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	<entry>
		<id>https://wiki.creativecommons.org/index.php?title=Case_Studies/Digital_Fringe&amp;diff=15459</id>
		<title>Case Studies/Digital Fringe</title>
		<link rel="alternate" type="text/html" href="https://wiki.creativecommons.org/index.php?title=Case_Studies/Digital_Fringe&amp;diff=15459"/>
				<updated>2008-04-24T03:37:30Z</updated>
		
		<summary type="html">&lt;p&gt;Emma.carroll: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Case Study&lt;br /&gt;
|Description=Part of the Melbourne Fringe Festival, Digital Fringe is dedicated to showcasing the use of digital screen based technology in the arts.&lt;br /&gt;
|Quote=The flexibility and accessibility that Creative Commons provides really opens the options for artists about how they want their creations to continue their cultural life.&lt;br /&gt;
|Quote_Attribution=Simeon Moran, Digital Fringe co-producer&lt;br /&gt;
|Mainurl=http://digitalfringe.com.au&lt;br /&gt;
|Author=Melbourne Fringe Festival and Horse Bazaar&lt;br /&gt;
|User_Status=Curator&lt;br /&gt;
|Tag=digital arts, technology, festival, exhibition&lt;br /&gt;
|License short name=copyright, PD, various&lt;br /&gt;
|License=http://creativecommons.org/licenses/by/2.5/au/, http://creativecommons.org/licenses/by-sa/2.5/au/,http://creativecommons.org/licenses/by-nc/2.5/au/,http://creativecommons.org/licenses/by-nc-sa/2.5/au/,http://creativecommons.org/licenses/by-nd/2.5/au/,http://creativecommons.org/licenses/by-nc-nd/2.5/au/,http://creativecommons.org/licenses/by/3.0/,http://creativecommons.org/licenses/by-sa/3.0/,http://creativecommons.org/licenses/by-nd/3.0/,http://creativecommons.org/licenses/by-nc/3.0/,http://creativecommons.org/licenses/by-nc-sa/3.0/,http://creativecommons.org/licenses/by-nc-nd/3.0/&lt;br /&gt;
|Format=Image, Sound, Text, MovingImage, InteractiveResource&lt;br /&gt;
|Country=Australia (includes international content0&lt;br /&gt;
}}&lt;br /&gt;
== Overview ==&lt;br /&gt;
&lt;br /&gt;
Broadcast across the city of Melbourne using screens, projections and the web, Digital Fringe showcases the latest digital art from around the world and features [http://digitalfringe.com.au/?q=node/17 “interactive media shenanigans from a gaggle of local media artists”.]  This web-based digital art festival forms part of the annual Melbourne Fringe Festival and offers established and emerging artists working in the digital medium the opportunity to exhibit their works via site specific digital content streaming.&lt;br /&gt;
&lt;br /&gt;
Managed by Melbourne digital arts venue Horse Bazaar (renowned for its unique immersive video projection environment), Digital Fringe exhibits its works during the festival in three ways: general stream, interact and the mobile projection unit (MPU). &lt;br /&gt;
&lt;br /&gt;
The general stream is a continual playlist of digital art projected across a multitude of screens and surfaces in Melbourne.  Locations include galleries, public spaces (such as the Federation Square plaza screen), entertainment and hospitality venues, cyberspace and city iHubs.  The varied nature and extent of the exhibit locations ensure the works are viewed by as large an audience as possible.  In sourcing content, Digital Fringe curators undertake an extensive web-based call out, accepting submissions from digital artists across the globe.  &lt;br /&gt;
&lt;br /&gt;
The Interact exhibit utilises mobile phones and Internet technologies to create an interactive creative platform for digital artists.  As part of the general call for submissions, artists can present interactive digital art projects for inclusion in the [http://digitalfringe.com.au/?q=node/23 “amorphous mobile phone interactive piece”.]  Interact links data sent from mobile phones directly into artworks displayed through participating screens across Melbourne and the Digital Fringe website.&lt;br /&gt;
&lt;br /&gt;
The MPU is a mobile van travelling through the streets of Melbourne on the evenings of the festival.  Guest artist programmers interact with the architectural nuances of the city by projecting their playlist onto nearby buildings.  GPS positioning and projections from the van are monitored in real time alongside video hook-ups with the programmers.  Internet users can also use text via sms to interact with the MPU. &lt;br /&gt;
&lt;br /&gt;
The festival aims to foster avant-garde tech-cultural interactions and embraces the ideological concept of open source and shared culture, knowledge and expertise.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== License Usage ==&lt;br /&gt;
&lt;br /&gt;
Artists uploading content to the Digital Fringe website can select from the full range of licences, ie from traditional ‘all rights reserved’ to public domain dedication.  However in order to maximise the interactive and remix elements of the festival while retaining their copyright, participants are encouraged to select a ‘some rights reserved’ Creative Commons licence.  As an extra condition the artist must agree to their works being screened during the festival and for the promotion of Digital Fringe, however copyright in each work remains with the artist in entirety.&lt;br /&gt;
&lt;br /&gt;
At present the uptake of Creative Commons licences by artists on the Digital Fringe website demonstrates an enthusiasm for the licences matched by the Digital Fringe organisers.  &lt;br /&gt;
&lt;br /&gt;
:“We think CC is great – there seems to have been a really good uptake from artists submitting works to DF so it obviously is attractive to artists as well” (Simeon Moran, Digital Fringe co-producer)&lt;br /&gt;
&lt;br /&gt;
It is estimated that around 75% of works have been published under Creative Commons (with 10% selecting all rights reserved copyright and 15% no rights reserved public domain).  The positive response has encouraged the Digital Fringe team to develop future exhibitions to include remix activities, and take advantage of the creative potential facilitated by the CC licences.&lt;br /&gt;
&lt;br /&gt;
== Motivations ==&lt;br /&gt;
&lt;br /&gt;
When it came to licensing this project, the Digital Fringe team believed Creative Commons licences were the most appropriate and flexible option, considering the ethos behind Digital Fringe and its innovative use of digital technology and art.  From an ideological standpoint, they were keen to push the concept of open source and shared culture, knowledge and expertise, but also understood the need for culture creators to reserve some of their rights in certain situations.  For this reason artists were encouraged to licence their works with any form of CC licensing that suited their particular needs.  Creative Commons licences could then both facilitate the exhibition and help keep Digital Fringe content open for alternate creative uses.&lt;br /&gt;
&lt;br /&gt;
Digital Fringe is a fantastic example of how contemporary arts practice can operate in synch with copyright law.  &lt;br /&gt;
&lt;br /&gt;
:“Nice work CC – given current technological environment, a lot of arts practice involves remix and cut and paste methodologies and happens anyway - regardless of copyright issues. CC seems to be helping to move the legal structures along in the direction of cultural practice that will continue anyway, and to be formalising a resistance to everything being completely locked down by all rights reserved copyright monopoly. Hooray for the commons! All culture cant be owned for profit. We are all standing on the shoulders of giants...Keep up the good work!” (Simeon Moran, Digital Fringe co-producer)&lt;/div&gt;</summary>
		<author><name>Emma.carroll</name></author>	</entry>

	<entry>
		<id>https://wiki.creativecommons.org/index.php?title=Case_Studies/Digital_Fringe&amp;diff=15455</id>
		<title>Case Studies/Digital Fringe</title>
		<link rel="alternate" type="text/html" href="https://wiki.creativecommons.org/index.php?title=Case_Studies/Digital_Fringe&amp;diff=15455"/>
				<updated>2008-04-24T02:32:01Z</updated>
		
