Creative Commons - User contributions [en]

User:Rachel cobcroft

2010-04-22T04:53:35Z

Rachel cobcroft: Initial entry

Rachel Cobcroft, former staff member of the [http://www.creativecommons.org.au/ Creative Commons Clinic], Brisbane, Australia, is editor of [http://creativecommons.org.au/materials/Building_an_Australasian_Commons_book.pdf ''Building an Australasian Commons: Case Studies vol. 1'' (PDF)].

Together with an international team from CC, she helped build the [http://wiki.creativecommons.org/Case_Studies Creative Commons Case Studies Wiki].

Case Studies/Knives at Noon

2008-10-28T05:38:34Z

Rachel cobcroft:

{{Case Study
|Description=Knives at Noon are an indie-electric-rock band based in Dunedin, New Zealand, who utilise online file sharing technology to collaborate online.
|Quote=The music market is so saturated and Creative Commons is another way we can reach more people with our music. I like it how our ideas aren’t entombed.
|Quote_Attribution=Oli Wilson, synth and vocals for Knives at Noon
|Image_Header=http://a762.ac-images.myspacecdn.com/images01/59/l_02dc5cec1af82920c7f1b573f774bbc9.jpg
|Image_attribution=Knives at Noon. Image used with permission.
|Mainurl=http://www.myspace.com/knivesatnoon
|Author=Knives at Noon
|User_Status=Creator
|Tag=music, audio
|License short name=CC BY-NC-SA
|License=http://creativecommons.org/licenses/by-nc-sa/3.0/nz/
|Format=Sound
|Country=New Zealand
}}
== Overview ==
Knives at Noon are a progressive New Zealand band formed in late 2007 by vocalist and guitar player, Andrew Ketels, synth and bass player, Oli Wilson and drummer, Tim Couch. Having just been placed in the top 32 bands for MTV’s Kickstart Competition and completing a national tour (finishing up with a session at the Red Bull Live to Air Studio in May), the group have been prolific despite such a short time together.

The boys from the band attribute their success to their reliance on modern technology and music sharing practices including Creative Commons, enabling them to create their unique sound as well as to build their fan base. At one point, the band members were spread between Dunedin, Auckland and Papua New Guinea, which led to working via the Internet and post to construct tracks. As recounted to Jane Hornibrook from Creative Commons New Zealand, Oli Wilson explains:
:‘Andy would send me songs, I would add in a synth line or add in a line, send it back to him. It would go to and fro, then we'd send it to Tim, he'd write some rhythm stuff for it, and then when we'd get back together in Dunedin, we pretty much rehearse and take it on the road.’

The creative processes Knives at Noon employ have resulted in a debut EP of richly detailed tracks stamped with each member’s sound. Drummer Tim Couch says that finished songs end up consisting of about twenty parts of separate recordings.

Creative Commons has led Knives at Noon even further down the path to open collaboration by enabling producers and DJs around the world to sample and remix their work. Since coming together, the band have engaged interested parties in the UK, America, Australia and New Zealand who download and make derivatives of the original tracks to form new material. Knives at Noon welcome the chance for others to use their work and choose to supply a number of producers with the pro-tools recording files to sample at will.

By embracing the potential of Internet file sharing enabled by Creative Commons and hosting site Myspace, the band have attracted listeners from all over the world in a way that would not have been possible ten years ago. To hear Knives at Noon online, visit their web page at [http://www.myspace.com/knivesatnoon www.myspace.com/knivesatnoon].

== License Usage ==

Knives at Noon have adopted a [http://creativecommons.org/licenses/by-nc-sa/3.0/nz/ Creative Commons Attribution-Noncommercial-Share Alike 3.0 New Zealand licence] for their six-track EP release. Their Creative Commons licence is designed to facilitate working relationships with other musicians who want to remix the current EP songs. Already, artists such as Future One (Auckland), Darkist (UK), Dean Lawz (Australia), Benny Electric (Australia), Woosh (Dunedin), MC Beau (Dunedin), Undertow (Dunedin), Module (Wellington) and Michael Schraa (Dunedin) are remixing tracks. While these parties cannot make commercial use of the original or remixed work without permission from the band, Knives at Noon are planning to release a limited edition ‘re-mix’ tape later in the year.

== Motivations ==
Base and synth player Oli Wilson first heard about Creative Commons while visiting Elliott Bledsoe from Creative Commons Australia in Brisbane. As a candidate for a PhD in ethnomusicology, the opportunities of music sharing had become all too apparent. After picking up the Asia and the Commons Case Studies 2008 handbook, Unlocking the Potential through Creative Commons and Open Content Licensing: Cultivating the Creative Commons Oli was convinced that Creative Commons would be invaluable for Knives at Noon.

The group decision to take on an Attribution-Noncommercial-Share Alike licence reflects the band members’ preference for open sharing. They acknowledge that ‘economic interests have taken away the sharing tradition of music culture’ in recent generations, but that the freedom to share should be an integral part of music today. Knives at Noon feel that even though they allow sharing and remixing of their work, the noncommercial terms of their Creative Commons licence will help them strive for commercial viability through tours and royalty payments. In fact, vocalist Andy Ketels believes that giving fans the freedom to share is the best way to reach their goals as established musicians because ‘more people are using our music.’ Oli adds that ‘The music market is so saturated and Creative Commons is another way we can reach more people with our music. I like it how our ideas aren’t entombed.’

The band members know that ‘the Internet has changed everything.’ Knives at Noon have used advances in digital collaboration, music sharing and the internet as a social medium to their full advantage and are leading the way to online creative success.

== Media ==

Delete this line and add text here.

Add media that is relevant.

{{Incomplete|Media|formedit}}

Case Studies/Knives at Noon

2008-10-28T05:34:35Z

Rachel cobcroft: /* Overview */

{{Case Study
|Description=Knives at Noon are an indie-electric-rock band based in Dunedin, New Zealand, who utilise online file sharing technology to collaborate online.
|Quote=The music market is so saturated and Creative Commons is another way we can reach more people with our music. I like it how our ideas aren’t entombed.
|Quote_Attribution=Oli Wilson, synth and vocals for Knives at Noon
|Mainurl=http://www.myspace.com/knivesatnoon
|Author=Knives at Noon
|User_Status=Creator
|Tag=music, audio
|License short name=CC BY-NC-SA
|License=http://creativecommons.org/licenses/by-nc-sa/3.0/nz/
|Format=Sound
|Country=New Zealand
}}
== Overview ==
Knives at Noon are a progressive New Zealand band formed in late 2007 by vocalist and guitar player, Andrew Ketels, synth and bass player, Oli Wilson and drummer, Tim Couch. Having just been placed in the top 32 bands for MTV’s Kickstart Competition and completing a national tour (finishing up with a session at the Red Bull Live to Air Studio in May), the group have been prolific despite such a short time together.

The boys from the band attribute their success to their reliance on modern technology and music sharing practices including Creative Commons, enabling them to create their unique sound as well as to build their fan base. At one point, the band members were spread between Dunedin, Auckland and Papua New Guinea, which led to working via the Internet and post to construct tracks. As recounted to Jane Hornibrook from Creative Commons New Zealand, Oli Wilson explains:
:‘Andy would send me songs, I would add in a synth line or add in a line, send it back to him. It would go to and fro, then we'd send it to Tim, he'd write some rhythm stuff for it, and then when we'd get back together in Dunedin, we pretty much rehearse and take it on the road.’

The creative processes Knives at Noon employ have resulted in a debut EP of richly detailed tracks stamped with each member’s sound. Drummer Tim Couch says that finished songs end up consisting of about twenty parts of separate recordings.

Creative Commons has led Knives at Noon even further down the path to open collaboration by enabling producers and DJs around the world to sample and remix their work. Since coming together, the band have engaged interested parties in the UK, America, Australia and New Zealand who download and make derivatives of the original tracks to form new material. Knives at Noon welcome the chance for others to use their work and choose to supply a number of producers with the pro-tools recording files to sample at will.

By embracing the potential of Internet file sharing enabled by Creative Commons and hosting site Myspace, the band have attracted listeners from all over the world in a way that would not have been possible ten years ago. To hear Knives at Noon online, visit their web page at [http://www.myspace.com/knivesatnoon www.myspace.com/knivesatnoon].

== License Usage ==

Knives at Noon have adopted a [http://creativecommons.org/licenses/by-nc-sa/3.0/nz/ Creative Commons Attribution-Noncommercial-Share Alike 3.0 New Zealand licence] for their six-track EP release. Their Creative Commons licence is designed to facilitate working relationships with other musicians who want to remix the current EP songs. Already, artists such as Future One (Auckland), Darkist (UK), Dean Lawz (Australia), Benny Electric (Australia), Woosh (Dunedin), MC Beau (Dunedin), Undertow (Dunedin), Module (Wellington) and Michael Schraa (Dunedin) are remixing tracks. While these parties cannot make commercial use of the original or remixed work without permission from the band, Knives at Noon are planning to release a limited edition ‘re-mix’ tape later in the year.

== Motivations ==
Base and synth player Oli Wilson first heard about Creative Commons while visiting Elliott Bledsoe from Creative Commons Australia in Brisbane. As a candidate for a PhD in ethnomusicology, the opportunities of music sharing had become all too apparent. After picking up the Asia and the Commons Case Studies 2008 handbook, Unlocking the Potential through Creative Commons and Open Content Licensing: Cultivating the Creative Commons Oli was convinced that Creative Commons would be invaluable for Knives at Noon.

The group decision to take on an Attribution-Noncommercial-Share Alike licence reflects the band members’ preference for open sharing. They acknowledge that ‘economic interests have taken away the sharing tradition of music culture’ in recent generations, but that the freedom to share should be an integral part of music today. Knives at Noon feel that even though they allow sharing and remixing of their work, the noncommercial terms of their Creative Commons licence will help them strive for commercial viability through tours and royalty payments. In fact, vocalist Andy Ketels believes that giving fans the freedom to share is the best way to reach their goals as established musicians because ‘more people are using our music.’ Oli adds that ‘The music market is so saturated and Creative Commons is another way we can reach more people with our music. I like it how our ideas aren’t entombed.’

The band members know that ‘the Internet has changed everything.’ Knives at Noon have used advances in digital collaboration, music sharing and the internet as a social medium to their full advantage and are leading the way to online creative success.

== Media ==

Delete this line and add text here.

Add media that is relevant.

{{Incomplete|Media|formedit}}

Case Studies/Knives at Noon

2008-10-28T05:32:59Z

Rachel cobcroft: New page: {{Case Study |Description=Knives at Noon are an indie-electric-rock band based in Dunedin, New Zealand, who utilise online file sharing technology to collaborate online. |Quote=The music m...

{{Case Study
|Description=Knives at Noon are an indie-electric-rock band based in Dunedin, New Zealand, who utilise online file sharing technology to collaborate online.
|Quote=The music market is so saturated and Creative Commons is another way we can reach more people with our music. I like it how our ideas aren’t entombed.
|Quote_Attribution=Oli Wilson, synth and vocals for Knives at Noon
|Mainurl=http://www.myspace.com/knivesatnoon
|Author=Knives at Noon
|User_Status=Creator
|Tag=music, audio
|License short name=CC BY-NC-SA
|License=http://creativecommons.org/licenses/by-nc-sa/3.0/nz/
|Format=Sound
|Country=New Zealand
}}
== Overview ==
Knives at Noon are a progressive New Zealand band formed in late 2007 by vocalist and guitar player, Andrew Ketels, synth and bass player, Oli Wilson and drummer, Tim Couch. Having just been placed in the top 32 bands for MTV’s Kickstart Competition and completing a national tour (finishing up with a session at the Red Bull Live to Air Studio in May), the group have been prolific despite such a short time together.

The boys from the band attribute their success to their reliance on modern technology and music sharing practices including Creative Commons, enabling them to create their unique sound as well as to build their fan base. At one point, the band members were spread between Dunedin, Auckland and Papua New Guinea, which led to working via the Internet and post to construct tracks. As recounted to Jane Hornibrook from Creative Commons New Zealand, Oli Wilson explains:
:‘Andy would send me songs, I would add in a synth line or add in a line, send it back to him. It would go to and fro, then we'd send it to Tim, he'd write some rhythm stuff for it, and then when we'd get back together in Dunedin, we pretty much rehearse and take it on the road.’

