#8217;s pretty terrific, so I&#8217;ll share it here:</p>
<p>==</p>
<figure id="attachment_55332" style="width: 250px" class="wp-caption alignleft"><img data-attachment-id="55332" data-permalink="https://creativecommons.org/2018/12/04/welcome-kriti-godey/2018-11-29-kriti-godey-creative-commons-portrait/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/12/2018-11-29-kriti-godey-creative-commons-portrait.jpg" data-orig-size="640,640" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="2018-11-29-kriti-godey-creative-commons-portrait" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/12/2018-11-29-kriti-godey-creative-commons-portrait.jpg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/12/2018-11-29-kriti-godey-creative-commons-portrait.jpg" class="size-full wp-image-55332" src="media/4f86b0c9.2018-11-29-kriti-godey-creative-commons-portrait.jpg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/12/2018-11-29-kriti-godey-creative-commons-portrait.jpg" alt="Kriti Godey" width="250" height="250" /><figcaption class="wp-caption-text">Kriti Godey (credit: Joseph Spiros, CC BY-ND)</figcaption></figure>
<p><em><em>Kriti shipped her first website when she was ten years old and has been coding ever since. Prior to joining CC, she focused on leading happy and productive distributed engineering teams at startups, and has enjoyed architecting and building both consumer-facing and enterprise software.</em></em></p>
<p>She is a firm believer in the value of remix culture and free software and is excited to expand its reach and accessibility through her work at CC.</p>
<p>Kriti grew up in southern India and moved to the U.S. to attend Oberlin College, where she majored in computer science and mathematics. She is now a proud American citizen, and lives in Oberlin with her husband and 13 overflowing bookcases.</p>
<p>==</p>
<p>I also want to thank the departing Paola Villarreal for her work as CC&#8217;s first Director of Product Engineering. It&#8217;s been my great pleasure to work with her, and I’m incredibly proud of all she has done in the position, and grateful for the team she&#8217;s helped build. CC will miss you, Paola, and we wish you great success in your new role.</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/12/04/welcome-kriti-godey/">Welcome Kriti Godey, CC&#8217;s new Director of Engineering</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55351
title: Join us for A Grand Re-Opening of the Public Domain
uri: Join-us-for-A-Grand-Re-Opening-of-the-Public-Domain
url: https://creativecommons.org/2018/12/05/join-us-for-a-grand-re-opening-of-the-public-domain/
content:
<p><a href="https://www.metmuseum.org/art/collection/search/56353"><img data-attachment-id="55353" data-permalink="https://creativecommons.org/2018/12/05/join-us-for-a-grand-re-opening-of-the-public-domain/under-the-wave-off-kanagawa/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/12/Under-the-Wave-off-Kanagawa.jpg" data-orig-size="2000,1350" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="Under the Wave off Kanagawa" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/12/Under-the-Wave-off-Kanagawa.jpg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/12/Under-the-Wave-off-Kanagawa.jpg" class="alignnone wp-image-55353" src="media/5085c9c9.Under-the-Wave-off-Kanagawa.jpg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2018/12/Under-the-Wave-off-Kanagawa.jpg" alt="" width="800" height="540" /></a><small>On January 1, 2019 in the United States, tens of thousands of new works will join iconic pieces such as Katsushika Hokusai’s <a href="https://www.metmuseum.org/art/collection/search/56353"><em>Under the Wave off Kanagawa</em></a> as a part of the public domain.</small></p>
<h3><b>Save the date! Please join us on January 25, 2019 for a grand day of celebrating the public domain.</b></h3>
<p><span style="font-weight: 400;">Co-hosted by Creative Commons and the Internet Archive, this celebration will feature a keynote address by Lawrence Lessig, lightning talks, demos, multimedia displays and more to mark the <a href="https://creativecommons.org/public-domain-reopening/">“re-opening”</a> of the public domain in the United States. The </span><span style="font-weight: 400;">event</span><span style="font-weight: 400;"> will take place at the Internet Archive in San Francisco, and is free and open to the public. </span><b></b></p>
<h3><b><a href="https://www.eventbrite.com/e/a-grand-re-opening-of-the-public-domain-tickets-53356519787">RSVP now</a> before the tickets run out. </b></h3>
<p><span style="font-weight: 400;">The public domain is our shared cultural heritage, </span><span style="font-weight: 400;">a near limitless trove of creativity </span><span style="font-weight: 400;"> that’s been reused, remixed, and reimagined over centuries to create new works of art and science. The public domain forms the building blocks of culture because these works are not restricted by copyright law. Generally, works come into the public domain when their copyright term expires. But U.S. copyright law has greatly expanded over time, so that now many works don’t enter the public domain for a hundred years or more. Ever since the 1998</span><a href="https://en.wikipedia.org/wiki/Copyright_Term_Extension_Act"> <span style="font-weight: 400;">Copyright Term Extension Act</span></a><span style="font-weight: 400;">, no new works have entered the public domain (well, none due to copyright expiration). But for the first time this January, hundreds of books, films, visual art, sheet music, and plays published in 1923 will be free of intellectual property restrictions, and anyone can use them for any purpose at all.</span></p>
<p><span style="font-weight: 400;">Join </span><span style="font-weight: 400;">creative, legal, library, advocacy communities to</span><span style="font-weight: 400;"> celebrate the public domain growing again for the first time in decades, and come network with an amazing lineup of people and organizations who will help us welcome this new class of public domain works.  Presenters include </span><a href="https://en.wikipedia.org/wiki/Lawrence_Lessig"><span style="font-weight: 400;">Larry Lessig</span></a><span style="font-weight: 400;">, academic, political activist, and founder of Creative Commons, </span><a href="https://www.eff.org/about/staff/corynne-mcsherry"><span style="font-weight: 400;">Corynne McSherry</span></a><span style="font-weight: 400;">, legal director of the Electronic Frontier Foundation, </span><a href="https://en.wikipedia.org/wiki/Cory_Doctorow"><span style="font-weight: 400;">Cory Doctorow</span></a><span style="font-weight: 400;">, science fiction author and co-editor of Boing Boing, </span><a href="https://www.law.berkeley.edu/our-faculty/faculty-profiles/pamela-samuelson/"><span style="font-weight: 400;">Pam Samuelson,</span></a><span style="font-weight: 400;"> copyright scholar, <a href="https://creativecommons.org/author/ryancreativecommons-org/">Ryan Merkley</a>, CEO of Creative Commons, </span><a href="http://www.thepublicdomain.org/bio/"><span style="font-weight: 400;">Jamie Boyle</span></a><span style="font-weight: 400;">, the man who literally wrote the </span><a href="https://openlibrary.org/works/OL2967581W/The_Public_Domain"><span style="font-weight: 400;">book</span></a><span style="font-weight: 400;"> on the public domain, and many others.</span></p>
<p><span style="font-weight: 400;">In the evening, the celebration continues as we transition to Yerba Buena Center for the Arts for the World Premiere of </span><a href="http://djspooky.com/"><span style="font-weight: 400;">Paul D. Miller,</span></a><span style="font-weight: 400;"> aka DJ Spooky’s </span><a href="https://ybca.org/whats-on/quantopia"><span style="font-weight: 400;">Quantopia: The Evolution of the Internet</span></a><span style="font-weight: 400;">, </span></p>
<p><span style="font-weight: 400;">a live concert synthesizing data and art, both original and public domain materials, in tribute to the depth and high stakes of free speech and creative expression involved in our daily use of media. Attendees of our Grand Re-Opening of the Public Domain event can get discounted tickets <a href="https://www.eventbrite.com/e/a-grand-re-opening-of-the-public-domain-tickets-53356519787">here</a>. If you can’t make the daytime event, separate tickets for Quantopia are available </span><a href="https://tickets.ybca.org/events/"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">.</span></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/12/05/join-us-for-a-grand-re-opening-of-the-public-domain/">Join us for A Grand Re-Opening of the Public Domain</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55383
title: CC’s 4.0 license suite now in Greek
uri: CC-s-4-0-license-suite-now-in-Greek
url: https://creativecommons.org/2018/12/12/ccs-4-0-license-suite-now-in-greek/
content:
<p><em>Guest post by Ioanna Tzagaraki from the University of Cyprus.</em></p>
<p>All six of the Creative Commons licenses v4.0 <a href="https://creativecommons.org/licenses/by/4.0/legalcode.el">are now available in Greek</a> as a result of the joint and volunteer effort of the University of Cyprus, the Pedagogical Institute of Cyprus, and the legal firm Ioannides Demetriou LLC. The multi-year process began when the first draft translation of the Creative Commons license into Greek was submitted to CC HQ in 2016.</p>
<p>Working under the supervision of Dr. Eleni Tatiana Synodinou, Associate Professor of the Dept. of Law at the University of Cyprus, the Greek Creative Commons licenses were drafted by volunteer law students of the University of Cyprus:</p>
<ul>
<li>Alexander Gioumouxouzis, LL.B University of Cyprus</li>
<li>Constantina Markou, LL.B. University of Cyprus</li>
<li>Eleni Koumidou, Legal Consultant, LL.M Queen Mary University of London – Banking and Finance Law</li>
<li>Georgina Athanasiou, Attorney at Law, LL.B. University of Cyprus</li>
<li>Ioanna Georgiou, Attorney at Law, LL.B. University of Cyprus, European Master’s Degree on Human Rights and Democratisation, European InterUniversity Center</li>
<li>Ioanna Tzagkaraki, LL.B. University of Cyprus, Head of the Translation Working Group</li>
<li>Maria Spurou, Attorney at Law – Legal Consultant, LL.B. University of Cyprus.</li>
</ul>
<p>The finalization of the Creative Commons licenses in Greek was succeeded in cooperation with CC Greece – EELLAK, represented by Alexandros Nousias.</p>
<p>With the Greek translation now published, Creative Commons Cyprus will continue communicating the Creative Commons licenses to local creators, users, and cultural institutions. To this end, the University of Cyprus, in coordination with the Pedagogical Institute of Cyprus, has already organized a series of conferences, seminars, and workshops in order to reinforce the message of “some rights reserved” and open access in Cyprus.</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2018/12/12/ccs-4-0-license-suite-now-in-greek/">CC&#8217;s 4.0 license suite now in Greek</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55478
title: Building CC’s Network at scale for a new era of growth and opportunity
uri: Building-CC-s-Network-at-scale-for-a-new-era-of-growth-and-opportuni
url: https://creativecommons.org/2019/01/10/global-network-2/
content:
<figure id="attachment_55479" style="width: 640px" class="wp-caption aligncenter"><img data-attachment-id="55479" data-permalink="https://creativecommons.org/2019/01/10/global-network-2/34000735990_7326d4dc69_z/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/34000735990_7326d4dc69_z.jpg" data-orig-size="640,393" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="34000735990_7326d4dc69_z" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/34000735990_7326d4dc69_z.jpg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/34000735990_7326d4dc69_z.jpg" class="size-full wp-image-55479" src="media/768013a7.34000735990_7326d4dc69_z.jpg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/34000735990_7326d4dc69_z.jpg" alt="global-network-drawing" width="640" height="393" /><figcaption class="wp-caption-text"><a href="https://www.flickr.com/photos/gforsythe/34000735990">Creative Commons Global Network Strategy</a> by Giulia Forsythe. CC0 Source: Flickr</figcaption></figure>
<p>How can we build a Global Network at scale, empower members and communities to lead, and drive a new era of growth and opportunity for Creative Commons and its community? CC has been engaged with this question over the past few years as we rebuild our Global Network to work better together. Today, we’re celebrating 306 individual members and 42 institutional members! Membership is distributed across 68 countries, and 31 chapters – a truly global movement for the Commons.</p>
<p>Structured membership has been the key to the network’s growth. With a <a href="http://network.creativecommons.org">network site </a>and robust vouching system, our members are self-organizing in platforms, committees, and chapters with clear, inclusive pathways for contribution.</p>
<p>In November, the network’s governing council met to solidify and approve network activity, which means that now is a great time to join the platform of your choice. The list of platforms, working documents, and invitation to get involved is below:</p>
<ol>
<li>Open Education Platform
<ul>
<li><a href="https://docs.google.com/document/d/1-HPog_7pPUXrECzne1t6X7eKwo8TzpYBZ8iC8FfASoE/edit">Platform working document</a></li>
<li>838 members from 55+ countries</li>
<li>platform vision, mission, scope, goals, principles approved</li>
<li>Working on process to propose, select, fund and launch international open education activities / projects</li>
</ul>
</li>
<li>Copyright Reform Platform
<ul>
<li><a href="https://github.com/creativecommons/network-platforms/blob/master/copyright-reform.md">Platform working document</a></li>
<li>150 members</li>
<li>Platform rationale, goals and objectives, areas of engagement approved</li>
<li>Working on drafting collaborative projects</li>
</ul>
</li>
<li>Community Development Platform
<ul>
<li><a href="https://docs.google.com/document/d/1RWIo1Q8qTgWfEEnEEA8INqI_xHDlAPcse7676oqRBi4/edit?usp=sharing">Platform Working Document</a></li>
</ul>
</li>
<li>Open GLAM Platform
<ul>
<li><a href="https://docs.google.com/document/d/19hFvtDFPZU-FHWmnXaLX5TP9eR7h_Iou-6Cc4Wl6qAM/edit">Platform Working Document</a></li>
</ul>
</li>
<li>Culture Platform
<ul>
<li><a href="https://github.com/creativecommons/network-platforms/blob/master/Culture.md">Platform Working Document</a></li>
</ul>
</li>
</ol>
<p>Whether you’re a CC Newbie or a seasoned Commoner, you’re invited to join the platform of your choice to connect, build, and grow. Want to jumpstart your involvement? <a href="https://summit.creativecommons.org/">Register for the CC Summit today</a> and meet community members from around the world.</p>
<p>Other ways to get involved:</p>
<ul>
<li>Join the community via <a href="http://slack-signup.creativecommons.org">Slack</a> or the network site or sign up for the newsletter</li>
<li><a href="http://network.creativecommons.org/chapter">Join or start a chapter in your home locale</a></li>
<li>Sign up to join the Network platforms using the links above</li>
<li>Contribute skills like license translation by connecting with us at <a href="mailto:info@creativecommons.org">info@creativecommons.org</a></li>
<li>And of course, you can always <a href="http://donate.creativecommons.org/?ea.tracking.id=blog">donate</a></li>
</ul>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2019/01/10/global-network-2/">Building CC&#8217;s Network at scale for a new era of growth and opportunity</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55525
title: Openness, Mapping, Democracy, and Reclaiming Narrative: Majd Al-shihabi in conversation
uri: Openness-Mapping-Democracy-and-Reclaiming-Narrative-Majd-Al-shihab
url: https://creativecommons.org/2019/01/15/majd-al-shihabi/
content:
<p><img data-attachment-id="55519" data-permalink="https://creativecommons.org/majd-al-shihabi/majd/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/Majd.jpg" data-orig-size="1080,1080" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="Majd" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/Majd.jpg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/Majd.jpg" class="wp-image-55519 aligncenter" src="media/e97ce2e0.Majd.jpg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/Majd.jpg" alt="majd" width="591" height="591" /></p>
<p>Majd Al-shihabi, the inaugural <a href="https://basselkhartabil.org/">Bassel Khartabil Free Culture Fellow</a>, is a Palestinian-Syrian systems design engineer focusing on the role of technology in urban systems and policy design. He is passionate about development, access to knowledge, user centered design, and the internet, and experiments with implementing tools and infrastructures that catalyze social change. He studied engineering at the University of Waterloo, in Canada, and urban planning at the American University of Beirut, in Lebanon.</p>
<p><em>The following is a conversation between Christine Prefontaine and Majd Al-shihabi, reflecting on his work and experiences as a Bassel Khartabil Free Culture Fellow.</em></p>
<h2>The Bassel Khartabil Free Culture Fellowship</h2>
<p>The <a href="https://basselkhartabil.org/">Bassel Khartabil Free Culture Fellowship</a> awards $50,000 + support to an outstanding individual developing open culture in their communities. This unique and life-changing fellowship promotes the values important to Bassel’s work and life: open culture, radical sharing, free knowledge, remix, collaboration, courage, optimism, and humanity. The Fellowship supported Majd Al-shihabi, the inaugural recipient, on two projects: Building an open source platform for oral history archives, to be used by the Syrian Oral History Archive, and digitizing, releasing, and improving the accessibility of previously forgotten 1940s British Mandate-era public domain maps of Palestine. The common thread: Preserving memory based on openness and collaboration and advancing visions for re-building and moving Palestinian and Syrian societies towards an open, fair, and free future.</p>
<h2>Evidence</h2>
<ul>
<li><a href="https://twitter.com/majdal">Twitter</a> &amp; <a href="https://github.com/majdal">GitHub</a>: @majdal</li>
<li><a href="https://www.linkedin.com/in/majdal/">LinkedIn</a></li>
<li><a href="https://majdal.cc/">Majd’s website</a></li>
<li><a href="https://basselkhartabil.org/">Bassel Khartabil Free Culture Fellowship</a></li>
<li>Creative Commons: <a href="https://creativecommons.org/2018/04/15/fellowship-memorial-fund/"><em>Bassel Khartabil Free Culture Fellowship and Memorial Fund Recipients Announced</em></a></li>
<li><a href="https://palopenmaps.org/">Palestine Open Maps</a></li>
<li><a href="https://website.aub.edu.lb/ifi/programs/poha/Pages/index.aspx">Palestine Oral History Archive</a></li>
<li><a href="http://masrad.org/">MASRAD: Platform for the Syrian Oral History Archive project</a> [website will be live soon!]</li>
<li><a href="https://storyengine.io/wp-content/uploads/2018/12/Majd_Al-shihabi_Photos.zip">Download photos of Majd</a> (photo credits in file names)</li>
</ul>
<h2>Majd’s Story</h2>
<p><strong>Can we start with a basic overview of your work and then maybe dig into the fellowship projects that you’re working on?</strong><br />
I’ve been loosely involved with the open community for a long time. When I was studying in Canada at the University of Waterloo, the pressure of school limited my involvement. As soon as I finished I was like, oh, finally I can do the things that I actually am interested in doing. So, slowly that’s how I got involved with the a few open communities locally.</p>
<p>Throughout my studies I’ve mostly worked as a developer so I’ve been using a lot of open source software. That helped me improve my understanding of the open source community. It is not just about the code of the open source software, but also about how community dynamics in its community work, who can contribute, who doesn’t, and so on. So that has been the formation that has guided my work so far.</p>
<p>When I moved to Lebanon, I moved specifically to work with a project called the <a href="https://camp.arabdigitalexpression.org/youth2018">Arab Digital Expression Foundation youth camp</a>. ADEF is the organization. This camp is at 10-day camp in the summer for people 18 and up. We had some participants that were 19 and 63 years old. It’s about the intersection of art, technology and politics, especially in this region, especially about the production of knowledge and content in the Arabic language.</p>
<p>That was the entry point for me in the Arab open source community — because the camp was very explicit about using open technologies and using open approaches to knowledge production and media production. That was the first time when I was like, I’m producing something that can benefit my community in a very explicit way.</p>
<p>I curated that camp, and then I stayed here and I was like, we have a lot work on openness in this community in Lebanon so let’s start with this. So I worked on a few smaller projects related to mapping. We worked on the <a href="https://housingmonitor.org/">Beirut Evictions Monitor</a>, where we ran workshops to map housing evictions in Beirut because it has been undergoing a lot of pressure on real estate and housing — to think about how to map it and publish what is appropriate of that data.</p>
<p>Working on those projects were the first steps. I started thinking about how to activate the community around the mapping and issues of mapping. Because, for example, there is no one authoritative map of Beirut that you can get, especially of buildings of Beirut. On <a href="https://www.openstreetmap.org/about">OpenStreetMap</a> there are areas where some active mapper lives, so you can find all of the buildings in their neighborhood. But they’re drawn from satellite imagery so they’re not very accurate. But there’s no comprehensive map of Beirut. I’m trying to think about how can we use OpenStreetMap to engage the community in mapping efforts to make sure that their communities are on the map — literally — and connecting that with other sources of data, so that organizations like like the Beirut Evictions Monitor can use it.</p>
<p>The next step was when my collaborator<a href="http://twitter.com/bothness/" target="_blank" rel="noopener" data-saferedirecturl="https://www.google.com/url?q=http://twitter.com/bothness/&amp;source=gmail&amp;ust=1544889146134000&amp;usg=AFQjCNG5hb0T2KgLF56AqjRYRu5YcwjC8Q"> Ahmad Barclay</a> found the historic maps of Palestine, from just before the ethnic cleansing of Palestine, in the archives. We were like, we can use those maps. They’re really precious. As Palestinians, most of us have not seen what our villages look like. Before I saw those maps, I only knew of one surviving photo of my village and now I have a more textured view. We got really excited by the potential of those maps and we said, what can we do with them? That’s where the <a href="http://palopenmaps.org/" target="_blank" rel="noopener" data-saferedirecturl="https://www.google.com/url?q=http://palopenmaps.org/&amp;source=gmail&amp;ust=1544889146135000&amp;usg=AFQjCNEUqDWOz4Tuj-YLSryZJgs2s2yyGQ">Palestine Open Maps</a> project started. <a href="https://www.visualizingpalestine.org/" target="_blank" rel="noopener" data-saferedirecturl="https://www.google.com/url?q=https://www.visualizingpalestine.org/&amp;source=gmail&amp;ust=1544889146135000&amp;usg=AFQjCNEBAi6cW3Hf72iUWJcJdVITgwGFNg">Visualizing Palestine</a> hosted a lab with <a href="https://globalcenters.columbia.edu/content/studio-x-amman" target="_blank" rel="noopener" data-saferedirecturl="https://www.google.com/url?q=https://globalcenters.columbia.edu/content/studio-x-amman&amp;source=gmail&amp;ust=1544889146135000&amp;usg=AFQjCNFLaZ97wz56ezKgB3-Lhxhl3G4fRA">Columbia Studio X in Amman</a> where we developed a prototype, which we carried on to what you see now on the platform.</p>