		<summary type="html">&lt;p&gt;Emma.carroll: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Case Study&lt;br /&gt;
|Description=Part of the Melbourne Fringe Festival, Digital Fringe is dedicated to showcasing the use of digital screen based technology in the arts.&lt;br /&gt;
|Quote=The flexibility and accessibility that Creative Commons provides really opens the options for artists about how they want their creations to continue their cultural life.&lt;br /&gt;
|Quote_Attribution=Simeon Moran, Digital Fringe co-producer&lt;br /&gt;
|Mainurl=http://digitalfringe.com.au&lt;br /&gt;
|Author=Melbourne Fringe Festival and Horse Bazaar&lt;br /&gt;
|User_Status=Curator&lt;br /&gt;
|Tag=digital arts, technology, festival, exhibition&lt;br /&gt;
|License short name=copyright, PD, various&lt;br /&gt;
|Format=Image, Sound, Text, MovingImage, InteractiveResource&lt;br /&gt;
|Country=Australia (includes international content0&lt;br /&gt;
}}&lt;br /&gt;
== Overview ==&lt;br /&gt;
&lt;br /&gt;
Broadcast across the city of Melbourne using screens, projections and the web, Digital Fringe showcases the latest digital art from around the world and features [http://digitalfringe.com.au/?q=node/17 “interactive media shenanigans from a gaggle of local media artists”.]  This web-based digital art festival forms part of the annual Melbourne Fringe Festival and offers established and emerging artists working in the digital medium the opportunity to exhibit their works via site specific digital content streaming.&lt;br /&gt;
&lt;br /&gt;
Managed by Melbourne digital arts venue Horse Bazaar (renowned for its unique immersive video projection environment), Digital Fringe exhibits its works during the festival in three ways: general stream, interact and the mobile projection unit (MPU). &lt;br /&gt;
&lt;br /&gt;
The general stream is a continual playlist of digital art projected across a multitude of screens and surfaces in Melbourne.  Locations include galleries, public spaces (such as the Federation Square plaza screen), entertainment and hospitality venues, cyberspace and city iHubs.  The varied nature and extent of the exhibit locations ensure the works are viewed by as large an audience as possible.  In sourcing content, Digital Fringe curators undertake an extensive web-based call out, accepting submissions from digital artists across the globe.  &lt;br /&gt;
&lt;br /&gt;
The Interact exhibit utilises mobile phones and Internet technologies to create an interactive creative platform for digital artists.  As part of the general call for submissions, artists can present interactive digital art projects for inclusion in the [http://digitalfringe.com.au/?q=node/23 “amorphous mobile phone interactive piece”.]  Interact links data sent from mobile phones directly into artworks displayed through participating screens across Melbourne and the Digital Fringe website.&lt;br /&gt;
&lt;br /&gt;
The MPU is a mobile van travelling through the streets of Melbourne on the evenings of the festival.  Guest artist programmers interact with the architectural nuances of the city by projecting their playlist onto nearby buildings.  GPS positioning and projections from the van are monitored in real time alongside video hook-ups with the programmers.  Internet users can also use text via sms to interact with the MPU. &lt;br /&gt;
&lt;br /&gt;
The festival aims to foster avant-garde tech-cultural interactions and embraces the ideological concept of open source and shared culture, knowledge and expertise.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== License Usage ==&lt;br /&gt;
&lt;br /&gt;
Artists uploading content to the Digital Fringe website can select from the full range of licences, ie from traditional ‘all rights reserved’ to public domain dedication.  However in order to maximise the interactive and remix elements of the festival while retaining their copyright, participants are encouraged to select a ‘some rights reserved’ Creative Commons licence.  As an extra condition the artist must agree to their works being screened during the festival and for the promotion of Digital Fringe, however copyright in each work remains with the artist in entirety.&lt;br /&gt;
&lt;br /&gt;
At present the uptake of Creative Commons licences by artists on the Digital Fringe website demonstrates an enthusiasm for the licences matched by the Digital Fringe organisers.  &lt;br /&gt;
&lt;br /&gt;
:“We think CC is great – there seems to have been a really good uptake from artists submitting works to DF so it obviously is attractive to artists as well” (Simeon Moran, Digital Fringe co-producer)&lt;br /&gt;
&lt;br /&gt;
It is estimated that around 75% of works have been published under Creative Commons (with 10% selecting all rights reserved copyright and 15% no rights reserved public domain).  The positive response has encouraged the Digital Fringe team to develop future exhibitions to include remix activities, and take advantage of the creative potential facilitated by the CC licences.&lt;br /&gt;
&lt;br /&gt;
== Motivations ==&lt;br /&gt;
&lt;br /&gt;
When it came to licensing this project, the Digital Fringe team believed Creative Commons licences were the most appropriate and flexible option, considering the ethos behind Digital Fringe and its innovative use of digital technology and art.  From an ideological standpoint, they were keen to push the concept of open source and shared culture, knowledge and expertise, but also understood the need for culture creators to reserve some of their rights in certain situations.  For this reason artists were encouraged to licence their works with any form of CC licensing that suited their particular needs.  Creative Commons licences could then both facilitate the exhibition and help keep Digital Fringe content open for alternate creative uses.&lt;br /&gt;
&lt;br /&gt;
Digital Fringe is a fantastic example of how contemporary arts practice can operate in synch with copyright law.  &lt;br /&gt;
&lt;br /&gt;
:“Nice work CC – given current technological environment, a lot of arts practice involves remix and cut and paste methodologies and happens anyway - regardless of copyright issues. CC seems to be helping to move the legal structures along in the direction of cultural practice that will continue anyway, and to be formalising a resistance to everything being completely locked down by all rights reserved copyright monopoly. Hooray for the commons! All culture cant be owned for profit. We are all standing on the shoulders of giants...Keep up the good work!” (Simeon Moran, Digital Fringe co-producer)&lt;/div&gt;</summary>
		<author><name>Emma.carroll</name></author>	</entry>

	<entry>
		<id>https://wiki.creativecommons.org/index.php?title=Case_Studies/Digital_Fringe&amp;diff=15454</id>
		<title>Case Studies/Digital Fringe</title>
		<link rel="alternate" type="text/html" href="https://wiki.creativecommons.org/index.php?title=Case_Studies/Digital_Fringe&amp;diff=15454"/>
				<updated>2008-04-24T02:28:46Z</updated>
		