The creative processes Knives at Noon employ have resulted in a debut EP of richly detailed tracks stamped with each member’s sound. Drummer Tim Couch says that finished songs end up consisting of about twenty parts of separate recordings.

Creative Commons has led Knives at Noon even further down the path to open collaboration by enabling producers and DJs around the world to sample and remix their work. Since coming together, the band have engaged interested parties in the UK, America, Australia and New Zealand who download and make derivatives of the original tracks to form new material. Knives at Noon welcome the chance for others to use their work and choose to supply a number of producers with the pro-tools recording files to sample at will.

By embracing the potential of Internet file sharing enabled by Creative Commons and hosting site Myspace, the band have attracted listeners from all over the world in a way that would not have been possible ten years ago. To hear Knives at Noon online, visit their web page at www.myspace.com/knivesatnoon.

== License Usage ==

Knives at Noon have adopted a [http://creativecommons.org/licenses/by-nc-sa/3.0/nz/ Creative Commons Attribution-Noncommercial-Share Alike 3.0 New Zealand licence] for their six-track EP release. Their Creative Commons licence is designed to facilitate working relationships with other musicians who want to remix the current EP songs. Already, artists such as Future One (Auckland), Darkist (UK), Dean Lawz (Australia), Benny Electric (Australia), Woosh (Dunedin), MC Beau (Dunedin), Undertow (Dunedin), Module (Wellington) and Michael Schraa (Dunedin) are remixing tracks. While these parties cannot make commercial use of the original or remixed work without permission from the band, Knives at Noon are planning to release a limited edition ‘re-mix’ tape later in the year.

== Motivations ==
Base and synth player Oli Wilson first heard about Creative Commons while visiting Elliott Bledsoe from Creative Commons Australia in Brisbane. As a candidate for a PhD in ethnomusicology, the opportunities of music sharing had become all too apparent. After picking up the Asia and the Commons Case Studies 2008 handbook, Unlocking the Potential through Creative Commons and Open Content Licensing: Cultivating the Creative Commons Oli was convinced that Creative Commons would be invaluable for Knives at Noon.

The group decision to take on an Attribution-Noncommercial-Share Alike licence reflects the band members’ preference for open sharing. They acknowledge that ‘economic interests have taken away the sharing tradition of music culture’ in recent generations, but that the freedom to share should be an integral part of music today. Knives at Noon feel that even though they allow sharing and remixing of their work, the noncommercial terms of their Creative Commons licence will help them strive for commercial viability through tours and royalty payments. In fact, vocalist Andy Ketels believes that giving fans the freedom to share is the best way to reach their goals as established musicians because ‘more people are using our music.’ Oli adds that ‘The music market is so saturated and Creative Commons is another way we can reach more people with our music. I like it how our ideas aren’t entombed.’

The band members know that ‘the Internet has changed everything.’ Knives at Noon have used advances in digital collaboration, music sharing and the internet as a social medium to their full advantage and are leading the way to online creative success.

== Media ==

Delete this line and add text here.

Add media that is relevant.

{{Incomplete|Media|formedit}}

Case Studies/Mike Seyfang

2008-07-01T01:18:40Z

Rachel cobcroft: /* Media */

{{Case Study
|Description=Mike Seyfang is an Australian education consultant, ICT strategist, amateur musician and father of teenage children who emphasises the importance of instilling read/write culture through his blog ‘Learning with the Fang.’
|Quote=I decide to “give away” most of my rights to my digital content in the hope that someone will find it useful and re-use it to tell their story. No need to ask, just be polite and give me attribution.
|Quote_Attribution=[http://mseyfang.edublogs.org/2008/05/07/why-i-license-ccby/ Mike Seyfang]
|Image_Header=http://farm1.static.flickr.com/98/236478419_4acf990316.jpg
|Image_attribution=[http://www.flickr.com/photos/mikeblogs/236478419/ 'TriBeardLesBones’ by MikeBlogs]
|Image_license=http://creativecommons.org/licenses/by/2.0/
|Mainurl=http://mseyfang.edublogs.org/
|Author=Mike Seyfang
|User_Status=Creator
|Tag=education, mashup, blogging
|License short name=CC BY
|License=http://creativecommons.org/licenses/by/2.5/au/
|Format=Image, Text
|Country=Australia
}}
== Overview ==
Mike Seyfang is an Australian education consultant and advocate of open systems, emphasising opportunities for innovation and creative thinking enabled by Creative Commons Attribution licences. Drawing on over 25 years of ICT experience, the last nine spent with Microsoft, Mike has been strongly influenced by Lawrence Lessig’s lectures on Read/Write Culture (as transcribed [http://public.resource.org/lessig_lecture.html here]). So impressed was Mike by Lessig’s talk of ‘free culture’ that he made a mashup ‘Downes vs. Lessig’ as a demo to the net2blazers group, incorporating podcasts, Flickr images, and web 2.0 artefacts with the aim of showing ‘how remixing many elements is both powerful and tricky to license appropriately’ (hosted on [http://fang.blip.tv/file/105776/ blip.tv]).

Mike’s edublog [http://mseyfang.edublogs.org/ ‘Learning with the Fang’] regularly engages with issues of content distribution and re-use. The most recent post [http://mseyfang.edublogs.org/2008/06/04/soccer-with-stephens-content-cat/ ‘Soccer with Stephen’s CONTENT Cat’] on 4 June 2008 deals with the question of the most effective license scheme for ensuring open access to free content, with Stephen Downes arguing for CC BY-NC-SA and Mike advocating CC BY as ‘more open.’

Objecting to the removal of NC conditions, [http://halfanhour.blogspot.com/2008/05/another-kick-at-free-content-cat.html Stephen comments]:
:‘My objection to commercial use is that it is a business model supported by denying access to resources. If a resource must be purchased before it may be used, then it is not free in either sense. A person does not have the freedom to use, modify, etc., something he or she must buy.’

In conversation with Leigh Blackall from [http://wiki.creativecommons.org/Otago_Polytechnic Otago Polytechnic], it has been suggested that the NC term be migrated to a ‘NRC: No Restrictions through Commercialisation’ to clarify educators’ concerns with enclosure.

Calling upon Clay Shirky’s acknowledgment of the need for certain prominent projects to avoid commercially-driven harm, Mike characterises these as belonging to the ‘short head’ of the power curve distribution, as below.

http://farm4.static.flickr.com/3065/2548203670_2cf6d93786_o.jpg

In response, Mike positions himself within the ‘long tail’ of this curve:
:‘Like most open source projects and most blogs the most frequent response to my work is none. …This is not a problem - it is something I enjoy because I can have real conversations with like minded people. This is the power (or jewel) of the long tail - I am frequently amazed by the rich and surprising connections that develop when I put my stuff “out there” ([http://bomega.com/2007/01/29/serendipity-and-a-farmers-daughter/ serendipity]).’

This builds on a post from 7 May 2008 in which Mike discussed why he licenses under CC Attribution. In response to Richard McManus’s reuse of Mike’s image [http://www.flickr.com/photos/mikeblogs/305430788/ ‘ReadWriteCulture-FangMix1’] on [http://www.readwriteweb.com/archives/nevermind_the_recession_web_will_change_the_world.php Read/Write Blog], Mike observes: ‘This is why only work that is freely licensed with continue to be relevant in future culture.’

As parent to teenage children who will most likely make their living from creating digital content, Mike is ‘keen to influence law reforms that will help them along the way.’ Mike’s children are responsible for the [http://mediablog.wholesalemeatenterprises.com/ Wholesale Meat Media Blog].

:‘My hope is that this work will help promote positive conversation about effective use of Creative Commons licensing. It contains material from my kids who I hope will grow up in a society that values and rewards their creative efforts.’ [http://blip.tv/file/105754 Blip.tv mashup: ‘CreativeCommonsDRM-ReadWriteCulture-DownesVsLessig’]

== License Usage ==
As discussed above, Mike is a strong supporter of the Creative Commons Attribution licence, making [http://www.processofinnovation.com/mikeseyfang/ his blog posts] available under the [http://creativecommons.org/licenses/by/2.5/au/ Creative Commons Attribution 2.5 Australia licence]. His [http://www.flickr.com/photos/mikeblogs/ Flickr photographs] are licensed under [http://creativecommons.org/licenses/by/2.0 CC BY 2.0]. Mike notes derivative uses of his images here:
*http://fang.blip.tv/file/633462/ - a presentation that helped my create an excellent job
*http://fang.blip.tv/file/105776/ - a mashup of Lessig and Downes that they have both seen
*http://www.flickr.com/photos/mikeblogs/323586161/ - my entry in a creative commons competition
*http://www.flickr.com/photos/cambodia4kidsorg/306021623/in/pool-ccswagcontest06 - an entry by the winner of that creative commons competition
*http://www.flickr.com/photos/cambodia4kidsorg/300492293/in/pool-ccswagcontest06 - the original image from which I borrowed the cc:Frisbee
*http://flickr.com/photos/31477768@N00/227948364 - my original hand drawn diagram

== Motivations ==
Adopting the Creative Commons Attribution licence as the representation of ‘free culture,’ Mike discusses his decision at several points across his blog. Most recently, he [http://mseyfang.edublogs.org/2008/06/04/soccer-with-stephens-content-cat/ expresses] the following opinion:
:‘What I do crave is recognition (not fame). The most profound recognition I have experienced is when someone mashes up or remixes my work. Like this, this, this, this or this. The biggest risk to me is that nobody will ever find my remixable digital work - or if they do that they might not have confidence to use it (ie that they might feel they need to ask permission first).’

In commenting on the reuse of his work even for commercial purposes, Mike [http://mseyfang.edublogs.org/2008/05/07/why-i-license-ccby/ observes]:
:‘Either way I gain more than I lose by having my work re-mixed into a new context. Had I licensed my work in a more restrictive way (say cc:by-nc-sa which means reuse must be non commercial and licensed in exactly the same way) it is unlikely that anyone would have found it, let alone re-used it.’

== Media ==
<nowiki><embed src="http://blip.tv/play/AYbXCAA" type="application/x-shockwave-flash" width="320" height="270" allowscriptaccess="always" allowfullscreen="true"></embed></nowiki>

Case Studies/Mike Seyfang

2008-07-01T01:17:27Z

Rachel cobcroft: /* Motivations */

{{Case Study
|Description=Mike Seyfang is an Australian education consultant, ICT strategist, amateur musician and father of teenage children who emphasises the importance of instilling read/write culture through his blog ‘Learning with the Fang.’
|Quote=I decide to “give away” most of my rights to my digital content in the hope that someone will find it useful and re-use it to tell their story. No need to ask, just be polite and give me attribution.
|Quote_Attribution=[http://mseyfang.edublogs.org/2008/05/07/why-i-license-ccby/ Mike Seyfang]
|Image_Header=http://farm1.static.flickr.com/98/236478419_4acf990316.jpg
|Image_attribution=[http://www.flickr.com/photos/mikeblogs/236478419/ 'TriBeardLesBones’ by MikeBlogs]
|Image_license=http://creativecommons.org/licenses/by/2.0/
|Mainurl=http://mseyfang.edublogs.org/
|Author=Mike Seyfang
|User_Status=Creator
|Tag=education, mashup, blogging
|License short name=CC BY
|License=http://creativecommons.org/licenses/by/2.5/au/
|Format=Image, Text
|Country=Australia
}}
== Overview ==
Mike Seyfang is an Australian education consultant and advocate of open systems, emphasising opportunities for innovation and creative thinking enabled by Creative Commons Attribution licences. Drawing on over 25 years of ICT experience, the last nine spent with Microsoft, Mike has been strongly influenced by Lawrence Lessig’s lectures on Read/Write Culture (as transcribed [http://public.resource.org/lessig_lecture.html here]). So impressed was Mike by Lessig’s talk of ‘free culture’ that he made a mashup ‘Downes vs. Lessig’ as a demo to the net2blazers group, incorporating podcasts, Flickr images, and web 2.0 artefacts with the aim of showing ‘how remixing many elements is both powerful and tricky to license appropriately’ (hosted on [http://fang.blip.tv/file/105776/ blip.tv]).