<p>At the same time, I was also interested in oral history archives. One of my main collaborators and friends has worked on the <a href="https://website.aub.edu.lb/ifi/programs/poha/Pages/index.aspx">Palestine Oral History Archive</a> at the American University of Beirut. She has also been a consultant for a few oral history projects and did an assessment of the <a href="https://dawlaty.org/en/programs/transitional-justice/">Syrian Oral History Archive</a>. Often what happens with those archives is that everyone gets really excited about collecting and then they have like 500 hours of recordings and they don’t know what to do with them. So she did that assessment. Then she was like, you guys need to think more explicitly about what to do with this collection and how to archive it. She said, you should not use <a href="https://omeka.org/">Omeka </a>as your only solution. And think about a more refined way of addressing the special needs of an oral history archive.</p>
<p>Those two projects were in the background of my mind when the fellowship was announced and I was like, this sounds like the right place to get sustainability while I work on these projects that are really exciting to me. Also, those two projects are very closely linked and both have great potential. For example, if you think about Palestine Open Maps and the Palestinian Oral History Archives — specifically the use of them after they’ve been archived — can you use the maps as a way to spatially navigate an oral history archive? One of my plans is to make that link between the two. To me they’re related in the long term.</p>
<p>The Palestine Open Maps Project has five different archival map sets that show Palestine before it was ethnically cleansed. We’ve been trying to combine those with census data sets and the locality name data sets. And now you can view it on <a href="https://palopenmaps.org/">PalOpenMaps.org</a>. That was what I presented at <a href="https://mozillafestival.org/">MozFest</a>. That’s the project that I’ve been working on for the first part of my fellowship. For the second part, I’ll focus more on building the oral history platform.</p>
<p>We ran a few design workshops with the Syrian Oral History Archive to extract a workflow from the practices of the archivists. The idea was to enhance the workflow and make it applicable to all oral history archivists, but at the same time to make it as tailored as possible to oral history archiving. It’s a delicate balance that we had to hit. Then I did a few sessions with Palestine Oral History Archive and also talked with the <a href="https://alwarsha.org/">Knowledge Workshop</a>, here in Beirut, as potential users of the platform. Now we have a community that’s excited about finally having a way to archive and publish their collections.</p>
<p>From the outcome of the workshops, I started to build a user interface with a company called <a href="http://calib.ro/">Calibro</a> that does user interface design. The interface addresses each one of the phases of the archival process. And that’s where I am right now. I just started experimenting with a little bit of code in the past few days, but the majority of the code will be written between now and the end of my fellowship.</p>
<blockquote><p>Hearing about the mapping project, what stuck out for me was the ability to anchor a story physically in a place. It’s one thing to hear it, but it’s another thing to have the opportunity to go to a place — physically or digitally. It grounds the story. Literally. It’s profound.</p></blockquote>
<p>My grandmother is still alive and she was born in Palestine. She was one of the people that was ethnically cleansed during the <em>Nakba</em> and she hasn’t been back since. She was 11 years old when it happened so she remembers what it was like. I grew up listening to her talking about our house in Palestine and I know that the village doesn’t exist anymore. It’s been completely destroyed and in its place there’s a forest, a South African memorial forest, a European pine forest. She can name a few places but because they don’t exist anymore you don’t know what those places are. Because she was only 11 years old she doesn’t have that grasp on geography.</p>
<p>But when I got the maps I looked them up. Last summer I was visiting my family — they live in Kitchener/Waterloo, close to Toronto. My grandma was there and I was asking her, <em>Teta</em>, can you describe your house to me again? So she started describing and she was like, oh, it’s on top of the hill called <em>El Khirba</em>. And I looked at the map and there it was: <em>El Khirba</em>. It was labeled on that map. Then she was like, if you look from our house qibli (in the direction of Mecca, south) you would see <em>Esh Shajara</em>, the other village, and sure enough it’s on the map. If you go there right now wouldn’t see it but on the map it’s right there. It’s directly south. She would describe all of those landmarks and those features and, sure enough, they’re on their map.</p>
<p>To me, it’s extremely profound. Finally I know what my grandma’s talking about. Even if I can’t access it today, at least there’s this physical remnant that has been left to us. It’s particularly interesting if you’re thinking about archives. I learned this because I’m more of a technical person so I’m not as well-versed in the terminology of the philosophy of archives. But my collaborator, <a href="https://cambridge.academia.edu/HanaSleiman">Hana Sleima</a> [see also: <a href="https://thefunambulist.net/podcast/hana-sleiman-constructing-a-palestinian-oral-history-archive"><em>Constructing a Palestinian Oral History Archive</em></a>], taught me this term: “reading against the archival grain”.</p>
<p>Those maps were made by colonizers. During the British Mandate, they went in and decided that now the land of Palestine is theirs and they are going to map it. They made highly detailed maps and now, as the victims of that colonization, we Palestinians can read those maps with a purpose that’s completely different from the purpose that they were intended for by the colonizers. We’re reading those maps in a way that is not in alignment with their original purpose.</p>
<p>This is common among people of the South when they’re reading their archives, especially in colonial archives. That’s one of the really powerful things that we’re enabling through this project: You can understand your own history and you can have a different understanding of your own history by taking a critical look at the archives.</p>
<p><strong>Can you hone in on a moment where you felt a sense of success with this project?<br />
</strong>Both projects are a work in progress, but the biggest sense of success that I have is when I demo those project to people. Especially the Palestine Open Maps project — when I demo it, especially people who are descendants of Palestinian refugees and I ask them, what’s the name of your grandparents village? All of them know the name but they don’t know where it is geographically. It could be in the north, it could be in the south, they don’t know. I take my phone and I show them, this is what it was like.</p>
<p>People are kind of shocked and taken aback. They spend a surprisingly long time just navigating their map, zooming into details like, you can see where the school was. I was looking for another map and it had a museum there. It’s a small village that has a museum — why? There are all of these nuances about our lives as Palestinians that have been systematically erased that we can actually extract again out of these maps and reconstruct.</p>
<p>One of my goals is to combine this archive of the maps with another archive — <a href="https://website.aub.edu.lb/ifi/programs/poha/Pages/index.aspx">the Palestine Oral History Archive</a> — because they have a collection of interviews with people who knew Palestine before the <em>Nakba</em>. Whenever a place is mentioned in those narratives and those interviews, can we have it pinpointed on the map? And then can you hear the story about that place?</p>
<p>People get so excited about this and that, in turn, excites me. I think that’s the biggest success of this project: Using the power of technology, turning this abstract concept of Palestine that we’ve been told about as children — this is your homeland and this is the place where you belong — turning that into something that’s really tangible.</p>
<p><strong>As I’m listening to you, there was a connection that came up in my head. Dave Isay, the person who started StoryCorps has a TED Talk where he describes documenting people’s stories — and sharing them back. When he did that, one of the participants grabbed the printed story and started screaming, “I exist! I exist!” [<a href="https://www.ted.com/talks/dave_isay_everyone_around_you_has_a_story_the_world_needs_to_hear/transcript?">See minute 2:10</a>] For me, this connects to both the mapping and the oral history. When you do your demo and someone says, this was the name of the place. And you show them: Here it is! It’s not just in your head. The place exists and your story exists.<br />
</strong>Totally. I hesitate to talk about this because it always brings weird critiques. But, the central premise of the creation of Israel is that this is a land without a people for people without a land. But if you look at those maps it just shows so clearly that there were people in that place.</p>
<p>If you positioned this project in an intellectual history of the Palestinian struggle, to me it’s a descendant of a project called <a href="http://www.plands.org/en/maps-atlases/atlases/the-atlas-of-palestine"><em>The Atlas of Palestine</em></a> by Salman Abu Sitta. The book is in two parts. One is the atlas which compiles the paper maps of Palestine and records about localities and census and so on. It’s a paper book that’s really thick and huge and heavy. And the other component of that book is called <a href="http://www.plands.org/en/maps-atlases/atlases/the-return-journey/return-jounrney-pdfs"><em>The Return Journey</em></a>. It proposes that the land of the historic Mandate Palestine, between the Jordan River and the sea, can fit everyone. It can fit the four and a half million Jews who live in that land right now, and all of the Palestinian refugees that have been ethnically cleansed.</p>
<p>There’s no need for anyone to have to be forced to leave. We can all live there in a democratic state where everyone is an equal citizen. This project is a small step towards furthering that goal. All of us are equal human beings and we should have equal rights to live in the lands where we belong. [laughing] It gets really heavy whenever you’re talking about Palestine!</p>
<p><strong>That is a beautiful and admirable sentiment. Thinking again about these projects, can you hone in on a moment where you faced a challenge or a struggle?<br />
</strong>On the Palestine Open Maps project, even something as simple as getting those maps was a struggle. We kept reading references to those maps in various books about Palestine, but we never actually saw them. We’d see small scans of a single village but we’d never get the access to the whole map.</p>
<p>Then eventually, ironically enough, we found them in the Israeli National Library Archives. They’re all scanned at very high resolutions, which is perfect for us. But if you go to the website, the content management system that they use doesn’t give you the entire image. You can’t just download the entire image. If you right-click on it, it gives you a smaller section. Also: You can’t access .il Israeli domain names from Lebanon because the two countries are at war. So we have to circumvent that and use Dropbox to download all of the files, and write a script that takes every tile, stitches them together, and saves them back to Dropbox. It was a very elaborate process technically to circumvent all of those restrictions — whether they’re technical or political — and get those maps. So that’s one thing.</p>
<p>And then in the Arab world, there’s a lot of technical people, but the good geeks — the nerds that we rely on to build our tools — everyone just leaves and goes to Europe or North America. There is a huge brain drain and when you want to start building a platform like this one, especially when we first started — before I got the fellowship that’s helping me build the platform now — I didn’t have much time to develop it.</p>
<p>It was a very slow process of me wrangling in a few hours here and there to work on development. It was also trying to get people to learn front-end frameworks for Javascript so that we could build it in a modular way that doesn’t turn into spaghetti code and become completely unsustainable a year later. I had to convince people to learn <a href="https://vuejs.org/">Vue.js</a> as a front-end development framework. We just don’t have enough technical people who could help us grow this project to its full potential.</p>
<p>The project has so much potential, and it gets people excited so much, but we don’t have the technical capacity to take it to the next step because it’s just me and a couple of other people very-part time right now. Everyone else who can help is in a different country and is unable to help on this.</p>
<p>Then, one of the scary things for me is that I don’t want this project to die after my fellowship is over. It’s always so difficult to fund anything that’s related to Palestine. In terms of sustainability and in terms of funding, I’m kind of scared of not being able to find funding for it over the long-term.</p>
<p>Also, if we talk about the Oral History Archives, there is the question of finding developers to help me out because I’m going to be doing it all by myself. Finding developers to help me out will be difficult. I found someone from Mozilla who was willing to do code reviews for me, which is awesome. But I envisioned this as an open source project that is sustainable over the long term.</p>
<p>The front-end framework that I’m using just announced plans to make another major release which breaks backwards compatibility in mid-2019, which is around the time that the platform is going to be released. That means that immediately — as soon as it’s released — the next version of the front-end framework that we’re using is going to be outdated, which breaks backward compatibility. So we’ll need to work on an update.</p>
<p>All of this means that the only way to make this project sustainable is to turn it into an open source project that has a lot of different institutions invested in it so that we can have a front-end developer and a back-end developer who can spend one or two days a week making sure that it’s running smoothly. A big challenge for me is figuring out how can we activate an open source community around this project — specifically in this region. We need to consolidate the power of the open community so that our projects become more sustainable over the long term, both technically and financially.</p>
<p><strong>What kind of funder support would help you take your work to the next level?<br />
</strong>We can split that for the two different projects. For the Palestine Open Maps Project, the project is not about the maps themselves, it’s about the story that they tell. How can we build storytelling tools based on those maps that reveal the nuance of Palestinian life over the long term? To do that, you need a team of three people: a user experience designer, a front-end developer, and maybe a researcher who could extract all of the narratives. At least three people, maybe more. So we would need funding for that team to sit down together and collaborate — let’s say for a year — and make this project reach its full potential.</p>
<p>The cool thing about this project is that it’s providing the raw data, a base that other projects can build on. In the current phase of the Palestine Open Maps Project, we’re vectorizing all of the map data. You can already download all of the data and it’s all licensed as <a href="https://creativecommons.org/share-your-work/public-domain/cc0">CC0 — no rights reserved</a>.</p>
<p>One of my major inspirations is the <a href="http://spacetime.nypl.org/">New York Public Library’s NYC Space/Time Directory</a>, which digitized maps of New York that were made by fire insurance companies. One of my favorite geographers and cartographers, her name is <a href="http://www.leahmeisterlin.com/nutshell">Leah Meisterlin</a>, has done amazing work on cross-referencing different data sets with the fire insurance maps data set. So, after it was vectorized by the Space/Time team, she overlaid that data with other data and she came up with this really nuanced vision of what New York looked like in the 1800s. Where the rich people lived, where the poor people lived, as well as the class distribution. It’s so fascinating!</p>
<p>This place where we walk right now, it used to be inhabited by people and this is what the character of this neighborhood looked like 100 years ago, 150 years ago. If I can do the same thing with Palestine Open Maps for Palestine, that would be an amazing thing for me.</p>
<p>One of the major goals for the oral history archival tool is that we wanted to point out all of the epistemological decisions and ontological decisions that an archivist has to make when they’re creating an archive. So something as basic as do you do transcription or do you do segmentation? It’s a big question mark because there are schools of people who are very strict adherents of one way or another of doing oral history archiving. There are advantages and disadvantages to both and there is no correct answer. Hana and I tried to incorporate those decisions in the platform.</p>
<p><strong>How do segmentation and transcription differ, for those of us who are not familiar?<br />
</strong>Transcription is when you take every single word and you write it down. With segmentation, the goal is to preserve the orality of an oral history testimony. So if you transcribe, you can read the text and you know the content, but you lost the orality — the tone, the nuance of the language, the intonation, and so on. But it’s really good for searching. You can just search for a keyword, then you find all its appearances in the text.</p>
<p>With segmentation you say, okay, from this second [timestamp] in the interview the person was introducing themselves and explaining where they’re from. And then from this second to this second they’re talking about the chemical attacks in Ghouta, for example. You have keywords and subject headings for each one of those segments. You don’t have a word-for-word transcript, but what you do have is an index of the content of that segment. You can still search it, but you are forced to listen to it so that you can get the texture of the sounds.</p>
<p><strong>So segmentation is like a metadata approach?</strong><br />
Totally. I think that this platform is really useful in pointing out the decisions that an archivist has to make. We’re trying to create a guide that accompanies the use of the platform so it’s not just stand-alone software, it sits in the context of this debate in the oral history community.</p>
<p>How can it be sustainable on both fronts: in continuing the conversation on an intellectual level of how to archive an oral history collection, and how can we make sure that the actual code is sustainable?</p>
<p>Hana Sleiman is my collaborator on the <a href="http://masrad.org/">MASRAD: Platform for the Syrian Oral History Archive project</a> [website will be live soon!]. Ahmad Barclay and Hanan Yazigi are my main collaborators on the Palestine Open Maps project. With two other people we’re starting to think about how to create a collective that embraces those two projects plus our other projects around knowledge production and knowledge dissemination, especially in the Arabic language but generally around this region. I see MASRAD, which is the name of the collective that we’re trying to create, as a sustainable vehicle for the Syrian Oral History Archive project — but it’s not the ultimate answer.</p>
<p><strong>Beyond the money, what would you say that the Bassel Khartabil Free Culture Fellowship contributed to your work?<br />
</strong>The first thing that I should say is that I recognize the importance of our people to us. Bassel Khartabil, who my fellowship is named after, I was not around when he was around. I was studying in Canada. But I knew of him and everyone I’ve talked to in our community right now has had some interaction with him. His legacy is still there. If there’s one thing that this fellowship has given me, it’s access to that network of people who have similar beliefs, who have been touched by the same values that Bassel was striving towards. Access to all of the people in his community.</p>
<p>I’m afraid of idealizing him. Of course he was an amazing guy, but he’s not a perfect guy. He was a very active member in our community, and if you want to kill a movement, you kill its leaders. That’s what happened to the Palestinian movement in the eighties — there was a series of assassinations of Palestinian leaders all over Europe by the Mossad. Car bombs and poisonings and so on. This is what happened when we lost someone like Bassel.</p>
<p>What this fellowship has given me is access to that network and a chance to connect people and disparate projects together with the weight of the three big organizations that are sponsoring this fellowship: <a href="https://www.mozilla.org/">Mozilla</a>, <a href="https://creativecommons.org/">Creative Commons</a>, and <a href="https://www.wikimedia.org/">WikiMedia</a>.</p>
<p>When I went to MozFest I was meeting my people! Especially <a href="https://storyengine.io/jon-phillips/">Jon Phillips</a> and <a href="http://www.lurnid.com/">Mahmoud Wardeh</a>— he’s “@lurnid” on the internet. We had this really beautiful moment of connecting over Palestinian-ness and our desire to push for openness and for that connection in our community.</p>
<p>It’s those beautiful human interactions that the community has given us.</p>
<p><strong>Right. It’s like, these are my people. It comes back to “I exist, we exist.”<br />
</strong>Yeah, that’s so true.</p>
<p><strong>The movement you were talking about, how would you describe it? What is that legacy?<br />
