These articles and comments have been collected to represent the different views about Creative Commons and issues related to Creative Commons. If you know of an article or comment that is not represented here, feel free to let us know about it so that we can consider it for inclusion by emailing us at info@creativecommons.org. Articles and comments that are suitable for inclusion here are those which somehow progress and contribute to the debate that surrounds CC & CC-related issues.(NB. At the time this book was prepared, iCommons referred to the international licensing project currently known as Creative Commons International)
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'''General Articles and Comments Related to CC and CC Related Topics'''

'''2006'''
*Digital Rights Management: Report of an Inquiry by the All Party Internet Group,http://www.apig.org.uk/current-activities/apig-inquiry-into-digital-rights-management/DRMreport.pdf

*Mia Garlick, The Dream of a Virtual European Digital Library - Will CC Licensing Play a Role?http://creativecommons.org/weblog/5867

*Mia Garlick, submission in response to the Questions for online consultation released in conjunction with the i2010 Digital
Libraries Communication from the Commission to the European Parliament, the
Council, the European Economic and Social Committee and the Committee of the
Regions, http://europa.eu.int/information_society/activities/digital_libraries/consultation/replies/consult_results/cc_a302994.pdf

*Australian Copyright Council, Information Sheet: Creative Commons Licenses, May 2006. http://www.copyright.org.au/pdf/acc/infosheets_pdf/g094.pdf/download

'''2005'''
*Mia Garlick , A Review of Creative Commons and Science Commons , http://www.educause.edu/content.asp?page_id=666&ID=ERM05510&bhcp=1.

Mia Garlick, Creative Humbug? Bah the humbug, let’s get creative! By:Mia Garlick, Creative Commons,www.indicare.org/tiki-print_article.php?articleId=124. ((no online link available at this time).

*Online Forum on Intellectual Property and Information Society, Theme Two: The intellectual property system and freedom of expression and creativity. www.wipo.int/roller/comments/ipisforum/Weblog/theme_two_the_intellectual_property#comment50

*Online Forum on Intellectual Property and Information Society, Theme Three: The public domain and open access models of information creation: at odds with the intellectual property system or enabled by it?http://www.wipo.int/roller/comments/ipisforum/Weblog/theme_three_the_public_domain#comment53

*Creative Commons International, "Submission Regarding the Application of the Australian Performing Rights Association (APRA) for Authorization," http://www.accc.gov.au/content/trimFile.phtml?trimFileName=D05+61451.pdf&trimFileTitle=D05+61451.pdf&trimFileFromVersionId=744729

**Second Submission: http://www.accc.gov.au/content/trimFile.phtml?trimFileName=D05+70075.pdf&trimFileTitle=D05+70075.pdf&trimFileFromVersionId=744729

**filed as part of the Australian Competition & Consumer Commission's consideration of the Australian Performing Rights Association's application for Authorisation of its input & output arrangements. All documents can be found here: http://www.accc.gov.au/content/index.phtml/itemId/744728/display/submission.

'''2004'''
*Christiane Asschenfeldt, "Copyright and Licensing Issues—The International Commons." In CERN Workshop Series on Innovations in Scholarly Communication: Implementing the Benefits of OAI (OAI3), 12 February-14 February 2004 at CERN, Geneva, Switzerland. Geneva: CERN, 2004. http://eprints.rclis.org/archive/00000998/ 2004

*Brian Fitzgerald, Brian, and Ian Oi. "Free Culture: Cultivating the Creative Commons." (2004). http://eprints.qut.edu.au/archive/00000122/

*Jonathan B. Weitzman, and Lawrence Lessig. "Open Access and Creative Common Sense." Open Access Now, 10 May 2004. http://www.biomedcentral.com/openaccess/archive/?page=features&issue=16

'''2003'''
*"Out of the Way: How the Next Copyright Revolution Can Help the Next Scientific Revolution." PLoS Biology 1, no. 1 (2003): 30-31. http://www.plosbiology.org/plosonline/?request=get-document&doi=10.1371%2Fjournal.pbio.0000009

*Lawrence Lessig, The Creative Commons, RBL, Tokyo (2003). (No online link available at this time).

