Creative Commons - User contributions [en]

Case Studies/RIP: A Remix Manifesto

2010-07-28T14:03:37Z

趙柏強:

{{Case Study
|Description=RIP: A Remix Manifesto is an open source, participatory documentary about the intersection of Copyright, artists and culture in the modern technological era.
|Quote=a film about the public domain — about the right of citizens to participate in their culture
|Quote_Attribution=Brett Gaylor, Director, RiP: a Remix Manifesto
|Mainurl=www.ripremix.com
|Author=Brett Gaylor
|User_Status=Creator
|Tag=Music, film, theatre, mash-up, remix, Copyleft
|License short name=CC BY-NC-SA
|License= http://creativecommons.org/licenses/by-nc-sa/3.0/
|Format=Image, Sound, MovingImage
|Country=Canada, United States of America
}}
'''Overview'''

RiP: A Remix Manifesto is an Open Source documentary film written and directed by Canadian cultural activist Brett Gaylor. The film focuses on copyright and the fight between the creative minority and corporate majority. It discusses the pitfalls of traditional approaches to intellectual property protection in the digital era through the eyes of some key Copyleft revolutionaries such as remix poster boy GirlTalk (Gregg Gillis) and Creative Commons creator Lawrence Lessig. Gaylor’s manifesto is broken into 4 ‘truths’:
1. Culture always builds on the past;
2. The past always tries to control the future;
3. Our future is becoming less free; and
4. To build free societies, you must limit the control of the past.
He uses these to shape and create a compelling argument for the reconsideration of Copyright and the ‘reclaiming’ of contemporary digital culture.

RiP was created as a ‘participatory media experiment’ , in partnership with the National Film Board of Canada and EyeSteelFilm. Since it’s international debut at the International Documentary Festival of Amsterdam in November 2008, it has gained worldwide attention for its fast editing, eye-grabbing graphics and witty narration. Gaylor went on to win his first award at the IDFA for Audience Choice, and has since continued to captivate theatrical audiences in Europe, Canada, North America, and the international online community.

Gaylor admits it was a fine balancing act in developing a business model for the distribution and sale of the film. While a fast and simultaneous global online release would have been ideal, he was forced to consider the commercial realities of his business partners. Having sold the production and worldwide distribution rights of the film to the National Film Board of Canada, Gaylor had to ensure he didn’t undercut their revenue from selling distribution rights. This meant that the documentary was not made available in its entirety for digital download until a period of time after its theatrical and television distribution. To compromise with Gaylor’s ideal immediate release, the National Film Board of Canada released a chaptered version on its website during its distribution, with “calls to action” embedded in each chapter so that remixers around the world could begin working on the film.

Once the negotiated period for distribution had lapsed, Gaylor and his producers agreed to ‘sell’ the documentary download at no fixed price. He explains, “We knew the film would appear on file-sharing networks immediately and we knew the audience for the film wanted and expected it to be online. So knowing that, we wanted there to be a method for those who wanted to pay to do so.” This business model has been successfully adopted across a wide variety of online content providers (e.g. Radiohead). It works by establishing a core, passionate audience or fan base, and then giving them an incentive to buy and ‘connect’ with the content on a deeper level. Here, the website and the documentary work together to establish this incentive by declaring that any profits made will go straight back into the ‘Copyleft’ movement. Regardless of the past successes of this business model, however, Gaylor admits he has a number of sceptics who question its application to this documentary, which can easily be ripped from the internet for free. He’s quick to rebut them, stating “it’s not piracy I need to be afraid of; it’s obscurity… that’s why I was very insistent that my film be released under Creative Commons license, and that it be free to travel through those networks.” Thus he has made exposure the key goal underpinning his business model, from which profits will flow indirectly.

'''Licence usage'''

The film was released under a Creative Commons Attribution-Noncommercial 3.0 United States Licence. This was done to bring to life, Gaylor’s vision of audience participation in the remix culture. From the documentary website itself (which notably doesn’t have any Creative Commons licences in operation), there are links to Gaylor’s other project, opensourcecinema.org, and also http://ccmixter.org/rip, on which he has made available, under Creative Commons licences, his entire documentary for downloading, remixing and sharing. Furthermore, the original audio and visual elements that Gaylor used to create his documentary are also under Creative Commons licences.