Mike’s edublog [http://mseyfang.edublogs.org/ ‘Learning with the Fang’] regularly engages with issues of content distribution and re-use. The most recent post [http://mseyfang.edublogs.org/2008/06/04/soccer-with-stephens-content-cat/ ‘Soccer with Stephen’s CONTENT Cat’] on 4 June 2008 deals with the question of the most effective license scheme for ensuring open access to free content, with Stephen Downes arguing for CC BY-NC-SA and Mike advocating CC BY as ‘more open.’

Objecting to the removal of NC conditions, [http://halfanhour.blogspot.com/2008/05/another-kick-at-free-content-cat.html Stephen comments]:
:‘My objection to commercial use is that it is a business model supported by denying access to resources. If a resource must be purchased before it may be used, then it is not free in either sense. A person does not have the freedom to use, modify, etc., something he or she must buy.’

In conversation with Leigh Blackall from [http://wiki.creativecommons.org/Otago_Polytechnic Otago Polytechnic], it has been suggested that the NC term be migrated to a ‘NRC: No Restrictions through Commercialisation’ to clarify educators’ concerns with enclosure.

Calling upon Clay Shirky’s acknowledgment of the need for certain prominent projects to avoid commercially-driven harm, Mike characterises these as belonging to the ‘short head’ of the power curve distribution, as below.

http://farm4.static.flickr.com/3065/2548203670_2cf6d93786_o.jpg

In response, Mike positions himself within the ‘long tail’ of this curve:
:‘Like most open source projects and most blogs the most frequent response to my work is none. …This is not a problem - it is something I enjoy because I can have real conversations with like minded people. This is the power (or jewel) of the long tail - I am frequently amazed by the rich and surprising connections that develop when I put my stuff “out there” ([http://bomega.com/2007/01/29/serendipity-and-a-farmers-daughter/ serendipity]).’

This builds on a post from 7 May 2008 in which Mike discussed why he licenses under CC Attribution. In response to Richard McManus’s reuse of Mike’s image [http://www.flickr.com/photos/mikeblogs/305430788/ ‘ReadWriteCulture-FangMix1’] on [http://www.readwriteweb.com/archives/nevermind_the_recession_web_will_change_the_world.php Read/Write Blog], Mike observes: ‘This is why only work that is freely licensed with continue to be relevant in future culture.’

As parent to teenage children who will most likely make their living from creating digital content, Mike is ‘keen to influence law reforms that will help them along the way.’ Mike’s children are responsible for the [http://mediablog.wholesalemeatenterprises.com/ Wholesale Meat Media Blog].

:‘My hope is that this work will help promote positive conversation about effective use of Creative Commons licensing. It contains material from my kids who I hope will grow up in a society that values and rewards their creative efforts.’ [http://blip.tv/file/105754 Blip.tv mashup: ‘CreativeCommonsDRM-ReadWriteCulture-DownesVsLessig’]

== License Usage ==
As discussed above, Mike is a strong supporter of the Creative Commons Attribution licence, making [http://www.processofinnovation.com/mikeseyfang/ his blog posts] available under the [http://creativecommons.org/licenses/by/2.5/au/ Creative Commons Attribution 2.5 Australia licence]. His [http://www.flickr.com/photos/mikeblogs/ Flickr photographs] are licensed under [http://creativecommons.org/licenses/by/2.0 CC BY 2.0]. Mike notes derivative uses of his images here:
*http://fang.blip.tv/file/633462/ - a presentation that helped my create an excellent job
*http://fang.blip.tv/file/105776/ - a mashup of Lessig and Downes that they have both seen
*http://www.flickr.com/photos/mikeblogs/323586161/ - my entry in a creative commons competition
*http://www.flickr.com/photos/cambodia4kidsorg/306021623/in/pool-ccswagcontest06 - an entry by the winner of that creative commons competition
*http://www.flickr.com/photos/cambodia4kidsorg/300492293/in/pool-ccswagcontest06 - the original image from which I borrowed the cc:Frisbee
*http://flickr.com/photos/31477768@N00/227948364 - my original hand drawn diagram

== Motivations ==
Adopting the Creative Commons Attribution licence as the representation of ‘free culture,’ Mike discusses his decision at several points across his blog. Most recently, he [http://mseyfang.edublogs.org/2008/06/04/soccer-with-stephens-content-cat/ expresses] the following opinion:
:‘What I do crave is recognition (not fame). The most profound recognition I have experienced is when someone mashes up or remixes my work. Like this, this, this, this or this. The biggest risk to me is that nobody will ever find my remixable digital work - or if they do that they might not have confidence to use it (ie that they might feel they need to ask permission first).’

In commenting on the reuse of his work even for commercial purposes, Mike [http://mseyfang.edublogs.org/2008/05/07/why-i-license-ccby/ observes]:
:‘Either way I gain more than I lose by having my work re-mixed into a new context. Had I licensed my work in a more restrictive way (say cc:by-nc-sa which means reuse must be non commercial and licensed in exactly the same way) it is unlikely that anyone would have found it, let alone re-used it.’

== Media ==

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Case Studies/Mike Seyfang

2008-07-01T01:15:58Z

Rachel cobcroft: /* Overview */

{{Case Study
|Description=Mike Seyfang is an Australian education consultant, ICT strategist, amateur musician and father of teenage children who emphasises the importance of instilling read/write culture through his blog ‘Learning with the Fang.’
|Quote=I decide to “give away” most of my rights to my digital content in the hope that someone will find it useful and re-use it to tell their story. No need to ask, just be polite and give me attribution.
|Quote_Attribution=[http://mseyfang.edublogs.org/2008/05/07/why-i-license-ccby/ Mike Seyfang]
|Image_Header=http://farm1.static.flickr.com/98/236478419_4acf990316.jpg
|Image_attribution=[http://www.flickr.com/photos/mikeblogs/236478419/ 'TriBeardLesBones’ by MikeBlogs]
|Image_license=http://creativecommons.org/licenses/by/2.0/
|Mainurl=http://mseyfang.edublogs.org/
|Author=Mike Seyfang
|User_Status=Creator
|Tag=education, mashup, blogging
|License short name=CC BY
|License=http://creativecommons.org/licenses/by/2.5/au/
|Format=Image, Text
|Country=Australia
}}
== Overview ==
Mike Seyfang is an Australian education consultant and advocate of open systems, emphasising opportunities for innovation and creative thinking enabled by Creative Commons Attribution licences. Drawing on over 25 years of ICT experience, the last nine spent with Microsoft, Mike has been strongly influenced by Lawrence Lessig’s lectures on Read/Write Culture (as transcribed [http://public.resource.org/lessig_lecture.html here]). So impressed was Mike by Lessig’s talk of ‘free culture’ that he made a mashup ‘Downes vs. Lessig’ as a demo to the net2blazers group, incorporating podcasts, Flickr images, and web 2.0 artefacts with the aim of showing ‘how remixing many elements is both powerful and tricky to license appropriately’ (hosted on [http://fang.blip.tv/file/105776/ blip.tv]).

Mike’s edublog [http://mseyfang.edublogs.org/ ‘Learning with the Fang’] regularly engages with issues of content distribution and re-use. The most recent post [http://mseyfang.edublogs.org/2008/06/04/soccer-with-stephens-content-cat/ ‘Soccer with Stephen’s CONTENT Cat’] on 4 June 2008 deals with the question of the most effective license scheme for ensuring open access to free content, with Stephen Downes arguing for CC BY-NC-SA and Mike advocating CC BY as ‘more open.’

Objecting to the removal of NC conditions, [http://halfanhour.blogspot.com/2008/05/another-kick-at-free-content-cat.html Stephen comments]:
:‘My objection to commercial use is that it is a business model supported by denying access to resources. If a resource must be purchased before it may be used, then it is not free in either sense. A person does not have the freedom to use, modify, etc., something he or she must buy.’

In conversation with Leigh Blackall from [http://wiki.creativecommons.org/Otago_Polytechnic Otago Polytechnic], it has been suggested that the NC term be migrated to a ‘NRC: No Restrictions through Commercialisation’ to clarify educators’ concerns with enclosure.

Calling upon Clay Shirky’s acknowledgment of the need for certain prominent projects to avoid commercially-driven harm, Mike characterises these as belonging to the ‘short head’ of the power curve distribution, as below.

http://farm4.static.flickr.com/3065/2548203670_2cf6d93786_o.jpg

In response, Mike positions himself within the ‘long tail’ of this curve:
:‘Like most open source projects and most blogs the most frequent response to my work is none. …This is not a problem - it is something I enjoy because I can have real conversations with like minded people. This is the power (or jewel) of the long tail - I am frequently amazed by the rich and surprising connections that develop when I put my stuff “out there” ([http://bomega.com/2007/01/29/serendipity-and-a-farmers-daughter/ serendipity]).’

This builds on a post from 7 May 2008 in which Mike discussed why he licenses under CC Attribution. In response to Richard McManus’s reuse of Mike’s image [http://www.flickr.com/photos/mikeblogs/305430788/ ‘ReadWriteCulture-FangMix1’] on [http://www.readwriteweb.com/archives/nevermind_the_recession_web_will_change_the_world.php Read/Write Blog], Mike observes: ‘This is why only work that is freely licensed with continue to be relevant in future culture.’

As parent to teenage children who will most likely make their living from creating digital content, Mike is ‘keen to influence law reforms that will help them along the way.’ Mike’s children are responsible for the [http://mediablog.wholesalemeatenterprises.com/ Wholesale Meat Media Blog].

:‘My hope is that this work will help promote positive conversation about effective use of Creative Commons licensing. It contains material from my kids who I hope will grow up in a society that values and rewards their creative efforts.’ [http://blip.tv/file/105754 Blip.tv mashup: ‘CreativeCommonsDRM-ReadWriteCulture-DownesVsLessig’]

== License Usage ==
As discussed above, Mike is a strong supporter of the Creative Commons Attribution licence, making [http://www.processofinnovation.com/mikeseyfang/ his blog posts] available under the [http://creativecommons.org/licenses/by/2.5/au/ Creative Commons Attribution 2.5 Australia licence]. His [http://www.flickr.com/photos/mikeblogs/ Flickr photographs] are licensed under [http://creativecommons.org/licenses/by/2.0 CC BY 2.0]. Mike notes derivative uses of his images here:
*http://fang.blip.tv/file/633462/ - a presentation that helped my create an excellent job
*http://fang.blip.tv/file/105776/ - a mashup of Lessig and Downes that they have both seen
*http://www.flickr.com/photos/mikeblogs/323586161/ - my entry in a creative commons competition
*http://www.flickr.com/photos/cambodia4kidsorg/306021623/in/pool-ccswagcontest06 - an entry by the winner of that creative commons competition
*http://www.flickr.com/photos/cambodia4kidsorg/300492293/in/pool-ccswagcontest06 - the original image from which I borrowed the cc:Frisbee
*http://flickr.com/photos/31477768@N00/227948364 - my original hand drawn diagram

== Motivations ==

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{{Incomplete|Motivations|formedit}}

== Media ==

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Add media that is relevant.

{{Incomplete|Media|formedit}}

Case Studies/Mike Seyfang

2008-07-01T01:15:40Z

Rachel cobcroft: /* License Usage */

{{Case Study
|Description=Mike Seyfang is an Australian education consultant, ICT strategist, amateur musician and father of teenage children who emphasises the importance of instilling read/write culture through his blog ‘Learning with the Fang.’
|Quote=I decide to “give away” most of my rights to my digital content in the hope that someone will find it useful and re-use it to tell their story. No need to ask, just be polite and give me attribution.
|Quote_Attribution=[http://mseyfang.edublogs.org/2008/05/07/why-i-license-ccby/ Mike Seyfang]
|Image_Header=http://farm1.static.flickr.com/98/236478419_4acf990316.jpg
|Image_attribution=[http://www.flickr.com/photos/mikeblogs/236478419/ 'TriBeardLesBones’ by MikeBlogs]
|Image_license=http://creativecommons.org/licenses/by/2.0/
|Mainurl=http://mseyfang.edublogs.org/
|Author=Mike Seyfang
|User_Status=Creator
|Tag=education, mashup, blogging
|License short name=CC BY
|License=http://creativecommons.org/licenses/by/2.5/au/
|Format=Image, Text
|Country=Australia
}}
== Overview ==
Mike Seyfang is an Australian education consultant and advocate of open systems, emphasising opportunities for innovation and creative thinking enabled by Creative Commons Attribution licences. Drawing on over 25 years of ICT experience, the last nine spent with Microsoft, Mike has been strongly influenced by Lawrence Lessig’s lectures on Read/Write Culture (as transcribed [http://public.resource.org/lessig_lecture.html here]). So impressed was Mike by Lessig’s talk of ‘free culture’ that he made a mashup ‘Downes vs. Lessig’ as a demo to the net2blazers group, incorporating podcasts, Flickr images, and web 2.0 artefacts with the aim of showing ‘how remixing many elements is both powerful and tricky to license appropriately’ (hosted on [http://fang.blip.tv/file/105776/ blip.tv]).