*Barbara F. Schloman,"Creative Commons: An Opportunity to Extend the Public Domain." Online Journal of Issues in Nursing, 13 October 2003. http://www.nursingworld.org/ojin/infocol/info_12.htm

*Gary Stix, "Some Rights Reserved." Scientific American 288, no. 3 (2003): 46. http://www.sciam.com/article.cfm?chanID=sa006&colID=7&articleID=000C2691-4F88-1E40-89E0809EC588EEDF

'''2002'''
*D.C. Denison, "For Creators, An Argument for Alienable Rights." Boston Globe, 22 December 2002, E2. (No online link available at this time).

*Hal Plotkin, "All Hail Creative Commons: Stanford Professor and Author Lawrence Lessig Plans a Legal Insurrection." SFGate.com, 11 February 2002. http://www.sfgate.com/cgi-bin/article.cgi?file=/gate/archive/2002/02/11/creatcom.DTL

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'''Books Related to CC and CC Related Topics'''

*Yochai Benkler, (2006). The Wealth of Networks: How Social Production Transforms Markets and Freedom. New Haven: Yale University Press.ISBN 0300110561. http://www.benkler.org/wealth_of_networks/index.php/Download_PDFs_of_the_book.

*Lawrence Lessig, (2005). Free Culture: The Nature and Future of Creativity. New York: Penguin. ISBN 9780143034650 2003.http://www.free-culture.cc/freeculture.pdf

*Kembrew McLeod, (2005). Freedom of Expression (R) : Overzealous Copyright Bozos and Other Enemies of Creativity. New York: Doubleday. ISBN 0385513259.http://www.kembrew.com/books/

*Danièle Bourcier, Mélanie Dulong de Rosnay et. al., (2004). International Commons at the Digital Age/La création en partage. Paris: Editions Romillat. ISBN 2878940814. http://fr.creativecommons.org/iCommons_book.htm

*Kembrew McLeod, (2001). Owning Culture: Authorship, Ownership, and Intellectual Property Law (Popular Culture and Everyday Life). New York: Peter Lang Publishing. ISBN 0820451576.http://www.kembrew.com/books/

*Lawrence Lessig, (2001). The Future of Ideas: The Fate of the Commons in a Connected World. New York: Random House. ISBN 0375505784.

*Lawrence Lessig, (1999). Code, and Other Laws of Cyberspace. New York: Basic Books. ISBN 046503912X.

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'''Law Journal Articles about CC and CC Related Topics'''

* Jerry Brito and Bridget Dooling, An Orphan Works Affirmative Defense to Copyright Infringement Actions, 12 Mich. Telecomm. Tech. L. Rev. 75 (2005), available at www.mttlr.org—brito&dooling.pdf www.mttlr.org—brito&dooling.pdf

* Brooke Oliver Law Group, P.C., The Artist's Perspective in the Acquisiton, Exhibition, and Preservation of New Media Works, SK061 ALI-ABA 161 (2005).

*Anupam Chander and Sunder, Madhavi, The Romance of the Public Domain, 92 Calif. L. Rev. 1331 (2004).

*Corey Field, Copyright, Technology, and Time: Perspectives on "Interactive" as a Term, 50 J. Copyright Soc'y U.S.A. 49 (2003).

* Martina Gillen, Gavin Sutter, Legal Protection of Copy-Protection Mechanisms, 51 J. Copyright Soc'y U.S.A. 729 (2004).

* Andres Guadamuz Gonzalez, Open Science: Open Source Licenses in Scientific Research, 7 N.C. J.L. & Tech. 321(2006).

* Jeffrey L. Harrison, Creativity or Commons: A Comment on Professor Lessig, 55 Fla. L. Rev. 795 (2003).

*Zachary Katz, Pitfalls of Open Licensing: An Analysis of Creative Commons Licensing, 46 IDEA 391 (2006).