		<summary type="html">&lt;p&gt;Emma.carroll: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Case Study&lt;br /&gt;
|Description=Part of the Melbourne Fringe Festival, Digital Fringe is dedicated to showcasing the use of digital screen based technology in the arts.&lt;br /&gt;
|Quote=The flexibility and accessibility that Creative Commons provides really opens the options for artists about how they want their creations to continue their cultural life.&lt;br /&gt;
|Quote_Attribution=Simeon Moran, Digital Fringe co-producer&lt;br /&gt;
|Mainurl=http://digitalfringe.com.au&lt;br /&gt;
|Author=Melbourne Fringe Festival and Horse Bazaar&lt;br /&gt;
|User_Status=Curator&lt;br /&gt;
|Tag=digital arts, technology, festival, exhibition&lt;br /&gt;
|License short name=copyright, PD, various&lt;br /&gt;
|Format=Image, Sound, Text, MovingImage, InteractiveResource&lt;br /&gt;
|Country=Australia (includes international content0&lt;br /&gt;
}}&lt;br /&gt;
== Overview ==&lt;br /&gt;
&lt;br /&gt;
Broadcast across the city of Melbourne using screens, projections and the web, Digital Fringe showcases the latest digital art from around the world and features [http://digitalfringe.com.au/?q=node/17 “interactive media shenanigans from a gaggle of local media artists”.]  This web-based digital art festival forms part of the annual Melbourne Fringe Festival and offers established and emerging artists working in the digital medium the opportunity to exhibit their works via site specific digital content streaming.&lt;br /&gt;
&lt;br /&gt;
Managed by Melbourne digital arts venue Horse Bazaar (renowned for its unique immersive video projection environment), Digital Fringe exhibits its works during the festival in three ways: general stream, interact and the mobile projection unit (MPU). &lt;br /&gt;
&lt;br /&gt;
The general stream is a continual playlist of digital art projected across a multitude of screens and surfaces in Melbourne.  Locations include galleries, public spaces (such as the Federation Square plaza screen), entertainment and hospitality venues, cyberspace and city iHubs.  The varied nature and extent of the exhibit locations ensure the works are viewed by as large an audience as possible.  In sourcing content, Digital Fringe curators undertake an extensive web-based call out, accepting submissions from digital artists across the globe.  &lt;br /&gt;
&lt;br /&gt;
The Interact exhibit utilises mobile phones and Internet technologies to create an interactive creative platform for digital artists.  As part of the general call for submissions, artists can present interactive digital art projects for inclusion in the [http://digitalfringe.com.au/?q=node/23 “amorphous mobile phone interactive piece”.]  Interact links data sent from mobile phones directly into artworks displayed through participating screens across Melbourne and the Digital Fringe website.&lt;br /&gt;
&lt;br /&gt;
The MPU is a mobile van travelling through the streets of Melbourne on the evenings of the festival.  Guest artist programmers interact with the architectural nuances of the city by projecting their playlist onto nearby buildings.  GPS positioning and projections from the van are monitored in real time alongside video hook-ups with the programmers.  Internet users can also use text via sms to interact with the MPU. &lt;br /&gt;
&lt;br /&gt;
The festival aims to foster avant-garde tech-cultural interactions and embraces the ideological concept of open source and shared culture, knowledge and expertise.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== License Usage ==&lt;br /&gt;
&lt;br /&gt;
Artists uploading content to the Digital Fringe website can select from the full range of licences, ie from traditional ‘all rights reserved’ to public domain dedication.  However in order to maximise the interactive and remix elements of the festival while retaining their copyright, participants are encouraged to select a ‘some rights reserved’ Creative Commons licence.  As an extra condition the artist must agree to their works being screened during the festival and for the promotion of Digital Fringe, however copyright in each work remains with the artist in entirety.&lt;br /&gt;
&lt;br /&gt;
At present the uptake of Creative Commons licences by artists on the Digital Fringe website demonstrates an enthusiasm for the licences matched by the Digital Fringe organisers.  &lt;br /&gt;
&lt;br /&gt;
“We think CC is great – there seems to have been a really good uptake from artists submitting works to DF so it obviously is attractive to artists as well” (Simeon Moran, Digital Fringe co-producer)&lt;br /&gt;
&lt;br /&gt;
It is estimated that around 75% of works have been published under Creative Commons (with 10% selecting all rights reserved copyright and 15% no rights reserved public domain).  The positive response has encouraged the Digital Fringe team to develop future exhibitions to include remix activities, and take advantage of the creative potential facilitated by the CC licences.&lt;br /&gt;
&lt;br /&gt;
== Motivations ==&lt;br /&gt;
&lt;br /&gt;
When it came to licensing this project, the Digital Fringe team believed Creative Commons licences were the most appropriate and flexible option, considering the ethos behind Digital Fringe and its innovative use of digital technology and art.  From an ideological standpoint, they were keen to push the concept of open source and shared culture, knowledge and expertise, but also understood the need for culture creators to reserve some of their rights in certain situations.  For this reason artists were encouraged to licence their works with any form of CC licensing that suited their particular needs.  Creative Commons licences could then both facilitate the exhibition and help keep Digital Fringe content open for alternate creative uses.&lt;br /&gt;
&lt;br /&gt;
Digital Fringe is a fantastic example of how contemporary arts practice can operate in synch with copyright law.  &lt;br /&gt;
&lt;br /&gt;
“Nice work CC – given current technological environment, a lot of arts practice involves remix and cut and paste methodologies and happens anyway - regardless of copyright issues. CC seems to be helping to move the legal structures along in the direction of cultural practice that will continue anyway, and to be formalising a resistance to everything being completely locked down by all rights reserved copyright monopoly. Hooray for the commons! All culture cant be owned for profit. We are all standing on the shoulders of giants...Keep up the good work!” (Simeon Moran, Digital Fringe co-producer)&lt;/div&gt;</summary>
		<author><name>Emma.carroll</name></author>	</entry>

	<entry>
		<id>https://wiki.creativecommons.org/index.php?title=Case_Studies/ABC_Pool&amp;diff=15453</id>
		<title>Case Studies/ABC Pool</title>
		<link rel="alternate" type="text/html" href="https://wiki.creativecommons.org/index.php?title=Case_Studies/ABC_Pool&amp;diff=15453"/>
				<updated>2008-04-24T02:27:58Z</updated>
		
		<summary type="html">&lt;p&gt;Emma.carroll: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Case Study&lt;br /&gt;
|Description=Pool is the Australian Broadcasting Corporation’s online experimental collaborative media publishing platform where contributors can share content, connect with people and grow ideas across the globe.&lt;br /&gt;
|Quote=Creative Commons licences assisted us to facilitate community media co-creation and sharing.&lt;br /&gt;
|Quote_Attribution=John Jacobs, Pool developer and  media arts practitioner/activist&lt;br /&gt;
|Image_Header=http://www.pool.org.au/logo.png&lt;br /&gt;
|Mainurl=http://www.pool.org.au&lt;br /&gt;
|Author=Australian Broadcasting Corporation&lt;br /&gt;
|User_Status=Curator&lt;br /&gt;
|Tag=media,digital&lt;br /&gt;
|License short name=copyright, CC BY-NC-ND, CC BY-NC&lt;br /&gt;
|License=http://creativecommons.org/licenses/by-nc/2.5/au/,http://creativecommons.org/licenses/by-nc-nd/2.5/au/&lt;br /&gt;
|Format=Image, Sound, Text, MovingImage, InteractiveResource&lt;br /&gt;
|Country=Australia&lt;br /&gt;
}}&lt;br /&gt;
== Overview ==&lt;br /&gt;
&lt;br /&gt;
Pool is an experimental collaborative online media platform under development by the Australian Broadcasting Commission (ABC), in association with various Australian tertiary institutions and members of the digital media community.  The initiative began in 2007 under the administration of ABC Radio National.  It has been developed with the assistance of University of Technology Sydney, Royal Melbourne Institute of Technology and University of Woolongong, and received feedback from various digital media workers and artists acting as beta testers. The project aims to foster local, regional and university partnerships with the ABC and promote Australia’s burgeoning creative digital industries.&lt;br /&gt;
&lt;br /&gt;
The Pool website has been designed to operate as an online community to facilitate the sharing of a variety of media, in a manner primarily connecting the creative content community with the ABC.  Contributors can publish, download, remix and share media in such forms as:&lt;br /&gt;
* Film and video&lt;br /&gt;
* Music and audio&lt;br /&gt;
*Visual art and photography&lt;br /&gt;
*Animation&lt;br /&gt;
* Design&lt;br /&gt;
* Interactive media&lt;br /&gt;
*Website design; and&lt;br /&gt;
* Text.&lt;br /&gt;
&lt;br /&gt;
The site also contains a forum where ideas can be shared and relationships forged.  Artists can use Pool as a place to connect and collaborate on common creative projects, as well as build community interest in the digital industries.  &lt;br /&gt;
&lt;br /&gt;
Having recently concluded its initial trial, the project is still in the research and development stages.  Pool is due for re-launch in April 2008 and will continue to progress as its userbase expands.  While Pool’s content was accessible by the public during the trial, content contributions were by invitation only.  The official site will extend contribution rights to the Australian public.&lt;br /&gt;
&lt;br /&gt;
Importantly, because Pool is part of the ABC it is subject to ABC editorial policies and guidelines.  This means that although contributors are encouraged to voice their views, this must occur in a manner where all members of the community are treated respectfully.  To this end the site must publish content based upon four fundamentals: honesty, fairness, independence and respect, [http://www.abc.net.au/corp/pubs/edpols.htm (ABC Editorial Policies)].&lt;br /&gt;
&lt;br /&gt;
In December 2007, Pool was commissioned for a further six-month development cycle.  At present the Pool team continue to call for comments and suggestions relating to the operation and direction of the project.  Meanwhile the experiment continues to shape the future of public media.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== License Usage ==&lt;br /&gt;
&lt;br /&gt;
The Pool trial has adopted two Creative Commons licences under which contributors can choose to publish their content.  Currently all content uploaded to the site is subject to a Creative Commons Attribution-NonCommercial-NoDerivative 2.5 Australian licence, unless contributors choose to allow derivative works.  The Attribution-NonCommercial 2.5 licence facilitates this.  It is anticipated that in the near future the Pool site will increase the choice of licence models available.&lt;br /&gt;
&lt;br /&gt;
When contributors were offered the choice of allowing derivatives of their content during the trial, most chose non-derivative licences.  It is assumed contributors are wary of allowing their work to be altered or remixed, as most wish to guard their artistic integrity.  In moving towards promoting greater collaboration and creative interactions, the Pool team intend to embed an education process into the licensing system to better equip users in determining which licence is best for them.  As the site technology develops, the inclusion of in-built licence selection features should further assist contributors in determining which licence is most suitable to their needs.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Motivations ==&lt;br /&gt;
&lt;br /&gt;
Pool aims to widen the scope of creator and consumer experience, create new audiences, uncover opportunities and encourage innovative and enriching teaching and learning processes.  Creative Commons licences offer a clear path towards facilitating these goals.  Media co-creation and sharing has been a founding concept for the project, leading the Pool team to choose Creative Commons as the licensing system that could best enable such interaction, while allowing contributors to retain creative control over their works.  &lt;br /&gt;
&lt;br /&gt;
As the ABC keeps pace with evolving media landscapes and continues to emphasise their underpinning ethos as a publicly funded non-commercial organisation, Creative Commons have assisted the Pool team in presenting alternative public licensing solutions to the broadcasting organisation.&lt;br /&gt;
&lt;br /&gt;
As a small initiative within a large public institution, Pool collaborated successfully with Creative Commons Australia to trial open-content licensing models to the greater ABC collective.  Not having to internally generate ABC-specific licences conserved project resources and provided Pool with an external licensing model with which to demonstrate the capabilities and benefits of open-content licensing to the ABC.  The Pool trial has confirmed the community’s interest in ‘some rights reserved’ licensing and demonstrated the importance of promoting educated uses of CC licences on the site to ensure a wider uptake in the future of the project.&lt;/div&gt;</summary>
		<author><name>Emma.carroll</name></author>	</entry>