Mike’s edublog [http://mseyfang.edublogs.org/ ‘Learning with the Fang’] regularly engages with issues of content distribution and re-use. The most recent post [http://mseyfang.edublogs.org/2008/06/04/soccer-with-stephens-content-cat/ ‘Soccer with Stephen’s CONTENT Cat’] on 4 June 2008 deals with the question of the most effective license scheme for ensuring open access to free content, with Stephen Downes arguing for CC BY-NC-SA and Mike advocating CC BY as ‘more open.’

Objecting to the removal of NC conditions, [http://halfanhour.blogspot.com/2008/05/another-kick-at-free-content-cat.html Stephen comments]:
:‘My objection to commercial use is that it is a business model supported by denying access to resources. If a resource must be purchased before it may be used, then it is not free in either sense. A person does not have the freedom to use, modify, etc., something he or she must buy.’

In conversation with Leigh Blackall from [http://wiki.creativecommons.org/Otago_Polytechnic Otago Polytechnic], it has been suggested that the NC term be migrated to a ‘NRC: No Restrictions through Commercialisation’ to clarify educators’ concerns with enclosure.

Calling upon Clay Shirky’s acknowledgment of the need for certain prominent projects to avoid commercially-driven harm, Mike characterises these as belonging to the ‘short head’ of the power curve distribution, as below.

http://farm4.static.flickr.com/3065/2548203670_2cf6d93786_o.jpg

In response, Mike positions himself within the ‘long tail’ of this curve:
:‘Like most open source projects and most blogs the most frequent response to my work is none. …This is not a problem - it is something I enjoy because I can have real conversations with like minded people. This is the power (or jewel) of the long tail - I am frequently amazed by the rich and surprising connections that develop when I put my stuff “out there” ([http://bomega.com/2007/01/29/serendipity-and-a-farmers-daughter/ serendipity]).’

This builds on a post from 7 May 2008 in which Mike discussed why he licenses under CC Attribution. In response to Richard McManus’s reuse of Mike’s image [http://www.flickr.com/photos/mikeblogs/305430788/ ‘ReadWriteCulture-FangMix1’] on [http://www.readwriteweb.com/archives/nevermind_the_recession_web_will_change_the_world.php Read/Write Blog], Mike observes: ‘This is why only work that is freely licensed with continue to be relevant in future culture.’

As parent to teenage children who will most likely make their living from creating digital content, Mike is ‘keen to influence law reforms that will help them along the way.’ Mike’s children are responsible for the [http://mediablog.wholesalemeatenterprises.com/ Wholesale Meat Media Blog].

:‘My hope is that this work will help promote positive conversation about effective use of Creative Commons licensing. It contains material from my kids who I hope will grow up in a society that values and rewards their creative efforts.’ [http://blip.tv/file/105754 Blip.tv mashup: ‘CreativeCommonsDRM-ReadWriteCulture-DownesVsLessig’]

== License Usage ==
As discussed above, Mike is a strong supporter of the Creative Commons Attribution licence, making [http://www.processofinnovation.com/mikeseyfang/ his blog posts] available under the [http://creativecommons.org/licenses/by/2.5/au/ Creative Commons Attribution 2.5 Australia licence]. His [http://www.flickr.com/photos/mikeblogs/ Flickr photographs] are licensed under [http://creativecommons.org/licenses/by/2.0 CC BY 2.0]. Mike notes derivative uses of his images here:
*http://fang.blip.tv/file/633462/ - a presentation that helped my create an excellent job
*http://fang.blip.tv/file/105776/ - a mashup of Lessig and Downes that they have both seen
*http://www.flickr.com/photos/mikeblogs/323586161/ - my entry in a creative commons competition
*http://www.flickr.com/photos/cambodia4kidsorg/306021623/in/pool-ccswagcontest06 - an entry by the winner of that creative commons competition
*http://www.flickr.com/photos/cambodia4kidsorg/300492293/in/pool-ccswagcontest06 - the original image from which I borrowed the cc:Frisbee
*http://flickr.com/photos/31477768@N00/227948364 - my original hand drawn diagram

== Motivations ==

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{{Incomplete|Motivations|formedit}}

== Media ==

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Add media that is relevant.

{{Incomplete|Media|formedit}}

Case Studies/Mike Seyfang

2008-07-01T01:11:47Z

Rachel cobcroft:

{{Case Study
|Description=Mike Seyfang is an Australian education consultant, ICT strategist, amateur musician and father of teenage children who emphasises the importance of instilling read/write culture through his blog ‘Learning with the Fang.’
|Quote=I decide to “give away” most of my rights to my digital content in the hope that someone will find it useful and re-use it to tell their story. No need to ask, just be polite and give me attribution.
|Quote_Attribution=[http://mseyfang.edublogs.org/2008/05/07/why-i-license-ccby/ Mike Seyfang]
|Image_Header=http://farm1.static.flickr.com/98/236478419_4acf990316.jpg
|Image_attribution=[http://www.flickr.com/photos/mikeblogs/236478419/ 'TriBeardLesBones’ by MikeBlogs]
|Image_license=http://creativecommons.org/licenses/by/2.0/
|Mainurl=http://mseyfang.edublogs.org/
|Author=Mike Seyfang
|User_Status=Creator
|Tag=education, mashup, blogging
|License short name=CC BY
|License=http://creativecommons.org/licenses/by/2.5/au/
|Format=Image, Text
|Country=Australia
}}
== Overview ==
Mike Seyfang is an Australian education consultant and advocate of open systems, emphasising opportunities for innovation and creative thinking enabled by Creative Commons Attribution licences. Drawing on over 25 years of ICT experience, the last nine spent with Microsoft, Mike has been strongly influenced by Lawrence Lessig’s lectures on Read/Write Culture (as transcribed [http://public.resource.org/lessig_lecture.html here]). So impressed was Mike by Lessig’s talk of ‘free culture’ that he made a mashup ‘Downes vs. Lessig’ as a demo to the net2blazers group, incorporating podcasts, Flickr images, and web 2.0 artefacts with the aim of showing ‘how remixing many elements is both powerful and tricky to license appropriately’ (hosted on [http://fang.blip.tv/file/105776/ blip.tv]).

Mike’s edublog [http://mseyfang.edublogs.org/ ‘Learning with the Fang’] regularly engages with issues of content distribution and re-use. The most recent post [http://mseyfang.edublogs.org/2008/06/04/soccer-with-stephens-content-cat/ ‘Soccer with Stephen’s CONTENT Cat’] on 4 June 2008 deals with the question of the most effective license scheme for ensuring open access to free content, with Stephen Downes arguing for CC BY-NC-SA and Mike advocating CC BY as ‘more open.’

Objecting to the removal of NC conditions, [http://halfanhour.blogspot.com/2008/05/another-kick-at-free-content-cat.html Stephen comments]:
:‘My objection to commercial use is that it is a business model supported by denying access to resources. If a resource must be purchased before it may be used, then it is not free in either sense. A person does not have the freedom to use, modify, etc., something he or she must buy.’

In conversation with Leigh Blackall from [http://wiki.creativecommons.org/Otago_Polytechnic Otago Polytechnic], it has been suggested that the NC term be migrated to a ‘NRC: No Restrictions through Commercialisation’ to clarify educators’ concerns with enclosure.

Calling upon Clay Shirky’s acknowledgment of the need for certain prominent projects to avoid commercially-driven harm, Mike characterises these as belonging to the ‘short head’ of the power curve distribution, as below.

http://farm4.static.flickr.com/3065/2548203670_2cf6d93786_o.jpg

In response, Mike positions himself within the ‘long tail’ of this curve:
:‘Like most open source projects and most blogs the most frequent response to my work is none. …This is not a problem - it is something I enjoy because I can have real conversations with like minded people. This is the power (or jewel) of the long tail - I am frequently amazed by the rich and surprising connections that develop when I put my stuff “out there” ([http://bomega.com/2007/01/29/serendipity-and-a-farmers-daughter/ serendipity]).’

This builds on a post from 7 May 2008 in which Mike discussed why he licenses under CC Attribution. In response to Richard McManus’s reuse of Mike’s image [http://www.flickr.com/photos/mikeblogs/305430788/ ‘ReadWriteCulture-FangMix1’] on [http://www.readwriteweb.com/archives/nevermind_the_recession_web_will_change_the_world.php Read/Write Blog], Mike observes: ‘This is why only work that is freely licensed with continue to be relevant in future culture.’

As parent to teenage children who will most likely make their living from creating digital content, Mike is ‘keen to influence law reforms that will help them along the way.’ Mike’s children are responsible for the [http://mediablog.wholesalemeatenterprises.com/ Wholesale Meat Media Blog].

:‘My hope is that this work will help promote positive conversation about effective use of Creative Commons licensing. It contains material from my kids who I hope will grow up in a society that values and rewards their creative efforts.’ [http://blip.tv/file/105754 Blip.tv mashup: ‘CreativeCommonsDRM-ReadWriteCulture-DownesVsLessig’]

== License Usage ==

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{{Incomplete|License Usage|formedit}}

== Motivations ==

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{{Incomplete|Motivations|formedit}}

== Media ==

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Add media that is relevant.

{{Incomplete|Media|formedit}}

Case Studies/Mike Seyfang

2008-07-01T00:53:26Z

Rachel cobcroft: New page: {{Case Study |Description=Mike Seyfang is an Australian education consultant, ICT strategist, amateur musician and father of teenage children who emphasises the importance of instilling re...

Case Studies/Association for Progressive Communications Australia

2008-06-21T08:04:54Z

Rachel cobcroft:

{{Case Study
|Description='''apc'''.au, a digital media communications organisation advocating for open content and flexible licensing models, is engaged in both the development of and sustainable access to community-owned information communication technologies and infrastructure.
|Quote='''apc'''.au advocates for and employs open licenses such as GNU and Creative Commons, as tools that provide a legal framework that would ensure ownership of cultural and intellectual property remains within the public domain and for the public good.
|Quote_Attribution=Grant McHerron, Program Manager - Technical, apc.au
|Image_Header=http://www.apc.org.au/img/gg_comms.gif
|Mainurl=http://apc.org.au/
|Author=apc.au
|User_Status=Creator
|Tag=open access, community, development, ICTs, democracy, participation
|License short name=CC BY-NC-ND, CC BY-NC-SA
|License=http://creativecommons.org/licenses/by-nc-nd/2.5/au/, http://creativecommons.org/licenses/by-nc-sa/2.5/au/
|Format=Image, Sound, Text, MovingImage
|Country=Australia
}}
== Overview ==
'''apc'''.au was established in 1997 on the ideals expressed in the [http://rights.apc.org/charter.shtml Association for Progressive Communication's ''Internet Rights Charter'']. Emphasising awareness, realisation, and protection of rights, the Charter commits to Internet access for all, access to knowledge, particularly with respect to shared learning and creation using free and open source software, and freedom of expression and association.

Within this framework, '''apc'''.au’s core objectives are:

#To promote and provide services for the development, application and strategic use of, and community education in respect to online and digital media technologies;
#To develop and provide networking online media services, applications and content, including advisory, consulting and related services, production and research;
#To assist the civil sector in the use of online media services and in the development and publication of network content, in areas of community interest including environment, social development, human rights and social justice;
#To support online media initiatives through the Australasian and Asia-Pacific areas and promote open and equitable access to online media technologies particularly for the non-government sector and disadvantaged groups and for the development of strategic working communities.

'''apc'''.au sits on the steering committees of [http://www.openspectrum.org.au Open Spectrum Australia] (sustaining community broadcast licensing on the digital spectrum), [http://wiki.apc.org.au/index.php?title=Home_Lands Home Lands] (remote communications program for refugee youth) and the Arts Law Consortium (providing access to ICT rights issues to cultural development and arts workers).

