2. Overview Copyright Legal Solution Structural Solution Projects
Adoption
Creative Commons’ first project toward these ends is its series of copyright licenses, available for free from its website. The licenses, which today number eleven in all, allow the world to copy or redistribute covered works —provided certain terms of the author's choosing are met. Authors can come to the Creative Commons website and, from an intuitive menu, choose the combination of conditions that best reflects their preferences.
[HERE EXPLAIN EACH OPTION BRIEFLY--good to phrase each in every day terms as well as their “official title.” that is, “attribution,’ or ‘hey, copy my stuff, but just give me credit.’” “noncommercial, or ‘copy my stuff, but don’t make money off of it without asking me first.” etc.
Remember to say that these options can be mixed and matched, with the exception of no derivatives and share alike ]
A detail of the “noncommercial” option provides a nice example of the practical and symbolic aspects of Creative Commons’ goals. Under U.S. law, file-sharing, or the simple barter of copyrighted works for other copyrighted works, is presumed to be a commercial use, even when no money exchanges hands. The Creative Commons noncommercial provision, in contrast, creates an explicit exception for simple file-sharing.
This provision serves the pragmatic goal of allowing copyright holders to opt
around the restrictive default rules while articulating an alternative vision to those rules, an expression of how copyright law might work better.

3. Goals: Broad: To keep ideas free (12-bar blues)
To facilitate collaboration
across space and time
Specific:
To enable people to build a pool of content they can draw from in return
Creative Commons’ first project toward these ends is its series of copyright licenses, available for free from its website. The licenses, which today number eleven in all, allow the world to copy or redistribute covered works —provided certain terms of the author's choosing are met. Authors can come to the Creative Commons website and, from an intuitive menu, choose the combination of conditions that best reflects their preferences.
[HERE EXPLAIN EACH OPTION BRIEFLY--good to phrase each in every day terms as well as their “official title.” that is, “attribution,’ or ‘hey, copy my stuff, but just give me credit.’” “noncommercial, or ‘copy my stuff, but don’t make money off of it without asking me first.” etc.
Remember to say that these options can be mixed and matched, with the exception of no derivatives and share alike ]
A detail of the “noncommercial” option provides a nice example of the practical and symbolic aspects of Creative Commons’ goals. Under U.S. law, file-sharing, or the simple barter of copyrighted works for other copyrighted works, is presumed to be a commercial use, even when no money exchanges hands. The Creative Commons noncommercial provision, in contrast, creates an explicit exception for simple file-sharing.
This provision serves the pragmatic goal of allowing copyright holders to opt
around the restrictive default rules while articulating an alternative vision to those rules, an expression of how copyright law might work better.
To make that content searchable in a distributed way

4. Creative Commons’ first project toward these ends is its series of copyright licenses, available for free from its website. The licenses, which today number eleven in all, allow the world to copy or redistribute covered works —provided certain terms of the author's choosing are met. Authors can come to the Creative Commons website and, from an intuitive menu, choose the combination of conditions that best reflects their preferences.
[HERE EXPLAIN EACH OPTION BRIEFLY--good to phrase each in every day terms as well as their “official title.” that is, “attribution,’ or ‘hey, copy my stuff, but just give me credit.’” “noncommercial, or ‘copy my stuff, but don’t make money off of it without asking me first.” etc.
Remember to say that these options can be mixed and matched, with the exception of no derivatives and share alike ]
A detail of the “noncommercial” option provides a nice example of the practical and symbolic aspects of Creative Commons’ goals. Under U.S. law, file-sharing, or the simple barter of copyrighted works for other copyrighted works, is presumed to be a commercial use, even when no money exchanges hands. The Creative Commons noncommercial provision, in contrast, creates an explicit exception for simple file-sharing.
This provision serves the pragmatic goal of allowing copyright holders to opt
around the restrictive default rules while articulating an alternative vision to those rules, an expression of how copyright law might work better.

5. TO SHARE: Prelinger Archives TO TRANSFORM: Justin Cone
Mission:
TO SHARE: Prelinger Archives
TO TRANSFORM: Justin Cone
Creative Commons’ first project toward these ends is its series of copyright licenses, available for free from its website. The licenses, which today number eleven in all, allow the world to copy or redistribute covered works —provided certain terms of the author's choosing are met. Authors can come to the Creative Commons website and, from an intuitive menu, choose the combination of conditions that best reflects their preferences.
[HERE EXPLAIN EACH OPTION BRIEFLY--good to phrase each in every day terms as well as their “official title.” that is, “attribution,’ or ‘hey, copy my stuff, but just give me credit.’” “noncommercial, or ‘copy my stuff, but don’t make money off of it without asking me first.” etc.
Remember to say that these options can be mixed and matched, with the exception of no derivatives and share alike ]
A detail of the “noncommercial” option provides a nice example of the practical and symbolic aspects of Creative Commons’ goals. Under U.S. law, file-sharing, or the simple barter of copyrighted works for other copyrighted works, is presumed to be a commercial use, even when no money exchanges hands. The Creative Commons noncommercial provision, in contrast, creates an explicit exception for simple file-sharing.
This provision serves the pragmatic goal of allowing copyright holders to opt
around the restrictive default rules while articulating an alternative vision to those rules, an expression of how copyright law might work better.