	<entry>
		<id>https://wiki.creativecommons.org/index.php?title=Case_Studies/Digital_Fringe&amp;diff=15452</id>
		<title>Case Studies/Digital Fringe</title>
		<link rel="alternate" type="text/html" href="https://wiki.creativecommons.org/index.php?title=Case_Studies/Digital_Fringe&amp;diff=15452"/>
				<updated>2008-04-24T02:26:59Z</updated>
		
		<summary type="html">&lt;p&gt;Emma.carroll: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Case Study&lt;br /&gt;
|Description=Part of the Melbourne Fringe Festival, Digital Fringe is dedicated to showcasing the use of digital screen based technology in the arts.&lt;br /&gt;
|Quote=“The flexibility and accessibility that Creative Commons provides really opens the options for artists about how they want their creations to continue their cultural life”&lt;br /&gt;
|Quote_Attribution=Simeon Moran, Digital Fringe co-producer&lt;br /&gt;
|Mainurl=http://digitalfringe.com.au&lt;br /&gt;
|Author=Melbourne Fringe Festival and Horse Bazaar&lt;br /&gt;
|User_Status=Curator&lt;br /&gt;
|Tag=digital arts, technology, festival, exhibition&lt;br /&gt;
|License short name=copyright, PD, various&lt;br /&gt;
|Format=Image, Sound, Text, MovingImage, InteractiveResource&lt;br /&gt;
|Country=Australia (includes international content0&lt;br /&gt;
}}&lt;br /&gt;
== Overview ==&lt;br /&gt;
&lt;br /&gt;
Broadcast across the city of Melbourne using screens, projections and the web, Digital Fringe showcases the latest digital art from around the world and features [http://digitalfringe.com.au/?q=node/17 “interactive media shenanigans from a gaggle of local media artists”.]  This web-based digital art festival forms part of the annual Melbourne Fringe Festival and offers established and emerging artists working in the digital medium the opportunity to exhibit their works via site specific digital content streaming.&lt;br /&gt;
&lt;br /&gt;
Managed by Melbourne digital arts venue Horse Bazaar (renowned for its unique immersive video projection environment), Digital Fringe exhibits its works during the festival in three ways: general stream, interact and the mobile projection unit (MPU). &lt;br /&gt;
&lt;br /&gt;
The general stream is a continual playlist of digital art projected across a multitude of screens and surfaces in Melbourne.  Locations include galleries, public spaces (such as the Federation Square plaza screen), entertainment and hospitality venues, cyberspace and city iHubs.  The varied nature and extent of the exhibit locations ensure the works are viewed by as large an audience as possible.  In sourcing content, Digital Fringe curators undertake an extensive web-based call out, accepting submissions from digital artists across the globe.  &lt;br /&gt;
&lt;br /&gt;
The Interact exhibit utilises mobile phones and Internet technologies to create an interactive creative platform for digital artists.  As part of the general call for submissions, artists can present interactive digital art projects for inclusion in the [http://digitalfringe.com.au/?q=node/23 “amorphous mobile phone interactive piece”.]  Interact links data sent from mobile phones directly into artworks displayed through participating screens across Melbourne and the Digital Fringe website.&lt;br /&gt;
&lt;br /&gt;
The MPU is a mobile van travelling through the streets of Melbourne on the evenings of the festival.  Guest artist programmers interact with the architectural nuances of the city by projecting their playlist onto nearby buildings.  GPS positioning and projections from the van are monitored in real time alongside video hook-ups with the programmers.  Internet users can also use text via sms to interact with the MPU. &lt;br /&gt;
&lt;br /&gt;
The festival aims to foster avant-garde tech-cultural interactions and embraces the ideological concept of open source and shared culture, knowledge and expertise.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== License Usage ==&lt;br /&gt;
&lt;br /&gt;
Artists uploading content to the Digital Fringe website can select from the full range of licences, ie from traditional ‘all rights reserved’ to public domain dedication.  However in order to maximise the interactive and remix elements of the festival while retaining their copyright, participants are encouraged to select a ‘some rights reserved’ Creative Commons licence.  As an extra condition the artist must agree to their works being screened during the festival and for the promotion of Digital Fringe, however copyright in each work remains with the artist in entirety.&lt;br /&gt;
&lt;br /&gt;
At present the uptake of Creative Commons licences by artists on the Digital Fringe website demonstrates an enthusiasm for the licences matched by the Digital Fringe organisers.  &lt;br /&gt;
&lt;br /&gt;
“We think CC is great – there seems to have been a really good uptake from artists submitting works to DF so it obviously is attractive to artists as well” (Simeon Moran, Digital Fringe co-producer)&lt;br /&gt;
&lt;br /&gt;
It is estimated that around 75% of works have been published under Creative Commons (with 10% selecting all rights reserved copyright and 15% no rights reserved public domain).  The positive response has encouraged the Digital Fringe team to develop future exhibitions to include remix activities, and take advantage of the creative potential facilitated by the CC licences.&lt;br /&gt;
&lt;br /&gt;
== Motivations ==&lt;br /&gt;
&lt;br /&gt;
When it came to licensing this project, the Digital Fringe team believed Creative Commons licences were the most appropriate and flexible option, considering the ethos behind Digital Fringe and its innovative use of digital technology and art.  From an ideological standpoint, they were keen to push the concept of open source and shared culture, knowledge and expertise, but also understood the need for culture creators to reserve some of their rights in certain situations.  For this reason artists were encouraged to licence their works with any form of CC licensing that suited their particular needs.  Creative Commons licences could then both facilitate the exhibition and help keep Digital Fringe content open for alternate creative uses.&lt;br /&gt;
&lt;br /&gt;
Digital Fringe is a fantastic example of how contemporary arts practice can operate in synch with copyright law.  &lt;br /&gt;
&lt;br /&gt;
“Nice work CC – given current technological environment, a lot of arts practice involves remix and cut and paste methodologies and happens anyway - regardless of copyright issues. CC seems to be helping to move the legal structures along in the direction of cultural practice that will continue anyway, and to be formalising a resistance to everything being completely locked down by all rights reserved copyright monopoly. Hooray for the commons! All culture cant be owned for profit. We are all standing on the shoulders of giants...Keep up the good work!” (Simeon Moran, Digital Fringe co-producer)&lt;/div&gt;</summary>
		<author><name>Emma.carroll</name></author>	</entry>