*Niva Elkin-Koren, What Contracts Cannot Do: The Limits of Private Ordering in Facilitiating A Creative Commons, 74 Fordham L. Rev. 375 (November 2005).

* Robert P. Merges, A New Dynamism in the Public Domain, 71 U. Chi. L. Rev. 183 (Winter 2004).

* Christopher Sprigman, Reform(aliz)ing Copyright, 57 Stan. L. Rev. 485 (November, 2004).

*Lawrence Lessig, Dunwoody Distinguished Lecture in law: The Creative Commons, 55 Fla. L. Rev. 763 (2003).

*Lawrence Lessig, Commentary: The Creative Commons, 65 Mont. L. Rev. 1 (Winter, 2004).

* Lawrence Lessig, Free(ing) Culture for Remix, 2004 Utah L. Rev. 961 (2004).

*Lawrence B. Solum,Book Review : The Future of CopyrightFree Culture: How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity. By Lawrence Lessig, 83 Tex. L. Rev. 1137 (2005).

*Matthew Dean Stratton, Will Lessig Succeed in Challenging the CTEA, Post-Eldred?, 15 Fordham Intell. Prop. Media & Ent. L.J. 893 (Spring, 2005).
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'''Criticisms of Creative Commons'''
*Media, Entertainment and Arts Alliance (MEAA)'s Media Release: "AFC provides no Sanctuary for Australian performers," http://modfilms.com/archives/doc/20050330_meaa_pressrelease.pdf

*Association Littéraire et Artistique Internationale (ALAI), MEMORANDUM ON CREATIVE COMMONS LICENSES, http://www.alai-usa.org/Memo%20Creative%20Com%20Licences%20jg%20rev%2022%20jan.doc

*Australasian Performing Right Association (APRA) position on CC, http://www.apra.com.au/writers/forms_and_guidelines/creative_commons.asp

*D. M. Berry, & Giles Moss, “On the ‘Creative Commons’: a critique of the commons without commonalty,” Free Software Magazine. No. 5., http://www.freesoftwaremagazine.com/free_issues/issue_05/commons_without_commonality

*D. M. Berry, & Giles Moss,"Libre Commons = Libre Culture + Radical Democracy."http://www.noemalab.org/sections/ideas/ideas_articles/berry_moss_libre_commons.html

*Niva Elkin-Koren, "Creative Commons: A Skeptical View of a Worthy Pursuit" . THE FUTURE OF THE PUBLIC DOMAIN, P. Bernt Hugenholtz & Lucie Guibault, eds., Kluwer Law International, 2006 Available at SSRN: http://ssrn.com/abstract=885466

*John C. Dvorak,“Creative Commons Humbug,” PC Magazine, http://www.pcmag.com/article2/0,1895,1838251,00.asp, Dvorak's revised position on CC: http://www.joegratz.net/archives/2005/10/27/dvorak-recants-on-creative-commons-humbug/

*Sarah Faulder, "What Creative Commons means for writers," http://www.apra.com.au/writers/downloads/creative_commons_writers.pdf

*Mihály Ficsor, "How Did We Arrive Here? The Evolution of Copyright Legislation (the End of?), http://www.ebu.ch/CMSimages/en/B.1%20M.%20Ficsor_tcm6-43830.pdf.

*Michael Fitzgerald, "Copyleft Hits a Snag," http://www.technologyreview.com/read_article.aspx?id=16073&ch=infotech

* Benjamin Mako Hill, "Towards a Standard of Freedom: Creative Commons and the Free Software Movement," http://mako.cc/writing/toward_a_standard_of_freedom.html

*Becky Hogge, "What Moves a Movement," http://www.opendemocracy.net/media-commons/movement_3686.jsp.

* Erik Möller, "The Case for Free Use: Reasons Not to Use a Creative Commons -NC License," http://intelligentdesigns.net/Licenses/NC.