6. Prelinger Archives
Creative Commons’ first project toward these ends is its series of copyright licenses, available for free from its website. The licenses, which today number eleven in all, allow the world to copy or redistribute covered works —provided certain terms of the author's choosing are met. Authors can come to the Creative Commons website and, from an intuitive menu, choose the combination of conditions that best reflects their preferences.
[HERE EXPLAIN EACH OPTION BRIEFLY--good to phrase each in every day terms as well as their “official title.” that is, “attribution,’ or ‘hey, copy my stuff, but just give me credit.’” “noncommercial, or ‘copy my stuff, but don’t make money off of it without asking me first.” etc.
Remember to say that these options can be mixed and matched, with the exception of no derivatives and share alike ]
A detail of the “noncommercial” option provides a nice example of the practical and symbolic aspects of Creative Commons’ goals. Under U.S. law, file-sharing, or the simple barter of copyrighted works for other copyrighted works, is presumed to be a commercial use, even when no money exchanges hands. The Creative Commons noncommercial provision, in contrast, creates an explicit exception for simple file-sharing.
This provision serves the pragmatic goal of allowing copyright holders to opt
around the restrictive default rules while articulating an alternative vision to those rules, an expression of how copyright law might work better.

7. Creative Commons’ first project toward these ends is its series of copyright licenses, available for free from its website. The licenses, which today number eleven in all, allow the world to copy or redistribute covered works —provided certain terms of the author's choosing are met. Authors can come to the Creative Commons website and, from an intuitive menu, choose the combination of conditions that best reflects their preferences.
[HERE EXPLAIN EACH OPTION BRIEFLY--good to phrase each in every day terms as well as their “official title.” that is, “attribution,’ or ‘hey, copy my stuff, but just give me credit.’” “noncommercial, or ‘copy my stuff, but don’t make money off of it without asking me first.” etc.
Remember to say that these options can be mixed and matched, with the exception of no derivatives and share alike ]
A detail of the “noncommercial” option provides a nice example of the practical and symbolic aspects of Creative Commons’ goals. Under U.S. law, file-sharing, or the simple barter of copyrighted works for other copyrighted works, is presumed to be a commercial use, even when no money exchanges hands. The Creative Commons noncommercial provision, in contrast, creates an explicit exception for simple file-sharing.
This provision serves the pragmatic goal of allowing copyright holders to opt
around the restrictive default rules while articulating an alternative vision to those rules, an expression of how copyright law might work better.

8. Overview Copyright Legal Solution Structural Solution Projects
Adoption
Creative Commons’ first project toward these ends is its series of copyright licenses, available for free from its website. The licenses, which today number eleven in all, allow the world to copy or redistribute covered works —provided certain terms of the author's choosing are met. Authors can come to the Creative Commons website and, from an intuitive menu, choose the combination of conditions that best reflects their preferences.
[HERE EXPLAIN EACH OPTION BRIEFLY--good to phrase each in every day terms as well as their “official title.” that is, “attribution,’ or ‘hey, copy my stuff, but just give me credit.’” “noncommercial, or ‘copy my stuff, but don’t make money off of it without asking me first.” etc.
Remember to say that these options can be mixed and matched, with the exception of no derivatives and share alike ]
A detail of the “noncommercial” option provides a nice example of the practical and symbolic aspects of Creative Commons’ goals. Under U.S. law, file-sharing, or the simple barter of copyrighted works for other copyrighted works, is presumed to be a commercial use, even when no money exchanges hands. The Creative Commons noncommercial provision, in contrast, creates an explicit exception for simple file-sharing.
This provision serves the pragmatic goal of allowing copyright holders to opt
around the restrictive default rules while articulating an alternative vision to those rules, an expression of how copyright law might work better.

9. C
Creative Commons’ first project toward these ends is its series of copyright licenses, available for free from its website. The licenses, which today number eleven in all, allow the world to copy or redistribute covered works —provided certain terms of the author's choosing are met. Authors can come to the Creative Commons website and, from an intuitive menu, choose the combination of conditions that best reflects their preferences.
[HERE EXPLAIN EACH OPTION BRIEFLY--good to phrase each in every day terms as well as their “official title.” that is, “attribution,’ or ‘hey, copy my stuff, but just give me credit.’” “noncommercial, or ‘copy my stuff, but don’t make money off of it without asking me first.” etc.
Remember to say that these options can be mixed and matched, with the exception of no derivatives and share alike ]
A detail of the “noncommercial” option provides a nice example of the practical and symbolic aspects of Creative Commons’ goals. Under U.S. law, file-sharing, or the simple barter of copyrighted works for other copyrighted works, is presumed to be a commercial use, even when no money exchanges hands. The Creative Commons noncommercial provision, in contrast, creates an explicit exception for simple file-sharing.
This provision serves the pragmatic goal of allowing copyright holders to opt
around the restrictive default rules while articulating an alternative vision to those rules, an expression of how copyright law might work better.