	<entry>
		<id>https://wiki.creativecommons.org/index.php?title=Case_Studies/Digital_Fringe&amp;diff=15448</id>
		<title>Case Studies/Digital Fringe</title>
		<link rel="alternate" type="text/html" href="https://wiki.creativecommons.org/index.php?title=Case_Studies/Digital_Fringe&amp;diff=15448"/>
				<updated>2008-04-24T02:09:50Z</updated>
		
		<summary type="html">&lt;p&gt;Emma.carroll: New page: {{Case Study |Description=Part of the Melbourne Fringe Festival, Digital Fringe is dedicated to showcasing the use of digital screen based technology in the arts. |Quote=“The flexibility...&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Case Study&lt;br /&gt;
|Description=Part of the Melbourne Fringe Festival, Digital Fringe is dedicated to showcasing the use of digital screen based technology in the arts.&lt;br /&gt;
|Quote=“The flexibility and accessibility that Creative Commons provides really opens the options for artists about how they want their creations to continue their cultural life” &lt;br /&gt;
|Quote_Attribution=Simeon, Digital Fringe coordinator  &lt;br /&gt;
|Mainurl=http://digitalfringe.com.au&lt;br /&gt;
|Author=Melbourne Fringe Festival and Horse Bazaar&lt;br /&gt;
|User_Status=Curator&lt;br /&gt;
|Tag=digital arts, technology, festival, exhibition&lt;br /&gt;
|License short name=copyright, PD, various&lt;br /&gt;
|Format=Image, Sound, Text, MovingImage, InteractiveResource|Country=Australia (includes international content0&lt;br /&gt;
}}&lt;br /&gt;
== Overview ==&lt;br /&gt;
&lt;br /&gt;
Broadcast across the city of Melbourne using screens, projections and the web, Digital Fringe showcases the latest digital art from around the world and features [http://digitalfringe.com.au/?q=node/17 “interactive media shenanigans from a gaggle of local media artists”.]  This web-based digital art festival forms part of the annual Melbourne Fringe Festival and offers established and emerging artists working in the digital medium the opportunity to exhibit their works via site specific digital content streaming.&lt;br /&gt;
&lt;br /&gt;
Managed by Melbourne digital arts venue Horse Bazaar (renowned for its unique immersive video projection environment), Digital Fringe exhibits its works during the festival in three ways: general stream, interact and the mobile projection unit (MPU). &lt;br /&gt;
&lt;br /&gt;
The general stream is a continual playlist of digital art projected across a multitude of screens and surfaces in Melbourne.  Locations include galleries, public spaces (such as the Federation Square plaza screen), entertainment and hospitality venues, cyberspace and city iHubs.  The varied nature and extent of the exhibit locations ensure the works are viewed by as large an audience as possible.  In sourcing content, Digital Fringe curators undertake an extensive web-based call out, accepting submissions from digital artists across the globe.  &lt;br /&gt;
&lt;br /&gt;
The Interact exhibit utilises mobile phones and Internet technologies to create an interactive creative platform for digital artists.  As part of the general call for submissions, artists can present interactive digital art projects for inclusion in the [http://digitalfringe.com.au/?q=node/23 “amorphous mobile phone interactive piece”.]  Interact links data sent from mobile phones directly into artworks displayed through participating screens across Melbourne and the Digital Fringe website.&lt;br /&gt;
&lt;br /&gt;
The MPU is a mobile van travelling through the streets of Melbourne on the evenings of the festival.  Guest artist programmers interact with the architectural nuances of the city by projecting their playlist onto nearby buildings.  GPS positioning and projections from the van are monitored in real time alongside video hook-ups with the programmers.  Internet users can also use text via sms to interact with the MPU. &lt;br /&gt;
&lt;br /&gt;
The festival aims to foster avant-garde tech-cultural interactions and embraces the ideological concept of open source and shared culture, knowledge and expertise.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== License Usage ==&lt;br /&gt;
&lt;br /&gt;
Artists uploading content to the Digital Fringe website can select from the full range of licences, ie from traditional ‘all rights reserved’ to public domain dedication.  However in order to maximise the interactive and remix elements of the festival while retaining their copyright, participants are encouraged to select a ‘some rights reserved’ Creative Commons licence.  As an extra condition the artist must agree to their works being screened during the festival and for the promotion of Digital Fringe, however copyright in each work remains with the artist in entirety.&lt;br /&gt;
&lt;br /&gt;
At present the uptake of Creative Commons licences by artists on the Digital Fringe website demonstrates an enthusiasm for the licences matched by the Digital Fringe organisers.  &lt;br /&gt;
&lt;br /&gt;
“We think CC is great – there seems to have been a really good uptake from artists submitting works to DF so it obviously is attractive to artists as well” (Simeon, Digital Fringe Coordinator)&lt;br /&gt;
&lt;br /&gt;
It is estimated that around 75% of works have been published under Creative Commons (with 10% selecting all rights reserved copyright and 15% no rights reserved public domain).  The positive response has encouraged the Digital Fringe team to develop future exhibitions to include remix activities, and take advantage of the creative potential facilitated by the CC licences.&lt;br /&gt;
&lt;br /&gt;
== Motivations ==&lt;br /&gt;
&lt;br /&gt;
When it came to licensing this project, the Digital Fringe team believed Creative Commons licences were the most appropriate and flexible option, considering the ethos behind Digital Fringe and its innovative use of digital technology and art.  From an ideological standpoint, they were keen to push the concept of open source and shared culture, knowledge and expertise, but also understood the need for culture creators to reserve some of their rights in certain situations.  For this reason artists were encouraged to licence their works with any form of CC licensing that suited their particular needs.  Creative Commons licences could then both facilitate the exhibition and help keep Digital Fringe content open for alternate creative uses.&lt;br /&gt;
&lt;br /&gt;
Digital Fringe is a fantastic example of how contemporary arts practice can operate in synch with copyright law.  &lt;br /&gt;
&lt;br /&gt;
“Nice work CC – given current technological environment, a lot of arts practice involves remix and cut and paste methodologies and happens anyway - regardless of copyright issues. CC seems to be helping to move the legal structures along in the direction of cultural practice that will continue anyway, and to be formalising a resistance to everything being completely locked down by all rights reserved copyright monopoly. Hooray for the commons! All culture cant be owned for profit. We are all standing on the shoulders of giants...Keep up the good work!” (Simeon, Digital Fringe coordinator)&lt;/div&gt;</summary>
		<author><name>Emma.carroll</name></author>	</entry>

	<entry>
		<id>https://wiki.creativecommons.org/index.php?title=Case_Studies/ABC_Pool&amp;diff=15442</id>
		<title>Case Studies/ABC Pool</title>
		<link rel="alternate" type="text/html" href="https://wiki.creativecommons.org/index.php?title=Case_Studies/ABC_Pool&amp;diff=15442"/>
				<updated>2008-04-24T01:49:27Z</updated>
		