*Raymond Nimmer, “Open source license proliferation, a broader view," http://www.ipinfoblog.com/archives/licensing-law-issues-36-open-source-license-proliferation-a-broader-view.html

*Andrew Orlowski, “On Creativity, Computers and Copyright," The Register. http://www.theregister.co.uk/2005/07/21/creativity/

*Emma Pike, "What you need to know about Creative Commons," http://www.apra.com.au/writers/downloads/creative_commons.pdf

*Evan Prodromou, "debian-legal Summary of Creative Commons 2.0 Licenses," http://people.debian.org/~evan/ccsummary.html

*Richard Stallman, Position on Creative Commons: http://www.fsf.org/blogs/rms/entry-20050920.html.and http://yro.slashdot.org/article.pl?sid=06/02/07/1733220

*Péter Benjamin Tóth, “Creative Humbug: Personal feelings about the Creative Commons licenses," http://www.indicare.org/tiki-read_article.php?articleId=118, http://www.apra.com.au/writers/downloads/creative_commons.pdf

Scholarship and critique regarding Creative Commons

2006-07-10T20:40:23Z

Amy Rose:

Scholarship and critique regarding Creative Commons

2006-07-10T20:37:44Z

Amy Rose:

Scholarship and critique regarding Creative Commons

2006-07-10T20:36:55Z

Amy Rose:

2006-07-09T19:02:42Z

Amy Rose:

Scholarship and critique regarding Creative Commons

2006-07-09T18:56:08Z

Amy Rose:

'''Academic Articles and Books about Creative Commons'''

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'''Law Review/Law Journal Articles about Creative Commons'''
* Niva Elkin-Koren, What Contracts Cannot Do: The Limits of Private Ordering in Facilitiating A Creative Commons, 74 Fordham L. Rev. 375 (November 2005)

* Matthew J. Astle, Will Congress Kill the Podcasting Star? 19 Harv. J.L. & Tech. 161 (Fall, 2005).

* Robert P. Merges, A New Dynamism in the Public Domain, 71 U. Chi. L. Rev. 183 (Winter 2004).

* Christopher Sprigman, Reform(aliz)ing Copyright, 57 Stan. L. Rev. 485 (November, 2004).

* Corey Field, Copyright, Technology, and Time: Perspectives on "Interactive" as a Term, 50 J. Copyright Soc'y U.S.A. 49 (2003).

* Michael N. Lang, The Regulation of Shrink-Wrapped Radio: Implications of Copyright on Podcasting, 14 CommLaw Conspectus 463 (2006).

* Jerry Brito and Bridget Dooling, An Orphan Works Affirmative Defense to Copyright Infringement Actions, 12 Mich. Telecomm. Tech. L. Rev. 75 (2005), available at www.mttlr.org—brito&dooling.pdf www.mttlr.org—brito&dooling.pdf about orphan works

* Brooke Oliver, The Artist's Perspective in the Acquisiton, Exhibition, and Preservation of New Media Works, SK061 ALI-ABA 161 (2005).

* Lawrence Lessig, Free(ing) Culture for Remix, 2004 Utah L. Rev. 961 (2004).

* Martina Gillen, Gavin Sutter, Legal Protection of Copy-Protection Mechanisms, 51 J. Copyright Soc'y U.S.A. 729 (2004).

* Dan Hunter, F. Gregory Lastowka, Amateur-to-Amateur, 46 Wm. & Mary L. Rev. 951 (2004).

* Jeffrey L. Harrison, Creativity or Commons: A Comment on Professor Lessig, 55 Fla. L. Rev. 795 (2003). critical

* Zachary Katz, Pitfalls of Open Licensing: An Analysis of Creative Commons Licensing, 46 IDEA 391 (2006).

* Andres Guadamuz Gonzalez, Open Science: Open Source Licenses in Scientific Research, 7 N.C. J.L. & Tech. 321(2006).

* David W. Opderbeck, The Penguin's Genome, or Coase and Open Source Biotechnology, 18 Harv. J. Law & Tec 167 (Fall, 2004).

* Jennifer R. Mueller, NOTE: All Mixed Up: Bridgeport Music v. Dimension Films and De Minimis Digital Sampling, 81 Ind. L.J. 435 (2006).