10. Current climate hurts innovation
Challenges to the current copyright system:
Works are naturally copyrighted
Copyright is a bundle of rights
There is no easy way to give some, or all of those rights away
Creative Commons’ first project toward these ends is its series of copyright licenses, available for free from its website. The licenses, which today number eleven in all, allow the world to copy or redistribute covered works —provided certain terms of the author's choosing are met. Authors can come to the Creative Commons website and, from an intuitive menu, choose the combination of conditions that best reflects their preferences.
[HERE EXPLAIN EACH OPTION BRIEFLY--good to phrase each in every day terms as well as their “official title.” that is, “attribution,’ or ‘hey, copy my stuff, but just give me credit.’” “noncommercial, or ‘copy my stuff, but don’t make money off of it without asking me first.” etc.
Remember to say that these options can be mixed and matched, with the exception of no derivatives and share alike ]
A detail of the “noncommercial” option provides a nice example of the practical and symbolic aspects of Creative Commons’ goals. Under U.S. law, file-sharing, or the simple barter of copyrighted works for other copyrighted works, is presumed to be a commercial use, even when no money exchanges hands. The Creative Commons noncommercial provision, in contrast, creates an explicit exception for simple file-sharing.
This provision serves the pragmatic goal of allowing copyright holders to opt
around the restrictive default rules while articulating an alternative vision to those rules, an expression of how copyright law might work better.
Current climate hurts innovation

11. Current climate hurts innovation
More challenges given new technologies:
Internet gives worldwide distribution
New software makes it easy to build on culture (Garageband, iMovie)
Current online distribution leaves terms-of-use vague
Creative Commons’ first project toward these ends is its series of copyright licenses, available for free from its website. The licenses, which today number eleven in all, allow the world to copy or redistribute covered works —provided certain terms of the author's choosing are met. Authors can come to the Creative Commons website and, from an intuitive menu, choose the combination of conditions that best reflects their preferences.
[HERE EXPLAIN EACH OPTION BRIEFLY--good to phrase each in every day terms as well as their “official title.” that is, “attribution,’ or ‘hey, copy my stuff, but just give me credit.’” “noncommercial, or ‘copy my stuff, but don’t make money off of it without asking me first.” etc.
Remember to say that these options can be mixed and matched, with the exception of no derivatives and share alike ]
A detail of the “noncommercial” option provides a nice example of the practical and symbolic aspects of Creative Commons’ goals. Under U.S. law, file-sharing, or the simple barter of copyrighted works for other copyrighted works, is presumed to be a commercial use, even when no money exchanges hands. The Creative Commons noncommercial provision, in contrast, creates an explicit exception for simple file-sharing.
This provision serves the pragmatic goal of allowing copyright holders to opt
around the restrictive default rules while articulating an alternative vision to those rules, an expression of how copyright law might work better.
Current climate hurts innovation

12. Sec. 106. - Exclusive rights in copyrighted works
Subject to sections 107 through 121, the owner of copyright under this title has the exclusive rights to do and to authorize any of the following:
(1) to reproduce the copyrighted work in copies or phonorecords;
(2) to prepare derivative works based upon the copyrighted work;
(3) to distribute copies or phonorecords of the copyrighted work to the public by sale or other transfer of ownership, or by rental, lease, or lending;
(4) in the case of literary, musical, dramatic, and choreographic works, pantomimes, and motion pictures and other audiovisual works, to perform the copyrighted work publicly;
(5) in the case of literary, musical, dramatic, and choreographic works, pantomimes, and pictorial, graphic, or sculptural works, including the individual images of a motion picture or other audiovisual work, to display the copyrighted work publicly; and
(6) in the case of sound recordings, to perform the copyrighted work publicly by means of a digital audio transmission
Creative Commons’ first project toward these ends is its series of copyright licenses, available for free from its website. The licenses, which today number eleven in all, allow the world to copy or redistribute covered works —provided certain terms of the author's choosing are met. Authors can come to the Creative Commons website and, from an intuitive menu, choose the combination of conditions that best reflects their preferences.
[HERE EXPLAIN EACH OPTION BRIEFLY--good to phrase each in every day terms as well as their “official title.” that is, “attribution,’ or ‘hey, copy my stuff, but just give me credit.’” “noncommercial, or ‘copy my stuff, but don’t make money off of it without asking me first.” etc.
Remember to say that these options can be mixed and matched, with the exception of no derivatives and share alike ]
A detail of the “noncommercial” option provides a nice example of the practical and symbolic aspects of Creative Commons’ goals. Under U.S. law, file-sharing, or the simple barter of copyrighted works for other copyrighted works, is presumed to be a commercial use, even when no money exchanges hands. The Creative Commons noncommercial provision, in contrast, creates an explicit exception for simple file-sharing.
This provision serves the pragmatic goal of allowing copyright holders to opt
around the restrictive default rules while articulating an alternative vision to those rules, an expression of how copyright law might work better.

13. C
Creative Commons’ first project toward these ends is its series of copyright licenses, available for free from its website. The licenses, which today number eleven in all, allow the world to copy or redistribute covered works —provided certain terms of the author's choosing are met. Authors can come to the Creative Commons website and, from an intuitive menu, choose the combination of conditions that best reflects their preferences.
[HERE EXPLAIN EACH OPTION BRIEFLY--good to phrase each in every day terms as well as their “official title.” that is, “attribution,’ or ‘hey, copy my stuff, but just give me credit.’” “noncommercial, or ‘copy my stuff, but don’t make money off of it without asking me first.” etc.
Remember to say that these options can be mixed and matched, with the exception of no derivatives and share alike ]
A detail of the “noncommercial” option provides a nice example of the practical and symbolic aspects of Creative Commons’ goals. Under U.S. law, file-sharing, or the simple barter of copyrighted works for other copyrighted works, is presumed to be a commercial use, even when no money exchanges hands. The Creative Commons noncommercial provision, in contrast, creates an explicit exception for simple file-sharing.
This provision serves the pragmatic goal of allowing copyright holders to opt
around the restrictive default rules while articulating an alternative vision to those rules, an expression of how copyright law might work better.