</strong>It has a couple of aspects to it. One is the bigger umbrella that is the struggle for democracy in our region. In 2011 we were so hopeful. I can’t even tell you the level of hopefulness that was engulfing the entire region. I was living in Italy when Mubarak stepped down and I could feel it from there. Then that quickly collapsed over the next few years.</p>
<p>But we still believe, regardless, that the tool to accomplish our goal, which is having democratic representation of ourselves, is openness, with all of its permutations. Whether we’re talking about open source, having access to the inner workings of the tools that we are using, or whether we’re talking about open institutions, having access to archives of the state and having access to data that’s being produced by the state.</p>
<p>There’s an idiom in English: sunlight is the best disinfectant. So the more open that we are, the more capable we are at disinfecting our region from the corruption that is very deeply situated in it.</p>
<p>That’s the legacy: How can we use the tools of openness to extend our goals of democracy and participation and representation?</p>
<p><strong>Those are all the questions I have for you, but is there anything more you want to tell me?<br />
</strong>This is a lot more emotional than I thought it was going to be!</p>
<p><strong>I feel you on the emotional bit! These are challenging and profound issues that go beyond one people. Your vision for what you want to achieve and your values touch everybody. What you’re discussing is very profound for everyone. As you were talking about how there’s space for everyone, I had a vision of being able to use those stories that are grounded in specific places to enter into dialogue with the people who now live there. Sharing stories can be the beginning of a truth and reconciliation process. They help people to listen to each other, make space for each other, and go forward.<br />
</strong>One of the things that happened at MozFest, I was doing the demo at the science fair and three things stood out for me. One of the things that’s really cool at MozFest is that there was a lot of ethnic diversity. It was just not Europeans and North Americans. It was everyone and that was really cool.</p>
<p>Among those people who came were lot of South Asians. Personally, I feel a lot of solidarity with South Asian people because we’ve both been colonized by the United Kingdom. One of the lines that I had in my demo is, the British loved making maps. And there’s always this mutual look of recognition whenever there is a South Asian person in the crowd that I’m demo-ing to. They smile and I can catch it and there’s this moment of solidarity between us. There’s mutual understanding even if we don’t have to explicitly say it.</p>
<p>Only two people had a negative reaction to the project and one was this young woman. I’m happy for people to ask questions and learn from my experience, but she was asking them in a very aggressive way. Questions like, “Is it normal for people to be ethnically cleansed during a war?” It’s not normal. Even if it was normal, it shouldn’t happen! Then she was asking me all of these basic questions that showed she didn’t actually know anything about the conflict. And as she was asking me all of these questions there was this other guy who immediately identified himself as an Israeli and he kept saying things like that were denying my Palestinian-ness. Like, “Why do you call yourself a Palestinian refugee? You don’t count as a Palestinian refugee.” I said, “I have the goal of keeping your right of return to what you consider your Jewish homeland. I want to keep that. In return, give me my right of return as well. Your right of return is 2000 years old. My right to return is 70 years old. This desire to return is a mutual feeling between us and you should be as understanding of it and of me as I am of you.” That was what I was trying to convey to him, but he was very rooted in his denial of this.</p>
<p>I wonder if this project, if it combines with oral history, if it combines with other programs that add nuance and texture to Palestinian life, can stand in opposition to narratives that just say “Palestinians want to kill us and throw us in the sea.” If we can use all of these tools to enhance the image that Israeli Jews have of of Palestinians then maybe we can reach a solution before it’s too late.</p>
<p><strong>The first step of hate speech is to dehumanize and I see your work as infusing that humanity back in by replacing the texture — by replacing the depth from mundane observations like, “From my village here, I could see that village there.” It’s memory, it’s not political. And it creates the opportunity for a bridge. Thank you.<br />
</strong>Thank you for being a great listener.</p>
<p><em> Photo of Majd above copyright by Cynthia Kreichati, used under a <a href="https://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution</a> license.</em></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2019/01/15/majd-al-shihabi/">Openness, Mapping, Democracy, and Reclaiming Narrative: Majd Al-shihabi in conversation</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55528
title: We’re gonna party like it’s 1923
uri: We-re-gonna-party-like-it-s-1923
url: https://creativecommons.org/2019/01/16/public-domain/
content:
<p><em>January 14-18, 2019 is <a href="https://www.eff.org/copyrightweek">#CopyrightWeek</a>, and today&#8217;s theme is Public Domain and Creativity, which aims to explore how copyright policy should encourage creativity, not hamper it. Excessive copyright terms inhibit our ability to comment, criticize, and rework our common culture.</em></p>
<hr />
<p><span>On January 1, tens of thousands of books, films, visual art, sheet music, plays, and other works passed into the Public Domain in the United States for the first time in twenty years. It&#8217;s time to celebrate!</span></p>
<h3><strong>Join us for a <a href="https://www.eventbrite.com/e/a-grand-re-opening-of-the-public-domain-tickets-53356519787">grand reopening party</a> in San Francisco on Friday, January 25 from 10AM-7PM.</strong></h3>
<p><span>Co-hosted with the</span><span> </span><span>Internet Archive</span><span>, this celebration will feature keynote addresses by </span><span>Lawrence Lessig</span><span> and </span><span>Cory Doctorow</span><span>, lightning talks, demos, multimedia displays and more to mark the “re-opening” of the public domain in the United States. The event will take place at the Internet Archive.</span></p>
<p>In preparation for this event, we asked a few Creative Commons community members to provide reflections on some of their favorite works that have entered the Public Domain this year!</p>
<p><strong>Shanna Hollich, <span>Collections Management Librarian at Wilson College<br />
<em>The Prophet</em> by Khalil Ghibran</span></strong></p>
<p><img data-attachment-id="55529" data-permalink="https://creativecommons.org/2019/01/16/public-domain/178ebe02504b32a59334c6f5267444341587343/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/178ebe02504b32a59334c6f5267444341587343.jpg" data-orig-size="450,589" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="178ebe02504b32a59334c6f5267444341587343" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/178ebe02504b32a59334c6f5267444341587343.jpg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/178ebe02504b32a59334c6f5267444341587343.jpg" class="alignleft wp-image-55529" src="media/4243ee9f.178ebe02504b32a59334c6f5267444341587343.jpg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/178ebe02504b32a59334c6f5267444341587343.jpg" alt="the prophet" width="228" height="299" /></p>
<p>I spent a lot of time in my late teens and early twenties feeling lost and alone and confused (as so many of us do). I often looked for solace in books, and it was at a used bookstore in Boston that I found The Prophet by Kahlil Gibran. I had never heard of it before, but I took it home on a whim and read it over and over and over again, finding human connection and comfort in the words of this long-dead Lebanese-American poet. I have treasured my dog-eared copy of that book for many years. Now that it’s in the public domain, I’m excited to have the opportunity to give the work new life and new meaning now that I can legally use, remix, and share these words that meant so much to me.</p>
<p><strong>Eva Rogers, Development Manager at Creative Commons</strong></p>
<figure id="attachment_55530" style="width: 277px" class="wp-caption alignleft"><img data-attachment-id="55530" data-permalink="https://creativecommons.org/2019/01/16/public-domain/indestructible-object-1923-remade-1933-editioned-replica-1965-by-man-ray-1890-1976/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/object_to_be_destroyed.jpg" data-orig-size="1392,1536" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;Indestructible Object 1923, remade 1933, editioned replica 1965 Man Ray 1890-1976 Presented by the Friends of the Tate Gallery 2000 http:\/\/www.tate.org.uk\/art\/work\/T07614&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;(c) Man Ray Trust\/ADAGP, Paris and DACS, London 2017 \/ Photo (c) Tate&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;Indestructible Object 1923, remade 1933, editioned replica 1965 by Man Ray 1890-1976&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="Indestructible Object 1923, remade 1933, editioned replica 1965 by Man Ray 1890-1976" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/object_to_be_destroyed.jpg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/object_to_be_destroyed.jpg" class=" wp-image-55530" src="media/95cb98fc.object_to_be_destroyed.jpg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/object_to_be_destroyed.jpg" alt="" width="277" height="305" /><figcaption class="wp-caption-text">Indestructible Object 1923, remade 1933, editioned replica 1965 Man Ray 1890-1976 Presented by the Friends of the Tate Gallery 2000 http://www.tate.org.uk/art/work/T07614</figcaption></figure>
<p>Man Ray’s <em>Object to be Destroyed</em> (1923) — later destroyed and remade as <a href="https://www.tate.org.uk/art/artworks/man-ray-indestructible-object-t07614"><em>Lost Object </em>(accidentally printed/labeled <em>Last Object</em>)</a> and, even later, as <em>Indestructible Object</em> — combines a metronome, an object that marks consistent time for musicians, with a photograph of an eye affixed to its ticking arm. Man Ray would set the piece going when he painted — a rhythm, an audience; keeping time, keeping watch. What does it mean for an art object — a destroyed art object, at that — to enter the public domain? What, now, belongs to the public? Can I recreate it? What if I accidentally (intentionally?) recreate a later iteration? Shall we the public gleefully apply the name <em>Object to Be Destroyed</em> to any number of our creations, which we will subsequently destroy and remake? You may destroy the metronome and the staring eye, but you cannot stop the ticking arm of time. Welcome to the public domain, <em>Object to be Destroyed</em>!</p>
<p><strong>Ramona Ostrowski, Producer, Howlround Theater Commons</strong></p>
<figure id="attachment_55535" style="width: 200px" class="wp-caption alignleft"><img data-attachment-id="55535" data-permalink="https://creativecommons.org/2019/01/16/public-domain/saint_joan_play/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/Saint_Joan_play.gif" data-orig-size="200,282" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="Saint_Joan_(play)" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/Saint_Joan_play.gif" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/Saint_Joan_play.gif" class="size-full wp-image-55535" src="media/199ba209.Saint_Joan_play.gif" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/Saint_Joan_play.gif" alt="" width="200" height="282" /><figcaption class="wp-caption-text">By Source, Fair use, https://en.wikipedia.org/w/index.php?curid=19774072</figcaption></figure>
<p>I saw an amazing production of George Bernard Shaw&#8217;s <em>Saint Joan </em>by NYC-based theatre company Bedlam in Cambridge about four years ago. They had four actors portray all the roles, with one woman playing Joan and three men covering everyone else. Seeing the story this way emphasized Joan’s power but also her humanity, and made her the true emotional center around which the inventive production whirled. I’m so excited that this play has now entered the public domain, because it’s the story of a woman clinging to her convictions and speaking her truth boldly even as the male power structures vilify her for it. It doesn’t take more than a quick scroll through Twitter or glance at Fox News to see the contemporary resonances. I can’t wait to see how inventive artists legally remix and riff off of this text in the coming years.</p>
<p><strong>Jennie Rose Halperin, Senior Communications Manager, Creative Commons<br />
</strong></p>
<p>In college I used to go to a long-defunct bar in Greenwich Village for a variety show curated by the old-time musician Eli Smith. (Himself a great interpreter of works in the public domain.) One night, a mostly xylophone band called the <a href="https://www.youtube.com/watch?v=m4SUhpbkgn">“Xylopholks”</a> took the stage and performed “Yes, We have no Bananas!” while attired in banana costumes. Needless to say, they brought the house down. Some day, I hope to recreate this special moment, but until then, I have to enjoy the fact that I can legally use, remix, and reproduce this fabulous tune.</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2019/01/16/public-domain/">We&#8217;re gonna party like it&#8217;s 1923</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55547
title: CC0 at the Cleveland Museum of Art: 30,000 high quality digital images now available
uri: CC0-at-the-Cleveland-Museum-of-Art-30-000-high-quality-digital-images
url: https://creativecommons.org/2019/01/23/cleveland-museum/
content:
<p><img data-attachment-id="55548" data-permalink="https://creativecommons.org/2019/01/23/cleveland-museum/green-tara-image/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/green-tara-image.png" data-orig-size="1000,481" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="green-tara-image" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/green-tara-image.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/green-tara-image.png" class="alignleft size-full wp-image-55548" src="media/8777faa1.green-tara-image.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/green-tara-image.png" alt="green-tara" width="1000" height="481" /></p>
<p>The Cleveland Museum of Art is one of the most visited art museums in the world, and soon it will become one of the most important online collections as well. <strong>Today, we are announcing a release of 30,000 high quality, free and open digital images from the museum’s collection under CC0 and available via their API. </strong>CC0 allows anyone to use, re-use, and remix a work without restriction.</p>
<p>In line with the museum’s mission to work “for the benefit of all people in the Digital Age,” the Cleveland Museum is leading the charge for comprehensive metadata and open access policy. The museum sees its role as not only providing access, but also creating sincere partnerships that increase utility and relevance in our time.</p>
<p>Creative Commons CEO Ryan Merkley joined museum director William M. Griswold and Chief Digital and Information Officer Jane Alexander at the CMA to announce this release. “I hope this model of working closely together with visionary organizations will be one that we can replicate with other museums, and that this will become the new standard by which institutions share and engage with the public online,” he said. The museum’s leadership echoed the sentiment.</p>
<blockquote><p>“Open Access with Creative Commons will provide countless new opportunities to engage with works of art in our collection. With this move, we have transformed not only access to the CMA’s collection, but also its usability—inside as well as outside the walls of our museum,” said Griswold.</p></blockquote>
<p>The newly released images and their associated metadata can also be viewed on <a href="http://ccsearch.creativecommons.org">CC Search,</a> the Creative Commons image portal that provides access to millions of CC Images from 21 providers. This portal is currently in development and growing, and the Cleveland Museum of Art’s images provide another access point for billions of learners around the world to experience and enjoy cultural heritage. In this release, the CMA joins other institutions that have made the choice to share, including the <a href="https://creativecommons.org/2017/02/07/met-announcement/">Metropolitan Museum of Art</a> and the <a href="https://www.smithsonianmag.com/smart-news/art-institute-chicago-now-offers-open-access-44313-images-and-counting-its-collections-180970633/">Art Institute of Chicago.</a></p>
<p><a href="https://ccsearch.creativecommons.org/lists/cleveland-museum-of-art-highlights"><img data-attachment-id="55550" data-permalink="https://creativecommons.org/2019/01/23/cleveland-museum/screen-shot-2019-01-22-at-2-46-21-pm-2/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/Screen-Shot-2019-01-22-at-2.46.21-PM-1.png" data-orig-size="2366,1454" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="list-cleveland-highlights" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/Screen-Shot-2019-01-22-at-2.46.21-PM-1.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/Screen-Shot-2019-01-22-at-2.46.21-PM-1.png" class="alignleft size-full wp-image-55550" src="media/7519e49e.Screen-Shot-2019-01-22-at-2.46.21-PM-1.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/Screen-Shot-2019-01-22-at-2.46.21-PM-1.png" alt="list-cleveland-highlights" width="2366" height="1454" /></a></p>
<p><a href="https://ccsearch.creativecommons.org/lists/cleveland-museum-of-art-highlights">Highlights from the Cleveland Museum of Art’s collection</a> include Claude Monet’s “Water Lilies (Agapanthus)”, William Merritt Chase’s “Portrait of Dora Wheeler,” Albrecht Dürer’s “The Four Horsemen, from the Apocalypse”, and many important works of Indian, African, and Asian art<strong>.</strong> Our profound thanks to the staff of the CMA for making this partnership possible. This release was due to their hard work and leadership, and we look forward to continued partnership with this important cultural institution.</p>
<p>Watch our <a href="http://twitter.com/creativecommons">social media</a> and <a href="http://slack-signup.creativecommons.org">Slack</a> for collection highlights and more information, and experience the collection yourself at <a href="http://ccsearch.creativecommons.org">CC Search.</a></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2019/01/23/cleveland-museum/">CC0 at the Cleveland Museum of Art: 30,000 high quality digital images now available</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55563
title: Is it possible to decolonize the Commons? An interview with Jane Anderson of Local Contexts
uri: Is-it-possible-to-decolonize-the-Commons-An-interview-with-Jane-Ander
url: https://creativecommons.org/2019/01/30/jane-anderson/
content:
<figure id="attachment_55564" style="width: 324px" class="wp-caption alignleft"><img data-attachment-id="55564" data-permalink="https://creativecommons.org/2019/01/30/jane-anderson/download/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/download.png" data-orig-size="750,741" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="tk-labels" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/download.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/download.png" class="wp-image-55564" src="media/90a10798.download.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/download.png" alt="tk-labels" width="324" height="320" /><figcaption class="wp-caption-text">Traditional Knowledge Labels</figcaption></figure>
<p>Joining us at the Creative Commons Global Summit in 2018, NYU professor and legal scholar <a href="https://as.nyu.edu/content/nyu-as/as/faculty/jane-anderson.html">Jane Anderson</a> presented the collaborative project <a href="http://localcontexts.org/">“Local Contexts,”</a> “an initiative to support Native, First Nations, Aboriginal, Inuit, Metis and Indigenous communities in the management of their intellectual property and cultural heritage specifically within the digital environment.” The wide-ranging panel touched on the need for practical strategies for Indigenous communities to reclaim their rights and assert sovereignty over their own intellectual property.</p>
<p>Anderson’s work on Local Contexts is a collaboration with Kim Christen, creator of the <a href="http://www.mukurtu.org">Mukurtu</a> content management system and Director of the Center for Digital Scholarship and Curation at Washington State University. Local Contexts is both a legal and educational project that engages with the specific challenges and difficulties that copyright poses for Indigenous peoples seeking to access, use and control the circulation of cultural heritage. Inspired by the intervention of Creative Commons licenses at the level of metadata, the Traditional Knowledge Labels recast intellectual property as culturally determinant and dependent upon cultural consent to use of materials.</p>
<p>How can we have an open movement that works for everyone, not only the most powerful? How have power structures historically worked against Indigenous communities, and how can the Creative Commons community work to change this historic inequality?</p>
<p>Jane Anderson discussed these issues as well as some of her more recent work with the Passamaquoddy Tribe in Maine with Creative Commons.</p>
<p><em><strong>Your project recasts the Creative Commons vision of &#8220;universal access to research and education and full participation in culture&#8221; through a local and culturally determinant lens. How is the vision of Local Contexts complementary to the CC vision, and how does it come into conflict?</strong><br />
</em>The Local Contexts initiative began in 2010 when Kim Christen and I started to think more carefully about how to support Indigenous communities to address the immense and growing problems being experienced with copyright around Indigenous or traditional knowledge. We had both been working with Indigenous peoples, communities and organizations over a long period of time and had increasingly been engaged in a very specific way with the dilemmas of copyright that existed at the intersection of Indigenous collections in archives, libraries and museums. We were able to see more clearly the ways in which copyright has functioned as a key tool for dispossessing Indigenous peoples of their rights as holders, custodians, authorities and owners of their knowledge and culture.</p>
<p>Combining both legal and educational components, Local Contexts has two objectives. Firstly, to support Indigenous decision-making and governance frameworks for determining ownership, access to and culturally appropriate conditions for sharing historical and contemporary collections of Indigenous material and digital culture. Secondly, to trouble existing classificatory, curatorial and display paradigms for museums, libraries and archives that hold extensive Indigenous collections by finding new pathways for Indigenous names, perspectives, rules of circulation and the sharing culture to be included and expressed within public records.</p>