		<summary type="html">&lt;p&gt;Emma.carroll: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Case Study&lt;br /&gt;
|Description=Pool is the Australian Broadcasting Corporation’s online experimental collaborative media publishing platform where contributors can share content, connect with people and grow ideas across the globe.&lt;br /&gt;
|Quote=‘Creative Commons licences assisted us to facilitate community media co-creation and sharing’&lt;br /&gt;
|Quote_Attribution=John Jacobs, Pool developer and  media arts practitioner/activist&lt;br /&gt;
|Image_Header=http://www.pool.org.au/logo.png&lt;br /&gt;
|Mainurl=http://www.pool.org.au&lt;br /&gt;
|Author=Australian Broadcasting Corporation&lt;br /&gt;
|User_Status=Curator&lt;br /&gt;
|Tag=media,digital&lt;br /&gt;
|License short name=copyright, CC BY-NC-ND, CC BY-NC&lt;br /&gt;
|License=http://creativecommons.org/licenses/by-nc/2.5/au/,http://creativecommons.org/licenses/by-nc-nd/2.5/au/&lt;br /&gt;
|Format=Image, Sound, Text, MovingImage, InteractiveResource&lt;br /&gt;
|Country=Australia&lt;br /&gt;
}}&lt;br /&gt;
== Overview ==&lt;br /&gt;
&lt;br /&gt;
Pool is an experimental collaborative online media platform under development by the Australian Broadcasting Commission (ABC), in association with various Australian tertiary institutions and members of the digital media community.  The initiative began in 2007 under the administration of ABC Radio National.  It has been developed with the assistance of University of Technology Sydney, Royal Melbourne Institute of Technology and University of Woolongong, and received feedback from various digital media workers and artists acting as beta testers. The project aims to foster local, regional and university partnerships with the ABC and promote Australia’s burgeoning creative digital industries.&lt;br /&gt;
&lt;br /&gt;
The Pool website has been designed to operate as an online community to facilitate the sharing of a variety of media, in a manner primarily connecting the creative content community with the ABC.  Contributors can publish, download, remix and share media in such forms as:&lt;br /&gt;
* Film and video&lt;br /&gt;
* Music and audio&lt;br /&gt;
*Visual art and photography&lt;br /&gt;
*Animation&lt;br /&gt;
* Design&lt;br /&gt;
* Interactive media&lt;br /&gt;
*Website design; and&lt;br /&gt;
* Text.&lt;br /&gt;
&lt;br /&gt;
The site also contains a forum where ideas can be shared and relationships forged.  Artists can use Pool as a place to connect and collaborate on common creative projects, as well as build community interest in the digital industries.  &lt;br /&gt;
&lt;br /&gt;
Having recently concluded its initial trial, the project is still in the research and development stages.  Pool is due for re-launch in April 2008 and will continue to progress as its userbase expands.  While Pool’s content was accessible by the public during the trial, content contributions were by invitation only.  The official site will extend contribution rights to the Australian public.&lt;br /&gt;
&lt;br /&gt;
Importantly, because Pool is part of the ABC it is subject to ABC editorial policies and guidelines.  This means that although contributors are encouraged to voice their views, this must occur in a manner where all members of the community are treated respectfully.  To this end the site must publish content based upon four fundamentals: honesty, fairness, independence and respect, [http://www.abc.net.au/corp/pubs/edpols.htm (ABC Editorial Policies)].&lt;br /&gt;
&lt;br /&gt;
In December 2007, Pool was commissioned for a further six-month development cycle.  At present the Pool team continue to call for comments and suggestions relating to the operation and direction of the project.  Meanwhile the experiment continues to shape the future of public media.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== License Usage ==&lt;br /&gt;
&lt;br /&gt;
The Pool trial has adopted two Creative Commons licences under which contributors can choose to publish their content.  Currently all content uploaded to the site is subject to a Creative Commons Attribution-NonCommercial-NoDerivative 2.5 Australian licence, unless contributors choose to allow derivative works.  The Attribution-NonCommercial 2.5 licence facilitates this.  It is anticipated that in the near future the Pool site will increase the choice of licence models available.&lt;br /&gt;
&lt;br /&gt;
When contributors were offered the choice of allowing derivatives of their content during the trial, most chose non-derivative licences.  It is assumed contributors are wary of allowing their work to be altered or remixed, as most wish to guard their artistic integrity.  In moving towards promoting greater collaboration and creative interactions, the Pool team intend to embed an education process into the licensing system to better equip users in determining which licence is best for them.  As the site technology develops, the inclusion of in-built licence selection features should further assist contributors in determining which licence is most suitable to their needs.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Motivations ==&lt;br /&gt;
&lt;br /&gt;
Pool aims to widen the scope of creator and consumer experience, create new audiences, uncover opportunities and encourage innovative and enriching teaching and learning processes.  Creative Commons licences offer a clear path towards facilitating these goals.  Media co-creation and sharing has been a founding concept for the project, leading the Pool team to choose Creative Commons as the licensing system that could best enable such interaction, while allowing contributors to retain creative control over their works.  &lt;br /&gt;
&lt;br /&gt;
As the ABC keeps pace with evolving media landscapes and continues to emphasise their underpinning ethos as a publicly funded non-commercial organisation, Creative Commons have assisted the Pool team in presenting alternative public licensing solutions to the broadcasting organisation.&lt;br /&gt;
&lt;br /&gt;
As a small initiative within a large public institution, Pool collaborated successfully with Creative Commons Australia to trial open-content licensing models to the greater ABC collective.  Not having to internally generate ABC-specific licences conserved project resources and provided Pool with an external licensing model with which to demonstrate the capabilities and benefits of open-content licensing to the ABC.  The Pool trial has confirmed the community’s interest in ‘some rights reserved’ licensing and demonstrated the importance of promoting educated uses of CC licences on the site to ensure a wider uptake in the future of the project.&lt;/div&gt;</summary>
		<author><name>Emma.carroll</name></author>	</entry>

	<entry>
		<id>https://wiki.creativecommons.org/index.php?title=Case_Studies/ABC_Pool&amp;diff=15441</id>
		<title>Case Studies/ABC Pool</title>
		<link rel="alternate" type="text/html" href="https://wiki.creativecommons.org/index.php?title=Case_Studies/ABC_Pool&amp;diff=15441"/>
				<updated>2008-04-24T01:41:03Z</updated>
		