14. C
Creative Commons’ first project toward these ends is its series of copyright licenses, available for free from its website. The licenses, which today number eleven in all, allow the world to copy or redistribute covered works —provided certain terms of the author's choosing are met. Authors can come to the Creative Commons website and, from an intuitive menu, choose the combination of conditions that best reflects their preferences.
[HERE EXPLAIN EACH OPTION BRIEFLY--good to phrase each in every day terms as well as their “official title.” that is, “attribution,’ or ‘hey, copy my stuff, but just give me credit.’” “noncommercial, or ‘copy my stuff, but don’t make money off of it without asking me first.” etc.
Remember to say that these options can be mixed and matched, with the exception of no derivatives and share alike ]
A detail of the “noncommercial” option provides a nice example of the practical and symbolic aspects of Creative Commons’ goals. Under U.S. law, file-sharing, or the simple barter of copyrighted works for other copyrighted works, is presumed to be a commercial use, even when no money exchanges hands. The Creative Commons noncommercial provision, in contrast, creates an explicit exception for simple file-sharing.
This provision serves the pragmatic goal of allowing copyright holders to opt
around the restrictive default rules while articulating an alternative vision to those rules, an expression of how copyright law might work better.

15. C
Creative Commons’ first project toward these ends is its series of copyright licenses, available for free from its website. The licenses, which today number eleven in all, allow the world to copy or redistribute covered works —provided certain terms of the author's choosing are met. Authors can come to the Creative Commons website and, from an intuitive menu, choose the combination of conditions that best reflects their preferences.
[HERE EXPLAIN EACH OPTION BRIEFLY--good to phrase each in every day terms as well as their “official title.” that is, “attribution,’ or ‘hey, copy my stuff, but just give me credit.’” “noncommercial, or ‘copy my stuff, but don’t make money off of it without asking me first.” etc.
Remember to say that these options can be mixed and matched, with the exception of no derivatives and share alike ]
A detail of the “noncommercial” option provides a nice example of the practical and symbolic aspects of Creative Commons’ goals. Under U.S. law, file-sharing, or the simple barter of copyrighted works for other copyrighted works, is presumed to be a commercial use, even when no money exchanges hands. The Creative Commons noncommercial provision, in contrast, creates an explicit exception for simple file-sharing.
This provision serves the pragmatic goal of allowing copyright holders to opt
around the restrictive default rules while articulating an alternative vision to those rules, an expression of how copyright law might work better.

16. C
Creative Commons’ first project toward these ends is its series of copyright licenses, available for free from its website. The licenses, which today number eleven in all, allow the world to copy or redistribute covered works —provided certain terms of the author's choosing are met. Authors can come to the Creative Commons website and, from an intuitive menu, choose the combination of conditions that best reflects their preferences.
[HERE EXPLAIN EACH OPTION BRIEFLY--good to phrase each in every day terms as well as their “official title.” that is, “attribution,’ or ‘hey, copy my stuff, but just give me credit.’” “noncommercial, or ‘copy my stuff, but don’t make money off of it without asking me first.” etc.
Remember to say that these options can be mixed and matched, with the exception of no derivatives and share alike ]
A detail of the “noncommercial” option provides a nice example of the practical and symbolic aspects of Creative Commons’ goals. Under U.S. law, file-sharing, or the simple barter of copyrighted works for other copyrighted works, is presumed to be a commercial use, even when no money exchanges hands. The Creative Commons noncommercial provision, in contrast, creates an explicit exception for simple file-sharing.
This provision serves the pragmatic goal of allowing copyright holders to opt
around the restrictive default rules while articulating an alternative vision to those rules, an expression of how copyright law might work better.

17. C C noncommercial commercial
Creative Commons’ first project toward these ends is its series of copyright licenses, available for free from its website. The licenses, which today number eleven in all, allow the world to copy or redistribute covered works —provided certain terms of the author's choosing are met. Authors can come to the Creative Commons website and, from an intuitive menu, choose the combination of conditions that best reflects their preferences.
[HERE EXPLAIN EACH OPTION BRIEFLY--good to phrase each in every day terms as well as their “official title.” that is, “attribution,’ or ‘hey, copy my stuff, but just give me credit.’” “noncommercial, or ‘copy my stuff, but don’t make money off of it without asking me first.” etc.
Remember to say that these options can be mixed and matched, with the exception of no derivatives and share alike ]
A detail of the “noncommercial” option provides a nice example of the practical and symbolic aspects of Creative Commons’ goals. Under U.S. law, file-sharing, or the simple barter of copyrighted works for other copyrighted works, is presumed to be a commercial use, even when no money exchanges hands. The Creative Commons noncommercial provision, in contrast, creates an explicit exception for simple file-sharing.
This provision serves the pragmatic goal of allowing copyright holders to opt
around the restrictive default rules while articulating an alternative vision to those rules, an expression of how copyright law might work better.