<blockquote><p><strong>Inspired by Creative Commons, we began trying to address the gap for Indigenous communities and copyright law by thinking about licenses as an option to support Indigenous communities. </strong></p></blockquote>
<p>Our initial impulse was to craft several new licenses in ways that incorporated local community protocols around the sharing of knowledge. Pretty quickly however we ran into a significant problem: with the majority of photographs, sound recordings, films, manuscripts, language materials that had been amassed and collected about Indigenous peoples, and that were now being digitized, Indigenous peoples were not the copyright holders. Instead, copyright was held by the researchers, missionaries or government officials who had done the documenting or by the institutions where these materials were now held. Or – at the other end of the spectrum, these materials were in the unique space that copyright makes – the public domain. This meant that not only did Indigenous peoples have no control over these materials and their circulatory futures, they also could not apply any licenses – either CC ones or ones that we were developing. This was a problem that we responded to by developing the TK Labels.</p>
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<p><em><strong>Why is it important to problematize the ways in which universal access can undermine cultural participation, particularly for traditionally marginalized groups?</strong><br />
</em>Local Contexts is an effort to initiate questions about how ideas of the universal operate by pointing to sites of difference and locality, especially in how knowledge is shared, circulated and expanded. The vision of Local Contexts emphasizes specificity – that the circulation of knowledge and culture depends upon relationships and context – and if these relationships are formed unevenly, or privilege one cultural perspective above another, then that inequity continues to create a range of future problems.</p>
<p>One of the motivations behind Local Contexts, and this is an interesting question for Creative Commons to consider as well is: what would it look like if we invested time and support to Indigenous communities who have been disproportionately affected by colonial property laws – including copyright. How does access and openness perpetuate a colonial agenda of taking? And what can be done to change this direction? Where does the Creative Commons community come in to help think through these issues in conversation with Indigenous peoples and through Indigenous experiences? Is it possible to decolonize the commons? What would it look like to imagine a commons that is not totally open, but one that has an informed and engaged approach to openness; one that foregrounds the histories and exclusions embedded within calls for openness and open access. What would it mean to ask questions about the privilege that openness calls for and embeds?</p>
<p>We believe that Local Contexts is one of many efforts that are needed in order to take on this expansive problem. If you start thinking about what kind of information has been taken (through unethical and inappropriate research practices for instance) from Indigenous peoples, communities, lands and territories – and how this has been done without consent and permission, it is possible to start seeing the extent of the problem. For example, Indigenous names have been used for names of cars (Cherokee); for software (Apache); for varieties of strawberries (Sto:lo). For Indigenous peoples, names are not just words in common, they have embedded temporal and relational meanings including integral connections to place. For Indigenous peoples, names matter and are not open for others to use in ways that minimize and reduce them for commercial gain. How have settler-colonial laws and social frameworks created the conditions where no permissions are required to use Indigenous culture? What is the impetus to use Indigenous culture in these ways? Who benefits from using these exclusionary and extractionist logics?</p>
<figure id="attachment_55565" style="width: 516px" class="wp-caption aligncenter"><img data-attachment-id="55565" data-permalink="https://creativecommons.org/2019/01/30/jane-anderson/outcome-png/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/Outcome-PNG.png" data-orig-size="1832,1308" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="Outcome-PNG" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/Outcome-PNG.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/Outcome-PNG.png" class="wp-image-55565" src="media/6153a491.Outcome-PNG.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/Outcome-PNG.png" alt="Reciprocal Curation Workflow" width="516" height="368" /><figcaption class="wp-caption-text">Reciprocal Curation Workflow</figcaption></figure>
<p><em><strong>How does information colonialism impact the communities where you work? How are you working to mitigate exploitation of cultural resources?</strong><br />
</em>Information colonialism is an everyday problem for all the communities with whom we work and collaborate. It is not only the legacies of past research practices, but how these are continued into the present. There are more researchers working in Indigenous communities now than there were at the height of initial colonial documenting encounters from the 1850s onwards – and the same logics of extraction through research largely continue. This means that many of the same problems that we are trying to address in Local Contexts – namely the making of research derived from Indigenous knowledge and participation often conducted on Indigenous lands as owned by non-Indigenous peoples – continues.</p>
<p>There is an enormous need to support Indigenous communities as they build their own unique IP strategies and provide resources that assist in this project. At Local Contexts we are committed to this work and we provide as many resources as we can towards this end. Importantly we work directly with communities, and the resources we produce and offer come from these partnerships. We continue to develop tools and resources from direct engagement with communities. Partnering with the Penobscot Nation we just received an IMLS grant to run IP training and support workshops for US based tribes over the next two years. These trainings center Indigenous experiences with copyright law and the difficulties communities have negotiating with cultural institutions over incorporating cultural authority into how these Indigenous collections are to be circulated into the future.</p>
<p><em><strong>The 6 CC licenses are designed to be simple and self-explanatory, but there are 17 Traditional Knowledge labels and four licenses, creating an intentionally local and culturally dependent information ecosystem. As a project both inspired by the Creative Commons licenses and in conversation with them, how do these labels better serve the contexts in which you work?</strong><br />
</em>The 17 TK Labels that we have reflect partnerships that have identified these protocols as ones that that matter for communities in the diverse circulation routes for knowledge. What is important about the TK Labels part of the Local Contexts initiative is that they are deliberately <em>not</em> licenses. That is, we are not limited by the cultural (in)capacities of the law. Indigenous protocols around the use of knowledge are nuanced and complex and do not map easily onto current legal frameworks. For instance, some information should never be shared outside a community context, some information is culturally sensitive, some information is gendered, and some has specific familial responsibilities for how it is shared. Some information should only be heard at specific times of the year and still for other information, responsibility for use is shared across multiple communities.</p>
<blockquote><p>The Labels embrace this epistemological complexity in a different kind of way – and they allow for flexibility as well as community specificity to be incorporated in ways that settler-colonial law cannot accommodate.</p></blockquote>
<p>For instance, a central pivot of the TK Labels project from CC is that the TK Label icon remains static, but the text that accompanies each Label can be uniquely customized by each community and they maintain the control and the authority over the text. This is the sovereign right that every community has to determine and express their unique cultural protocols. Alongside this, the TK Labels also expand the meaning of certain kinds of legal terms, which have been historically treated as normative – for instance, attribution. With the TK Labels – attribution is usually the first label that a community identifies and adapts for their own purposes. This is because it has been Indigenous names – community, individual, familial that have been left out of the catalogue and the metadata. For example, the Sq’ewlets, a band of Sto:lo in Canada translated attribution as skwix qas te téméxw, which literally means name and place. <em><a href="http://digitalsqewlets.ca/index-eng.php">(See how they use their labels.)</a></em> For the Passamaquoddy Tribe in Maine, attribution is Elihatsik translated “to fix it properly”. The intention in the Passamaquoddy meaning of attribution is a specific call out for addressing mistakes in an institutional and therefore also in settler cultural memory.</p>
<p><em><strong>What is one interesting outcome of your recent work?</strong><br />
</em>One of our most important recent projects has been working with the Passamaquoddy Tribe to digitally repatriate and correct the cultural authority that the Passamaquoddy people continue to assert over the first Native American ethnographic sound recordings ever made in the US in 1890. When these recordings were made by a young researcher who visited the community for three days, they functioned as a sound experiment allowing for greater documentation of Indigenous peoples languages and cultures. The recordings were never made for the Passamaquoddy community but for researchers in institutions. This is evidenced by the fact that these recordings were not returned to the community until the 1980s – some 90 years after they were made. When this initial return, on cassette tapes, happened in the 1980s, the quality of the sound was poor. For community members thrilled to hear ancestors again after so long it was simultaneously heartbreaking not being able to hear what was being said.</p>
<figure id="attachment_55567" style="width: 600px" class="wp-caption aligncenter"><img data-attachment-id="55567" data-permalink="https://creativecommons.org/2019/01/30/jane-anderson/passamaquoddy-screenshot/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/passamaquoddy-screenshot.png" data-orig-size="1500,696" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="passamaquoddy-screenshot" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/passamaquoddy-screenshot.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/passamaquoddy-screenshot.png" class="wp-image-55567" src="media/566132c1.passamaquoddy-screenshot.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/passamaquoddy-screenshot.png" alt="" width="600" height="278" /><figcaption class="wp-caption-text">From <a href="http://passamaquoddypeople.com/">Passamaquoddy People</a> Website</figcaption></figure>
<p>In 2015, the Library of Congress’ National Audiovisual Conservation Center (NAVCC) included these cylinders in their digital preservation program for American and Native American heritage. At the same time as this preservation work was initiated, the American Folklife Center at the Library of Congress, the Passamaquoddy Tribe, Local Contexts and Mukurtu CMS joined together for the Ancestral Voices Project funded by the Arcadia Foundation. This project involved working with Passamaquoddy Elders and language speakers to listen, translate and retitle the recordings in English and, for the first time in the historical record in Passamaquoddy; explaining and updating institutional knowledge about the legal and cultural rights in these recordings; adding missing and incomplete information and metadata; fixing mistakes in the Federal Cylinder Project record and implementing three Passamaquoddy TK Labels. These add <a href="https://loc.gov/item/2015655578">additional cultural information</a> to the rights field of the digital record &#8211; in both the MARC record and in Dublin core &#8211; and <a href="https://www.loc.gov/collections/ancestral-voices/about-this-collection/">provide ongoing support</a> for how these recordings will circulate digitally into the future.</p>
<figure id="attachment_55576" style="width: 600px" class="wp-caption aligncenter"><img data-attachment-id="55576" data-permalink="https://creativecommons.org/2019/01/30/jane-anderson/about-this-item/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/about-this-item.png" data-orig-size="2548,1278" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="about-this-item" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/about-this-item.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/about-this-item.png" class="wp-image-55576" src="media/ff3cdd76.about-this-item.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/about-this-item.png" alt="about-war-song" width="600" height="301" /><figcaption class="wp-caption-text">Library of Congress record with TK labels</figcaption></figure>
<p>Changing how these recordings are understood in the Library of Congress and in the metadata into the future was only one part of this project. A complimentary part was working with the Passamaquoddy community to create their own digital platform for the cylinders, embedding them and relating them to other Passamaquoddy cultural heritage. The Passamaquoddy site utilizes the Mukurtu CMS platform and allows for differentiated access at a community level and for various other publics. It does not assume that everything created by Passamaquoddy people is for everyone, including non-Passamaquoddy people. It embeds Passamaquoddy cultural protocols as the primary means for managing access according to Passamaquoddy laws. This is then what is also translated into the Library of Congress through the TK Labels.</p>
<p>Working with Passamaquoddy Elders and language speakers to decipher the cylinders and for tribal members to now be singing these songs and teaching them to their children was what the work within this project required. When the Passamaquoddy recordings with community determined metadata and TK Labels were launched at the Library of Congress in May 2018, Dwayne Tomah called on the strength of his ancestors, and sang a song that had not been sung for 128 years. The ongoing strength of Passamaquoddy culture, language and Passamaquoddy survivance was felt by everyone who was in the room that day. The TK Labels were an important piece of this project as they functioned as a tool to support the correcting of a significant mistake in the historical record: namely that the Passamaquoddy people unreservedly retain authority over their culture which had been literally taken and authored by a white researcher from 1890 until 2018. <em><a href="https://www.newyorker.com/culture/culture-desk/the-passamaquoddy-reclaim-their-culture-through-digital-repatriation">(Read more in the New Yorker.)</a></em></p>
<p><em><strong>What are you working on now?</strong><br />
</em>At an international and national level, the TK Labels are an intervention directed at the level of metadata—the same intervention that propelled CC licenses to the reach they have today. Our current work at Local Contexts is threefold. We are finalizing the TK Label Hub. This will allow for a more widespread implementation of the TK Labels. It will be the place where communities can customize their Labels and safely deliver them to the institutions that request them and are committed to implementing them within their own institutional infrastructures and public displays. Our current work with the Abbe Museum in Maine will see the TK Labels integrated into the Past Perfect software as well, allowing for implementation across a wide museum sector. We continue to expand our education work on IP law and Indigenous collections for communities as well as institutions. More generally we believe that any education on copyright must have the history and consequences of excluding Indigenous peoples from this body of law incorporated into how it is taught and understood.</p>
<p><img data-attachment-id="55574" data-permalink="https://creativecommons.org/2019/01/30/jane-anderson/screen-shot-2019-01-30-at-11-06-00-am/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/Screen-Shot-2019-01-30-at-11.06.00-AM.png" data-orig-size="2212,1248" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="new-tk-labels" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/Screen-Shot-2019-01-30-at-11.06.00-AM.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/Screen-Shot-2019-01-30-at-11.06.00-AM.png" class="aligncenter size-full wp-image-55574" src="media/677df392.Screen-Shot-2019-01-30-at-11.06.00-AM.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/01/Screen-Shot-2019-01-30-at-11.06.00-AM.png" alt="new-tk-labels" width="2212" height="1248" /></p>
<p>Finally <a href="http://localcontexts.org/ci-labels">we just developed 2 specific labels</a> for cultural institutions. The Cultural Institution (CI) Labels are specifically for archives, museums, libraries and universities who are engaging in processes of collaboration and trust building with Indigenous and other marginalized communities who have been excluded and written out of the record through colonial processes of documentation and record keeping.</p>
<p>These CI Labels, alongside the TK Labels for communities and our education/training initiatives help close the circle, so that the future circulation of these cultural heritage materials, that have been held outside of communities, can be informed through relationships of care, responsibility and authority that reside within the local contexts where this material continues to have extensive cultural meaning.</p>
<p><a href="https://creativecommons.org/2018/09/18/traditional-knowledge-and-the-commons-the-open-movement-listening-and-learning/">Read more</a> about the role that CC licenses play in the dissemination of traditional knowledge from our research fellow Mehtab Khan and listen to Jane Anderson speak about her work with the Passamaquoddy archives on the podcast <a href="https://artistinthearchive.podbean.com/e/episode-8-thirty-one-cylinders/">“Artist in the Archive.”</a></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2019/01/30/jane-anderson/">Is it possible to decolonize the Commons? An interview with Jane Anderson of Local Contexts</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55627
title: EU copyright directive moves into critical final stage
uri: EU-copyright-directive-moves-into-critical-final-stage
url: https://creativecommons.org/2019/02/18/eu-copyright-directive-moves-into-critical-final-stage/
content:
<figure id="attachment_55628" style="width: 640px" class="wp-caption aligncenter"><a href="https://www.flickr.com/photos/european_parliament/15414175614/"><img data-attachment-id="55628" data-permalink="https://creativecommons.org/2019/02/18/eu-copyright-directive-moves-into-critical-final-stage/journalists-at-work-in-the-european-parliament-in-strasbourg/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/02/Journalists-at-work-in-the-European-Parliament-in-Strasbourg.jpg" data-orig-size="640,428" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="Journalists at work in the European Parliament in Strasbourg" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/02/Journalists-at-work-in-the-European-Parliament-in-Strasbourg.jpg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/02/Journalists-at-work-in-the-European-Parliament-in-Strasbourg.jpg" class="wp-image-55628 size-full" src="media/1cd3ff49.Journalists-at-work-in-the-European-Parliament-in-Strasbourg.jpg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/02/Journalists-at-work-in-the-European-Parliament-in-Strasbourg.jpg" alt="" width="640" height="428" /></a><figcaption class="wp-caption-text"><a href="https://www.flickr.com/photos/european_parliament/15414175614/">Journalists at work in the European Parliament in Strasbourg</a>, <a href="https://creativecommons.org/licenses/by-nc-nd/2.0/">CC BY-ND 2.0</a></figcaption></figure>
<p><span style="font-weight: 400;">In September 2018 the European Parliament </span><a href="https://creativecommons.org/2018/09/12/with-the-european-parliament-vote-on-the-copyright-directive-the-internet-lost-for-now/"><span style="font-weight: 400;">voted to approve drastic changes to copyright law</span></a><span style="font-weight: 400;"> that would negatively affect creativity, freedom of expression, research, and sharing across the EU. Over the last few months the Parliament, Commission, and Council (representing the Member State governments) were engaged in secret talks to come up with a reconciled version of the copyright directive text. </span></p>
<p><span style="font-weight: 400;">The closed-door “trilogue” negotiations are now complete and a final compromise has been reached. The text is not yet published but MEP Julia Reda has shared unofficial versions of </span><a href="media/3b6f568d.Art_13_unofficial.pdf" data-original-source="https://juliareda.eu/wp-content/uploads/2019/02/Art_13_unofficial.pdf"><span style="font-weight: 400;">Article 13</span></a><span style="font-weight: 400;"> (upload filters) and </span><a href="media/e1c4e4f7.Art_11_unofficial.pdf" data-original-source="https://juliareda.eu/wp-content/uploads/2019/02/Art_11_unofficial.pdf"><span style="font-weight: 400;">Article 11</span></a><span style="font-weight: 400;"> (press publishers right). Both of these carried through with no major improvements on behalf of user rights and the public interest. </span></p>
<h6><b><i>For an overview and evaluation of the key issues, check out Communia’s website: </i></b><a href="https://reform.communia-association.org/"><b><i>https://reform.communia-association.org/</i></b></a></h6>
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<h2><span style="font-weight: 400;">Article 13 and 11: Still bad (or worse) for creators and users</span></h2>
<p><span style="font-weight: 400;">It’s more clear than ever: Article 13 will require nearly all for-profit web platforms that permit user uploads to install copyright filters and censor content. While there was an earlier version that included an exclusion for small companies, that provision has been reeled in. Now only services that have been operating for less than 3 years, with annual revenue below €10 million, and with fewer than 5 million unique visitors each month, will be excluded from the rule. And the filters need to process all types of content — from music to text to images to software — anything that can be protected by copyright. If platforms don’t take action, they assume liability for what their uses publish online. This will surely harm creativity and freedom of expression in Europe. Some types of services will be exempted, for example Wikipedia, or open source software platforms such as GitHub. </span><span style="font-weight: 400;">But for the vast majority of online platforms in Europe this will mean more regulatory burden and costs, and it will make it more difficult to compete with the big established platforms. </span></p>