Within Australia, '''apc'''.au has previously traded under the following programmes, each an independently registered business in Victoria, Australia and headed by Andrew Garton, apc.au’s Managing Director:

*[http://c2o.org Community Communications Online (c2o)]
*[http://secession-records.org Secession Records]
*[http://toysatellite.org Toy Satellite]

In 2008, '''apc'''.au decommissioned c2o and began the process of archiving Toy Satellite projects, representing a decade of Australian new media art.

'''About the Association for Progressive Communications (APC)'''

Since its establishment in 1990, the [http://apc.org/ Association for Progressive Communications (APC)] has worked with the United Nations to help civil society organisations participate in global policy-making via the strategic use of information and communication technologies (ICTs) including the Internet. APC also examines issues surrounding privacy, surveillance, and encryption, and governance of the Internet.

[http://apc.org.au/ '''apc'''.au], the Australian member organisation, sits alongside members in Argentina, Bulgaria, Colombia, the Democratic Republic of Congo, Italy, Mexico, the Philippines, South Africa, Spain, the UK and Uruguay. In addition to many members offering local portals to discuss ICT policies and rights in their respective regions, APC works to achieve social and environmental justice and sustainable development. APC members are often the first providers of Internet in their countries, and they continue to pioneer practical and relevant uses of ICTs, particularly in developing nations and with grassroots organisations. Governed by its constitutive members, APC sets its strategic policies every four years.

== License Usage ==
'''apc'''.au is an organisation which advocates open content and flexible licensing models. Projects are developed with partners, clients and associates under an open publishing model utilising a [http://creativecommons.org/licenses/by-nc-nd/2.5/au/ Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 Australia licence]. Many projects have been recognised as pioneering the use of CC licenses in the Australian and international cultural development and screen sectors.

Typically, '''apc'''.au uses [http://creativecommons.org/licenses/by-nc-nd/2.5/au/ Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 Australia licenses] as a default, although some works are released under a [http://creativecommons.org/licenses/by-nc-sa/2.5/au/ Creative Commons Attribution-Noncommercial-ShareAlike 2.5 Australia licence], depending on the project and item.

Significantly, as part of '''apc'''.au's support for [http://www.documentfreedom.org/ Document Freedom Day 2008 (DFD)], Managing Director Andrew Garton announced the release of 10 years of essays, lectures, reports and articles dealing with [http://wiki.apc.org.au/index.php?title=Documents information communication technologies for cultural development (ICT4CD)], under the [http://creativecommons.org/licenses/by-nc-nd/2.5/au/ Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 Australia Licence]. Reproduction of materials housed on the '''apc'''.au wiki is encouraged provided acknowledgement is given.

Observing the importance of open content licensing, Andrew Garton explains in the [http://wiki.apc.org.au/index.php?title=DFD08_Media_Release press statement] issued for the event:
:‘The author may choose to reserve some or all rights through open licenses, providing consumers with immediate access to how content may be used, re-used and/or attributed without having to communicate with neither the author nor any 3rd party. Open licenses puts rights management directly into the hands or authors of any form and medium.’

Further examples of '''apc'''.au’s current projects employing Creative Commons include:
*[http://wiki.apc.org.au/index.php?title=Home_Lands Home Lands]: Connecting young refugees to their homelands and separated communities via online media and Creative Commons rights management in association with the Cultural Development Network, the Home Lands Reference Committee, and with support from the City of Melbourne;
*[http://openchannel.org.au/blogs/videoslam/ Video Slam]: Rights and production management workshops that encourage cross-discipline collaboration in the use of flexible licenses. This results in the production of new works that put Creative Commons licenses into direct contact with screen practitioners. Video Slam explores whether these licences can be used to create new works from Share Alike content and whether there is enough material in the public domain to produce works that are both meaningful and watchable.
*[http://wiki.apc.org.au/index.php?title=Sarawak_Gone Sarawak Gone]: As tradition is sacrificed for modernity and capital, indigenous communities also make way for dams. A community media project documenting meetings between six indigenous communities in remote and urban locations. Sarawak Gone will trial the use of CC licences in an indigenous context – all video shot, edited and distributed will remain the intellectual property of the communities that comprise this project.

Detailed information on the projects '''apc'''.au undertakes can be found on their [http://wiki.apc.org.au wiki]. In addition to their projects, '''apc'''.au is working to establish an open business model that provides operational transparency, effectively applying the open and flexible concept to the company itself.

== Motivations ==
'''apc'''.au advocates for and employs open licenses such as GNU and Creative Commons as tools that provide a legal framework to ensure that ownership of cultural and intellectual property remains within the public domain and for the public good.

In an email interview with Grant McHerron, Program Manager - Technical of '''apc'''.au, with Rachel Cobcroft from Creative Commons Australia in May 2008, he expressed the following opinion:

:‘Open models for licensing, for research and education, the arts and cultural practice, science and business... for everything that we make and the resources we rely on, are an imperative towards the need to move from the dire outcomes of opportunistic development and the mechanisms currently in place to protect them.

:These tools apply a sense of collective ownership and that which strives for the common good, that stimulates innovation and the transformation of unsustainable practices without the burden of patents. '''apc'''.au, through its various projects, from broadcast spectrum policy to public performance, from online media advisory to research in collective music making, we seek a more liberal, sustainable society that respects, protects and enhances both bio and cultural diversity and is nourished by it.’
== Media ==

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Case Studies/Ali J Art and Illustration

2008-06-20T07:46:44Z

Rachel cobcroft:

{{Case Study
|Description=Ali J is an Australian artist and illustrator whose stunning portraits of young modern female figures are housed in private and public collections worldwide, and are increasingly included in print publications.
|Quote=Creative Commons gives me the added assurance that I will be credited for my images, and it allows them to be displayed and used instead of just sitting in a file.
|Quote_Attribution=Ali J
|Image_Header=http://farm3.static.flickr.com/2354/2191069951_214772586a_o.jpg
|Image_attribution='A tropical conversation' by Ali J. Hosted on [http://flickr.com/photos/aussiepatches/2191069951/ Flickr] under
|Image_license=http://creativecommons.org/licenses/by-nc-nd/2.0/
|Mainurl=http://www.alijart.com
|Author=Ali J
|User_Status=Creator
|Tag=art, illustration, design, fashion, Flickr, deviantART
|License short name=CC BY-NC-ND
|License=http://creativecommons.org/licenses/by-nc-nd/2.0/, http://creativecommons.org/licenses/by-nc-nd/3.0/
|Format=Image
|Country=Australia
}}
== Overview ==
[http://alijart.com/ Ali J] (aka Alicia Rosam) is an Australian artist and illustrator based Perth, Western Australia. Her stunning portraits of modern females are featured in public and private collections worldwide, and are increasingly included in prominent publications and exhibitions. Ali J frequently works with mixed media on canvas, incorporating patterned paper, pages of text and date stamps from vintage books, as well as items such as translucent buttons. She also creates Matryoshka dolls, designs earrings, sews brooches, makes magnets and selects stationery such as greeting cards to feature her designs. Celebrities, fashion and shopping often inspire her work.

Ali J graduated from college in 2002 with a Diploma of Fine Art and a Certificate in Interior Decoration where she specialised in realistic charcoal drawings with a strong conceptual outlook. She works in a space surrounded by the artworks of Catherine Campbell, LaMaga, Erin Paisley Stueber, Bec Winnel, and Alexandra Lening amongst others, also taking inspiration from images from The Black Apple and postcards from ''Frankie'' magazine.

:‘I like to surround myself with characters and creatures that continually open up more paths to [my imagination].’ (http://aussiepatches.typepad.com/aussiepatches/2008/03/inspirations-ev.html)

Rather creatively, she believes that her Matryoshka dolls share stories with each other as they come to life at the end of her brush.

Her works are sold in the [http://www.aussiepatches.etsy.com Etsy online store], where they have been recognised as [http://www.thing-of-beauty.com/100-great-artists-etsy-you-might-want-to-visit ‘A Thing of Beauty’], being voted in the top 100 artists on the site. Ali J’s earrings have also been listed with Leeloo at the [http://www.shoptilyoudrop.com.au/eboutique_products.htm?brand=132&pid=2955 Shop Til You Drop E-boutique].

Ali J’s exhibition schedule is now tightly packed, with the most recent event being the Perth College Art Exhibition on 4th – 6th April 2008 where she has explored a maritime theme. Her exhibitions in the last two years show the continued success of her work:

2007
*August, ''Etsy Labs Wall'', Brooklyn, New York
*September - October, ''Artopia - Festival of WA Artists'', Perth, Australia
*November, ''Wayside'', Wayside Chapel, Sydney, Australia
*November, ''Dreams and Storytales'', Solo Exhibition, Behind The Monkey, Perth, Australia
*November, ''V-Raw'', China Heights Gallery, Sydney, Australia
*December, ''Clothespeg Exhibition'', Behind The Monkey, Perth, Australia

2008
*March, ''All Girls Exhibition'', Gallery 696, Melbourne
*April, ''Perth College Art Exhibition'', Perth, Australia
*April, ''696 1st Birthday'', Gallery 696, Melbourne

Ali J’s artwork and illustrations reside in private collections spanning 23 countries including Ireland, Italy, Poland, Portugal, Mexico, Spain, Brazil and Wales, as well as the United Kingdom and the United States. The public collections housing Ali J’s work are the City of Joondalup Art Collection, and the Town of Vincent Library.

Her image [http://flickr.com/photos/aussiepatches/1154044695/ ''Babydoll Letters''] was featured in the April 2008 Australian edition of ''Marie Claire'' magazine. In the same month, her work was featured in [http://www.xpressmag.com.au ''Xpress Magazine''] in Perth.

Ali provides [http://aussiepatches.typepad.com/aussiepatches/2008/03/marketing-your.html advice] on the marketing of products, noting that anyone can sell a product; however, generating a repeat sale takes nous, emphasising that it is best to under promise and over deliver.

== License Usage ==
Ali J licenses her [http://www.flickr.com/photos/aussiepatches/ collections] on [http://www.flickr.com Flickr] under the [http://creativecommons.org/licenses/by-nc-nd/2.0/ Creative Commons Attribution-NonCommercial-NoDerivatives 2.0 generic licence]. These include illustrations, art, exhibition work, and content featured in print publications. Her collections hosted on [http://www.aussiepatches.deviantart.com/ deviantArt], which currently number 79 ‘deviations,’ are licensed under [http://creativecommons.org/licenses/by-nc-nd/3.0/ Creative Commons Attribution-NonCommercial-NoDerivatives 3.0]. Both platforms allow downloads. Ali J adds a subtle watermark ‘aussiepatches’ to her deviantART stock.

== Motivations ==
Ali J explains that she first heard about Creative Commons through the photo-sharing site [http://www.flickr.com Flickr.com]. Initially, she says in an email interview in December 2007 with Rachel Cobcroft from Creative Commons Australia, she didn’t really understand it too much; however,
:‘It looked like a good way to help protect my images and get credit for when people display my images on their site. I found out about CC in more detail on [http://www.deviantart.com deviantART] when I was a little more concerned about plagiarism because it is quite high on that site. I read up a little more about CC and decided to display the disclaimer on my blog as a preventative measure and a way to protect my creations. Creative Commons gives me the added assurance that I will be credited for my images, and it allows them to be displayed and used instead of just sitting in a file.’