18. Overview Copyright Legal Solution Structural Solution Projects
Adoption
Creative Commons’ first project toward these ends is its series of copyright licenses, available for free from its website. The licenses, which today number eleven in all, allow the world to copy or redistribute covered works —provided certain terms of the author's choosing are met. Authors can come to the Creative Commons website and, from an intuitive menu, choose the combination of conditions that best reflects their preferences.
[HERE EXPLAIN EACH OPTION BRIEFLY--good to phrase each in every day terms as well as their “official title.” that is, “attribution,’ or ‘hey, copy my stuff, but just give me credit.’” “noncommercial, or ‘copy my stuff, but don’t make money off of it without asking me first.” etc.
Remember to say that these options can be mixed and matched, with the exception of no derivatives and share alike ]
A detail of the “noncommercial” option provides a nice example of the practical and symbolic aspects of Creative Commons’ goals. Under U.S. law, file-sharing, or the simple barter of copyrighted works for other copyrighted works, is presumed to be a commercial use, even when no money exchanges hands. The Creative Commons noncommercial provision, in contrast, creates an explicit exception for simple file-sharing.
This provision serves the pragmatic goal of allowing copyright holders to opt
around the restrictive default rules while articulating an alternative vision to those rules, an expression of how copyright law might work better.

19. Every Creative Commons licenses allows the world to distribute, display, perform, or webcast a work. In addition one may apply the following conditions:
Attribution
No Commercial Use
Creative Commons’ first project toward these ends is its series of copyright licenses, available for free from its website. The licenses, which today number eleven in all, allow the world to copy or redistribute covered works —provided certain terms of the author's choosing are met. Authors can come to the Creative Commons website and, from an intuitive menu, choose the combination of conditions that best reflects their preferences.
[HERE EXPLAIN EACH OPTION BRIEFLY--good to phrase each in every day terms as well as their “official title.” that is, “attribution,’ or ‘hey, copy my stuff, but just give me credit.’” “noncommercial, or ‘copy my stuff, but don’t make money off of it without asking me first.” etc.
Remember to say that these options can be mixed and matched, with the exception of no derivatives and share alike ]
A detail of the “noncommercial” option provides a nice example of the practical and symbolic aspects of Creative Commons’ goals. Under U.S. law, file-sharing, or the simple barter of copyrighted works for other copyrighted works, is presumed to be a commercial use, even when no money exchanges hands. The Creative Commons noncommercial provision, in contrast, creates an explicit exception for simple file-sharing.
This provision serves the pragmatic goal of allowing copyright holders to opt
around the restrictive default rules while articulating an alternative vision to those rules, an expression of how copyright law might work better.
No Derivative Works
Share Alike

20. . And the machine-readable version (“Digital Code”): a translation of the key license terms into a “metadata” language that browsers and other computer applications can use to search for and sort works based on their terms of use. This three-layer approach allows for a combined ease-of-use, legitimacy, and practical utility that is difficult to achieve otherwise.

21. Overview Copyright Legal Solution Structural Solution Projects
Adoption
Creative Commons’ first project toward these ends is its series of copyright licenses, available for free from its website. The licenses, which today number eleven in all, allow the world to copy or redistribute covered works —provided certain terms of the author's choosing are met. Authors can come to the Creative Commons website and, from an intuitive menu, choose the combination of conditions that best reflects their preferences.
[HERE EXPLAIN EACH OPTION BRIEFLY--good to phrase each in every day terms as well as their “official title.” that is, “attribution,’ or ‘hey, copy my stuff, but just give me credit.’” “noncommercial, or ‘copy my stuff, but don’t make money off of it without asking me first.” etc.
Remember to say that these options can be mixed and matched, with the exception of no derivatives and share alike ]
A detail of the “noncommercial” option provides a nice example of the practical and symbolic aspects of Creative Commons’ goals. Under U.S. law, file-sharing, or the simple barter of copyrighted works for other copyrighted works, is presumed to be a commercial use, even when no money exchanges hands. The Creative Commons noncommercial provision, in contrast, creates an explicit exception for simple file-sharing.
This provision serves the pragmatic goal of allowing copyright holders to opt
around the restrictive default rules while articulating an alternative vision to those rules, an expression of how copyright law might work better.

22. Three Layer Interface:
Human-Readable: Commons Deed
When creators choose the desired options, the Creative Commons website leads them to a license that reflects their preferences. There is the human-readable version (“Commons Deed”): a simple summary of the license terms in plain language and intuitive icons.

23. Three Layer Interface:
Human-Readable: Commons Deed
Lawyer-Readable: Legal Code
The lawyer-readable version (“Legal Code”): the legal nitty-gritty written in the parlance of courts and their officers.

24. Three Layer Interface:
Human-Readable: Commons Deed
Lawyer-Readable: Legal Code
Machine-Readable: Metadata
. And the machine-readable version (“Digital Code”): a translation of the key license terms into a “metadata” language that browsers and other computer applications can use to search for and sort works based on their terms of use. This three-layer approach allows for a combined ease-of-use, legitimacy, and practical utility that is difficult to achieve otherwise.