Admittedly, Gaylor has an interesting interpretation of the ‘Noncommercial’ aspect of his Creative Commons licence and the protection of his intellectual property. He acknowledges that his documentary will probably be downloaded and screened privately around the world. However, he remains unphased by the potential for loss of revenue due to these activities. In fact, Gaylor actively promotes this, by including links to “Host a Screening” and “Find a Screening” on his website, and encouraging hosts to charge entrance fees on the night if they desire.

To ensure that all contributors in this cultural experiment were on the same ‘Copyright wavelength’, Gaylor made Creative Commons licensing compulsory for all content uploaded by the public. The license logo also acts as a signal of encouragement to audiences to participate, rather than representing a piece of legal fine print. He states: “What [the licences] allowed me to do is to let the audience know that they can participate in the film. They can use my footage however they want, but I want them to submit it back to the site as well so that I can include it in the final film.” It is testament to the license’s effectiveness that there are currently hundreds of fans around the world working on re-edits of the documentary in the hope that their content will feature in Gaylor’s sequel, RiP: A Remix Manifesto 2.0. In fact, fans’ videos and images have already been used across North America viewings in versions of the documentary tweaked according to the screening location, as well as in the original documentary itself. Unfortunately, statistics on downloads and revenue streams through the RiP website are unknown, although 2,250 Twitter “followers” and 2,840 members on the RiP Facebook Group stand as a rough indication of a solid fan base.

'''Motivations'''

By definition, a manifesto is a public declaration of opinion. It is no coincidence then, that RiP delivers a fiercely persuasive message to its audience: Copyright law is enabling the ongoing privatisation of contemporary culture to the detriment of society; and that the open exchange of creative content is pivotal for continued community growth in the digital era. Gaylor acknowledges that his core message may seem radical to a large part of his audience, but he’s not worried. He states, “there’s a lot of apprehension around this issue and it was sort of the goal of the film to encourage debate”. By making copyright and intellectual property an issue worth talking about, the push for copyright reform becomes all the more powerful.

Just as its description “participatory media experiment” suggests, Gaylor also set out to provide content and a platform with which users could collaborate together in the creation of a shared cultural experience. He effectively breaks down the barrier between user and producer of this documentary, by emphasizing to his audience that “the main thing is to participate and to contribute to further evolving versions of the film because we’re going to take that to different film festivals and remix it as we go along.” The end result is the first of its kind – a truly open source documentary that exemplifies exactly what it preaches by encouraging the open exchange of creative content for the benefit of the wider community.
'''
Other information'''

Since its international debut in Amsterdam, RiP has been screened in such festivals as the Lite Brite Film Fest in Cincinnatti, Ohio, the Rio International Film Festival, the Reykjavik Intenrational Film Festival, Kopiefeest in Belgium, the Darklight Film Festival in Dublin, and others in New York, Croatia, Torino, Melbourne, and Taipei. It has also aired on television in numerous countries, including Canada, United States, Israel, Finland, Netherlands, Australia, Poland, Brazil and Italy.

Case Studies/RIP: A Remix Manifesto

2010-07-28T14:02:33Z

趙柏強: Since the license noticed here is different with the common deed in the end of the film, I've confirmed with the director Brett, and he said that the film is license under BY-NC-SA.

{{Case Study
|Description=RIP: A Remix Manifesto is an open source, participatory documentary about the intersection of Copyright, artists and culture in the modern technological era.
|Quote=a film about the public domain — about the right of citizens to participate in their culture
|Quote_Attribution=Brett Gaylor, Director, RiP: a Remix Manifesto
|Mainurl=www.ripremix.com
|Author=Brett Gaylor
|User_Status=Creator
|Tag=Music, film, theatre, mash-up, remix, Copyleft
|License short name=CC BY-NC-SA
|License=< http://creativecommons.org/licenses/by-nc/3.0/>
|Format=Image, Sound, MovingImage
|Country=Canada, United States of America
}}
'''Overview'''

RiP: A Remix Manifesto is an Open Source documentary film written and directed by Canadian cultural activist Brett Gaylor. The film focuses on copyright and the fight between the creative minority and corporate majority. It discusses the pitfalls of traditional approaches to intellectual property protection in the digital era through the eyes of some key Copyleft revolutionaries such as remix poster boy GirlTalk (Gregg Gillis) and Creative Commons creator Lawrence Lessig. Gaylor’s manifesto is broken into 4 ‘truths’:
1. Culture always builds on the past;
2. The past always tries to control the future;
3. Our future is becoming less free; and
4. To build free societies, you must limit the control of the past.
He uses these to shape and create a compelling argument for the reconsideration of Copyright and the ‘reclaiming’ of contemporary digital culture.