* Anupam Chander and Madhavi Sunder, The Romance of the Public Domain, 92 Calif. L. Rev. 1331 (2004).

* Lawrence Lessig, Commentary: The Creative Commons, 65 Mont. L. Rev. 1 (Winter, 2004).

* Rosemary J. Coombe, Fear, Hope, and Longing for the Future of Authorship and Revitalized Public Domain in Global Regimes of Intellectual Property, 52 DePaul L. Rev. 1171 (Summer 2003).

* Matthew Dean Stratton, Will Lessig Succeed in Challenging the CTEA, Post-Eldred?, 15 Fordham Intell. Prop. Media & Ent. L.J. 893 (Spring, 2005).

*Lawrence Lessig, Dunwody Distinguished Lecture in law: The Creative Commons, 17 Wash. U. J.L. & Pol'y 233 (2002).

*James Gibson, Once and Future Copyright, 81 Notre Dame L. Rev. 167 (2005).

*Molly Shaffer Van Houweling, Distributive Values in Copyright, 83 Tex. L. Rev. 1535 (2005).

*Lawrence B. Solum,Book Review : The Future of CopyrightFree Culture: How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity. By Lawrence Lessig, 83 Tex. L. Rev. 1137 (2005).

*Brian W. Carver, Share and Share Alike: Understanding and Enforcing Open Source and Free Software Licenses, 20 Berkeley Tech. L.J. 443 (2005).

*J. H. Reichman and Paul F. Uhlir, The Public Domain: A Contractually Reconstructed Research Commons for Scientific Data in a Highly Protectionist Intellectual Property Environment, 66 Law & Contemp. Prob. 315, (2003).

----
'''Criticisms of Creative Commons
'''
*Elkin-Koren, Niva, "Creative Commons: A Skeptical View of a Worthy Pursuit" . THE FUTURE OF THE PUBLIC DOMAIN, P. Bernt Hugenholtz & Lucie Guibault, eds., Kluwer Law International, 2006 Available at SSRN: http://ssrn.com/abstract=885466

*Media Release: AFC provides no Sanctuary for Australian performers: http://modfilms.com/archives/doc/20050330_meaa_pressrelease.pdf.

*Berry, D. M., & Moss, G. (2005). “On the ‘Creative Commons’: a critique of the commons without commonalty”. Free Software Magazine. No. 5. Retrieved 02/06/05, from http://www.freesoftwaremagazine.com/free_issues/issue_05/commons_without_commonality

*Dvorak, John C. (2005. “Creative Commons Humbug”. PC Magazine. Retrieved from http://www.pcmag.com/article2/0,1895,1838251,00.asp

*Dvorak recants: http://www.joegratz.net/archives/2005/10/27/dvorak-recants-on-creative-commons-humbug/

*Berry, D. M. (2004). “The Contestation of Code: a Preliminary Investigation Into the Discourse of the Free/libre and Open Source Movement”. Critical Discourse Studies, 1 (1),

* Berry, D. M., & Moss, G. (2005). “On the ‘Creative Commons’: a critique of the commons without commonalty”. Free Software Magazine. No. 5. Retrieved 02/06/05, from http://www.freesoftwaremagazine.com/free_issues/issue_05/commons_without_commonality

*Hill, Benjamin Mako. (2005). Towards a Standard of Freedom: Creative Commons and the Free Software Movement.,http://mako.cc/writing/toward_a_standard_of_freedom.html

*http://people.debian.org/~evan/ccsummary.html

* Orlowski, Andrew (2005). “On Creativity, Computers and Copyright”. The Register. http://www.theregister.co.uk/2005/07/21/creativity/

* Nimmer, Raymond (2005). “Open source license proliferation, a broader view”. Retrieved from http://www.ipinfoblog.com/archives/licensing-law-issues-36-open-source-license-proliferation-a-broader-view.html

*Tóth, Péter Benjamin. (2005). “Creative Humbug: Personal feelings about the Creative Commons licenses”. Retrieved from http://www.indicare.org/tiki-read_article.php?articleId=118, http://www.apra.com.au/writers/downloads/creative_commons.pdf.