== Statistics ==
The following are statistics Ali J [http://aussiepatches.typepad.com/aussiepatches/2008/03/unwrapped-lowdo.html gathered] at the Unwrapped Designer Market on Mends St in South Perth on 16th March 2008:
*My average sale was $25-$30
*The average sale was 3 items
*Lowest sale was $2.50
*Highest sale was $107.50
*20% of the traffic were repeat customers
*I have about 6 products that would be classed as my most popular items, although it really depends on the location where I sell my goods to which one would be ranked number one.
*The front of my stall was more popular then the side.
*The displays that gained the most attention were my framed badge/magnet stands and my bright red vintage suitcase.
*I had an average of 30 different products with most having a variety of 6-15 designs available. My cards had the most designs available with a total of 52 images to choose from.
*My lowest priced product was $2.50, my highest was $550 (original painting).
*It took about 3 hours before all my new business cards were gone. In another 2 hours I was close to being out of all my old business cards too. Most people took 2 or more cards.
*More business cards were taken then products purchased (close to 5 times more).
*The average customer was female aged between 8 - 45. Most shoppers were in units of 2-4 people
*Total sleep time taken in the week leading up to the market - 22 hours (6 hours of that was on the night before) which averages out to 2-3 hours a night.
*Total time my partner spent packaging up products in front of the cricket - 3 days
*Experience gained & enjoyment had = priceless

On 4 March 2008, Ali J employed the free web tracking software called [http://www.statcounter.com/ StatCounter] for her blog, which revealed that visitors came from 18 countries, as well as 105 from unspecified countries which she conjectures may be the moon!

http://aussiepatches.typepad.com/aussiepatches/images/2008/03/04/map.jpg

Case Studies/Nine Inch Nails Ghosts I-IV

2008-06-19T03:58:37Z

Rachel cobcroft: /* Overview */

{{Case Study
|Description=Nine Inch Nails releases ''Ghosts I-IV'' under a Creative Commons licence, representing one of the most highly visible implementations of CC licensing by a (formerly) major label artist.
|Quote=We began improvising and let the music decide the direction...the end result is a wildly varied body of music that we're able to present to the world in ways the confines of a major record label would never have allowed - from a 100% DRM-free, high-quality download, to the most luxurious physical package we've ever created.
|Quote_Attribution=[http://ghosts.nin.com/main/more_info Trent Reznor]
|Image_Header=http://wiki.creativecommons.org/images/archive/b/b9/20080423204106%21Nin-ghosts-cover.jpg
|Mainurl=http://ghosts.nin.com/main/home, http://creativecommons.org/weblog/entry/8095,
|Author=Nine Inch Nails
|User_Status=Creator
|Tag=music, cc, album, nin
|License short name=CC BY-NC-SA
|License=http://creativecommons.org/licenses/by-nc-sa/3.0/us/
|Format=Sound
|Country=United States
}}
== Overview ==
On 2 March 2008, American noir rock band [http://nin.com/ Nine Inch Nails (NIN)] departed from previous music industry management practices by releasing [http://ghosts.nin.com ''Ghosts I-IV''] under a Creative Commons BY-NC-SA licence. Giving fans the ability to remix and redistribute the work from a multitude of different formats, ''Ghosts I-IV'' (aka ''Halo 26'') encapsulates the free spirit of the age to rip, mix, and share, creating a community of ardent followers. The thirty-six track album is divided into four parts, with the first nine unnamed tracks offered for free download, and the entire album available for $US5 as well as in a variety of pressings and packages at different price points. This move has been widely regarded as a master stroke for the band: by selling an accompanying $US300 ‘ultra-deluxe limited edition’ version of the album on vinyl, NIN netted $1.6 million overnight. Expanding the album into the ‘visual world’ a week after release, front-man Trent Reznor announced the launch of the [http://www.youtube.com/group/ninghosts ''Ghosts Film Festival'' project on YouTube], calling for users’ film and audio submissions to ‘be as creative as you like.’

The artistic team behind the project included Trent Reznor, Atticus Ross, and Alan Moulder, with instrumental contributions from Alessandro Cortini, Adrian Belew, and Brian Viglione. Collaborating with [http://www.ainr.com/ Artist in Residence (A+R)], Rob Sheridan moulded the album’s accompanying visual and physical aesthetic.

== License Usage ==
''Ghosts I-IV'' is licensed under a Creative Commons Attribution-Noncommercial-Share Alike license. You are free to share and remix the work provided you attribute the author and do not use the work for commercial purposes. If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one.

== Motivations ==
Reznor explains their [http://ghosts.nin.com/main/more_info philosophy of free release]:
:‘The end result is a wildly varied body of music that we're able to present to the world in ways the confines of a major record label would never have allowed – from a 100% DRM-free, high-quality download, to the most luxurious physical package we've ever created.’

== Media ==

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Case Studies/Nine Inch Nails Ghosts I-IV

2008-06-19T03:57:00Z

Rachel cobcroft:

{{Case Study
|Description=Nine Inch Nails releases ''Ghosts I-IV'' under a Creative Commons licence, representing one of the most highly visible implementations of CC licensing by a (formerly) major label artist.
|Quote=We began improvising and let the music decide the direction...the end result is a wildly varied body of music that we're able to present to the world in ways the confines of a major record label would never have allowed - from a 100% DRM-free, high-quality download, to the most luxurious physical package we've ever created.
|Quote_Attribution=[http://ghosts.nin.com/main/more_info Trent Reznor]
|Image_Header=http://wiki.creativecommons.org/images/archive/b/b9/20080423204106%21Nin-ghosts-cover.jpg
|Mainurl=http://ghosts.nin.com/main/home, http://creativecommons.org/weblog/entry/8095,
|Author=Nine Inch Nails
|User_Status=Creator
|Tag=music, cc, album, nin
|License short name=CC BY-NC-SA
|License=http://creativecommons.org/licenses/by-nc-sa/3.0/us/
|Format=Sound
|Country=United States
}}
== Overview ==
On 2 March 2008, prominent and polemic American noir rock band [http://nin.com/ Nine Inch Nails (NIN)] departed from previous music industry management practices by releasing [http://ghosts.nin.com ''Ghosts I-IV''] under a Creative Commons BY-NC-SA licence. Giving fans the ability to remix and redistribute the work from a multitude of different formats, ''Ghosts I-IV'' (aka ''Halo 26'') encapsulates the free spirit of the age to rip, mix, and share, creating a community of ardent followers. The thirty-six track album is divided into four parts, with the first nine unnamed tracks offered for free download, and the entire album available for $US5 as well as in a variety of pressings and packages at different price points. This move has been widely regarded as a master stroke for the band: by selling an accompanying $US300 ‘ultra-deluxe limited edition’ version of the album on vinyl, NIN netted $1.6 million overnight. Expanding the album into the ‘visual world’ a week after release, front-man Trent Reznor announced the launch of the [http://www.youtube.com/group/ninghosts ''Ghosts Film Festival'' project on YouTube], calling for users’ film and audio submissions to ‘be as creative as you like.’

The artistic team behind the project included Trent Reznor, Atticus Ross, and Alan Moulder, with instrumental contributions from Alessandro Cortini, Adrian Belew, and Brian Viglione. Collaborating with [http://www.ainr.com/ Artist in Residence (A+R)], Rob Sheridan moulded the album’s accompanying visual and physical aesthetic.

== License Usage ==
''Ghosts I-IV'' is licensed under a Creative Commons Attribution-Noncommercial-Share Alike license. You are free to share and remix the work provided you attribute the author and do not use the work for commercial purposes. If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one.

== Motivations ==
Reznor explains their [http://ghosts.nin.com/main/more_info philosophy of free release]:
:‘The end result is a wildly varied body of music that we're able to present to the world in ways the confines of a major record label would never have allowed – from a 100% DRM-free, high-quality download, to the most luxurious physical package we've ever created.’

== Media ==

Delete this line and add text here.

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Case Studies/Nine Inch Nails Ghosts I-IV

2008-06-19T03:55:09Z

Rachel cobcroft: /* License Usage */

{{Case Study
|Description=Nine Inch Nails releases Ghosts I-IV under a Creative Commons license
|Quote=We began improvising and let the music decide the direction...the end result is a wildly varied body of music that we're able to present to the world in ways the confines of a major record label would never have allowed - from a 100% DRM-free, high-quality download, to the most luxurious physical package we've ever created.
|Quote_Attribution=Trent Reznor
|Image_Header=http://wiki.creativecommons.org/images/archive/b/b9/20080423204106%21Nin-ghosts-cover.jpg
|Mainurl=http://ghosts.nin.com/main/home, http://creativecommons.org/weblog/entry/8095,
|Author=Nine Inch Nails
|User_Status=Creator
|Tag=music, cc, album, nin
|License short name=CC BY-NC-SA
|License=http://creativecommons.org/licenses/by-nc-sa/3.0/us/
|Format=Sound
|Country=United States
}}
== Overview ==
On 2 March 2008, prominent and polemic American noir rock band [http://nin.com/ Nine Inch Nails (NIN)] departed from previous music industry management practices by releasing [http://ghosts.nin.com ''Ghosts I-IV''] under a Creative Commons BY-NC-SA licence. Giving fans the ability to remix and redistribute the work from a multitude of different formats, ''Ghosts I-IV'' (aka ''Halo 26'') encapsulates the free spirit of the age to rip, mix, and share, creating a community of ardent followers. The thirty-six track album is divided into four parts, with the first nine unnamed tracks offered for free download, and the entire album available for $US5 as well as in a variety of pressings and packages at different price points. This move has been widely regarded as a master stroke for the band: by selling an accompanying $US300 ‘ultra-deluxe limited edition’ version of the album on vinyl, NIN netted $1.6 million overnight. Expanding the album into the ‘visual world’ a week after release, front-man Trent Reznor announced the launch of the [http://www.youtube.com/group/ninghosts ''Ghosts Film Festival'' project on YouTube], calling for users’ film and audio submissions to ‘be as creative as you like.’

The artistic team behind the project included Trent Reznor, Atticus Ross, and Alan Moulder, with instrumental contributions from Alessandro Cortini, Adrian Belew, and Brian Viglione. Collaborating with Artist in Residence (A+R, http://www.ainr.com/), Rob Sheridan moulded the album’s accompanying visual and physical aesthetic.

== License Usage ==
''Ghosts I-IV'' is licensed under a Creative Commons Attribution-Noncommercial-Share Alike license. You are free to share and remix the work provided you attribute the author and do not use the work for commercial purposes. If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one.

== Motivations ==
Reznor explains their [http://ghosts.nin.com/main/more_info philosophy of free release]:
:‘The end result is a wildly varied body of music that we're able to present to the world in ways the confines of a major record label would never have allowed – from a 100% DRM-free, high-quality download, to the most luxurious physical package we've ever created.’

== Media ==

Delete this line and add text here.

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Case Studies/Nine Inch Nails Ghosts I-IV

2008-06-19T03:54:48Z

Rachel cobcroft: /* Motivations */

{{Case Study
|Description=Nine Inch Nails releases Ghosts I-IV under a Creative Commons license
|Quote=We began improvising and let the music decide the direction...the end result is a wildly varied body of music that we're able to present to the world in ways the confines of a major record label would never have allowed - from a 100% DRM-free, high-quality download, to the most luxurious physical package we've ever created.
|Quote_Attribution=Trent Reznor
|Image_Header=http://wiki.creativecommons.org/images/archive/b/b9/20080423204106%21Nin-ghosts-cover.jpg
|Mainurl=http://ghosts.nin.com/main/home, http://creativecommons.org/weblog/entry/8095,
|Author=Nine Inch Nails
|User_Status=Creator
|Tag=music, cc, album, nin
|License short name=CC BY-NC-SA
|License=http://creativecommons.org/licenses/by-nc-sa/3.0/us/
|Format=Sound
|Country=United States
}}
== Overview ==
On 2 March 2008, prominent and polemic American noir rock band [http://nin.com/ Nine Inch Nails (NIN)] departed from previous music industry management practices by releasing [http://ghosts.nin.com ''Ghosts I-IV''] under a Creative Commons BY-NC-SA licence. Giving fans the ability to remix and redistribute the work from a multitude of different formats, ''Ghosts I-IV'' (aka ''Halo 26'') encapsulates the free spirit of the age to rip, mix, and share, creating a community of ardent followers. The thirty-six track album is divided into four parts, with the first nine unnamed tracks offered for free download, and the entire album available for $US5 as well as in a variety of pressings and packages at different price points. This move has been widely regarded as a master stroke for the band: by selling an accompanying $US300 ‘ultra-deluxe limited edition’ version of the album on vinyl, NIN netted $1.6 million overnight. Expanding the album into the ‘visual world’ a week after release, front-man Trent Reznor announced the launch of the [http://www.youtube.com/group/ninghosts ''Ghosts Film Festival'' project on YouTube], calling for users’ film and audio submissions to ‘be as creative as you like.’

The artistic team behind the project included Trent Reznor, Atticus Ross, and Alan Moulder, with instrumental contributions from Alessandro Cortini, Adrian Belew, and Brian Viglione. Collaborating with Artist in Residence (A+R, http://www.ainr.com/), Rob Sheridan moulded the album’s accompanying visual and physical aesthetic.

== License Usage ==

"Ghosts I-IV" is licensed under a Creative Commons Attribution-Noncommercial-Share Alike license. You are free to share and remix the work provided you attribute the author and do not use the work for commercial purposes. If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one.