RiP was created as a ‘participatory media experiment’ , in partnership with the National Film Board of Canada and EyeSteelFilm. Since it’s international debut at the International Documentary Festival of Amsterdam in November 2008, it has gained worldwide attention for its fast editing, eye-grabbing graphics and witty narration. Gaylor went on to win his first award at the IDFA for Audience Choice, and has since continued to captivate theatrical audiences in Europe, Canada, North America, and the international online community.

Gaylor admits it was a fine balancing act in developing a business model for the distribution and sale of the film. While a fast and simultaneous global online release would have been ideal, he was forced to consider the commercial realities of his business partners. Having sold the production and worldwide distribution rights of the film to the National Film Board of Canada, Gaylor had to ensure he didn’t undercut their revenue from selling distribution rights. This meant that the documentary was not made available in its entirety for digital download until a period of time after its theatrical and television distribution. To compromise with Gaylor’s ideal immediate release, the National Film Board of Canada released a chaptered version on its website during its distribution, with “calls to action” embedded in each chapter so that remixers around the world could begin working on the film.

Once the negotiated period for distribution had lapsed, Gaylor and his producers agreed to ‘sell’ the documentary download at no fixed price. He explains, “We knew the film would appear on file-sharing networks immediately and we knew the audience for the film wanted and expected it to be online. So knowing that, we wanted there to be a method for those who wanted to pay to do so.” This business model has been successfully adopted across a wide variety of online content providers (e.g. Radiohead). It works by establishing a core, passionate audience or fan base, and then giving them an incentive to buy and ‘connect’ with the content on a deeper level. Here, the website and the documentary work together to establish this incentive by declaring that any profits made will go straight back into the ‘Copyleft’ movement. Regardless of the past successes of this business model, however, Gaylor admits he has a number of sceptics who question its application to this documentary, which can easily be ripped from the internet for free. He’s quick to rebut them, stating “it’s not piracy I need to be afraid of; it’s obscurity… that’s why I was very insistent that my film be released under Creative Commons license, and that it be free to travel through those networks.” Thus he has made exposure the key goal underpinning his business model, from which profits will flow indirectly.

'''Licence usage'''

The film was released under a Creative Commons Attribution-Noncommercial 3.0 United States Licence. This was done to bring to life, Gaylor’s vision of audience participation in the remix culture. From the documentary website itself (which notably doesn’t have any Creative Commons licences in operation), there are links to Gaylor’s other project, opensourcecinema.org, and also http://ccmixter.org/rip, on which he has made available, under Creative Commons licences, his entire documentary for downloading, remixing and sharing. Furthermore, the original audio and visual elements that Gaylor used to create his documentary are also under Creative Commons licences.

Admittedly, Gaylor has an interesting interpretation of the ‘Noncommercial’ aspect of his Creative Commons licence and the protection of his intellectual property. He acknowledges that his documentary will probably be downloaded and screened privately around the world. However, he remains unphased by the potential for loss of revenue due to these activities. In fact, Gaylor actively promotes this, by including links to “Host a Screening” and “Find a Screening” on his website, and encouraging hosts to charge entrance fees on the night if they desire.

To ensure that all contributors in this cultural experiment were on the same ‘Copyright wavelength’, Gaylor made Creative Commons licensing compulsory for all content uploaded by the public. The license logo also acts as a signal of encouragement to audiences to participate, rather than representing a piece of legal fine print. He states: “What [the licences] allowed me to do is to let the audience know that they can participate in the film. They can use my footage however they want, but I want them to submit it back to the site as well so that I can include it in the final film.” It is testament to the license’s effectiveness that there are currently hundreds of fans around the world working on re-edits of the documentary in the hope that their content will feature in Gaylor’s sequel, RiP: A Remix Manifesto 2.0. In fact, fans’ videos and images have already been used across North America viewings in versions of the documentary tweaked according to the screening location, as well as in the original documentary itself. Unfortunately, statistics on downloads and revenue streams through the RiP website are unknown, although 2,250 Twitter “followers” and 2,840 members on the RiP Facebook Group stand as a rough indication of a solid fan base.