<p><span style="font-weight: 400;">Article 11 got no better. It would force news aggregators to pay publishers for linking to their stories. The counterproductive press publishers right would last for 2 years. The text claims that the right will not apply to “individual words or very short extracts of a press publication.” At least openly licensed works such as those under Creative Commons or in the public domain would be exempted. </span></p>
<h2><span style="font-weight: 400;">What’s next? </span></h2>
<p><span style="font-weight: 400;">The final text of the directive will be released soon. While the trilogue negotiators focused on Articles 13 and 11, there were some productive changes that will improve the situation of the commons, cultural heritage, and research sectors. For example, we know that the negotiators agreed upon a provision to ensure that </span><a href="https://reform.communia-association.org/issue/public-domain/"><span style="font-weight: 400;">reproductions of works in the public domain will also be in the public domain</span></a><span style="font-weight: 400;">. They included text to </span><a href="https://reform.communia-association.org/issue/cultural-heritage/"><span style="font-weight: 400;">improve the ability for cultural heritage institutions to better serve their users online</span></a><span style="font-weight: 400;">. And the negotiators slightly improved the exception on text and data mining by making mandatory an earlier optional provision that would expand the possibilities for those wishing to conduct TDM. </span></p>
<p><span style="font-weight: 400;">The European Parliament elections are coming up in May, and the existing Parliament will vote on the final text of the copyright directive beforehand. The plenary vote will take place between late-March and mid-April. This is when all 751 MEPs will get a chance to vote </span><b>Yes</b><span style="font-weight: 400;"> or </span><b>No</b><span style="font-weight: 400;"> on adopting the text as finalised by the trilogue</span><span style="font-weight: 400;">.</span></p>
<p><span style="font-weight: 400;">With Article 13, it’s no exaggeration to say that it’ll fundamentally change the way people are able to use the internet and share online. And the European copyright changes will affect how copyright develops in the rest of the world. Even with some of the minor improvements to other aspects of the copyright file, it’s hard to see how the reform — taken as a whole — will be a net gain except for the most powerful special interests. </span></p>
<p><span style="font-weight: 400;">There is still time to make your voice heard on stopping the harmful upload filters and press publishers right. If you’re in Europe, visit </span><a href="http://www.saveyourinternet.eu"><b>www.saveyourinternet.eu</b></a><span style="font-weight: 400;"> to get more information and contact your MEPs before the vote. </span></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2019/02/18/eu-copyright-directive-moves-into-critical-final-stage/">EU copyright directive moves into critical final stage</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55638
title: Announcing Plays Well With Others, a new podcast about the Art and Science of Collaboration
uri: Announcing-Plays-Well-With-Others-a-new-podcast-about-the-Art-and-Sci
url: https://creativecommons.org/2019/02/21/plays-well-with-others/
content:
<p><a href="https://anchor.fm/playswellpod/episodes/I-Laughed-So-Hard-I-Cried-e37hqp"><img data-attachment-id="55639" data-permalink="https://creativecommons.org/2019/02/21/plays-well-with-others/playswelllogo/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/02/playswelllogo.jpg" data-orig-size="500,500" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="playswelllogo" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/02/playswelllogo.jpg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/02/playswelllogo.jpg" class="aligncenter wp-image-55639" src="media/ebe871f9.playswelllogo.jpg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/02/playswelllogo.jpg" alt="plays-well-with-others" width="334" height="334" /></a>I’m thrilled to share the first episode of our podcast, <a href="https://podcast.creativecommons.org/index.php/2019/02/episode-1-i-laughed-so-hard-i-cried/">Plays Well with Others,</a> with our community. It’s about the art, science, and mechanics of collaboration.</p>
<p>Ask yourself: How often have you walked into a room where you were about to work with colleagues, friends, or even strangers, and thought, “I’m going to focus on being a great collaborator today”? We spend so much time on leadership, and hardly any time on helping each other do great work together.</p>
<p>We hope to change that, in our own small way, with <a href="https://playswellwithothers.org/">Plays Well with Others.</a></p>
<p>I couldn’t be more excited about this project — I’ve always wanted to produce radio journalism. I love interviewing people and helping them tell the best version of their stories. And it’s been a joy to work with my colleague and collaborator Eric Steuer on the podcast’s design and development. I’ve loved the opportunity to do creative work, and to work directly on something like this that is close to my heart, and that I feel is really good. We’re incredibly proud of how it’s turned out, and we hope you’ll enjoy it and learn something along the way.</p>
<p>Collaboration is a natural topic for me. My job at CC is all about making collaboration happen, and it’s been at the centre of my work for my entire career — across cultures and timezones. I’m fascinated by the things that we can <em>only</em> do together. Collective action — from the power of a union to build a more equitable world, to the ability of shared public investments to strengthen communities, to the potential of the commons to democratize knowledge — these ideas inspire me. It’s why I do what I do.</p>
<p>The first episode of our show focuses on the writer’s room on a comedy show. Our guests, Anne Lane and Wayne Federman, deserve our thanks for trusting us with their stories. They had no idea if what we were making would be any good, and there was no body of work to look at, since it was our first episode. Anne and Wayne were open and honest, and they gave us a view into a special room that very few people get to visit. But they also helped reveal insights into how collaboration works in groups: how to deal with the disappointment of watching your joke fall flat; the importance of picking up what other collaborators are laying down (“yes, and”); and an acknowledgment that many ideas, combined with the need to ship an episode, yields better results than writing alone in your basement.</p>
<p>I hope each episode yields such great insights — that’s certainly our goal. Our operating thesis is that digging into how collaboration really works might help us all become better collaborators ourselves.</p>
<p>Each episode homes in on an element of collaboration, told by some of the world’s great collaborators. We’ll publish one episode each month, and the first season will likely run around eight episodes. I hope you’ll join us along the way, and that we’ll all learn some new tactics, techniques, and approaches — together.</p>
<h3><a href="https://playswellwithothers.org/">Listen now</a></h3>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2019/02/21/plays-well-with-others/">Announcing Plays Well With Others, a new podcast about the Art and Science of Collaboration</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55669
title: Open Education Week: 24-Hour Global CC Network Web-a-thon: 5-6 March
uri: Open-Education-Week-24-Hour-Global-CC-Network-Web-a-thon-5-6-March
url: https://creativecommons.org/2019/02/28/open-education-week-webathon/
content:
<p><img data-attachment-id="55670" data-permalink="https://creativecommons.org/2019/02/28/open-education-week-webathon/openeduweek2019/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/02/openeduweek2019.png" data-orig-size="3129,3126" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="Open Education Week 24 hour global web-a-thon" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/02/openeduweek2019.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/02/openeduweek2019.png" class="wp-image-55670 alignleft" src="media/add49ce9.openeduweek2019.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/02/openeduweek2019.png" alt="Open Education Week 24 hour global web-a-thon" width="523" height="522" /></p>
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<p><a href="http://www.openeducationweek.org/"><span style="font-weight: 400;">Open Education Week</span></a><span style="font-weight: 400;"> is an annual convening of the global open education movement to share ideas, new open education projects, and to raise awareness about open education and its impact on teaching and learning worldwide. Each year, the Creative Commons global community participates, hosts webinars, gives local talks and shares CC licensed educational resources.</span></p>
<p><span style="font-weight: 400;">As part of the event this year, the </span><a href="https://creativecommons.org/2017/09/05/invitation-join-cc-open-education-platform/"><span style="font-weight: 400;">Creative Commons Open Education Platform</span></a><span style="font-weight: 400;"> and CC Poland are hosting a 24-Hour Web-a-thon: 5-6 March </span><span style="font-weight: 400;">(depending on your time zone)</span><span style="font-weight: 400;">. </span></p>
<p><span style="font-weight: 400;">We have amazing speakers from around the world presenting in multiple languages. Experts from</span><span style="font-weight: 400;"> Algeria, Nigeria, Argentina, South Africa, Italy, Chile, United Kingdom, Afghanistan, United States, Ireland, Sweden, Canada and Poland will present their open education projects.</span></p>
<p><b>Time:</b> <span style="font-weight: 400;">All times are UTC (check your local time using </span><a href="https://www.worldtimebuddy.com/"><span style="font-weight: 400;">worldtimebuddy.com</span></a><span style="font-weight: 400;">)</span></p>
<p><b>Webinar Room:</b><span style="font-weight: 400;"> All sessions will be in: </span><a href="https://www.uberconference.com/creativecommons"><span style="font-weight: 400;">https://www.uberconference.com/creativecommons</span></a></p>
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<h4><b>Day One – March 5</b></h4>
<p><b>9:00-9:20 &#8211; Open Networked Learning – a collaborative open online course on open networked learning</b><b><br />
</b><span style="font-weight: 400;">Presentation of the <a href="https://www.opennetworkedlearning.se/">Open Networked Learning course</a> – </span><span style="font-weight: 400;">an initiative from Karolinska Institutet, Lund University, Linnaeus University and Karlstad University with Partner Universities and Organizations in Brazil, Finland, Ireland, Singapore, South Africa, and Switzerland. In particular, we will focus on the new course homepage powered by WordPress and BuddyPress. </span><b>Jörg Pareigis, Karlstad University</b><b><br />
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</b><b>10:00-10:20 &#8211; Open Education Initiatives in Francophone North African countries</b><b><br />
</b><span style="font-weight: 400;">In this presentation, we will share the state of Open Education initiatives in Francophone North African countries. </span><b>Kamel Belhamel, University of Bejaia</b></p>
<p><b>10:30-10:50 &#8211; Open for Educators: Stirring Action via Support Services</b><b><br />
</b><span style="font-weight: 400;">Adoption of OER and OEP by educators (K-12 to HEI) strongly depend on support services available. This presentation considers various support services needed by educators to start to shift and implement OER and OEP using a case study of educators in Nigeria. </span><b>John Okewole, Yaba College of Technology</b></p>
<p><b>11:00-11:20 &#8211; Open Education to build a Latin American community of information professionals. </b><b>Fernando Lopez, Aprender 3C</b><b></b></p>
<p><b>12:00-12:20 &#8211; Creating Educational Equity through OER and Open Degree Plans</b><b><br />
</b><span style="font-weight: 400;">This presentation will address OER and open degree as a means for reducing the high cost of earning a college degree, providing equity and access to higher education. </span><b>Carolyn Stevenson, Purdue University Global</b></p>
<p><b>12:30-12:50 &#8211; Open is an Invitation: Exploring Use of OER with Ontario Post-Secondary Educators</b><b><br />
</b><span style="font-weight: 400;">In this short presentation, with lots of time for conversation, I will share the key findings of my doctoral research conducted in partnership with Ontario post-secondary educators in 2018. </span><b>Jenni Hayman, </b><b>Cambrian College</b></p>
<p><b>13:00-13:20 &#8211; Exploring the multiliteracies to support access to OER in South Africa</b><b><br />
</b><span style="font-weight: 400;">This presentation explores the specific multiliteracies required within a South African context in order to support epistemological and demiurgic access to OER. This research took the form of a conceptual study with an integrative literature review and document analysis of selected open educational resources and repositories. A broad framework of multiliteracies is presented for use within the Southern African context. </span><b>Jako Olivier, North-West University</b><b></b></p>
<p><b>14:00-14:20 &#8211; Design process for an open educational resource: a case study</b><b><br />
</b><span style="font-weight: 400;">In this presentation we described an experience of creation of an open educational resource following an interactive design methodology, working with design students. The work was carried out within the framework of a university seminar, aimed at introducing students of audiovisual design in technical, legal and design issues and their articulation with pedagogical objectives in an interactive design process. The tasks carried out included the creation of a “user” profile of the target students, analysis of the use situation and the needs of the teachers. The process concluded with the creation of an OER prototype for use in secondary schools. </span><b>Lila Pagola, Universidad Nacional de Villa María</b></p>
<p><b>14:30-14:50 &#8211; Open Education Cooperative Educoop</b><b><br />
</b><span style="font-weight: 400;">Presentation of the method of co-creation of open educational resources by teachers based on 4 values: cooperation, learning, openness and adventure. I will also show the effects of the first edition of the project. </span><b>Aleksandra Czetwertyńska, Centrum Cyfrowe </b></p>
<p><b>15:00-15:20 &#8211; OEGlobal19 call for proposals – tracks and ideas</b><b><br />
</b><span style="font-weight: 400;">We are going to briefly present the main topic of next OE Global 19, the main tracks in the call for proposal and give our support to colleagues who might want to ask questions about how to submit their proposals, according to the different formats available this year. </span><b>Susan Huggins, OE Consortium. Chrissi Nerantzi, University of Birmingham. Paola Corti, Politecnico di Milano.</b><b><br />
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</b><b>15:30-15:50 &#8211; Open Education in Chile: small steps in an adverse context</b><b><br />
</b><span style="font-weight: 400;">Nosotros hablaremos sobre los pequeños pasos y complejos contextos en el donde la educación abierta en Chile, a transitado en los últimos años, con algunas experiencias interesantes y relevantes, ademas del esfuerzo en compromisos concretos a través de los Planes de Acción de Gobierno Abierto. En nuestra opinión, los desafíos presentes y futuros para la educación abierta en el país son enormes, existiendo proyectos e iniciativas importantes, las que esperamos puedan representar nuevos escenarios favorables de mayor equidad y calidad educativa para los estudiantes. </span><b>Werner Westermann, Biblioteca del Congreso Nacional</b><b><br />
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</span><b>16:30-16:50 &#8211; OER news from the UK and OER19</b><b><br />
</b><span style="font-weight: 400;">We will share news of developments of OER in the UK and the OER19 Conference, taking place in Ireland in April – we will share how you can participate remotely and highlight important new resources and research. </span><b>Maren Deepwell, Association for Learning Technology</b></p>
<p><b>17:00-17:20 &#8211; OpenEd in Oklahoma</b><b><br />
</b><span style="font-weight: 400;">The purpose of this presentation will be to share the state of Open at Oklahoma State University where we have been, where we are going, and why. </span><b>Cristina Colquhoun, Clarke Iakovakis, &amp; Kathy Essiller, Oklahoma State University</b></p>
<p><b>17:30-17:50 &#8211; One adult student’s perspective on open education opportunities</b><b><br />
</b><span style="font-weight: 400;">Older than most teachers and administrators, I’m the first online student at Metropolitan State University’s College of Individualized Studies authorized to use my own eportfolio to demonstrate my prior learning for assessment to complete a bachelor&#8217;s degree. An EdTech intern, I study open learning technologies and heutagogy. (self-directed learning) </span><b>Mark Corbett Wilson, Metropolitan State University</b></p>
<p><b>18:00-18:20 &#8211; A Quick Look at the Future of OER</b><b><br />
</b><span style="font-weight: 400;">This talk will look at the impact of new technologies – specifically, open data, cloud technologies, AI and distributed ledgers (blockchain) – on the future shape of OER – what they will look like, how they will be used, and what skills and knowledge will be needed to develop and use the. </span><b>Stephen Downes, National Research Council Canada</b></p>
<p><b>18:30-18:50 &#8211; Going beyond the classroom: Digital Humanities OER powered by the European research infrastructure DARIAH<br />
</b><span style="font-weight: 400;">This talk will showcase two types of OER for Digital Humanities that allow for flexibility with different teaching/learning contexts, enable peer learning, and empower teachers and students</span><span style="font-weight: 400;"><br />
</span><span style="font-weight: 400;">to see beyond their institutional perspectives. These are: the Parthenos Standardization Survival Kit and the OpenMethods metablog.</span><b> Erzsébet Tóth-Czifra</b><b></b></p>
<p><b>19:00-19:20 &#8211; OER Momentum in the Rocky Mountains: Policy, Practice and Purpose </b><b><br />
</b><span style="font-weight: 400;">Colorado’s unique leadership with statewide OER efforts is steered by the OER Council, a legislatively created advisory group comprised of representatives from a variety of disciplines and institutional types. This session will highlight how a diverse group of individuals in the Rocky Mountain state have advocated and executed OER efforts at the state level, while also highlighting future ambitions in policy, practice and purpose.</span><b> Meg Brown-Sica, Colorado State University. Brittany Dudek, Colorado Community College Online. Spencer Ellis, Colorado Department of Higher Education. Jonathan Poritz, Colorado State University-Pueblo.</b></p>
<p><b>19:30-19:50 &#8211; State of Open Data: Data and Education </b><b><br />
</b><span style="font-weight: 400;">This talk will showcase the findings of the chapter about data in education on the book State of Open Data. It aims at presenting the benefits of the use of open data in education, and its value for developing data literacies, but also, it highlights the risks of datafication of education with the aim of giving a wide landspace and perspectives on data in education.</span><b> Javiera Atenas, ILDA</b></p>
<p><b>20:00-20:20 &#8211; An OER Library in Afghanistan </b><b><br />
</b><span style="font-weight: 400;">OER in Afghanistan? Yes, it’s true! For several years, we have been making and translating OER into Afghan languages, as part of the Darakht-e Danesh (‘knowledge tree’ library). We will tell you about our small but fierce digital library, we will share our lessons learned doing OER in this part of the world, and we will tell you about how we innovate around challenges like insecurity, connectivity and digital literacy. We’ll highlight some of our exciting future plans, and hopefully, leave you inspired. </span><b>Lauryn Oates, Abdul Parwani, Darakht-e Danesh Library</b></p>
<p><b>20:30-20:50 &#8211; New open education initiatives in Ireland</b><b><br />
</b><span style="font-weight: 400;">Ireland’s ‘National Forum for the Enhancement of Teaching and Learning in Higher Education’ is a unique body, tasked with supporting &amp; fostering T+L enhancement &amp; collaboration across all HEI’s in Ireland. Terry &amp; Catherine will describe national plans in the area of open education – and are open to ideas &amp; feedback. </span><b>Terry Maguire &amp; Catherine Cronin, National Forum for the Enhancement of Teaching &amp; Learning in Higher Education </b></p>
<p><b>21:00-21:20 &#8211; Alquimétricos, Open source DIY didactic building blocks</b><b><br />
</b><span style="font-weight: 400;">Near past, present and what’s next on building our open tech, didactic content, and branding model. <a href="http://alquimetricos.com/">Alquimétricos</a> is a collaborative open project on designing, content developing and DIY (handcraft or digital) fabricating of tech-oriented didactic materials. A word on sustainability on open tangible stuff. </span><b>Fernando Daguanno, Alquimétricos </b></p>
<p><b>21:30-21:50 &#8211; OER19 Conference – themes &amp; conversations </b><b><br />
</b><span style="font-weight: 400;">Following on from earlier presentation by Maren Deepwell &amp; Martin Hawksey, Catherine (and an OER19 guest, TBC) will explore themes of the upcoming OER19 Conference taking place in Galway, Ireland, April 10-11. The overall conference theme is: ‘Recentering Open: Critical and Global Perspectives’. </span><b>Catherine Cronin, National Forum for the Enhancement of Teaching &amp; Learning in Higher Education</b></p>
<p><b>22:00-22:20 &#8211; State of Open Education in Canada</b><b><br />
</b><span style="font-weight: 400;">We will share the projects and initiatives happening in Canada around open education. Specifically looking at Provincial initiatives in postsecondary education as well as policies in Open Education in Canada. We will also highlight what is next for Canada, and what we hope to see for the future of Open Education. </span><b>Amanda Coolidge, BCcampus. Lena Patterson, eCampusOntario.</b></p>
<p><b>22:30-22:50 &#8211; Creative Commons Certificates</b><b><br />