== Motivations ==
Reznor explains their [http://ghosts.nin.com/main/more_info philosophy of free release]:
:‘The end result is a wildly varied body of music that we're able to present to the world in ways the confines of a major record label would never have allowed – from a 100% DRM-free, high-quality download, to the most luxurious physical package we've ever created.’

== Media ==

Delete this line and add text here.

[{{SERVER}}{{localurl:{{NAMESPACE}}:{{PAGENAME}}|action=edit}} Please help us edit this.] Add media that is relevant.

Case Studies/Nine Inch Nails Ghosts I-IV

2008-06-19T03:54:06Z

Rachel cobcroft: /* Overview */

{{Case Study
|Description=Nine Inch Nails releases Ghosts I-IV under a Creative Commons license
|Quote=We began improvising and let the music decide the direction...the end result is a wildly varied body of music that we're able to present to the world in ways the confines of a major record label would never have allowed - from a 100% DRM-free, high-quality download, to the most luxurious physical package we've ever created.
|Quote_Attribution=Trent Reznor
|Image_Header=http://wiki.creativecommons.org/images/archive/b/b9/20080423204106%21Nin-ghosts-cover.jpg
|Mainurl=http://ghosts.nin.com/main/home, http://creativecommons.org/weblog/entry/8095,
|Author=Nine Inch Nails
|User_Status=Creator
|Tag=music, cc, album, nin
|License short name=CC BY-NC-SA
|License=http://creativecommons.org/licenses/by-nc-sa/3.0/us/
|Format=Sound
|Country=United States
}}
== Overview ==
On 2 March 2008, prominent and polemic American noir rock band [http://nin.com/ Nine Inch Nails (NIN)] departed from previous music industry management practices by releasing [http://ghosts.nin.com ''Ghosts I-IV''] under a Creative Commons BY-NC-SA licence. Giving fans the ability to remix and redistribute the work from a multitude of different formats, ''Ghosts I-IV'' (aka ''Halo 26'') encapsulates the free spirit of the age to rip, mix, and share, creating a community of ardent followers. The thirty-six track album is divided into four parts, with the first nine unnamed tracks offered for free download, and the entire album available for $US5 as well as in a variety of pressings and packages at different price points. This move has been widely regarded as a master stroke for the band: by selling an accompanying $US300 ‘ultra-deluxe limited edition’ version of the album on vinyl, NIN netted $1.6 million overnight. Expanding the album into the ‘visual world’ a week after release, front-man Trent Reznor announced the launch of the [http://www.youtube.com/group/ninghosts ''Ghosts Film Festival'' project on YouTube], calling for users’ film and audio submissions to ‘be as creative as you like.’

The artistic team behind the project included Trent Reznor, Atticus Ross, and Alan Moulder, with instrumental contributions from Alessandro Cortini, Adrian Belew, and Brian Viglione. Collaborating with Artist in Residence (A+R, http://www.ainr.com/), Rob Sheridan moulded the album’s accompanying visual and physical aesthetic.

== License Usage ==

"Ghosts I-IV" is licensed under a Creative Commons Attribution-Noncommercial-Share Alike license. You are free to share and remix the work provided you attribute the author and do not use the work for commercial purposes. If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one.

== Motivations ==

Delete this line and add text here.

[{{SERVER}}{{localurl:{{NAMESPACE}}:{{PAGENAME}}|action=edit}} Please help us edit this].

== Media ==

Delete this line and add text here.

[{{SERVER}}{{localurl:{{NAMESPACE}}:{{PAGENAME}}|action=edit}} Please help us edit this.] Add media that is relevant.

Case Studies/Revver Study

2008-06-18T05:20:29Z

Rachel cobcroft: /* Media */

{{Case Study
|Description=Revver self-describes as being ‘a powerful platform and suite of tools for serving and sharing media’ whilst forming a community of video lovers and artists who share in the site’s profits through its advertising structure.
|Quote=Revver is an online media network built the way the internet really works. We support the free and unlimited sharing of media. Our unique technology pairs videos with targeted ads and tracks them as they spread across the web. So no matter where your video travels, you benefit because we share the advertising revenue with you.
|Quote_Attribution=http://www.revver.com/about/
|Image_Header=http://www.tvover.net/content/binary/Revver_logo.jpg
|Mainurl=http://www.revver.com/
|Author=Revver
|User_Status=Curator
|Tag=videos, advertising, business model
|License short name=CC BY-NC-ND
|License=http://creativecommons.org/licenses/by-nc-nd/2.5/
|Format=MovingImage
|Country=Global
}}
== Overview ==
[http://www.revver.com/ Revver] is a video-sharing platform deploying an innovative business model with hyperdistribution as its core. Differentiating itself from competitor YouTube by offering per-view revenue, the platform takes advantage of peer-to-peer distribution mechanisms for sharing its hosted videos. When a user uploads a video to Revver, customised software inserts a brief, unobtrusive advertisement at the end of the video stream. At this point, the ‘Revverised’ video can be downloaded and distributed via any method – website, email, P2P, without losing the advertisement. Revver software reports back to the main website every time the embedded ad is clicked irrespective of location, prompting the advertiser to be charged a micropayment. The platform shares the associated revenue with the owner of the video on a 50/50 basis. Revver’s users are able to track their video’s performance, monitoring how many times the video has been viewed, and the amount of revenue accruing. Sharers are able to earn 20% of ad revenue for forwarding the videos. Revver is therefore founded on the ‘free and unlimited sharing of content online in an environment where the creator is rewarded for his/her work.’

== License Usage ==
:‘Copyright is complicated stuff. Our position on it is pretty simple.’ http://www.revver.com/go/copyright/

Revver’s business model is particularly noteworthy as it aims to take the wide-spread sharing of copyright material that occurs online and turn it into an asset, rather than a reason for litigation. The site uses Creative Commons Attribution-Noncommercial-NoDerivatives licences to permit users to distribute their content (with embedded advertising) verbatim for non-commercial purposes. The only additional requirement is that the creator of the video is attributed alongside Revver as host. This revenue-raising strategy not only permits widespread distribution; it relies on it – the more people who see the video, the more money both the site and the creator earn.

Adherence to copyright law is an important issue for Revver. All uploaded videos are reviewed by a human before being made available online. Reviewers look for copyright violations, fraudulent tagging, and any inappropriate content which would violate the site’s [http://www.revver.com/go/tou/ member agreement], such as content deemed obscene or hateful. If the site’s reviewers detect possible copyright violations, the uploader is emailed, and asked to document their ownership of the item in question, be it the video footage, background music or other content. Revver’s [http://www.revver.com/go/copyright/ copyright statement] declares:

:‘At Revver, we staunchly support copyright laws. Our mission and business is firmly rooted in the idea that artists deserve to control and be rewarded from their intellectual property. We also believe strongly in the protections provided by the doctrine of Fair Use, which is part of US copyright law, and to comparable protections provided under the copyright laws in other jurisdictions. While it is impossible to draw a hard and fast line between what is Fair Use and what is not, we understand that we are living in a remix culture and we support an open media environment that allows creators to lawfully build on the work of earlier creators.’

== Motivations ==
Recognised as an early adopter of next-generation business models, Revver is underpinned by [http://revver.com/go/faq/ the belief] that ‘a free and open, democratized media environment is good for everyone. Our goal is to empower video makers and sharers to do what they do best.’

Support for the balance in copyright law, and alternative options including Creative Commons is further evidenced in Revver’s support for open source communities. Revver acknowledges that they have built their products with a number of [http://www.revver.com/go/faq/#api1 open source software projects] including Python, Twisted, mySQL, PostgreSQL, Xen, Java, PHP, Apache, Lighttpd, and Django. In return, Revver has made the ‘ActiveRevver‘ and ‘Sparkline’ pieces of software available for usage, modification, and distribution under the MIT licence. [http://developer.revver.com/ Revver’s Developer Centre] provides access to the Application Programming Interface (API), involving software developers in the enhancement of the platform.

Given the sharing environment established by Revver, Creative Commons used the platform during its initial [http://creativecommons.org/weblog/entry/6125 fall fundraising campaign] in 2006 with the video [http://support.creativecommons.org/videos#wwt ''Wanna Work Together''], which they encouraged supporters to embed in their sites.

== Media ==
<script src="http://flash.revver.com/player/1.0/player.js?mediaId:89072;width:480;height:392;" type="text/javascript"></script>

Case Studies/Revver Study

2008-06-18T05:19:10Z

Rachel cobcroft: /* Motivations */

{{Case Study
|Description=Revver self-describes as being ‘a powerful platform and suite of tools for serving and sharing media’ whilst forming a community of video lovers and artists who share in the site’s profits through its advertising structure.
|Quote=Revver is an online media network built the way the internet really works. We support the free and unlimited sharing of media. Our unique technology pairs videos with targeted ads and tracks them as they spread across the web. So no matter where your video travels, you benefit because we share the advertising revenue with you.
|Quote_Attribution=http://www.revver.com/about/
|Image_Header=http://www.tvover.net/content/binary/Revver_logo.jpg
|Mainurl=http://www.revver.com/
|Author=Revver
|User_Status=Curator
|Tag=videos, advertising, business model
|License short name=CC BY-NC-ND
|License=http://creativecommons.org/licenses/by-nc-nd/2.5/
|Format=MovingImage
|Country=Global
}}
== Overview ==
[http://www.revver.com/ Revver] is a video-sharing platform deploying an innovative business model with hyperdistribution as its core. Differentiating itself from competitor YouTube by offering per-view revenue, the platform takes advantage of peer-to-peer distribution mechanisms for sharing its hosted videos. When a user uploads a video to Revver, customised software inserts a brief, unobtrusive advertisement at the end of the video stream. At this point, the ‘Revverised’ video can be downloaded and distributed via any method – website, email, P2P, without losing the advertisement. Revver software reports back to the main website every time the embedded ad is clicked irrespective of location, prompting the advertiser to be charged a micropayment. The platform shares the associated revenue with the owner of the video on a 50/50 basis. Revver’s users are able to track their video’s performance, monitoring how many times the video has been viewed, and the amount of revenue accruing. Sharers are able to earn 20% of ad revenue for forwarding the videos. Revver is therefore founded on the ‘free and unlimited sharing of content online in an environment where the creator is rewarded for his/her work.’

== License Usage ==
:‘Copyright is complicated stuff. Our position on it is pretty simple.’ http://www.revver.com/go/copyright/

Revver’s business model is particularly noteworthy as it aims to take the wide-spread sharing of copyright material that occurs online and turn it into an asset, rather than a reason for litigation. The site uses Creative Commons Attribution-Noncommercial-NoDerivatives licences to permit users to distribute their content (with embedded advertising) verbatim for non-commercial purposes. The only additional requirement is that the creator of the video is attributed alongside Revver as host. This revenue-raising strategy not only permits widespread distribution; it relies on it – the more people who see the video, the more money both the site and the creator earn.

Adherence to copyright law is an important issue for Revver. All uploaded videos are reviewed by a human before being made available online. Reviewers look for copyright violations, fraudulent tagging, and any inappropriate content which would violate the site’s [http://www.revver.com/go/tou/ member agreement], such as content deemed obscene or hateful. If the site’s reviewers detect possible copyright violations, the uploader is emailed, and asked to document their ownership of the item in question, be it the video footage, background music or other content. Revver’s [http://www.revver.com/go/copyright/ copyright statement] declares:

:‘At Revver, we staunchly support copyright laws. Our mission and business is firmly rooted in the idea that artists deserve to control and be rewarded from their intellectual property. We also believe strongly in the protections provided by the doctrine of Fair Use, which is part of US copyright law, and to comparable protections provided under the copyright laws in other jurisdictions. While it is impossible to draw a hard and fast line between what is Fair Use and what is not, we understand that we are living in a remix culture and we support an open media environment that allows creators to lawfully build on the work of earlier creators.’

== Motivations ==
Recognised as an early adopter of next-generation business models, Revver is underpinned by [http://revver.com/go/faq/ the belief] that ‘a free and open, democratized media environment is good for everyone. Our goal is to empower video makers and sharers to do what they do best.’