'''Motivations'''

By definition, a manifesto is a public declaration of opinion. It is no coincidence then, that RiP delivers a fiercely persuasive message to its audience: Copyright law is enabling the ongoing privatisation of contemporary culture to the detriment of society; and that the open exchange of creative content is pivotal for continued community growth in the digital era. Gaylor acknowledges that his core message may seem radical to a large part of his audience, but he’s not worried. He states, “there’s a lot of apprehension around this issue and it was sort of the goal of the film to encourage debate”. By making copyright and intellectual property an issue worth talking about, the push for copyright reform becomes all the more powerful.

Just as its description “participatory media experiment” suggests, Gaylor also set out to provide content and a platform with which users could collaborate together in the creation of a shared cultural experience. He effectively breaks down the barrier between user and producer of this documentary, by emphasizing to his audience that “the main thing is to participate and to contribute to further evolving versions of the film because we’re going to take that to different film festivals and remix it as we go along.” The end result is the first of its kind – a truly open source documentary that exemplifies exactly what it preaches by encouraging the open exchange of creative content for the benefit of the wider community.
'''
Other information'''

Since its international debut in Amsterdam, RiP has been screened in such festivals as the Lite Brite Film Fest in Cincinnatti, Ohio, the Rio International Film Festival, the Reykjavik Intenrational Film Festival, Kopiefeest in Belgium, the Darklight Film Festival in Dublin, and others in New York, Croatia, Torino, Melbourne, and Taipei. It has also aired on television in numerous countries, including Canada, United States, Israel, Finland, Netherlands, Australia, Poland, Brazil and Italy.

Talk:Main Page

2010-07-19T09:30:38Z

趙柏強: /* description of OER project */ new section

== Community discussion? ==

Is there a community discussion page or portal? --[[User:Chriswaterguy|Chriswaterguy]] 23:50, 8 March 2010 (UTC)

== description of OER project ==

The description of "OER Project" should modify to "Contribute to CC's Open Education Resources wiki-databases and pages."

CC Asia Conference 2010

2010-06-07T15:31:33Z

趙柏強: Add links to mine and Bassel's slides

{{Event
|Mainurl=http://www.creativecommons.or.kr
|EventType=Conference
|date=2010/06/04
|end_date=2010/06/05
|Location=Seoul, Korea
|EventCategory=CC-Specific, Free Culture, Open Access, Open Business, Open Data, Open Education
|Attendance=Yes
|invitation=No
|public=Yes
}}
=='''CC Asia Pacific Conference 2010'''==

=== Who ===
Creative Commons Korea, Creative Commons Global Community members, Creative Commons Jurisdiction Projects, and general public.

=== What ===
{{incomplete}}
''"Open for Innovation"''

=== When ===
June 3 to June 5, 2010

=== Where ===
{{incomplete}}
Seoul, South Korea
* Welcome Reception (Jun 3) - Somerset Palace Seoul [http://www.somerset.com/en/south_korea/seoul/somerset_palace/attractions.html?override_form=234]
* CC Asia Pacific Conference (Jun 4) - National Museum of Korea [http://www.museum.go.kr/eng/visit/directions.jsp]
* Conference Banquet (Jun 4) - Seoul Partners House[http://seoulhouse.org/eng/category/7]
* CC Asia Meeting (Jun 5) - National Museum of Korea[http://www.museum.go.kr/eng/visit/directions.jsp]
* CC Friends Party (Jun 5) - Theater ZERO[http://maps.google.com/maps?f=q&source=s_q&hl=ko&geocode=&q=%EC%84%9C%EC%9A%B8%ED%8A%B9%EB%B3%84%EC%8B%9C+%EB%A7%88%ED%8F%AC%EA%B5%AC+%EC%84%9C%EA%B5%90%EB%8F%99+364-4+&sll=37.0625,-95.677068&sspn=32.610437,79.013672&ie=UTF8&hq=&hnear=%ED%95%9C%EA%B5%AD+%EC%84%9C%EC%9A%B8%ED%8A%B9%EB%B3%84%EC%8B%9C+%EB%A7%88%ED%8F%AC%EA%B5%AC+%EC%84%9C%EA%B5%90%EB%8F%99+364-4&z=16]
* Shared Film Festival (Jun 3 - Jun 9) - Cinemaru[http://maps.google.com/maps?f=q&source=s_q&hl=ko&geocode=&q=%EC%84%9C%EC%9A%B8%EC%8B%9C+%EC%A2%85%EB%A1%9C%EA%B5%AC+%EC%8B%A0%EB%AC%B8%EB%A1%9C+2%EA%B0%80+1-+153&sll=37.0625,-95.677068&sspn=32.610437,79.013672&ie=UTF8&hq=&hnear=%ED%95%9C%EA%B5%AD+%EC%84%9C%EC%9A%B8%ED%8A%B9%EB%B3%84%EC%8B%9C+%EC%A2%85%EB%A1%9C%EA%B5%AC+%EC%8B%A0%EB%AC%B8%EB%A1%9C2%EA%B0%80+1-153&ll=37.570527,126.971912&spn=0.00398,0.009645&z=17]