25. Three Layer Interface:
Human-Readable: Commons Deed
Lawyer-Readable: Legal Code
Machine-Readable: Metadata
Logo + Link
Here is how the three layers work together in practice. From the Creative Commons site, a copyright licensor takes some basic HTML and uses it to place a “Creative Commons, Some Rights Reserved” icon on his or her web site, near the work to be licensed. This icon contains two key pieces of information: (1) a hyperlink to the human- and lawyer-readable expressions of the license, hosted on the Creative Commons website; and (2) the machine-readable version of the license, written in RDF, or Resource Description Framework. The icon thus notifies the world that a work or webpage is free for certain uses, provides a link to the specific terms, and embeds the webpage or work with metadata describing its copyright status.

26. Slide 13
Since December 16, 2002, the number of webpages linking back to a Creative Commons license has reached just over 750,000 (hit 788,308 on June 8).
[HERE YOU MAY OR MAY NOT WANT TO EXPLAIN THE PROBLEM OF OVERCOUNTING -- DUE TO WEBLOGS USING A LOGO/LINK ON EVERY PAGE -- AND UNDERCOUNTING -- DUE TO THE FACT SOME PEOPLE WITH LARGE COLLECTIONS -- LIGHTENINGFIELD.COM -- OF LICENSED STUFF USE ONLY ONE LICENSE TAG PER PAGE, RATHER THAN PER WORK. WHETHER TO MENTION THE GOOGLE GLITCH -- THEIR POLICY OF NOT COUNTING URLS THAT END IN “0”, AS OUR LICENSES DID UNTIL RECENTLY -- IS ALSO SOMETHING YOU SHOULD USE YOUR DISCRETION WITH. GENERALLY I WOULD AVOID IT UNLESS IT COMES UP.]

27. Since December 16, 2002, the number of webpages linking back to a Creative Commons license has reached just over 750,000 (hit 788,308 on June 8).
[HERE YOU MAY OR MAY NOT WANT TO EXPLAIN THE PROBLEM OF OVERCOUNTING -- DUE TO WEBLOGS USING A LOGO/LINK ON EVERY PAGE -- AND UNDERCOUNTING -- DUE TO THE FACT SOME PEOPLE WITH LARGE COLLECTIONS -- LIGHTENINGFIELD.COM -- OF LICENSED STUFF USE ONLY ONE LICENSE TAG PER PAGE, RATHER THAN PER WORK. WHETHER TO MENTION THE GOOGLE GLITCH -- THEIR POLICY OF NOT COUNTING URLS THAT END IN “0”, AS OUR LICENSES DID UNTIL RECENTLY -- IS ALSO SOMETHING YOU SHOULD USE YOUR DISCRETION WITH. GENERALLY I WOULD AVOID IT UNLESS IT COMES UP.]

28. Since December 16, 2002, the number of webpages linking back to a Creative Commons license has reached just over 750,000 (hit 788,308 on June 8).
[HERE YOU MAY OR MAY NOT WANT TO EXPLAIN THE PROBLEM OF OVERCOUNTING -- DUE TO WEBLOGS USING A LOGO/LINK ON EVERY PAGE -- AND UNDERCOUNTING -- DUE TO THE FACT SOME PEOPLE WITH LARGE COLLECTIONS -- LIGHTENINGFIELD.COM -- OF LICENSED STUFF USE ONLY ONE LICENSE TAG PER PAGE, RATHER THAN PER WORK. WHETHER TO MENTION THE GOOGLE GLITCH -- THEIR POLICY OF NOT COUNTING URLS THAT END IN “0”, AS OUR LICENSES DID UNTIL RECENTLY -- IS ALSO SOMETHING YOU SHOULD USE YOUR DISCRETION WITH. GENERALLY I WOULD AVOID IT UNLESS IT COMES UP.]

29. Overview Copyright Legal Solution Structural Solution Projects
Adoption
Creative Commons’ first project toward these ends is its series of copyright licenses, available for free from its website. The licenses, which today number eleven in all, allow the world to copy or redistribute covered works —provided certain terms of the author's choosing are met. Authors can come to the Creative Commons website and, from an intuitive menu, choose the combination of conditions that best reflects their preferences.
[HERE EXPLAIN EACH OPTION BRIEFLY--good to phrase each in every day terms as well as their “official title.” that is, “attribution,’ or ‘hey, copy my stuff, but just give me credit.’” “noncommercial, or ‘copy my stuff, but don’t make money off of it without asking me first.” etc.
Remember to say that these options can be mixed and matched, with the exception of no derivatives and share alike ]
A detail of the “noncommercial” option provides a nice example of the practical and symbolic aspects of Creative Commons’ goals. Under U.S. law, file-sharing, or the simple barter of copyrighted works for other copyrighted works, is presumed to be a commercial use, even when no money exchanges hands. The Creative Commons noncommercial provision, in contrast, creates an explicit exception for simple file-sharing.
This provision serves the pragmatic goal of allowing copyright holders to opt
around the restrictive default rules while articulating an alternative vision to those rules, an expression of how copyright law might work better.