		<summary type="html">&lt;p&gt;Emma.carroll: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Case Study&lt;br /&gt;
|Description=Pool is the Australian Broadcasting Corporation’s online experimental collaborative media publishing platform where contributors can share content, connect with people and grow ideas across the globe.&lt;br /&gt;
|Quote=‘Creative Commons licences assisted us to facilitate community media co-creation and sharing’&lt;br /&gt;
|Quote_Attribution=John Jacobs, Pool developer and activist media and artist practitioner&lt;br /&gt;
|Image_Header=http://www.pool.org.au/logo.png&lt;br /&gt;
|Mainurl=http://www.pool.org.au&lt;br /&gt;
|Author=Australian Broadcasting Corporation&lt;br /&gt;
|User_Status=Curator&lt;br /&gt;
|Tag=media,digital&lt;br /&gt;
|License short name=copyright, CC BY-NC-ND, CC BY-NC&lt;br /&gt;
|License=http://creativecommons.org/licenses/by-nc/2.5/au/,http://creativecommons.org/licenses/by-nc-nd/2.5/au/&lt;br /&gt;
|Format=Image, Sound, Text, MovingImage, InteractiveResource&lt;br /&gt;
|Country=Australia&lt;br /&gt;
}}&lt;br /&gt;
== Overview ==&lt;br /&gt;
&lt;br /&gt;
Pool is an experimental collaborative online media platform under development by the Australian Broadcasting Commission (ABC), in association with various Australian tertiary institutions and members of the digital media community.  The initiative began in 2007 under the administration of ABC Radio National.  It has been developed with the assistance of University of Technology Sydney, Royal Melbourne Institute of Technology and University of Woolongong, and received feedback from various digital media workers and artists acting as beta testers. The project aims to foster local, regional and university partnerships with the ABC and promote Australia’s burgeoning creative digital industries.&lt;br /&gt;
&lt;br /&gt;
The Pool website has been designed to operate as an online community to facilitate the sharing of a variety of media, in a manner primarily connecting the creative content community with the ABC.  Contributors can publish, download, remix and share media in such forms as:&lt;br /&gt;
* Film and video&lt;br /&gt;
* Music and audio&lt;br /&gt;
*Visual art and photography&lt;br /&gt;
*Animation&lt;br /&gt;
* Design&lt;br /&gt;
* Interactive media&lt;br /&gt;
*Website design; and&lt;br /&gt;
* Text.&lt;br /&gt;
&lt;br /&gt;
The site also contains a forum where ideas can be shared and relationships forged.  Artists can use Pool as a place to connect and collaborate on common creative projects, as well as build community interest in the digital industries.  &lt;br /&gt;
&lt;br /&gt;
Having recently concluded its initial trial, the project is still in the research and development stages.  Pool is due for re-launch in April 2008 and will continue to progress as its userbase expands.  While Pool’s content was accessible by the public during the trial, content contributions were by invitation only.  The official site will extend contribution rights to the Australian public.&lt;br /&gt;
&lt;br /&gt;
Importantly, because Pool is part of the ABC it is subject to ABC editorial policies and guidelines.  This means that although contributors are encouraged to voice their views, this must occur in a manner where all members of the community are treated respectfully.  To this end the site must publish content based upon four fundamentals: honesty, fairness, independence and respect, [http://www.abc.net.au/corp/pubs/edpols.htm (ABC Editorial Policies)].&lt;br /&gt;
&lt;br /&gt;
In December 2007, Pool was commissioned for a further six-month development cycle.  At present the Pool team continue to call for comments and suggestions relating to the operation and direction of the project.  Meanwhile the experiment continues to shape the future of public media.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== License Usage ==&lt;br /&gt;
&lt;br /&gt;
The Pool trial has adopted two Creative Commons licences under which contributors can choose to publish their content.  Currently all content uploaded to the site is subject to a Creative Commons Attribution-NonCommercial-NoDerivative 2.5 Australian licence, unless contributors choose to allow derivative works.  The Attribution-NonCommercial 2.5 licence facilitates this.  It is anticipated that in the near future the Pool site will increase the choice of licence models available.&lt;br /&gt;
&lt;br /&gt;
When contributors were offered the choice of allowing derivatives of their content during the trial, most chose non-derivative licences.  It is assumed contributors are wary of allowing their work to be altered or remixed, as most wish to guard their artistic integrity.  In moving towards promoting greater collaboration and creative interactions, the Pool team intend to embed an education process into the licensing system to better equip users in determining which licence is best for them.  As the site technology develops, the inclusion of in-built licence selection features should further assist contributors in determining which licence is most suitable to their needs.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Motivations ==&lt;br /&gt;
&lt;br /&gt;
Pool aims to widen the scope of creator and consumer experience, create new audiences, uncover opportunities and encourage innovative and enriching teaching and learning processes.  Creative Commons licences offer a clear path towards facilitating these goals.  Media co-creation and sharing has been a founding concept for the project, leading the Pool team to choose Creative Commons as the licensing system that could best enable such interaction, while allowing contributors to retain creative control over their works.  &lt;br /&gt;
&lt;br /&gt;
As the ABC keeps pace with evolving media landscapes and continues to emphasise their underpinning ethos as a publicly funded non-commercial organisation, Creative Commons have assisted the Pool team in presenting alternative public licensing solutions to the broadcasting organisation.&lt;br /&gt;
&lt;br /&gt;
As a small initiative within a large public institution, Pool collaborated successfully with Creative Commons Australia to trial open-content licensing models to the greater ABC collective.  Not having to internally generate ABC-specific licences conserved project resources and provided Pool with an external licensing model with which to demonstrate the capabilities and benefits of open-content licensing to the ABC.  The Pool trial has confirmed the community’s interest in ‘some rights reserved’ licensing and demonstrated the importance of promoting educated uses of CC licences on the site to ensure a wider uptake in the future of the project.&lt;/div&gt;</summary>
		<author><name>Emma.carroll</name></author>	</entry>

	<entry>
		<id>https://wiki.creativecommons.org/index.php?title=Case_Studies/ABC_Pool&amp;diff=15440</id>
		<title>Case Studies/ABC Pool</title>
		<link rel="alternate" type="text/html" href="https://wiki.creativecommons.org/index.php?title=Case_Studies/ABC_Pool&amp;diff=15440"/>
				<updated>2008-04-24T01:37:32Z</updated>
		
		<summary type="html">&lt;p&gt;Emma.carroll: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Case Study&lt;br /&gt;
|Description=Pool is the Australian Broadcasting Corporation’s online experimental collaborative media publishing platform where contributors can share content, connect with people and grow ideas across the globe.&lt;br /&gt;
|Quote=‘Creative Commons licences assisted us to facilitate community media co-creation and sharing’&lt;br /&gt;
|Quote_Attribution=John Jacobs, Pool developer and activist media and artist practitioner&lt;br /&gt;
|Mainurl=http://www.pool.org.au&lt;br /&gt;
|Author=Australian Broadcasting Corporation&lt;br /&gt;
|User_Status=Curator&lt;br /&gt;
|Tag=media,digital&lt;br /&gt;
|License short name=copyright, CC BY-NC-ND, CC BY-NC&lt;br /&gt;
|License=http://creativecommons.org/licenses/by-nc/2.5/au/,http://creativecommons.org/licenses/by-nc-nd/2.5/au/&lt;br /&gt;
|Format=Image, Sound, Text, MovingImage, InteractiveResource&lt;br /&gt;
|Country=Australia&lt;br /&gt;
}}&lt;br /&gt;
== Overview ==&lt;br /&gt;
&lt;br /&gt;
Pool is an experimental collaborative online media platform under development by the Australian Broadcasting Commission (ABC), in association with various Australian tertiary institutions and members of the digital media community.  The initiative began in 2007 under the administration of ABC Radio National.  It has been developed with the assistance of University of Technology Sydney, Royal Melbourne Institute of Technology and University of Woolongong, and received feedback from various digital media workers and artists acting as beta testers. The project aims to foster local, regional and university partnerships with the ABC and promote Australia’s burgeoning creative digital industries.&lt;br /&gt;
&lt;br /&gt;
The Pool website has been designed to operate as an online community to facilitate the sharing of a variety of media, in a manner primarily connecting the creative content community with the ABC.  Contributors can publish, download, remix and share media in such forms as:&lt;br /&gt;
* Film and video&lt;br /&gt;
* Music and audio&lt;br /&gt;
*Visual art and photography&lt;br /&gt;
*Animation&lt;br /&gt;
* Design&lt;br /&gt;
* Interactive media&lt;br /&gt;
*Website design; and&lt;br /&gt;
* Text.&lt;br /&gt;
&lt;br /&gt;
The site also contains a forum where ideas can be shared and relationships forged.  Artists can use Pool as a place to connect and collaborate on common creative projects, as well as build community interest in the digital industries.  &lt;br /&gt;
&lt;br /&gt;
Having recently concluded its initial trial, the project is still in the research and development stages.  Pool is due for re-launch in April 2008 and will continue to progress as its userbase expands.  While Pool’s content was accessible by the public during the trial, content contributions were by invitation only.  The official site will extend contribution rights to the Australian public.&lt;br /&gt;
&lt;br /&gt;
Importantly, because Pool is part of the ABC it is subject to ABC editorial policies and guidelines.  This means that although contributors are encouraged to voice their views, this must occur in a manner where all members of the community are treated respectfully.  To this end the site must publish content based upon four fundamentals: honesty, fairness, independence and respect, [http://www.abc.net.au/corp/pubs/edpols.htm (ABC Editorial Policies)].&lt;br /&gt;
&lt;br /&gt;
In December 2007, Pool was commissioned for a further six-month development cycle.  At present the Pool team continue to call for comments and suggestions relating to the operation and direction of the project.  Meanwhile the experiment continues to shape the future of public media.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== License Usage ==&lt;br /&gt;
&lt;br /&gt;
The Pool trial has adopted two Creative Commons licences under which contributors can choose to publish their content.  Currently all content uploaded to the site is subject to a Creative Commons Attribution-NonCommercial-NoDerivative 2.5 Australian licence, unless contributors choose to allow derivative works.  The Attribution-NonCommercial 2.5 licence facilitates this.  It is anticipated that in the near future the Pool site will increase the choice of licence models available.&lt;br /&gt;
&lt;br /&gt;
When contributors were offered the choice of allowing derivatives of their content during the trial, most chose non-derivative licences.  It is assumed contributors are wary of allowing their work to be altered or remixed, as most wish to guard their artistic integrity.  In moving towards promoting greater collaboration and creative interactions, the Pool team intend to embed an education process into the licensing system to better equip users in determining which licence is best for them.  As the site technology develops, the inclusion of in-built licence selection features should further assist contributors in determining which licence is most suitable to their needs.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Motivations ==&lt;br /&gt;
&lt;br /&gt;
Pool aims to widen the scope of creator and consumer experience, create new audiences, uncover opportunities and encourage innovative and enriching teaching and learning processes.  Creative Commons licences offer a clear path towards facilitating these goals.  Media co-creation and sharing has been a founding concept for the project, leading the Pool team to choose Creative Commons as the licensing system that could best enable such interaction, while allowing contributors to retain creative control over their works.  &lt;br /&gt;
&lt;br /&gt;
As the ABC keeps pace with evolving media landscapes and continues to emphasise their underpinning ethos as a publicly funded non-commercial organisation, Creative Commons have assisted the Pool team in presenting alternative public licensing solutions to the broadcasting organisation.&lt;br /&gt;
&lt;br /&gt;
As a small initiative within a large public institution, Pool collaborated successfully with Creative Commons Australia to trial open-content licensing models to the greater ABC collective.  Not having to internally generate ABC-specific licences conserved project resources and provided Pool with an external licensing model with which to demonstrate the capabilities and benefits of open-content licensing to the ABC.  The Pool trial has confirmed the community’s interest in ‘some rights reserved’ licensing and demonstrated the importance of promoting educated uses of CC licences on the site to ensure a wider uptake in the future of the project.&lt;/div&gt;</summary>
		<author><name>Emma.carroll</name></author>	</entry>