=== Why ===
{{incomplete}}
One of the main goals of this conference is to provide an occasion for CC communities in Asia and the Pacific to gather together to share experience and discuss common issues and potential projects. They will be given an opportunity to enhance their ties of friendship and cooperation and build new networks with individuals and organizations from various fields at both the international and local level, which will in turn facilitate collaboration within and across CC communities in the region. Furthermore, this event will also provide broader benefits to other parts of the society, by engaging experts and the general public from various areas and giving them inspiration to get innovative ideas and explore new possibilities.

----

=== Schedule and Program ===

==== 2010-06-03 ====

Arrival into Seoul

* 6:00 pm - 6:30 pm "Shared Film Festival" opening ceremony

(*The festival will run through from June 3rd to June 9th)

* 7:00 pm - 9:00 pm Welcome reception

==== 2010-06-04 ====

* 9:30 am - 6:00 pm CC Asia Pacific Conference "Open for Innovation"
* 7:00 pm - 9:00 pm Banquet for guest speakers & CC affiliates

{|
|- align="left" bgcolor="pink" valign="top"
! 09:00 - 10:00
| colspan="2" | Registration
|- align="left" bgcolor="pink" valign="top"
! 10:00 - 10:10
| colspan="2" | Welcoming Remarks
'' - JinSup Jung, Chairman of CC Korea''
|- align="left" bgcolor="pink" valign="top"
! 10:10 - 10:20
| colspan="2" | Congratulatory Remarks
'' - Hyung-kyu Maeng, Minister of Public Administration and Security of Korea''
|- align="left" bgcolor="pink" valign="top"
! 10:25 - 10:45
| colspan="2" | '''Opening Keynote : "CC for innovation"'''
'' - Joichi Ito, CEO of Creative Commons''
|- align="left" bgcolor="pink" valign="top"
! 10:50 - 11:50
| colspan="2" | [Overview] 
'''CC license usage in the world''' 
'' - Giorgos Cheliotis, CC Singapore'' 
'''Activities and Relationship of Creative Commons Korea''' 
'' - Jay Yoon, CC Korea'' 
'''Present and Future of Web Portals in Korea''' 
Hye-seung Jung, Daum
In-hyuk, Choi, Naver
|- align="center" bgcolor="silver" valign="middle"
! 11:50 - 13:00
| colspan="2" | Lunch
|- align="left" bgcolor="pink" valign="top"
! 13:00 - 15:20
|

'''[Session 1] The more you open, the more you get''' 
'' Moderator: Won-jae Lee'' 
'''Sharism''' ([http://www.slideshare.net/rejon/sharism-cckorea10 slides]) 
'' - Isaac Mao, Jon Phillips, and Christopher Adams'' 
'''What does "Open" mean to us?''' 
'' - Young-eul Kim, Nate'' 
'''NHK Creative Library''' 
'' - Seinoshin yamagishi'' 
'''VODO.net''' 
'' - Jamie King'' 

|
'''[Session 2] What can governments and people do for innovation in web 2.0 era?'''
 