30. rdf search engine: the web use google/atw to find cc licensed content
Since all licenses linkback to cc, there is linkback technology

32. get content:
cc plug-in for mozilla browser:

33. mixter: exposes connections between music and people: tom joe jane
“alien dog” remix
“alien dog”
“volcano”
jane
remix
“have not”

37. 4th Wall Films

40. *

41. Pulls info out of MP3 ID3 tag

42. iRATE Radio Reads MP3 ID3 Tags

43. iRATE Radio Reads MP3 ID3 Tags

44. *see http://archive.org

45. Overview Copyright Legal Solution Structural Solution Projects
Adoption
Creative Commons’ first project toward these ends is its series of copyright licenses, available for free from its website. The licenses, which today number eleven in all, allow the world to copy or redistribute covered works —provided certain terms of the author's choosing are met. Authors can come to the Creative Commons website and, from an intuitive menu, choose the combination of conditions that best reflects their preferences.
[HERE EXPLAIN EACH OPTION BRIEFLY--good to phrase each in every day terms as well as their “official title.” that is, “attribution,’ or ‘hey, copy my stuff, but just give me credit.’” “noncommercial, or ‘copy my stuff, but don’t make money off of it without asking me first.” etc.
Remember to say that these options can be mixed and matched, with the exception of no derivatives and share alike ]
A detail of the “noncommercial” option provides a nice example of the practical and symbolic aspects of Creative Commons’ goals. Under U.S. law, file-sharing, or the simple barter of copyrighted works for other copyrighted works, is presumed to be a commercial use, even when no money exchanges hands. The Creative Commons noncommercial provision, in contrast, creates an explicit exception for simple file-sharing.
This provision serves the pragmatic goal of allowing copyright holders to opt
around the restrictive default rules while articulating an alternative vision to those rules, an expression of how copyright law might work better.

46. 4,000,000
Since December 16, 2002, the number of webpages linking back to a Creative Commons license has reached just over 750,000 (hit 788,308 on June 8).
[HERE YOU MAY OR MAY NOT WANT TO EXPLAIN THE PROBLEM OF OVERCOUNTING -- DUE TO WEBLOGS USING A LOGO/LINK ON EVERY PAGE -- AND UNDERCOUNTING -- DUE TO THE FACT SOME PEOPLE WITH LARGE COLLECTIONS -- LIGHTENINGFIELD.COM -- OF LICENSED STUFF USE ONLY ONE LICENSE TAG PER PAGE, RATHER THAN PER WORK. WHETHER TO MENTION THE GOOGLE GLITCH -- THEIR POLICY OF NOT COUNTING URLS THAT END IN “0”, AS OUR LICENSES DID UNTIL RECENTLY -- IS ALSO SOMETHING YOU SHOULD USE YOUR DISCRETION WITH. GENERALLY I WOULD AVOID IT UNLESS IT COMES UP.]

51. Featured Commoners Examples of License Adoption for Pragmatic Reasons
A few examples help illustrate the pragmatic reasons for license adoption. The Connexions Project at Rice University, in Houston, Texas, is a “a collaborative, community-driven approach to authoring, teaching, and learning that seeks to provide a cohesive body of high-quality educational content to anyone in the world, for free.” [THEIR LOGO IS AT LEFT ABOVE.] Connexions lets teachers and professors build teaching material from other teachers’ materials, which are covered by Creative Commons licenses. The licenses serve as a kind of legal lubricant for Connexions' course composer, a tool that allows educators to build their courses without the hassle of clearing rights every step of the way — because the rights have been cleared in advance.
Roger McGuinn, [HIS PHOTO IS AT RIGHT] leader of the 1960s California rock band The Byrds and a legend of American pop music, has long been a champion of folk and
traditional music from around the world. Every month since 1995, he has recorded a traditional song and posted it to his website, the Folk Den. When McGuinn decided to use Creative Commons licenses for his recordings in 2002, he explained that “the licenses simply codify what I always thought the Internet was all about: sharing, but not abuse.”
Perhaps the most compelling story of pragmatic adoption of a Creative Commons license thus far is that of Cory Doctorow [PHOTO AT CENTER]. Doctorow is a Canadian science fiction writer based in the U.S. He published his first novel, Down and Out in the Magic Kingdom, under a Creative Commons license. The licence’s “attribution” condition requires that Doctorow’s name be attached to any copy of the book a reader distributes. The “noncommercial” provision prevents others from making money off his work. And the “no derivatives” provision protects the novel from being turned into a film, for example, or a comic strip. Otherwise, readers are free to copy and redistribute the book.
In the first ten days after Down and Out in the Magic Kingdom was published, 50,000 copies were downloaded from Doctorow’s site. Meanwhile, his publisher, Tor Books, has sold out the first run of print copies and is preparing a second run. Jeff Bezos, the founder of the online mega-store Amazon.com, recently recommended Doctorow’s book as summer reading on U.S. national public radio. With two more books soon to be published, and having now built a first-
book readership over 100,000 since January 2003, Doctorow reports that his publishers do not regret the decision to use a Creative Commons license.
Featured Commoners

52. Common Content

53. Soundshelf.com

54. DMusic

55. MacBand

56. CC Music Labels forming the IMCA (International Music Commons Association)

57. Telltale Weekly

58. Buzznet Photoblog

59. Squarespace

60. Squarespace

61. Indymedia Content Management Systems

62. Indymedia Content Management Systems

63. Winksite Moblogging

64. Biomed Central

65. Price of Loyalty Government Documents

66. Adobe XMP Soundclick Garageband.com
In May 2003, Creative Commons opened a public discussion space on its website dedicated to the development of new license options. So far these include three: a “sampling” or collage license, an educational use license, and a developing nations license. The discussion of the sampling license is coordinated by a “found art” music and video collective known as Negativland. With the sampling license, artists will be able to let others to transform their works—sample and re-use portions of them—while prohibiting commercial use of verbatim copies. The discussion of the educational license is led by David Wiley, founder of OpenContent.org (a predecessor of Creative Commons) and a professor of educational technology at Utah State University. This license will allow authors to specify that any educational use or their work, whether commercial or noncommercial, is permitted. Finally, the developing nations license, which will be developed by a discussion group led by economic development activist James Love, will allow authors and creators to announce very liberal uses of their work by citizens of developing nations — a some rights reserved policy by geographic and economic boundaries. Finally, from its own weblog and a general discussion list, Creative Commons fields comments and suggestions from the public about how it might improve the existing licenses, with an eye toward versioning or clarifying them as needed in the future.