*Sarah Faulder (Music Publishers Association, UK) - What Creative Commons means for writers (pdf),http://www.apra.com.au/writers/downloads/creative_commons_writers.pdf

*Emma Pike (British Music Rights, UK) - What you need to know about Creative Commons (pdf).http://www.apra.com.au/writers/downloads/creative_commons.pdf

*APRA position on CC: http://www.apra.com.au/writers/forms_and_guidelines/creative_commons.asp

*Richard Stallman on CC: http://www.fsf.org/blogs/rms/entry-20050920.html.

Scholarship and critique regarding Creative Commons

2006-07-09T18:54:12Z

Amy Rose:

'''Law Review/Law Journal Articles about Creative Commons'''
* Niva Elkin-Koren, What Contracts Cannot Do: The Limits of Private Ordering in Facilitiating A Creative Commons, 74 Fordham L. Rev. 375 (November 2005)

* Matthew J. Astle, Will Congress Kill the Podcasting Star? 19 Harv. J.L. & Tech. 161 (Fall, 2005).

* Robert P. Merges, A New Dynamism in the Public Domain, 71 U. Chi. L. Rev. 183 (Winter 2004).

* Christopher Sprigman, Reform(aliz)ing Copyright, 57 Stan. L. Rev. 485 (November, 2004).

* Corey Field, Copyright, Technology, and Time: Perspectives on "Interactive" as a Term, 50 J. Copyright Soc'y U.S.A. 49 (2003).

* Michael N. Lang, The Regulation of Shrink-Wrapped Radio: Implications of Copyright on Podcasting, 14 CommLaw Conspectus 463 (2006).

* Jerry Brito and Bridget Dooling, An Orphan Works Affirmative Defense to Copyright Infringement Actions, 12 Mich. Telecomm. Tech. L. Rev. 75 (2005), available at www.mttlr.org—brito&dooling.pdf www.mttlr.org—brito&dooling.pdf about orphan works

* Brooke Oliver, The Artist's Perspective in the Acquisiton, Exhibition, and Preservation of New Media Works, SK061 ALI-ABA 161 (2005).

* Lawrence Lessig, Free(ing) Culture for Remix, 2004 Utah L. Rev. 961 (2004).

* Martina Gillen, Gavin Sutter, Legal Protection of Copy-Protection Mechanisms, 51 J. Copyright Soc'y U.S.A. 729 (2004).

* Dan Hunter, F. Gregory Lastowka, Amateur-to-Amateur, 46 Wm. & Mary L. Rev. 951 (2004).

* Jeffrey L. Harrison, Creativity or Commons: A Comment on Professor Lessig, 55 Fla. L. Rev. 795 (2003). critical

* Zachary Katz, Pitfalls of Open Licensing: An Analysis of Creative Commons Licensing, 46 IDEA 391 (2006).

* Andres Guadamuz Gonzalez, Open Science: Open Source Licenses in Scientific Research, 7 N.C. J.L. & Tech. 321(2006).

* David W. Opderbeck, The Penguin's Genome, or Coase and Open Source Biotechnology, 18 Harv. J. Law & Tec 167 (Fall, 2004).

* Jennifer R. Mueller, NOTE: All Mixed Up: Bridgeport Music v. Dimension Films and De Minimis Digital Sampling, 81 Ind. L.J. 435 (2006).

* Anupam Chander and Madhavi Sunder, The Romance of the Public Domain, 92 Calif. L. Rev. 1331 (2004).

* Lawrence Lessig, Commentary: The Creative Commons, 65 Mont. L. Rev. 1 (Winter, 2004).

* Rosemary J. Coombe, Fear, Hope, and Longing for the Future of Authorship and Revitalized Public Domain in Global Regimes of Intellectual Property, 52 DePaul L. Rev. 1171 (Summer 2003).

* Matthew Dean Stratton, Will Lessig Succeed in Challenging the CTEA, Post-Eldred?, 15 Fordham Intell. Prop. Media & Ent. L.J. 893 (Spring, 2005).