	<entry>
		<id>https://wiki.creativecommons.org/index.php?title=Case_Studies/ABC_Pool&amp;diff=15439</id>
		<title>Case Studies/ABC Pool</title>
		<link rel="alternate" type="text/html" href="https://wiki.creativecommons.org/index.php?title=Case_Studies/ABC_Pool&amp;diff=15439"/>
				<updated>2008-04-24T01:32:31Z</updated>
		
		<summary type="html">&lt;p&gt;Emma.carroll: New page: {{Case Study |Description=Pool is the Australian Broadcasting Corporation’s online experimental collaborative media publishing platform where contributors can share content, connect with...&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{{Case Study&lt;br /&gt;
|Description=Pool is the Australian Broadcasting Corporation’s online experimental collaborative media publishing platform where contributors can share content, connect with people and grow ideas across the globe.&lt;br /&gt;
|Quote=‘Creative Commons licences assisted us to facilitate community media co-creation and sharing’ &lt;br /&gt;
|Quote_Attribution=John Jacobs, Pool developer and activist media and artist practitioner&lt;br /&gt;
|Mainurl=http://www.pool.org.au&lt;br /&gt;
|Author=Australian Broadcasting Corporation&lt;br /&gt;
|User_Status=Curator&lt;br /&gt;
|Tag=media,digital&lt;br /&gt;
|License short name=copyright, CC BY-NC-ND, CC BY-NC&lt;br /&gt;
|License=http://creativecommons.org/licenses/by-nc/2.5/au/,http://creativecommons.org/licenses/by-nc-nd/2.5/au/&lt;br /&gt;
|Country=Australia&lt;br /&gt;
}}&lt;br /&gt;
== Overview ==&lt;br /&gt;
&lt;br /&gt;
Pool is an experimental collaborative online media platform under development by the Australian Broadcasting Commission (ABC), in association with various Australian tertiary institutions and members of the digital media community.  The initiative began in 2007 under the administration of ABC Radio National.  It has been developed with the assistance of University of Technology Sydney, Royal Melbourne Institute of Technology and University of Woolongong, and received feedback from various digital media workers and artists acting as beta testers. The project aims to foster local, regional and university partnerships with the ABC and promote Australia’s burgeoning creative digital industries.&lt;br /&gt;
&lt;br /&gt;
The Pool website has been designed to operate as an online community to facilitate the sharing of a variety of media, in a manner primarily connecting the creative content community with the ABC.  Contributors can publish, download, remix and share media in such forms as:&lt;br /&gt;
•	Film and video&lt;br /&gt;
•	Music and audio&lt;br /&gt;
•	Visual art and photography&lt;br /&gt;
•	Animation&lt;br /&gt;
•	Design&lt;br /&gt;
•	Interactive media&lt;br /&gt;
•	Website design; and&lt;br /&gt;
•	Text.&lt;br /&gt;
&lt;br /&gt;
The site also contains a forum where ideas can be shared and relationships forged.  Artists can use Pool as a place to connect and collaborate on common creative projects, as well as build community interest in the digital industries.  &lt;br /&gt;
&lt;br /&gt;
Having recently concluded its initial trial, the project is still in the research and development stages.  Pool is due for re-launch in April 2008 and will continue to progress as its userbase expands.  While Pool’s content was accessible by the public during the trial, content contributions were by invitation only.  The official site will extend contribution rights to the Australian public.&lt;br /&gt;
&lt;br /&gt;
Importantly, because Pool is part of the ABC it is subject to ABC editorial policies and guidelines.  This means that although contributors are encouraged to voice their views, this must occur in a manner where all members of the community are treated respectfully.  To this end the site must publish content based upon four fundamentals: honesty, fairness, independence and respect, [http://www.abc.net.au/corp/pubs/edpols.htm ABC Editorial Policies].&lt;br /&gt;
&lt;br /&gt;
In December 2007, Pool was commissioned for a further six-month development cycle.  At present the Pool team continue to call for comments and suggestions relating to the operation and direction of the project.  Meanwhile the experiment continues to shape the future of public media.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== License Usage ==&lt;br /&gt;
&lt;br /&gt;
The Pool trial has adopted two Creative Commons licences under which contributors can choose to publish their content.  Currently all content uploaded to the site is subject to a Creative Commons Attribution-NonCommercial-NoDerivative 2.5 Australian licence, unless contributors choose to allow derivative works.  The Attribution-NonCommercial 2.5 licence facilitates this.  It is anticipated that in the near future the Pool site will increase the choice of licence models available.&lt;br /&gt;
&lt;br /&gt;
When contributors were offered the choice of allowing derivatives of their content during the trial, most chose non-derivative licences.  It is assumed contributors are wary of allowing their work to be altered or remixed, as most wish to guard their artistic integrity.  In moving towards promoting greater collaboration and creative interactions, the Pool team intend to embed an education process into the licensing system to better equip users in determining which licence is best for them.  As the site technology develops, the inclusion of in-built licence selection features should further assist contributors in determining which licence is most suitable to their needs.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Motivations ==&lt;br /&gt;
&lt;br /&gt;
Pool aims to widen the scope of creator and consumer experience, create new audiences, uncover opportunities and encourage innovative and enriching teaching and learning processes.  Creative Commons licences offer a clear path towards facilitating these goals.  Media co-creation and sharing has been a founding concept for the project, leading the Pool team to choose Creative Commons as the licensing system that could best enable such interaction, while allowing contributors to retain creative control over their works.  &lt;br /&gt;
&lt;br /&gt;
As the ABC keeps pace with evolving media landscapes and continues to emphasise their underpinning ethos as a publicly funded non-commercial organisation, Creative Commons have assisted the Pool team in presenting alternative public licensing solutions to the broadcasting organisation.&lt;br /&gt;
&lt;br /&gt;
As a small initiative within a large public institution, Pool collaborated successfully with Creative Commons Australia to trial open-content licensing models to the greater ABC collective.  Not having to internally generate ABC-specific licences conserved project resources and provided Pool with an external licensing model with which to demonstrate the capabilities and benefits of open-content licensing to the ABC.  The Pool trial has confirmed the community’s interest in ‘some rights reserved’ licensing and demonstrated the importance of promoting educated uses of CC licences on the site to ensure a wider uptake in the future of the project.&lt;/div&gt;</summary>
		<author><name>Emma.carroll</name></author>	</entry>

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