''Moderator: Borami Kim'' 
'''Government 2.0 Taskforce Case in AU''' ''- Mia Garlick, CC Australia'' 
'''OA PSI Movement''' 
'' - Anne Fitzgerald'' 
'''Working with the public sector in using CC licenses: Lessons learned''' ([http://www.slideshare.net/trc/public-sector-cc-asia-2010 slides]) 
'' - Tyng-Ruey Chuang, CC Taiwan'' 
'''Korea's Government 2.0 cases''' 
'' - Jae-gon Jung, Korea Copyright Commission'' 
'' - Sung-ju Kang, Ministry of Public Administration and Security'' 
'' - Jung-hee Song, Seoul Metropolitan Government'' 

|- align="center" bgcolor="silver" valign="middle"
! 15:20 - 15:30
| colspan="2" | Break
|- align="left" bgcolor="pink" valign="top"
! 15:30 - 17:10
|
'''[Session 3] Getting inspiration from open creation''' 
''Moderator: Seung-jun Choi'' 
'''INTO INFINITY & iPhone remix application''' 
'' - Takahiro Saito & Izumi Yoshida, CC Japan'' 
'''Open Secret Technology and its Boomerang Effects''' 
'' - Hojun Song'' 
'''Open Source Cinema''' 
'' - Brett Gaylor'' 
'''"Remix and Share" project''' 
'' - Handong Zhu, CC China Mainland'' 
'''CC to the Museum''' 
'' - Fumio Nanjo & Choi JungHua, Mori Art Museum''
|
'''[Session 4] Open Education Resource: innovation for learning and teaching''' 
''Moderator: Namu Lee'' 
'''Creative Commons and Open Educational Resources''' 
''- Jane Park, CC HQ'' 
'''OER in Korea''' 
''- Hye-kyung Yang, KERIS" 
'''Overview of OCW worldwide''' 
''- Meena Hwang, OpenCourseware Consortium'' 
'''Snow 2.0''' 
''- Jisun Lee, Sookmyung University'' 
'''OER Case study''' 
''-Ha-young Shin''

|- align="center" bgcolor="silver" valign="middle"
! 17:10 - 17:20
| colspan="2" | Break
|- align="left" bgcolor="pink" valign="top"
! 17:20 - 18:00
| colspan="2" | '''Closing Keynote''' 
''- Lawrence Lessig''
|}

==== 2010-06-05 ====

* 9:30 am - 4:00 pm CC ASIA PACIFIC Meeting
* 6:00 pm - 10:00 pm CC Friends Party
{|
|- align="left" bgcolor="pink" valign="top"
! 09:00 - 09:30
| Registration
|- align="left" bgcolor="pink" valign="top"
! 09:30 - 10:00
| Announcement from CC Korea and CC HQ
|- align="left" bgcolor="pink" valign="top"
! 10:00 - 11:30
| '''[Session 1] Case studies and project showcases'''
''Moderator: Tyng-Ruey Chuang''

* Korea - Case studies, ''by Ju-young Oh''
* Australia - Creative industry business models ''by Jessica Coates''
* China Mainland - Promotion programs of CC China Mainland in the areas of culture, science and education ''by Ping Liu''
* Japan - Science Commons Translation Project, online fair use survey ''by Tomoaki Watanabe''

|- align="left" bgcolor="silver" valign="top"
! 11:30 - 11:40
| Break
|- align="left" bgcolor="pink" valign="top"
! 11:40 - 12:30
| '''[Session 2] Case studies and project showcases''' ''(continued)''
''Moderator: Jessica Coates''

* The Philippines - Free Access to Law (FAL) ''by Michael Vernon Guerrero Mendiola''
* Taiwan - Fun with Metadata ([http://www.slideshare.net/bobchao/fun-with-metadata slides]) ''by Bob Chao''
* Syria - MiddleEastern Opportunities ([https://docs.google.com/present/edit?id=0AXFwSDegnar6ZGNyOThjcmZfNThkaHNkc2RodA&hl=en slides]) ''by Bassel Safadi''
* Canada - status.net ''by Jon Phillips''

|- align="left" bgcolor="silver" valign="top"
! 12:10 - 13:30
| Lunch
|- align="left" bgcolor="pink" valign="top"
! 13:30 - 14:40
| '''[Session 3] Sharing experience'''
''Moderator: Chunyan Wang''

Funding, making community, collaboration with other NGO, cultural difference, copyright issues, etc.