*Lawrence Lessig, Dunwody Distinguished Lecture in law: The Creative Commons, 17 Wash. U. J.L. & Pol'y 233 (2002).

*James Gibson, Once and Future Copyright, 81 Notre Dame L. Rev. 167 (2005).

*Molly Shaffer Van Houweling, Distributive Values in Copyright, 83 Tex. L. Rev. 1535 (2005).

*Lawrence B. Solum,Book Review : The Future of CopyrightFree Culture: How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity. By Lawrence Lessig, 83 Tex. L. Rev. 1137 (2005).

*Brian W. Carver, Share and Share Alike: Understanding and Enforcing Open Source and Free Software Licenses, 20 Berkeley Tech. L.J. 443 (2005).

*J. H. Reichman and Paul F. Uhlir, The Public Domain: A Contractually Reconstructed Research Commons for Scientific Data in a Highly Protectionist Intellectual Property Environment, 66 Law & Contemp. Prob. 315, (2003).

----
'''Criticisms of Creative Commons
'''
*Elkin-Koren, Niva, "Creative Commons: A Skeptical View of a Worthy Pursuit" . THE FUTURE OF THE PUBLIC DOMAIN, P. Bernt Hugenholtz & Lucie Guibault, eds., Kluwer Law International, 2006 Available at SSRN: http://ssrn.com/abstract=885466

*Media Release: AFC provides no Sanctuary for Australian performers: http://modfilms.com/archives/doc/20050330_meaa_pressrelease.pdf.

*Berry, D. M., & Moss, G. (2005). “On the ‘Creative Commons’: a critique of the commons without commonalty”. Free Software Magazine. No. 5. Retrieved 02/06/05, from http://www.freesoftwaremagazine.com/free_issues/issue_05/commons_without_commonality

*Dvorak, John C. (2005. “Creative Commons Humbug”. PC Magazine. Retrieved from http://www.pcmag.com/article2/0,1895,1838251,00.asp

*Dvorak recants: http://www.joegratz.net/archives/2005/10/27/dvorak-recants-on-creative-commons-humbug/

*Berry, D. M. (2004). “The Contestation of Code: a Preliminary Investigation Into the Discourse of the Free/libre and Open Source Movement”. Critical Discourse Studies, 1 (1),

* Berry, D. M., & Moss, G. (2005). “On the ‘Creative Commons’: a critique of the commons without commonalty”. Free Software Magazine. No. 5. Retrieved 02/06/05, from http://www.freesoftwaremagazine.com/free_issues/issue_05/commons_without_commonality

*Hill, Benjamin Mako. (2005). Towards a Standard of Freedom: Creative Commons and the Free Software Movement.,http://mako.cc/writing/toward_a_standard_of_freedom.html

*http://people.debian.org/~evan/ccsummary.html

* Orlowski, Andrew (2005). “On Creativity, Computers and Copyright”. The Register. http://www.theregister.co.uk/2005/07/21/creativity/

* Nimmer, Raymond (2005). “Open source license proliferation, a broader view”. Retrieved from http://www.ipinfoblog.com/archives/licensing-law-issues-36-open-source-license-proliferation-a-broader-view.html

*Tóth, Péter Benjamin. (2005). “Creative Humbug: Personal feelings about the Creative Commons licenses”. Retrieved from http://www.indicare.org/tiki-read_article.php?articleId=118, http://www.apra.com.au/writers/downloads/creative_commons.pdf.

*Sarah Faulder (Music Publishers Association, UK) - What Creative Commons means for writers (pdf),http://www.apra.com.au/writers/downloads/creative_commons_writers.pdf

*Emma Pike (British Music Rights, UK) - What you need to know about Creative Commons (pdf).http://www.apra.com.au/writers/downloads/creative_commons.pdf

*APRA position on CC: http://www.apra.com.au/writers/forms_and_guidelines/creative_commons.asp

*Richard Stallman on CC: http://www.fsf.org/blogs/rms/entry-20050920.html.