</b><span style="font-weight: 400;">The 10-week </span><a href="https://certificates.creativecommons.org/"><span style="font-weight: 400;">CC Certificates</span></a><span style="font-weight: 400;"> course for educators and librarians provides an in-depth study of CC licenses and develops participants’ open licensing proficiency and understanding of the broader context for open advocacy in the Commons. Will also discuss: new CC Certificates in process, facilitator training, translations, and scholarships. </span><b>Cable Green, Creative Commons</b><b></b></p>
<hr />
<h4><b>DAY TWO – MARCH 6</b></h4>
<p><b>7:00-7:20 &#8211; Equity-oriented Open Learning in the Marginal Syllabus </b><b><br />
</b><span style="font-weight: 400;">A presentation about equity-oriented open learning as supported by the Marginal Syllabus project. The presentation will review design and learning practices summarized in Kalir (2018). Additional information about open learning via the <a href="http://marginalsyllab.us/">Marginal Syllabus</a> project.</span> <b>Remi Kalir, University of Colorado Denver</b></p>
<p><b>10:00-10:20 &#8211; Online roundtable on Growing Open Education Policies in 2019</b><b><br />
</b><span style="font-weight: 400;">This session is an opportunity for all activist to join and briefly present their organisations and plans for 2019. Host of this session is Centrum Cyfrowe Foundation from Poland – we will present some details about Open Education Policy Forum 2019.</span><b> Alek Tarkowski, Centrum Cyfrowe Foundation </b></p>
<hr />
<p><span style="font-weight: 400;">Be sure to share your Open Education Week activities with: </span><a href="https://twitter.com/search?f=tweets&amp;vertical=default&amp;q=%23OEWeek"><span style="font-weight: 400;">#OEWeek</span></a></p>
<p><span style="font-weight: 400;">See you online!</span></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2019/02/28/open-education-week-webathon/">Open Education Week: 24-Hour Global CC Network Web-a-thon: 5-6 March</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55690
title: CC + Google Summer of Code 2019
uri: CC-Google-Summer-of-Code-2019
url: https://creativecommons.org/2019/03/04/cc-google-summer-of-code-2019/
content:
<p><img data-attachment-id="55692" data-permalink="https://creativecommons.org/2019/03/04/cc-google-summer-of-code-2019/untitled-design-2/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/Untitled-design-2.png" data-orig-size="560,315" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="Untitled design (2)" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/Untitled-design-2.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/Untitled-design-2.png" class="aligncenter size-full wp-image-55692" src="media/e0df91b6.Untitled-design-2.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/Untitled-design-2.png" alt="" width="560" height="315" />We are proud to announce that Creative Commons <a href="https://summerofcode.withgoogle.com/organizations/6514859793973248/">has been accepted as a mentor organization</a> for the 2019 Google Summer of Code program.</p>
<p><a href="https://summerofcode.withgoogle.com/">Google Summer of Code</a> (GSoC) is a annual global program through which Google awards stipends to university students who write code for free and open-source software projects during their school break. CC has been a mentor organization for GSoC on seven previous occasions, but our last participation was in 2013, so we are glad to be reviving the tradition and hosting students again.</p>
<p>We’ve compiled <a href="https://creativecommons.github.io/gsoc-2019/project-ideas/all/">a list of project ideas</a> for students to choose from when submitting their work proposal. There’s a lot of variety to choose from – adding features to CC Search, reviving older CC products, creating entirely new tools that increase the reach of CC licenses, figuring out ways to better present our legal and technical work, and more. There is definitely room for creativity – the project ideas are defined in broad terms, and students may also choose to submit a proposal for an original idea.</p>
<p>One of the goals of the CC engineering team this year is to build an active developer community around our projects. We’ve been writing free and open-source software for over a decade. Lately, we haven’t done the best job of enabling external developers to contribute to those projects. Hosting Google Summer of Code is our first step to change that for the better, and we’re also actively working on several other improvements to our code and processes, such as:</p>
<ul>
<li><a href="https://creativecommons.github.io/">Creative Commons Open Source</a>, a hub for the CC developer community.</li>
<li>Making CC Search’s development more transparent. Our <a href="https://github.com/orgs/creativecommons/projects/7">current sprint workload</a> is already public and we’ll be releasing a roadmap soon.</li>
<li>General cleanup, documentation, and contribution guidelines for our projects.</li>
<li>A technical blog.</li>
</ul>
<p>If you want to stay updated on our work, join our <a href="https://groups.google.com/a/creativecommons.org/forum/#!forum/cc-developers">brand new developer mailing list</a>, the #creativecommons-dev IRC channel on <a href="https://freenode.net/">freenode</a>, or the #cc-developers and #cc-gsoc channels on our <a href="http://slack-signup.creativecommons.org/">Slack community</a>. And if you’re a student (or know a student), please consider submitting a Google Summer of Code proposal! It’s a great way to get an introduction to open-source, build real-world skills, work on interesting technical challenges, and help advance CC’s mission.</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2019/03/04/cc-google-summer-of-code-2019/">CC + Google Summer of Code 2019</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55711
title: Big Flickr Announcement: All CC-licensed images will be protected
uri: Big-Flickr-Announcement-All-CC-licensed-images-will-be-protected
url: https://creativecommons.org/2019/03/08/flickr-announcement/
content:
<p>I’m happy to share <a href="https://blog.flickr.net/en/2019/03/08/update-on-creative-commons-licenses-and-in-memoriam-accounts/">Flickr’s announcement</a> today that all CC-licensed and public domain images on the platform will be protected and exempted from upload limits. This includes images uploaded in the past, as well as those yet to be shared. In effect, this means that CC-licensed images and public domain works will always be free on Flickr for any users to upload and share.</p>
<p>Flickr is one of the most important repositories of openly-licensed content on the web, with over 500M images in their collection, shared by millions of photographers, libraries, archives, and museums around the world. The company was an early adopter of CC licenses, and was bought by Yahoo! and later sold to Verizon. Last year, Flickr was sold again, this time to a family-owned photo service called SmugMug. Many were justifiably concerned about the future of Flickr, an essential component of the digital Commons.</p>
<p>Once the sale of Flickr was announced, CC began working closely with Don and Ben MacAskill of SmugMug, Flicker’s new owners, to protect the works that users have shared. Last November, Flickr posted that they were moving to a new paid service model that would restrict the number of free uploads to 1,000 images. Many, including Creative Commons, were concerned this could cause millions of works in the Commons to be deleted. <a href="https://creativecommons.org/2018/11/01/flickr-2/">We continued to work with Flickr</a>, and a week later, they announced that CC-licensed images that had already been shared on the platform would be exempted from upload limits.</p>
<p><img data-attachment-id="55712" data-permalink="https://creativecommons.org/2019/03/08/flickr-announcement/screen-shot-2019-03-08-at-10-32-41-am/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/Screen-Shot-2019-03-08-at-10.32.41-AM.png" data-orig-size="1012,1396" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="cc-ryan-tweet" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/Screen-Shot-2019-03-08-at-10.32.41-AM.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/Screen-Shot-2019-03-08-at-10.32.41-AM.png" class="wp-image-55712 alignright" src="media/f468a04d.Screen-Shot-2019-03-08-at-10.32.41-AM.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/Screen-Shot-2019-03-08-at-10.32.41-AM.png" alt="tweet-flickr" width="300" height="414" /></p>
<p>Today’s announcement takes that commitment one step further, and ensures that every CC-licensed or public domain image shared on Flickr is protected for all to use and re-use. It’s a significant commitment. Don and Ben MacAskill and the whole Flickr team have been supportive of CC and Flickr’s responsibility to steward the Commons from day one, and have been open and collaborative with Creative Commons all along.</p>
<p>For users of Flickr (and no doubt also for Flickr staff) it’s been a tumultuous time. Migrating to new business models is difficult, and will undoubtedly anger some users, especially those used to getting things for free. However, we’ve seen how unsustainable and exploitative free models can be, and I’m glad that Flickr hasn’t turned to surveillance capitalism as the business model for its sustainability plan – but that does mean they’ll have to explore other options.</p>
<p>Choosing to allow all CC-licensed and public domain works to be uploaded and shared without restrictions or limits comes at a real financial cost to Flickr, which is paid in part by their Pro users. We believe that it’s a valuable investment in the global community of free culture and open knowledge, and it’s a gift to everyone. We’re grateful for the ongoing investment and enthusiasm from the entire Flickr team, and their commitment to support users who choose to share their works. We will continue to work together to help educate Flickr’s users about their options when sharing works online, and to support the communities contributing to the growth and preservation of a vibrant collection of openly-licensed and public domain works.</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2019/03/08/flickr-announcement/">Big Flickr Announcement: All CC-licensed images will be protected</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55726
title: Use and Fair Use: Statement on shared images in facial recognition AI
uri: Use-and-Fair-Use-Statement-on-shared-images-in-facial-recognition-AI
url: https://creativecommons.org/2019/03/13/statement-on-shared-images-in-facial-recognition-ai/
content:
<p>Yesterday, NBC News published a story about IBM’s work on improving diversity in facial recognition technology and the dataset that they gathered to further this work. The dataset includes links to one million photos from Flickr, many or all of which were apparently shared under a Creative Commons license. Some Flickr users were dismayed to learn that IBM had used their photos to train the AI, and had questions about the ethics, privacy implications, and fair use of such a dataset being used for algorithmic training. We are reaching out to IBM to understand their use of the images, and to share the concerns of our community.</p>
<p>CC is dedicated to facilitating greater openness for the common good. In general, we believe that the use of publicly available data on the Internet has led to greater innovation, collaboration, and creativity. But there are also real concerns that data can be used for negative activities or negative outcomes.</p>
<p>While we do not have all the facts regarding the IBM dataset, we are aware that fair use allows all types of content to be used freely, and that all types of content are collected and used every day to train and develop AI. CC licenses were designed to address a specific constraint, which they do very well: unlocking restrictive copyright. But copyright is not a good tool to protect individual privacy, to address research ethics in AI development, or to regulate the use of surveillance tools employed online. Those issues rightly belong in the public policy space, and good solutions will consider both the law and the community norms of CC licenses and content shared online in general.</p>
<p>I hope we will use this moment to build on the important principles and values of sharing, and engage in discussion with those using our content in objectionable ways, and to speak out on and help shape positive outcomes on the important issues of privacy, surveillance, and AI that impact the sharing of works on the web.</p>
<p>We are taking this opportunity to speak to this particular type of reuse – improving artificial intelligence tools designed for facial recognition through the reuse of content found on the web (not just CC-licensed content) – to help clarify how the licenses work in this context. We have published new FAQs <a href="https://creativecommons.org/faq/#artificial-intelligence-and-cc-licenses">here</a> that we will continue to update.</p>
<p>If you have comments or questions, please write CC at <a href="mailto:info@creativecommons.org">info@creativecommons.org</a>. We will also be creating other opportunities to engage in public discussion in the coming weeks and months. We look forward to joining these discussions as we look for ways to resolve ethical public policy issues around data, AI, and machine learning as a community.</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2019/03/13/statement-on-shared-images-in-facial-recognition-ai/">Use and Fair Use: Statement on shared images in facial recognition AI</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55735
title: CC Search: A New Vision, Strategy & Roadmap for 2019
uri: CC-Search-A-New-Vision-Strategy-Roadmap-for-2019
url: https://creativecommons.org/2019/03/19/cc-search/
content:
<p><span style="font-weight: 400;">At </span><a href="https://creativecommons.org/2018/12/05/join-us-for-a-grand-re-opening-of-the-public-domain/"><i><span style="font-weight: 400;">A Grand Re-Opening of the Public Domain</span></i></a><span style="font-weight: 400;"> at the Internet Archive, I </span><a href="https://docs.google.com/presentation/d/1RJSUH4-KRtljrqDPPmMDTyofPecj2kARLw1iTcmj_hU/edit#slide=id.g4d9b908bca_0_0"><span style="font-weight: 400;">teased</span></a><span style="font-weight: 400;"> a new product vision for <a href="https://ccsearch.creativecommons.org/">CC Search</a> that gets more specific than our ultimate goal of providing access to all 1.4 billion CC licensed and public domain works on the web. I’m pleased to present that refined vision, which is focused on building a product that promotes not just discovery, but reuse of openly-licensed and public domain works. We want your feedback in making it a reality. What kinds of images do you most need and desire to </span><i><span style="font-weight: 400;">reuse </span></i><span style="font-weight: 400;">when creating your own works? Along that vein, what organizational collections would you like to see us prioritizing for inclusion? Where can we make the biggest difference for you and your fellow creators?</span></p>
<p><img data-attachment-id="55736" data-permalink="https://creativecommons.org/2019/03/19/cc-search/cc-search-vision-pyramid/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/CC-Search-Vision-Pyramid.png" data-orig-size="4000,2250" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="CC Search Vision Pyramid" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/CC-Search-Vision-Pyramid.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/CC-Search-Vision-Pyramid.png" class="alignnone size-full wp-image-55736" src="media/182b7b29.CC-Search-Vision-Pyramid.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/CC-Search-Vision-Pyramid.png" alt="" width="4000" height="2250" /></p>
<h3><b>Vision</b></h3>
<p><span style="font-weight: 400;">Our 2019 vision is:</span></p>
<blockquote><p><span style="font-weight: 400;">“CC Search is a leading tool for creators looking to discover and </span><i><span style="font-weight: 400;">reuse</span></i><span style="font-weight: 400;"> free resources with greater ease and confidence.”</span></p></blockquote>
<p><span style="font-weight: 400;">The vision centers on </span><i><span style="font-weight: 400;">reuse</span></i><span style="font-weight: 400;"> — CC will prioritize and build for users who seek to not only discover free resources in the commons, but who seek to reuse these resources with greater ease and confidence, and for whom in particular the rights status of these works may be important. This approach means that CC will shift from its “quantity first” approach (</span><a href="https://hackernoon.com/cc-search-developer-notes-and-reflection-418271194682"><span style="font-weight: 400;">front door </span></a><span style="font-weight: 400;">to </span><a href="https://stateof.creativecommons.org/"><span style="font-weight: 400;">1.4 billion works</span></a><span style="font-weight: 400;">) to prioritizing content that is more relevant and engaging to creators.</span></p>
<p><span style="font-weight: 400;">We made our assumptions based on a combination of </span><a href="https://medium.com/@janepk/findings-from-the-discovery-phase-of-cc-usability-3bde89d55a74"><span style="font-weight: 400;">user research</span></a><span style="font-weight: 400;">, whatever quantitative data we could get our hands on (e.g. analytics on previous iterations of search), and pure conjecture (based on anecdotal evidence from our community), or what in the lean start-up world is called </span><i><span style="font-weight: 400;">a leap of faith</span></i><span style="font-weight: 400;">.</span></p>
<p><img data-attachment-id="55737" data-permalink="https://creativecommons.org/2019/03/19/cc-search/cc-search-product-stack/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/CC-Search-Product-Stack.png" data-orig-size="4000,2250" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="CC Search Product Stack" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/CC-Search-Product-Stack.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/CC-Search-Product-Stack.png" class="alignnone size-full wp-image-55737" src="media/9cd7273c.CC-Search-Product-Stack.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/CC-Search-Product-Stack.png" alt="" width="4000" height="2250" /></p>
<h3><b>How we expect reuse to happen </b></h3>
<p><span style="font-weight: 400;">The base catalog is the database of all CC works we are continuing to gather and grow. We envision users will be able to access this catalog in three ways:</span></p>
<ol>
<li><span style="font-weight: 400;">Through CC Search — the default front end you see now. </span></li>
<li><span style="font-weight: 400;">Through some curation on CC Search — you could imagine different portals for different kinds of users, e.g. educators seeking open textbooks. </span></li>
<li><span style="font-weight: 400;">Through CC Search being integrated directly into other sites and software via a CC API, e.g. CC Search in Google Docs.</span></li>
</ol>
<p><span style="font-weight: 400;">Once the user accesses the work, the user takes the next step to reuse the work. They download it, which means they make a copy. The user who is also a creator takes a step further; they attribute the author of the work in their new creation, ideally through the automatic and easy ways we provide for them to do this. Both download and attribution are ways a user </span><i><span style="font-weight: 400;">reuses</span></i><span style="font-weight: 400;"> the work in a way that implicates copyright and thereby the Creative Commons license. And both are potential ways we can learn how that work is used in the wild. </span></p>
<p><span style="font-weight: 400;">Through learning about how CC works are reused, we will be able to validate our hypotheses and know we are on the right track (or not). We will also be better able to tell the story or journey of the works’ impact, which speaks to a key insight from our </span><a href="https://medium.com/@janepk/findings-from-the-discovery-phase-of-cc-usability-3bde89d55a74"><span style="font-weight: 400;">user research</span></a><span style="font-weight: 400;">:</span></p>
<blockquote><p><span style="font-weight: 400;">“People like seeing how their work is used, where it goes, and who it touches, but have no easy way to find this out.”</span></p></blockquote>
<p><span style="font-weight: 400;">This learning is the hard part of our work, and what we still need to figure out. How do we track and learn about reuse in a way that is effective, but also aligns with our values and respects user privacy?</span></p>
<h3><b>User research &amp; usability testing</b></h3>
<p><span style="font-weight: 400;">In 2019, we will focus on images and texts, with a stretch goal of including audio files. Accordingly, we will focus any user research and usability testing on groups of people that reuse these works in a meaningful way, specifically, “Creators making new works using existing free content.” A few we will start with are:</span></p>
<ul>
<li><span style="font-weight: 400;">Creators making designs, imagery and art works (commercial or independent)</span></li>
<li><span style="font-weight: 400;">Creators illustrating a text or text-based resource (blog, journalistic articles, educational/academic texts or presentations)</span></li>
<li><span style="font-weight: 400;">Creators making a video</span></li>
</ul>
<p><span style="font-weight: 400;">We’ll also being doing some separate user research to add open texts, which is a different bucket of people than the creators above, because we think</span> <span style="font-weight: 400;">(but don’t know) that most people seeking open texts are really seeking access, and not reuse, when it comes to CC Search. For example, we think that community college faculty looking for open textbooks are mainly seeking to access all open textbooks in one place.</span></p>
<p><span style="font-weight: 400;">As we talk to users, collect user feedback, and conduct usability testing, we may learn differently.</span></p>
<h3><b>Roadmap</b></h3>
<p><span style="font-weight: 400;">Based on this new 2019 vision and strategy, here are some of our key deliverables for the year.</span></p>
<p><img data-attachment-id="55738" data-permalink="https://creativecommons.org/2019/03/19/cc-search/cc-search-roadmap/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/CC-Search-Roadmap.png" data-orig-size="4000,2250" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="CC Search Roadmap" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/CC-Search-Roadmap.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/CC-Search-Roadmap.png" class="alignnone size-full wp-image-55738" src="media/32b47cae.CC-Search-Roadmap.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/CC-Search-Roadmap.png" alt="" width="4000" height="2250" /></p>
<p><span style="font-weight: 400;">The complete roadmap is available </span><a href="https://docs.google.com/document/d/19yH2V5K4nzWgEXaZhkzD1egzrRayyDdxlzxZOTCm_pc/edit#"><span style="font-weight: 400;">here</span></a><span style="font-weight: 400;">, which also includes a pipeline of ideas. The pipeline of ideas is the master list of ideas from the community that we will revisit at the end of each quarter to decide what makes it in the roadmap. The roadmap is an evolving document and we welcome your comments and feedback.</span></p>