67. License Innovations: Sampling Remix Ready Sampling Compulsory
Developing Nations
In May 2003, Creative Commons opened a public discussion space on its website dedicated to the development of new license options. So far these include three: a “sampling” or collage license, an educational use license, and a developing nations license. The discussion of the sampling license is coordinated by a “found art” music and video collective known as Negativland. With the sampling license, artists will be able to let others to transform their works—sample and re-use portions of them—while prohibiting commercial use of verbatim copies. The discussion of the educational license is led by David Wiley, founder of OpenContent.org (a predecessor of Creative Commons) and a professor of educational technology at Utah State University. This license will allow authors to specify that any educational use or their work, whether commercial or noncommercial, is permitted. Finally, the developing nations license, which will be developed by a discussion group led by economic development activist James Love, will allow authors and creators to announce very liberal uses of their work by citizens of developing nations — a some rights reserved policy by geographic and economic boundaries. Finally, from its own weblog and a general discussion list, Creative Commons fields comments and suggestions from the public about how it might improve the existing licenses, with an eye toward versioning or clarifying them as needed in the future.

68. iCommons Science Commons
The current Creative Commons licenses are jurisdiction-agnostic: they do not mention any particular country's laws or statutes or contain any sort of choice-of-law provision. The licenses also contain “severability” clauses — meaning that, if a certain provision is found to be unenforceable in a certain country, that provision and only that provision drops out of the license, leaving the rest of the agreement intact. The licenses are, however, based on the U.S. Copyright Act in many respects. This means that, though there is as yet no indication that the licenses would not function in legal systems across the world, it is at least conceivable that some aspect of the licenses does not jibe with a particular country's laws.
To address this possibility, and to make the Creative Commons a truly international movement and system, the International Commons (iCommons) was launched in March Christiane Asschenfeldt, a German lawyer expert in copyright law and a member of the Creative Commons staff, is coordinating iCommons.

69. Imagine the lawyer-readable Creative Commons licenses as the legal code processed by the respective legal “operating systems” of various countries. The iCommons project is “porting” or adapting the licenses for use across those different countries — like software applications across computer operating systems. This process involves both the literal and legal translation of the licenses by teams of volunteers in various countries around the world. From an archived list on the Creative Commons website, a “project lead” institution in a particular country directs public discussion of a particular translation and adaptation of the Creative Commons licenses. As the drafting process in each iCommons country is completed, Creative Commons will offer the new, country-specific set of licenses from its website.
The iCommons currently includes two countries: Finland and Japan. In Finland, the Helsinki Institute for Information Technology is the project lead institution. In Japan, the project lead is Glocom. Creative Commons plans to announce the project leads and open the discussion lists for Brazil, Germany, Sweden, and the United Kingdom soon, and to expand the program to other countries as project lead institutions are identified.
Helsinki Institute for Information Technology (HIIT), founded in 1999, is a joint research institute of the University of Helsinki and the Helsinki University of Technology. HIIT represents high expertise both in computer science and law. In addition it has close institutional bonds with academic legal science, law-courts and The Finnish Bar Association. HIIT conducts internationally high-level strategic research in information technology, especially in areas where Finnish IT industry has or may reach a significant global role. HIIT works in close co-operation with universities and industry, aiming to improve the contents, visibility, and impact of Finnish IT research to benefit the competitiveness of Finnish IT industry and the development of the Finnish information society.
Glocom was established in 1991 as a social science research institute specializing in the study of information society as well as Japanese society. From the outset it was thought that the collection and dissemination of information through the utilization of computer networks was important, and this goal was realized in 1993 when the center established an Internet connection. Ever since, by utilizing the most up-to-date information and communication technologies, GLOCOM has been able to engage in various research activities, including generation of policy proposals and involvement in education-related projects. GLOCOM has set out to be a modern information intelprise, an institution promoting the distribution and sharing of wisdom.

70. © [WRAP UP/CONCLUSION SLIDES]
Creative Commons various projects and future endeavors are all designed to cultivate a large body of material that is free for certain uses—and clearly marked as such, so that the world knows its status up front. The idea is to expand access to high-quality content online while reducing the legal friction and doubt of living with copyright every day.

71. Creative Experiments
(examples of things we have done and will do that will demonstrate the value of freely available works; how much you include is up to you and probably depends on the “seriousness” of the audience, and your own dis/inclination to get excited about these things)

72. But the goal is also to explore the various ways in which copyrights may be exercised moderately, and to help willing allow authors and creators to do so with ease.
[ETC ETC -- WHATEVER YOU THINK APPROPRIATE TO WRAP-UP]