* Japan - CC Japan's networking and chain reactions through outreach activities ''by Tomoaki Watanabe''
* New Zealand - The Organisation of Creative Commons Aotearoa New Zealand ''by Jane Hornibrook''
* Taiwan - Sharing the experience of popularizaing and cooperating with other organizations ''by Emily (Wen-Yin) Chou''
* Korea - Building Community and Relationship of CC Korea ([http://www.slideshare.net/cckslide/cc-korea2010-seoul slides]) ''by Miyoung Yi''
* China Mainland - Building the Institutional Capacity of CC China Mainland ''by Chunyan Wang''

|- align="left" bgcolor="silver" valign="top"
! 14:40 - 15:00
| Break
|- align="left" bgcolor="pink" valign="top"
! 15:00 - 15:40
| '''[Session 4]Fundraising

''Moderator: Jay Yoon''

* fundraising issues on NGO area ''by Wonsoon Park (Social Designer of Hope institute)''
* introducing the case of Blue Butterfly Project ''by SB (Prain)''

|- align="left" bgcolor="silver" valign="top"
! 15:40 - 15:50
| Break
|- align="left" bgcolor="pink" valign="top"
! 15:50 - 16:50
| '''[Session 5]Roadmap for CC Asia Pacific Community'''

''Moderator: Jimmy Soriano''

Relationship with CC HQ, CCL upgrade, newsletter, office, web site, joint projects, etc.
|- align="left" bgcolor="pink" valign="top"
! 16:50 - 17:00
| Wrap-up and Conclusion
|- align="left" bgcolor="Silver" valign="top"
! 18:00 - 18:40
| Dinner
|- align="left" bgcolor="pink" valign="top"
! 18:40 - 19:40
| '''CC Friends Party'''

* Open Clipart Library ([http://www.slideshare.net/rejon/openclipart-aiki-framework-lightning-talk-10 slides]) ''by Jon Phillips''

|- align="left" bgcolor="silver" valign="top"
|}

==== 2010-06-06 ====
* Fun day, free time and/or departure at Incheon International Airport

=== Registration ===
Please follow the link below and submit the form to register for this event.
The information you will provide will be used to help us preparing the event.
[http://spreadsheets1.google.com/embeddedform?formkey=dGtzZ0N0aElQSVU5UWltZFVRZC1yTHc6MQ]

=== Contact ===
*Email: ccasia@cckorea.org
*Facebook: Creative Commons Asia-Pacific (http://www.facebook.com/creativecommons.ap)
*Twitter:

=== Useful Information ===
{{incomplete}}

*Seoul public transportation system[http://www.lifeinkorea.com/information/trans/seoul-trans.cfm]
*Subway map[http://www.smrt.co.kr/Train/Subwaymap/Eng/Subwaymap.jsp]
*Weather in June
**In June, the weather in Seoul ranges from low 16°C(60.8℉) to high 27°C(80.6℉) in average. It is early summer, so you can wear a short-sleeve.
*Things to do[http://www.5ibuy.com/vacheron-constantin-c-31.html Vacheron Constantin]
**Visit Korea[http://www.visitkorea.or.kr/intro.html] 
**Seoul City Tour Bus[http://en.seoulcitybus.com]/

CC Asia Conference 2010

2010-04-29T19:49:36Z

趙柏強: /* 2010-06-05 */ fix typo

{{Event
|Mainurl=www.creativecommons.or.kr
|EventType=Conference
|date=2010/06/04
|end_date=2010/06/05
|Location=Seoul, Korea
|EventCategory=CC-Specific, Free Culture, Open Access, Open Business, Open Data, Open Education
|Attendance=Yes
|invitation=No
|public=Yes
}}
=='''CC Asia Pacific Conference 2010'''==

=== Who ===
Creative Commons Korea, Creative Commons Global Community members, Creative Commons Jurisdiction Projects, and general public.

=== What ===
{{incomplete}}
''"Open for Innovation"''

=== When ===
June 4 to June 5, 2010
==== 2010-06-03 ====
* Arrival into Seoul

==== 2010-06-04 ====
{|
|- align="left" bgcolor="pink" valign="top"
! 09:00 - 10:00
| Registration
|- align="left" bgcolor="pink" valign="top"
! 10:00 - 10:30
| Welcoming Remarks
|- align="left" bgcolor="pink" valign="top"
! 10:30 - 11:00
| '''Opening Keynote : "CC for innovation" by Joi Ito'''
|- align="left" bgcolor="pink" valign="top"
! 11:00 - 12:00
| '''Plenary Session : "We are open, we are innovators"'''

|- align="left" bgcolor="silver" valign="top"
! 12:00 - 13:00
| Lunch
|- align="left" bgcolor="pink" valign="top"
! 13:00 - 15:00
| [Session 1]

'''Track 1 - Open Education Resource: innovation for learning and teaching'''

* CC & P2P University (?)