<h3><b>The Team</b></h3>
<figure id="attachment_55739" style="width: 960px" class="wp-caption alignnone"><img data-attachment-id="55739" data-permalink="https://creativecommons.org/2019/03/19/cc-search/cc-search-team-2019/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/CC-Search-team-2019.png" data-orig-size="960,540" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="CC Search team 2019" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/CC-Search-team-2019.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/CC-Search-team-2019.png" class="size-full wp-image-55739" src="media/203f8fa0.CC-Search-team-2019.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/CC-Search-team-2019.png" alt="" width="960" height="540" /><figcaption class="wp-caption-text">Follow the arrows from upper left: Kriti, Sophine, Alden, Breno, Sarah, Jane</figcaption></figure>
<p class="graf graf--p">The current CC Search team is led by CC’s Director of Engineering, <a class="markup--anchor markup--p-anchor" href="https://creativecommons.org/author/kriticreativecommons-org/" target="_blank" rel="noopener" data-href="https://creativecommons.org/author/kriticreativecommons-org/">Kriti Godey</a>, and <a class="markup--anchor markup--p-anchor" href="https://creativecommons.org/author/janeparkcreativecommons-org/" target="_blank" rel="noopener" data-href="https://creativecommons.org/author/janeparkcreativecommons-org/">myself</a>, CC’s Director of Product and Research. The other members are <a class="markup--anchor markup--p-anchor" href="https://creativecommons.org/author/sclachar/" target="_blank" rel="noopener" data-href="https://creativecommons.org/author/sclachar/">Sophine Clachar</a> (Data Engineer), <a class="markup--anchor markup--p-anchor" href="https://creativecommons.org/author/aldencreativecommons-org/" target="_blank" rel="noopener" data-href="https://creativecommons.org/author/aldencreativecommons-org/">Alden Page</a> (Back End Engineer), <a class="markup--anchor markup--p-anchor" href="https://creativecommons.org/author/brenoferreira/" target="_blank" rel="noopener" data-href="https://creativecommons.org/author/brenoferreira/">Breno Ferreira </a>(Front End Engineer) and <a class="markup--anchor markup--p-anchor" href="https://creativecommons.org/author/sarahcreativecommons-org/" target="_blank" rel="noopener" data-href="https://creativecommons.org/author/sarahcreativecommons-org/">Sarah Pearson</a> (Product Counsel).</p>
<h3 class="graf graf--h3">Get involved</h3>
<p class="graf graf--p">We are growing a vibrant community of open source developers and users willing to test and provide feedback on CC Search.</p>
<p class="graf graf--p">If you’re a current or potential user of CC Search, join the <a class="markup--anchor markup--p-anchor" href="https://creativecommons.slack.com/messages/CCS9CF2JE/details/" target="_blank" rel="noopener" data-href="https://creativecommons.slack.com/messages/CCS9CF2JE/details/">#cc-usability </a>channel at the Creative Commons Slack (<a class="markup--anchor markup--p-anchor" href="https://slack-signup.creativecommons.org/" target="_blank" rel="noopener" data-href="https://slack-signup.creativecommons.org/">https://slack-signup.creativecommons.org</a>) where we regularly engage the group for feedback on new features.</p>
<p class="graf graf--p">If you’re a developer, check out <a class="markup--anchor markup--p-anchor" href="https://creativecommons.github.io/" target="_blank" rel="noopener" data-href="https://creativecommons.github.io/">Creative Commons Open Source</a>, a hub for the CC developer community and the <a class="markup--anchor markup--p-anchor" href="https://creativecommons.slack.com/messages/C2DUTAQJJ" target="_blank" rel="noopener" data-href="https://creativecommons.slack.com/messages/C2DUTAQJJ">#cc-developers </a>channel at the <a class="markup--anchor markup--p-anchor" href="https://slack-signup.creativecommons.org/" target="_blank" rel="noopener" data-href="https://slack-signup.creativecommons.org/">Creative Commons Slack</a>.</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2019/03/19/cc-search/">CC Search: A New Vision, Strategy &#038; Roadmap for 2019</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55748
title: Europeans should tell Parliament to vote NO to copyright filters
uri: Europeans-should-tell-Parliament-to-vote-NO-to-copyright-filters
url:
https://creativecommons.org/2019/03/21/europeans-should-tell-parliament-to-vote-no-to-copyright-filters/

content:
<p><a href="https://saveyourinternet.eu/act/"><img data-attachment-id="55749" data-permalink="https://creativecommons.org/2019/03/21/europeans-should-tell-parliament-to-vote-no-to-copyright-filters/saveyourinternet_cc-2/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/saveyourinternet_cc-2.png" data-orig-size="927,519" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="saveyourinternet_cc-2" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/saveyourinternet_cc-2.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/saveyourinternet_cc-2.png" class="aligncenter wp-image-55749 size-full" src="media/1afb2c8b.saveyourinternet_cc-2.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/saveyourinternet_cc-2.png" alt="" width="927" height="519" /></a></p>
<p><span style="font-weight: 400;">It’s the end of the line for the EU’s proposed Directive on Copyright in the Digital Single Market. </span><b>The dramatic negative effects of upload filters would be disastrous to the vision Creative Commons cares about as an organisation and global community. The continued inclusion of Article 13 makes the directive impossible to support as-is.</b></p>
<p><span style="font-weight: 400;">Last month the </span><span style="font-weight: 400;">Parliament, Council, and Commission </span><a href="https://creativecommons.org/2019/02/18/eu-copyright-directive-moves-into-critical-final-stage/"><span style="font-weight: 400;">completed</span></a><span style="font-weight: 400;"> their trilogue negotiations and reached a </span><a href="media/3dbf6630.Copyright_Final_compromise.pdf" data-original-source="https://juliareda.eu/wp-content/uploads/2019/02/Copyright_Final_compromise.pdf"><span style="font-weight: 400;">final compromise on the copyright directive text</span></a><span style="font-weight: 400;">. Soon thereafter the EU Member State Ambassadors and the Parliament’s legal affairs committee gave a green light, now leading to a final vote in the plenary session of the Parliament </span><a href="https://twitter.com/woelken/status/1105898312975245312"><span style="font-weight: 400;">scheduled</span></a><span style="font-weight: 400;"> for March 26.</span></p>
<p><span style="font-weight: 400;">Next week</span><span style="font-weight: 400;"> all 751 MEPs will get a chance vote on whether to adopt the copyright directive, or send it back to the drawing board.</span></p>
<h2><span style="font-weight: 400;">Upload filters will turn the web upside down </span></h2>
<p><span style="font-weight: 400;">From a copyright perspective, Article 13 turns how the web works on its head. It will require nearly all for-profit web platforms that permit user generated content uploads to either get a license for all user uploads or otherwise install copyright filters and censor content. If the platforms don’t comply, they could become liable for massive copyright infringement damages. The logical outcome is that this will harm existing platforms and prevent the creation and flourishing of new and innovative services in Europe because those new players don’t have the money, pull, or expertise to conclude licensing deals or build (or pay for) the necessary filtering technologies. Instead, the established companies will simply become more entrenched and dominant, as services like YouTube have a headstart on both of these fronts. We cannot support a copyright ecosystem that will simply entrench the extensive market power of incumbent players and, at the same time, create unnecessary roadblocks for new platforms and services that stimulate creativity and sharing. </span></p>
<p><span style="font-weight: 400;">This reversal of the liability regime that all but ensures upload filters will need to be implemented has another disconcerting consequence: </span><a href="https://www.communia-association.org/2019/02/22/compromise-fails-deliver-overall-assessment-directive-remains-negative/"><span style="font-weight: 400;">user rights are thrown out the window</span></a><span style="font-weight: 400;"> because filtering technologies can’t possibly know when a work is infringing and when a work is being legally used under an exception to copyright. Such a system will almost surely curtail freedom of expression, as platforms will mitigate any risk by simply blocking content regardless of whether the use is sanctioned under the exceptions to copyright, such as for criticism, quotation, and parody. </span></p>
<h2><span style="font-weight: 400;">The road to here</span></h2>
<p><span style="font-weight: 400;">Over the last several years, Creative Commons has been working to support copyright changes in Europe that champion the commons and the public interest. We’ve done this as part of the </span><a href="https://www.communia-association.org/"><span style="font-weight: 400;">Communia Association</span></a><span style="font-weight: 400;">, civil society organisations, research groups, user rights activists, and open web advocates. CC submitted </span><a href="media/d863679e.r_to_European_Member_States_on_Commission_Copyright_Proposal.pdf" data-original-source="https://wiki.creativecommons.org/images/3/36/Creative_Commons_Letter_to_European_Member_States_on_Commission_Copyright_Proposal.pdf"><span style="font-weight: 400;">comments</span></a><span style="font-weight: 400;"> to the initial consultation from the Commission, made a </span><a href="media/d863679e.r_to_European_Member_States_on_Commission_Copyright_Proposal.pdf" data-original-source="https://wiki.creativecommons.org/images/3/36/Creative_Commons_Letter_to_European_Member_States_on_Commission_Copyright_Proposal.pdf"><span style="font-weight: 400;">joint analysis and suggestions for improvement</span></a><span style="font-weight: 400;"> with our network in Europe, advocated to </span><a href="https://creativecommons.org/2017/09/07/european-parliament-must-protect-scientific-research/"><span style="font-weight: 400;">protect scientific research</span></a><span style="font-weight: 400;">, and offered </span><a href="https://creativecommons.org/2018/09/07/its-now-or-never-eu-copyright-must-protect-access-to-knowledge-and-the-commons/"><span style="font-weight: 400;">voting recommendations</span></a><span style="font-weight: 400;"> on many provisions within the sweeping copyright directive. </span></p>
<p><span style="font-weight: 400;">Communia and other NGOs on the ground in Europe have supported positive changes to key aspects of the reform that would benefit research, education, and the public good, particularly working to improve the exceptions for </span><a href="https://reform.communia-association.org/issue/text-and-data-mining/"><span style="font-weight: 400;">text and data mining</span></a><span style="font-weight: 400;"> and </span><a href="https://reform.communia-association.org/issue/education/"><span style="font-weight: 400;">education</span></a><span style="font-weight: 400;">, as well changes to support the </span><a href="https://www.communia-association.org/2018/12/21/copyright-reform-still-stalled-good-news-public-domain/"><span style="font-weight: 400;">public domain</span></a><span style="font-weight: 400;"> and improve the ability of </span><a href="https://reform.communia-association.org/issue/cultural-heritage/"><span style="font-weight: 400;">cultural heritage institutions</span></a><span style="font-weight: 400;"> to make content available online. The tireless efforts of organisations and individuals who stepped up to defend the commons and improve various parts of the directive that supports robust user rights should be celebrated. Their detailed research, writing, and advocacy has done so much to improve many parts not-so-well covered yet incredibly important pieces of the directive. </span></p>
<h2><span style="font-weight: 400;">What you can do now</span></h2>
<p><span style="font-weight: 400;">CC believes that our vision of universal access to research and education and full participation in culture will only be achieved when we all have copyright policies that truly promote creativity and protect users rights in the digital age. With Article 13, it’s no exaggeration to say that it’ll fundamentally change the way people are able to use the internet and share online.</span> <b>Even with some of the minor improvements to other aspects of the copyright reform package, on balance a directive that contains Article 13 will do more harm than good. </b></p>
<p><span style="font-weight: 400;">If you’re in Europe go to</span> <a href="https://saveyourinternet.eu/act/"><b>https://saveyourinternet.eu/act/</b></a> <span style="font-weight: 400;">to tell your MEPs you don’t support a copyright reform that turns how we create and share on the web upside down. </span><span style="font-weight: 400;">If Article 13 can’t be removed, then policymakers should reject the reform outright and begin again.</span></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2019/03/21/europeans-should-tell-parliament-to-vote-no-to-copyright-filters/">Europeans should tell Parliament to vote NO to copyright filters</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55765
title: Los europeos deberían decirle al Parlamento que vote NO a los filtros de derechos de autor
uri: Los-europeos-deberían-decirle-al-Parlamento-que-vote-NO-a-los-filtros
url:
https://creativecommons.org/2019/03/21/los-europeos-deberian-decirle-al-parlamento-que-vote-no-a-los-filtros-de-derechos-de-autor/

content:
<p><a href="https://saveyourinternet.eu/act/"><img data-attachment-id="55749" data-permalink="https://creativecommons.org/2019/03/21/europeans-should-tell-parliament-to-vote-no-to-copyright-filters/saveyourinternet_cc-2/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/saveyourinternet_cc-2.png" data-orig-size="927,519" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="saveyourinternet_cc-2" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/saveyourinternet_cc-2.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/saveyourinternet_cc-2.png" class="aligncenter wp-image-55749 size-full" src="media/1afb2c8b.saveyourinternet_cc-2.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/saveyourinternet_cc-2.png" alt="" width="927" height="519" /></a><span style="font-weight: 400;">Llegó el momento decisivo para el proyecto de directiva sobre derechos de autor en el mercado único digital de la Unión Europea. </span><b>Las dramáticas consecuencias negativas que traerían los filtros de carga de contenidos serían desastrosas para la visión que Creative Commons tiene como organización y comunidad global. La inclusión del Artículo 13 hace que la directiva sea imposible de apoyar tal como está.</b></p>
<p><span style="font-weight: 400;">El mes pasado, el Parlamento, el Consejo y la Comisión europeos </span><a href="https://creativecommons.org/2019/02/18/eu-copyright-directive-moves-into-critical-final-stage/"><span style="font-weight: 400;">completaron</span></a><span style="font-weight: 400;"> sus negociaciones y </span><a href="media/3dbf6630.Copyright_Final_compromise.pdf" data-original-source="https://juliareda.eu/wp-content/uploads/2019/02/Copyright_Final_compromise.pdf"><span style="font-weight: 400;">llegaron a un acuerdo final sobre el texto de la directiva de derechos de autor</span></a><span style="font-weight: 400;">. Poco después, los embajadores de los Estados miembros de la UE y la comisión de asuntos jurídicos del Parlamento le dieron luz verde, lo que ahora lleva a una votación final en la sesión plenaria del Parlamento </span><a href="https://twitter.com/woelken/status/1105898312975245312"><span style="font-weight: 400;">programada</span></a><span style="font-weight: 400;"> para el 26 de marzo.</span></p>
<p><span style="font-weight: 400;">La semana próxima, los 751 eurodiputados votarán entre adoptar la directiva de derechos de autor o descartarla para volver a empezar de cero.</span></p>
<h2><span style="font-weight: 400;">Los filtros de contenidos modificarán la forma en que funciona la web</span></h2>
<p><span style="font-weight: 400;">Desde una perspectiva de derechos de autor, el Artículo 13 da vuelta el modo en que funciona la web. Obligará a casi todas las plataformas web con fines de lucro que permiten la carga de contenidos generados por los usuarios a que obtengan una licencia para todas las cargas de los usuarios o instalen filtros de derechos de autor y censuren contenidos. Si las plataformas no cumplen, podrían ser legalmente responsables ante demandas por perjuicios masivos por infracción de derechos de autor. El resultado lógico es que esto dañará las plataformas existentes y evitará la creación y el florecimiento de servicios nuevos e innovadores en Europa porque esos nuevos actores no tienen el dinero, la capacidad ni la experiencia para llevar a cabo acuerdos de licenciamiento, o para construir (o contratar) las tecnologías de filtrado necesarias. Por el contrario, las corporaciones ya establecidas se consolidarán aún más y se volverán más dominantes, ya que los servicios como YouTube tienen una ventaja en ambos frentes. No podemos respaldar un ecosistema de derechos de autor que afianzará el amplio poder de mercado de los actores tradicionales y que, al mismo tiempo, creará obstáculos innecesarios para nuevas plataformas y servicios que estimulen la creatividad y el intercambio.</span></p>
<p><span style="font-weight: 400;">Esta inversión del régimen de responsabilidad, que en los hechos obliga a que sean implementados filtros de contenidos, tiene otra consecuencia desconcertante: </span><a href="https://www.communia-association.org/2019/02/22/compromise-fails-deliver-overall-assessment-directive-remains-negative/"><span style="font-weight: 400;">los derechos de los usuarios son echados por tierra</span></a><span style="font-weight: 400;">, porque las tecnologías de filtrado no pueden distinguir cuándo una obra se está subiendo de manera ilícita y cuándo se está utilizando legalmente bajo una excepción a los derechos de autor. Un sistema de este tipo casi seguramente restringirá la libertad de expresión, ya que las plataformas evitarán cualquier riesgo bloqueando el contenido, independientemente de si el uso está protegido por excepciones a los derechos de autor, como por ejemplo las excepciones que habilitan la crítica, la cita y la parodia.</span></p>
<h2><span style="font-weight: 400;">El camino hasta aquí</span></h2>
<p><span style="font-weight: 400;">En los últimos años, Creative Commons ha estado trabajando para respaldar cambios a los derechos de autor en Europa, con el objetivo de favorecer los bienes comunes y el interés público. Hemos hecho esto como parte de la </span><a href="https://www.communia-association.org/"><span style="font-weight: 400;">Asociación Communia</span></a><span style="font-weight: 400;">, en conjunto con organizaciones de la sociedad civil, grupos de investigación, activistas por los derechos de los usuarios y defensores de la web abierta. CC envió </span><a href="media/d863679e.r_to_European_Member_States_on_Commission_Copyright_Proposal.pdf" data-original-source="https://wiki.creativecommons.org/images/3/36/Creative_Commons_Letter_to_European_Member_States_on_Commission_Copyright_Proposal.pdf"><span style="font-weight: 400;">comentarios</span></a><span style="font-weight: 400;"> a la consulta inicial de la Comisión Europea, realizó </span><a href="media/d863679e.r_to_European_Member_States_on_Commission_Copyright_Proposal.pdf" data-original-source="https://wiki.creativecommons.org/images/3/36/Creative_Commons_Letter_to_European_Member_States_on_Commission_Copyright_Proposal.pdf"><span style="font-weight: 400;">un documento conjunto de análisis y recomendaciones</span></a><span style="font-weight: 400;"> elaborado por nuestra red en Europa, abogó por </span><a href="https://creativecommons.org/2017/09/07/european-parliament-must-protect-scientific-research/"><span style="font-weight: 400;">proteger la investigación científica</span></a><span style="font-weight: 400;"> y brindó </span><a href="https://creativecommons.org/2018/09/07/its-now-or-never-eu-copyright-must-protect-access-to-knowledge-and-the-commons/"><span style="font-weight: 400;">recomendaciones de votación</span></a><span style="font-weight: 400;"> sobre muchas disposiciones de la directiva de derechos de autor.</span></p>
<p><span style="font-weight: 400;">Communia y otras organizaciones no gubernamentales europeas han apoyado cambios positivos en aspectos clave de la reforma que beneficiarían la investigación, la educación y el bien público. En particular, han trabajado para mejorar las </span><a href="https://reform.communia-association.org/issue/text-and-data-mining/"><span style="font-weight: 400;">excepciones para la minería de datos y de textos</span></a><span style="font-weight: 400;">, así como las </span><a href="https://reform.communia-association.org/issue/education/"><span style="font-weight: 400;">excepciones para la educación</span></a><span style="font-weight: 400;">, y han propuesto cambios para </span><a href="https://www.communia-association.org/2018/12/21/copyright-reform-still-stalled-good-news-public-domain/"><span style="font-weight: 400;">apoyar el dominio público</span></a><span style="font-weight: 400;"> y para </span><a href="https://reform.communia-association.org/issue/cultural-heritage/"><span style="font-weight: 400;">mejorar la capacidad de las instituciones que preservan el patrimonio cultural</span></a><span style="font-weight: 400;"> para poner a disposición los contenidos en línea. Son dignos de celebración los esfuerzos incansables de las organizaciones e individuos que han tomado la iniciativa para defender los bienes comunes y para mejorar varias partes de la directiva con el objetivo de respaldar los derechos de los usuarios. Su investigación detallada, sus aportes de redacción y su activismo han contribuido en gran medida para mejorar muchas partes poco conocidas pero enormemente importantes de la directiva.</span></p>
<h2><span style="font-weight: 400;">Qué puedes hacer ahora</span></h2>
<p><span style="font-weight: 400;">En CC creemos que nuestra visión de acceso universal a la investigación y a la educación, así como de plena participación en la cultura, solo se logrará cuando tengamos políticas de derechos de autor que realmente promuevan la creatividad y protejan los derechos de los usuarios en la era digital. Con el Artículo 13, no es exagerado decir que ocurrirá un cambio fundamental en la forma en que las personas pueden usar Internet y compartir contenidos en línea. </span><b>A pesar de las pequeñas mejoras en otros aspectos del paquete de reforma de los derechos de autor, en el balance general una directiva que contiene el Artículo 13 hará más daño que beneficio.</b></p>