'''Track 2 - What can governments and people do for innovation in web 2.0 era?'''

* Government 2.0 Taskforce Case in AU (Mia Garlick, CC Australia)
* (CC Taiwan)

|- align="left" bgcolor="silver" valign="top"
! 15:00 - 15:30
| Coffee Break
|- align="left" bgcolor="pink" valign="top"
! 15:30 - 17:00
| [Session 2]

'''Track 1: Getting inspiration from open creation'''

* Remix and Share (CC China Mainland)
* INTO INFINITY & iPhone remix application (CC Japan)

'''Track 2: The more you open, the more you get'''

* Sharism (Issac Mao, Jon Phillips, and Christopher Adams + more)
* (CC Singapore)
*

|- align="left" bgcolor="silver" valign="top"
! 17:00 - 17:10
| Break
|- align="left" bgcolor="pink" valign="top"
! 17:10 - 18:00
| Closing Keynote (Lawrence Lessig) and Wrap Up
|}

==== 2010-06-05 ====
{|
|- align="left" bgcolor="pink" valign="top"
! 09:00 - 09:30
| Registration
|- align="left" bgcolor="pink" valign="top"
! 09:30 - 10:00
| Announcement from CC Korea and CC HQ
|- align="left" bgcolor="pink" valign="top"
! 10:00 - 11:00''Italic text''
| [Session 1]
'''Case studies and project showcases'''

'''Korea''', '''Japan'''(Science Commons Translation Project, online fair use survey), '''China Mainland'''(CC Interactive Event on Traditional Chinese Culture, international symposium on Common Use Licensing for Scientific Literature and data), '''Taiwan'''(CC Metadata with Jetpack and Google Chrome), '''Singapore'''(international symposium on Common Use Licensing for Scientific Literature and data), '''Australia'''(Open PSI developments in Australia, Open archives projects, CC case studies)
|- align="left" bgcolor="silver" valign="top"
! 11:00 - 11:10
| Coffee Break
|- align="left" bgcolor="pink" valign="top"
! 11:10 - 12:10
| [Session 2]
'''Case studies and project showcases''' ''(continued)''

|- align="left" bgcolor="silver" valign="top"
! 12:10 - 13:30
| Lunch
|- align="left" bgcolor="pink" valign="top"
! 13:30 - 14:30
| [Session 3]
'''Sharing experience'''

* regarding funding, making community, collaboration with other NGO, cultural difference, copyright issue,

'''Korea''', '''Japan'''(a course on Information Society, CC Japan was involved in organizing and speaking at some symposium and sessions), '''China Mainland''' , '''Taiwan'''(Sharing the experience of popularizaing and cooperating with other organizations), '''New Zealand'''(The Organisation of Creative Commons)
|- align="left" bgcolor="silver" valign="top"
! 14:30 - 14:50
| Coffee Break
|- align="left" bgcolor="pink" valign="top"
! 14:50 - 15:50
| [Session 4]
'''Roadmap for CC Asia Pacific Community'''

* relationship with CC HQ, CCL upgrade, Newsletter('''Philippines'''), Office, Web site, Joint Projects
|- align="left" bgcolor="pink" valign="top"
! 16:00 - 17:00
| Guided tour of National Museum of Korea
|- align="left" bgcolor="Silver" valign="top"
! 17:00 - 18:00
| Break
|- align="left" bgcolor="Silver" valign="top"
! 18:00 - 18:40
| Dinner
|- align="left" bgcolor="pink" valign="top"
! 18:40 - 19:40
| '''CC Friends'''
|- align="left" bgcolor="silver" valign="top"
! 19:40 - 20:00
| Break
|- align="left" bgcolor="pink" valign="top"
! 19:40 - 20:00
| '''CC Friends''' ''(continued)''
|- align="left" bgcolor="pink" valign="top"
! 20:00 - 21:00
| CC Asia Pacific Party
|}

==== 2010-06-06 ====
* Fun day, free time and/or departure Incheon International Airport

=== Where ===
{{incomplete}}
TBA

=== Why ===
{{incomplete}}

=== How ===
{{incomplete}}