<p><span style="font-weight: 400;">Si estás en Europa, ve a </span><strong><a href="https://saveyourinternet.eu/act/">https://saveyourinternet.eu/act/</a></strong><span style="font-weight: 400;"> para informarles a tus diputados del Parlamento Europeo que no apoyas una reforma de los derechos de autor que afecta la forma en que creamos y compartimos cultura en la web. Si el Artículo 13 no se puede eliminar, los legisladores deberían rechazar la reforma completa y comenzar de nuevo.</span></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2019/03/21/los-europeos-deberian-decirle-al-parlamento-que-vote-no-a-los-filtros-de-derechos-de-autor/">Los europeos deberían decirle al Parlamento que vote NO a los filtros de derechos de autor</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55780
title: A Dark Day for the Web: EU Parliament Approves Damaging Copyright Rules
uri: A-Dark-Day-for-the-Web-EU-Parliament-Approves-Damaging-Copyright-Rule
url:
https://creativecommons.org/2019/03/26/a-dark-day-for-the-web-eu-parliament-approves-damaging-copyright-rules/

content:
<h2><img data-attachment-id="55781" data-permalink="https://creativecommons.org/2019/03/26/a-dark-day-for-the-web-eu-parliament-approves-damaging-copyright-rules/copyright-directive-vote-mar-26/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/copyright-directive-vote-mar-26.png" data-orig-size="1474,822" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="copyright directive vote mar 26" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/copyright-directive-vote-mar-26.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/copyright-directive-vote-mar-26.png" class="aligncenter size-full wp-image-55781" src="media/057f88a2.copyright-directive-vote-mar-26.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/copyright-directive-vote-mar-26.png" alt="" width="1474" height="822" /></h2>
<p><span style="font-weight: 400;">Today in Strasbourg, the European Parliament voted 348-274 (with 36 abstentions) to approve the Directive on Copyright in the Digital Single Market. </span><b>It retains Article 13, the harmful provision that will require nearly all for-profit web platforms to get a license for every user upload or otherwise install content filters and censor content, lest they be held liable for infringement. Article 11 also passed, which  would force news aggregators to pay publishers for linking to their stories. </b></p>
<p><span style="font-weight: 400;">There was a potential opportunity to vote on amendments that would have removed the most problematic provisions in the draft directive, particularly Articles 13 and 11, but the preliminary vote even to consider amendments fell short by five votes, thus pushing the Parliament to move ahead and simply approve the entire package. </span></p>
<p><span style="font-weight: 400;">MEP Julia Reda called the decision </span><a href="https://twitter.com/Senficon/status/1110509970213294081"><span style="font-weight: 400;">“a dark day for internet freedom.”</span></a><span style="font-weight: 400;"> We agree. There was a massive outpouring of protest against the dangers of Article 13 to competition, creativity, and freedom of expression. This included </span><a href="https://www.change.org/p/european-parliament-stop-the-censorship-machinery-save-the-internet"><span style="font-weight: 400;">5+ million petition signatures</span></a><span style="font-weight: 400;">, a gigantic </span><a href="https://saveyourinternet.eu/act/"><span style="font-weight: 400;">action of emails and calls to MEPs</span></a><span style="font-weight: 400;">, </span><a href="https://netzpolitik.org/2019/protests-against-copyright-directive-all-cities-dates-and-numbers-of-participants-across-europe/"><span style="font-weight: 400;">170,000 people demonstrating</span></a><span style="font-weight: 400;"> in the in the streets, </span><a href="https://www.techdirt.com/articles/20190321/11190641843/sites-warn-eu-users-just-how-bad-article-13-will-be.shtml"><span style="font-weight: 400;">large websites and communities going dark</span></a><span style="font-weight: 400;">, warnings from </span><a href="https://www.create.ac.uk/blog/2019/03/24/the-copyright-directive-articles-11-and-13-must-go-statement-from-european-academics-in-advance-of-the-plenary-vote-on-26-march-2019/"><span style="font-weight: 400;">academics</span></a><span style="font-weight: 400;">, </span><a href="https://www.beuc.eu/publications/copyright-reform-it%E2%80%99s-final-countdown/html"><span style="font-weight: 400;">consumer groups</span></a><span style="font-weight: 400;">, </span><a href="https://nextcloud.com/blog/130-eu-businesses-sign-open-letter-against-copyright-directive-art-11-13/"><span style="font-weight: 400;">startups and businesses</span></a><span style="font-weight: 400;">, </span><a href="https://www.eff.org/deeplinks/2018/06/internet-luminaries-ring-alarm-eu-copyright-filtering-proposal"><span style="font-weight: 400;">internet luminaries</span></a><span style="font-weight: 400;">, and the </span><a href="https://www.ohchr.org/EN/NewsEvents/Pages/DisplayNews.aspx?NewsID=24298&amp;LangID=E"><span style="font-weight: 400;">UN’s Special Rapporteur on Freedom of Expression</span></a><span style="font-weight: 400;">. Even so, it was not enough to convince the European legislator to change course on this complex and damaging provision that will </span><a href="https://creativecommons.org/2019/03/21/europeans-should-tell-parliament-to-vote-no-to-copyright-filters/"><span style="font-weight: 400;">turn the web upside down</span></a><span style="font-weight: 400;">.    </span></p>
<p><span style="font-weight: 400;">Creative Commons CEO Ryan Merkley responded to the vote: </span></p>
<blockquote><p><span style="font-weight: 400;">Despite an incredible show of public opposition to the directive, and an abundance of evidence that the proposals will favour large rights holders, damage online communities, slow or even stop innovation, and entrench established big tech players, the European legislature has decided to approve it. Regardless of this outcome, we’ll continue to work with Member States wherever we can to ensure the implementations of this directive minimize the negative impact we anticipate for the commons, and on users who want to share creativity and knowledge online.</span></p></blockquote>
<p><span style="font-weight: 400;">We’re disappointed with the decision to push through Article 13 and 11, but the directive is not a total wash. There are some productive changes that will improve the situation of the commons, libraries &amp; cultural heritage, and research sectors. For example, the directive includes a provision to ensure that digital reproductions of public domain works don’t get a separate copyright and will also be in the public domain. It includes text to improve the ability for cultural heritage institutions to preserve works and to make available copyrighted works from their collections that are no longer commercially available. And the directive slightly improves the copyright exception on text and data mining (TDM) by making mandatory an earlier optional provision that would expand the possibilities for those wishing to conduct TDM.</span></p>
<p><span style="font-weight: 400;">The final outcome of the European copyright directive reflects a disturbing path toward increasing control of the web to benefit only powerful rights holders at the expense of the rights of users and the public interest. It has been — and will continue to be — up to us all to fight for an open internet that sustains new creativity and upholds freedom of expression in the digital environment. </span></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2019/03/26/a-dark-day-for-the-web-eu-parliament-approves-damaging-copyright-rules/">A Dark Day for the Web: EU Parliament Approves Damaging Copyright Rules</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55784
title: The freedom to listen: Rute Correia on the power of community radio
uri: The-freedom-to-listen-Rute-Correia-on-the-power-of-community-radio
url: https://creativecommons.org/2019/03/27/rute-correia/
content:
<p><img data-attachment-id="55788" data-permalink="https://creativecommons.org/2019/03/27/rute-correia/rute_photo/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/rute_photo.jpg" data-orig-size="720,720" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="rute_photo" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/rute_photo.jpg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/rute_photo.jpg" class="wp-image-55788 alignleft" src="media/8db210b4.rute_photo.jpg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/rute_photo.jpg" alt="rute" width="282" height="282" />Academic, producer, and open culture enthusiast, <a href="https://aariops.github.io/">Rute Correia</a> is a Lisbon-based doctoral candidate who produces the <a href="https://www.whitemarketpodcast.co.uk/">White Market Podcast,</a> which focuses on free culture and CC music. As both a student of radio and producer herself, she is deeply connected to the <a href="https://en.wikipedia.org/wiki/Netlabel">Netlabel</a> and CC music communities, utilizing her significant talents to showcase free music, culture, and Creative Commons through community radio and open source.</p>
<p><strong>Rute will be joining us at the Creative Commons Global Summit in Lisbon from May 7-9 to talk about her exciting new project, the Open Music Network.</strong> Find out more about the <a href="https://summit.creativecommons.org/">Summit,</a> and don&#8217;t forget to register soon!</p>
<p><strong>How did you become involved with and interested in open culture and music production? How would you encourage others to get involved?</strong><br />
It all started about 12 years ago. I joined Radio Zero, a student radio station in Lisbon, and they had a very open source-oriented ethos. That&#8217;s where I first found out about Creative Commons and, luckily, at that time there were lots of independent music labels in Portugal releasing music under CC. One thing led to another and I ended up doing a show only dedicated to music that was freely (as in beers!) available. It was the precursor of White Market Podcast, my show about CC-licensed music and open culture. What I find really exciting about open music is that there&#8217;s so much to discover and everything is accessible. Cultural industries tend to remain heavily closed, reinforcing the idea that culture is a privilege, but CC licenses challenge that and allow you to share your stuff with whoever you want. If you like music, I&#8217;d say the best way to start is to dive into larger pools of free music, like <a href="https://starfrosch.com/">Starfrosch,</a> <a href="https://www.dogmazic.net/?lang=en">Dogmazic,</a> <a href="http://ccmixter.org/">ccMixter,</a> and <a href="https://www.auboutdufil.com/">Auboutdufil.</a></p>
<p><strong>What is the role of radio in open source music production? Why is radio art important in the digital age?</strong><br />
Radio is the medium with the widest reach in the world &#8211; the International Telecommunication Union estimates that it reaches &#8220;95% of virtually every segment of the population&#8221; around the the world. As such, it is still a great tool for promoting music regardless of genre, and reaching out to newer audiences. But the connection can grow a lot deeper than that; for non-for-profit stations, open music can also be a valuable resource as it is shared with fewer restrictions than copyrighted music. For instance, stations using CC BY-SA songs can share that share the content they produce under the same license allowing their listeners to engage with their content beyond the broadcast schedule.</p>
<p><img data-attachment-id="55790" data-permalink="https://creativecommons.org/2019/03/27/rute-correia/white-market-logo-800x800/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/White-market-logo-800x800.jpg" data-orig-size="800,800" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Fabitu&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1399830273&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}" data-image-title="White-market-logo-800&#215;800" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/White-market-logo-800x800.jpg" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/White-market-logo-800x800.jpg" class="wp-image-55790 alignleft" src="media/e71a2d13.White-market-logo-800x800.jpg" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/03/White-market-logo-800x800.jpg" alt="white-market" width="309" height="309" /></p>
<p><strong>How do you &#8220;live open&#8221; in a closed source world? What open values do you bring to your work in academia and radio?</strong><br />
It can be hard sometimes. Sadly, I don&#8217;t think we&#8217;re at a stage where you can live fully &#8220;open&#8221;. We&#8217;re all limited by the reality around us: jobs, what friends and family do, etc. I try to keep things as open as possible: creating open processes and using free software is a good start in our daily lives. In academia, I try to follow guidelines regarding open science: using open formats and sharing data whenever possible. Beyond using and sharing only free content, I have tried to set up a collaborative workflow using Github to create content for White Market Podcast. It&#8217;s still a work in progress, though.</p>
<p><strong>What are you going to be working on or presenting at the CC Summit?</strong><br />
<a href="https://soundcloud.com/darksunn">Darksunn</a> and I will be presenting the recently-formed <a href="https://openmusic.network/">Open Music Network</a> &#8211; a non-profit organization focused on promotion, education and advocacy for the benefits of open music for both professional and personal use. The network links different actors in the open music community &#8211; such as platforms, labels, podcasts and radios shows, and even a venue.</p>
<p><strong>What aspect of the CC Summit are you most excited about? What are you most looking forward to?</strong><br />
Just to take part in it is already crazy exciting for me! It&#8217;s going to be my first ever CC Summit and it&#8217;s a lovely coincidence that it&#8217;s taking place right at home. I look forward to welcoming other CC-lovers into Lisbon, as well as learning from their experiences with Creative Commons and in open culture.</p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2019/03/27/rute-correia/">The freedom to listen: Rute Correia on the power of community radio</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


feed_id: https://creativecommons.org/?p=55804
title: European Commission adopts CC BY and CC0 for sharing information
uri: European-Commission-adopts-CC-BY-and-CC0-for-sharing-information
url:
https://creativecommons.org/2019/04/02/european-commission-adopts-cc-by-and-cc0-for-sharing-information/

content:
<p><span style="font-weight: 400;">Last week the European Commission </span><a href="https://ec.europa.eu/jrc/en/news/commission-makes-it-even-easier-citizens-reuse-all-information-it-publishes-online"><span style="font-weight: 400;">announced</span></a><span style="font-weight: 400;"> it has adopted CC BY 4.0 and CC0 to share published documents, including photos, videos, reports, peer-reviewed studies, and data. The Commission joins other public institutions around the world that use standard, legally interoperable tools like Creative Commons licenses and public domain tools to share a wide range of content they produce. The </span><a href="media/d42b5556.C-2019-1655-F1-EN-MAIN-PART-1.PDF" data-original-source="http://ec.europa.eu/transparency/regdoc/rep/3/2019/EN/C-2019-1655-F1-EN-MAIN-PART-1.PDF"><span style="font-weight: 400;">decision</span></a><span style="font-weight: 400;"> to use CC aims to increase the legal interoperability and ease of reuse of its own materials. </span></p>
<p><span style="font-weight: 400;">In addition to the use of CC BY, the Commission will also adopt the </span><a href="https://creativecommons.org/publicdomain/zero/1.0/"><span style="font-weight: 400;">CC0 Public Domain Dedication</span></a><span style="font-weight: 400;"> to publish works directly in the global public domain, particularly for “raw data resulting from instrument readings, bibliographic data and other metadata.” </span></p>
<p><span style="font-weight: 400;">The European Commission joins governments such as </span><a href="https://www.data.govt.nz/manage-data/policies/nzgoal"><span style="font-weight: 400;">New Zealand</span></a><span style="font-weight: 400;"> and the </span><a href="https://www.government.nl/copyright"><span style="font-weight: 400;">Netherlands</span></a><span style="font-weight: 400;"> in using CC licenses and CC0 to share digital resources it creates. </span><a href="https://creativecommons.org/2012/04/10/world-bank-stakes-leadership-position-by-announcing-open-access-policy-and-launching-open-knowledge-repository-under-creative-commons/"><span style="font-weight: 400;">Intergovernmental organisations</span></a><span style="font-weight: 400;">, </span><a href="https://creativecommons.org/2014/09/23/hewlett-foundation-extends-cc-by-policy-to-all-grantees/"><span style="font-weight: 400;">philanthropic charities</span></a><span style="font-weight: 400;">, and </span><a href="https://creativecommons.org/2011/01/20/u-s-department-of-labor-and-department-of-education-commit-2-billion-to-create-open-educational-resources-for-community-colleges-and-career-training-cc-by-required-for-grant-outputs/"><span style="font-weight: 400;">funding policies</span></a><span style="font-weight: 400;"> already require CC licenses to be applied to the digital outputs of grant funds — to promote reuse of materials in the public good with minimal restrictions. </span></p>
<p><span style="font-weight: 400;">The decision to require reuse of Commission documents under CC BY and CC0 was determined alongside a </span><a href="media/04576b32.kjna29685enn_1.pdf" data-original-source="http://publications.jrc.ec.europa.eu/repository/bitstream/JRC115947/kjna29685enn_1.pdf"><span style="font-weight: 400;">study on available reuse implementing instruments and licensing considerations</span></a><span style="font-weight: 400;">. Until now the Commission had been relying on “reuse notices” (a simple copyright notice with link to the <a href="https://eur-lex.europa.eu/legal-content/en/TXT/?uri=CELEX%3A32011D0833">reuse decision</a>) that would accompany covered materials, but this practice produced “unnecessary administrative burdens for reusers and the Commission services alike.”</span></p>
<p><span style="font-weight: 400;">In 2014 the Commission released a </span><a href="https://creativecommons.org/2014/07/17/european-commission-endorses-cc-licenses-as-best-practice-for-public-sector-content-and-data/"><span style="font-weight: 400;">recommendation</span></a><span style="font-weight: 400;"> on using Creative Commons licenses such as CC BY and CC0 Public Domain Dedication in the context of Member States sharing public sector information.</span></p>
<figure id="attachment_55805" style="width: 700px" class="wp-caption aligncenter"><a href="media/04576b32.kjna29685enn_1.pdf" data-original-source="http://publications.jrc.ec.europa.eu/repository/bitstream/JRC115947/kjna29685enn_1.pdf"><img data-attachment-id="55805" data-permalink="https://creativecommons.org/2019/04/02/european-commission-adopts-cc-by-and-cc0-for-sharing-information/license-scorecard/" data-orig-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/04/license-scorecard.png" data-orig-size="1121,549" data-comments-opened="0" data-image-meta="{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}" data-image-title="license scorecard" data-image-description="" data-medium-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/04/license-scorecard.png" data-large-file="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/04/license-scorecard.png" class="wp-image-55805" src="media/ec5d2e79.license-scorecard.png" data-original-source="https://d15omoko64skxi.cloudfront.net/wp-content/uploads/2019/04/license-scorecard.png" alt="" width="700" height="343" /></a><figcaption class="wp-caption-text">CC BY 4.0 receives top score in license evaluation</figcaption></figure>
<p><span style="font-weight: 400;">The study mentioned above evaluates various options for the Commission to consider for its own documents, including the “reuse notice”, CC licenses, the Open Data Commons licenses, and a potential bespoke Commission licence. Its authors determined that CC BY 4.0 is the license best aligned with the Commission’s principles for reuse. According to the report, CC BY 4.0 is: </span></p>
<ul>
<li><b>Universal: <span style="font-weight: 400;">it is conceived to be applicable to all documents (at the choice of the licensor);</span></b></li>
<li><strong>Unrestricted</strong>: <span style="font-weight: 400;">generally speaking, the only condition is attribution;</span></li>
<li><strong>Simple</strong>: <span style="font-weight: 400;">there is no need for an application and it is user-friendly;</span></li>
<li><strong>Cost-free</strong>: <span style="font-weight: 400;">the text of CC-BY does not require payment of fees;</span></li>
<li><strong>Non-discriminatory</strong>: <span style="font-weight: 400;">terms of CC-BY are open to all potential actors in the market; [and]</span></li>
<li><strong>Transparent</strong>: <span style="font-weight: 400;">the text of the licence is publicly available, accompanied by supporting documents, guidelines and other material in multiple languages.</span></li>
</ul>
<p><span style="font-weight: 400;">The study notes that not all of the CC licenses and CC0 have been translated into the two dozen official EU languages; there are 10 remaining translations for CC 4.0 (some in progress) and 12 for CC0. We are working with the Commission and the CC EU network to complete the remaining translations.  </span></p>
<p><span style="font-weight: 400;">Amid the disappointment with the </span><a href="https://creativecommons.org/2019/03/26/a-dark-day-for-the-web-eu-parliament-approves-damaging-copyright-rules/"><span style="font-weight: 400;">vote</span></a><span style="font-weight: 400;"> in the Parliament on the copyright Directive last week, which leans toward a more restricted, less open web, it is heartening to see the Commission make progress on supporting reuse of the digital materials it creates and shares. We also look forward to upcoming vote this week on the </span><a href="http://www.europarl.europa.eu/doceo/document/A-8-2018-0438-AM-001-001_EN.pdf?redirect"><span style="font-weight: 400;">recast of the Public Sector Information (PSI) Directive</span></a><span style="font-weight: 400;">. This vote could increase the availability of PSI by bringing new types of publicly funded data into the scope of the directive, and provide improved guidance on open licensing, acceptable formats, and rules on charging.  </span></p>
<p>The post <a rel="nofollow" href="https://creativecommons.org/2019/04/02/european-commission-adopts-cc-by-and-cc0-for-sharing-information/">European Commission adopts CC BY and CC0 for sharing information</a> appeared first on <a rel="nofollow" href="https://creativecommons.org">Creative Commons</a>.</p>