Support for the balance in copyright law, and alternative options including Creative Commons is further evidenced in Revver’s support for open source communities. Revver acknowledges that they have built their products with a number of [http://www.revver.com/go/faq/#api1 open source software projects] including Python, Twisted, mySQL, PostgreSQL, Xen, Java, PHP, Apache, Lighttpd, and Django. In return, Revver has made the ‘ActiveRevver‘ and ‘Sparkline’ pieces of software available for usage, modification, and distribution under the MIT licence. [http://developer.revver.com/ Revver’s Developer Centre] provides access to the Application Programming Interface (API), involving software developers in the enhancement of the platform.

Given the sharing environment established by Revver, Creative Commons used the platform during its initial [http://creativecommons.org/weblog/entry/6125 fall fundraising campaign] in 2006 with the video [http://support.creativecommons.org/videos#wwt ''Wanna Work Together''], which they encouraged supporters to embed in their sites.

== Media ==

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Add media that is relevant.

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Case Studies/Revver Study

2008-06-18T05:16:22Z

Rachel cobcroft: /* License Usage */

{{Case Study
|Description=Revver self-describes as being ‘a powerful platform and suite of tools for serving and sharing media’ whilst forming a community of video lovers and artists who share in the site’s profits through its advertising structure.
|Quote=Revver is an online media network built the way the internet really works. We support the free and unlimited sharing of media. Our unique technology pairs videos with targeted ads and tracks them as they spread across the web. So no matter where your video travels, you benefit because we share the advertising revenue with you.
|Quote_Attribution=http://www.revver.com/about/
|Image_Header=http://www.tvover.net/content/binary/Revver_logo.jpg
|Mainurl=http://www.revver.com/
|Author=Revver
|User_Status=Curator
|Tag=videos, advertising, business model
|License short name=CC BY-NC-ND
|License=http://creativecommons.org/licenses/by-nc-nd/2.5/
|Format=MovingImage
|Country=Global
}}
== Overview ==
[http://www.revver.com/ Revver] is a video-sharing platform deploying an innovative business model with hyperdistribution as its core. Differentiating itself from competitor YouTube by offering per-view revenue, the platform takes advantage of peer-to-peer distribution mechanisms for sharing its hosted videos. When a user uploads a video to Revver, customised software inserts a brief, unobtrusive advertisement at the end of the video stream. At this point, the ‘Revverised’ video can be downloaded and distributed via any method – website, email, P2P, without losing the advertisement. Revver software reports back to the main website every time the embedded ad is clicked irrespective of location, prompting the advertiser to be charged a micropayment. The platform shares the associated revenue with the owner of the video on a 50/50 basis. Revver’s users are able to track their video’s performance, monitoring how many times the video has been viewed, and the amount of revenue accruing. Sharers are able to earn 20% of ad revenue for forwarding the videos. Revver is therefore founded on the ‘free and unlimited sharing of content online in an environment where the creator is rewarded for his/her work.’

== License Usage ==
:‘Copyright is complicated stuff. Our position on it is pretty simple.’ http://www.revver.com/go/copyright/

Revver’s business model is particularly noteworthy as it aims to take the wide-spread sharing of copyright material that occurs online and turn it into an asset, rather than a reason for litigation. The site uses Creative Commons Attribution-Noncommercial-NoDerivatives licences to permit users to distribute their content (with embedded advertising) verbatim for non-commercial purposes. The only additional requirement is that the creator of the video is attributed alongside Revver as host. This revenue-raising strategy not only permits widespread distribution; it relies on it – the more people who see the video, the more money both the site and the creator earn.

Adherence to copyright law is an important issue for Revver. All uploaded videos are reviewed by a human before being made available online. Reviewers look for copyright violations, fraudulent tagging, and any inappropriate content which would violate the site’s [http://www.revver.com/go/tou/ member agreement], such as content deemed obscene or hateful. If the site’s reviewers detect possible copyright violations, the uploader is emailed, and asked to document their ownership of the item in question, be it the video footage, background music or other content. Revver’s [http://www.revver.com/go/copyright/ copyright statement] declares:

:‘At Revver, we staunchly support copyright laws. Our mission and business is firmly rooted in the idea that artists deserve to control and be rewarded from their intellectual property. We also believe strongly in the protections provided by the doctrine of Fair Use, which is part of US copyright law, and to comparable protections provided under the copyright laws in other jurisdictions. While it is impossible to draw a hard and fast line between what is Fair Use and what is not, we understand that we are living in a remix culture and we support an open media environment that allows creators to lawfully build on the work of earlier creators.’

== Motivations ==

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== Media ==

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Case Studies/Revver Study

2008-06-18T05:14:44Z

Rachel cobcroft: /* Overview */

Case Studies/Revver Study

2008-06-18T05:13:57Z

Rachel cobcroft:

Case Studies/Revver Study

2008-06-18T05:11:40Z

Rachel cobcroft: New page: {{Case Study |Description=Revver self-describes as being ‘a powerful platform and suite of tools for serving and sharing media’ whilst forming a community of video lovers and artists w...

Case Studies/The Pundit

2008-06-17T01:21:09Z

Rachel cobcroft:

{{Case Study
|Description=''The Pundit'' was a Creative Commons-licensed publication of reviews, news, and interviews distributed as part of the Melbourne International Film Festival (MIFF) in 2006.
|Quote=''The Pundit'' is designed to give young people their first shot at being published, in an open field with little barriers. Licensing ''The Pundit'' under Creative Commons enables us to utilise their work without needing to take all creative rights away from the individual author.
|Quote_Attribution=Tim Norton, A New Leaf Media
|Image_Header=http://www.anewleaf.com.au/wp-content/themes/grid_focus_public/images/avatar.png
|Mainurl=http://www.anewleaf.com.au/the-pundit/the-pundit-miff-06
|Author=A New Leaf Media
|User_Status=Creator
|Tag=MIFF, film, festival, publication, youth, independent
|License short name=CC BY-NC-ND
|License=http://creativecommons.org/licenses/by-nc-nd/2.5/au/
|Format=Text
|Country=Australia
}}
== Overview ==
[http://www.anewleaf.com.au/the-pundit/the-pundit-miff-06 ''The Pundit''] was a free publication released as part of [http://www.melbournefilmfestival.com.au/2006_Festival/programme.php Melbourne International Film Festival (MIFF) 2006] by [http://www.anewleaf.com.au/ A New Leaf Media], an independent Australian publisher and [http://www.anewleaf.com.au/about/ ‘word pedlar’]. Edited by Tim Norton, Lefa Singleton, Jane Watkins, and Paul D’Agostino, ''The Pundit'' included reviews, news and interviews contributed by an extensive and enthusiastic writing team sourced from local student media outlets, such as [http://syn.org.au/ SYN FM], [http://www.isnotmagazine.org/ ''Is Not Magazine''], [http://www.expressmedia.org.au/ Express Media], [http://www.vibewire.net/ Vibewire.net], [http://www.bigissue.org.au/ ''The Big Issue''], [http://www.artshub.com.au/au/default.asp Arts Hub] and other youth media. The publication was designed to not only be insightful, entertaining and informative, but to be an opportunity for young and emerging writers to publish work in a professional capacity.

''The Pundit''’s MIFF edition was released as 56-page, A4 portrait format with a print run of 10,000 copies and distributed around Melbourne outside the five main MIFF cinemas in addition to official venues. It was also available in pdf format from the website, with the articles and reviews available individually in html.

The publication was produced with the support of [http://www.youngaustralians.org/ The Foundation for Young Australians], [http://www.crumpler.com.au/ Crumpler Bags Australia], [http://union.rmit.edu.au/index.asp RMIT Union Arts], the [http://www.melbournefilmfestival.com.au/ Melbourne International Film Festival], and the [http://www.slingshot.org.au/slingshot/index.php Melbourne City Mission Slingshot].

Based in North Fitzroy, A New Leaf Media operates as a niche media company which strives to create alternative independent media produced by emerging media-makers. It focuses on publishing review magazines for a variety of Melbourne’s arts and cultural festivals. In the future, ''The Pundit'' will be released to coincide with various Australian arts and cultural festivals offering comprehensive guides, spreading their words from Altona to Alphington.

== License Usage ==
A New Leaf Media decided to license both the print magazine and the pdf digital version of The Pundit under a Creative Commons licence that allows content published in the magazine to be republished so long as the articles are not changed and the republication is for non-commercial purposes: i.e. under the [http://creativecommons.org/licenses/by-nc-nd/2.5/au/ Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 Australia licence]. This licensing facilitated the republishing of much of the magazine’s content on blogs during the festival, giving the writers far more exposure than A New Leaf Media on their own could provide.

== Motivations ==
Tim Norton from A New Leaf Media spoke at the [http://creativecommons.org.au/ccforum 2006 Creative Commons Australia Industry Forum], in the session for Creative Industries. Tim’s own blog, [http://monkeyjedi.blogspot.com/ ''Stop the world Mummy, I want to get off…''] is also licensed under Creative Commons.

== Media ==

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Add media that is relevant.

Case Studies/Shaun Miller

2008-06-16T22:49:56Z

Rachel cobcroft:

{{Case Study
|Description=Shaun Miller is an entertainment lawyer working with Melbourne’s Marshalls and Dent, advising the Australian film and television industry on issues in IP, and lecturing students in new media.
|Quote=Shaun’s concise presentation provides one of the clearest and easily understood explanations of copyright.
|Quote_Attribution=[http://openchannel.org.au/blogs/videoslam/?p=33 Andrew Garton, VIDEO SLAM Producer]
|Image_Header=http://farm4.static.flickr.com/3174/2547845842_09805befd6_m.jpg
|Image_attribution='VS02 Remix Forum' by [http://www.flickr.com/photos/andrew-garton/2547845842/ Andrew Garton]
|Image_license=http://creativecommons.org/licenses/by-nc-sa/2.0/
|Mainurl=http://www.mdlaw.com.au/shaun_A.htm
|Author=Shaun Miller
|User_Status=Creator
|Tag=entertainment law, media, film
|License short name=CC BY-NC-ND
|License=http://creativecommons.org/licenses/by-nc-nd/2.5/au/
|Format=MovingImage
|Country=Australia
}}
== Overview ==

Shaun Miller is a partner specialising in Intellectual Property law in the firm [http://www.mdlaw.com.au/ Marshalls and Dent], based in Melbourne, Australia. Working with the Australian film industry, he advises on issues of entertainment law, collaborating with celebrated directors including Paul Cox and animator Adam Elliot, who won an Oscar in 2004 for his film ''Harvie Krumpet''. Shaun serves on the Board of the Victorian College of the Arts Film and Television School Course Advisory Committee, and is a past board member of Channel 31 community television. Experienced in both private commercial law and public law, Shaun has also worked for the Australian Competition and Consumer Commission (ACCC).

Presented with the question ‘Is MySpace truly your Space, does YouTube care about you?’, in May 2007 Shaun delivered a lecture on [http://www.artshub.com.au/au/event.asp?sId=8775&catId=0&sCatId=7&sCc=61&sRegion=0&sortOrder=2&CYear=2008&CMonth=4&sText= 'Rights Online'] at [http://www.artslaw.com.au/events/PastEvents/VICArtsLawWeek2007.asp Arts Law Week Victoria], examining the place of artist on the Internet. The lecture was received by [http://openchannel.org.au/blogs/videoslam/?p=33 Andrew Garton from OPEN CHANNEL] as ‘one of the clearest and easily understood explanations of copyright.’ A recording of the lecture is available as a [http://openchannel.org.au/media/audio/2007/SHAUN-MILLER.mp3 podcast on the Video Slam site]. Shaun also presented a class on copyright to first year media students in RMIT’s Networked Media Course in August 2007, which is published on Seth Keen’s [http://networkedmedia.adc.rmit.edu.au/wp-content/video/copyright/copyright_miller.mov edublog].

== License Usage ==

Shaun’s RMIT lecture, [http://networkedmedia.adc.rmit.edu.au/wp-content/video/copyright/copyright_miller.mov ''Copyright''], is licensed under a [http://creativecommons.org/licenses/by-nc-nd/2.5/au/ Creative Commons Attribution-NonCommercial-NoDerivatives 2.5 Australia licence].

== Motivations ==

According to his [http://www.mdlaw.com.au/staffpages/shaunmiller.html staff profile at Marshalls and Dent], Shaun feels that today’s entertainment lawyers should operate as facilitators, liaising with producers, distributors, government funding bodies, venture capitalists and creative talent to develop successful works for both small and big screen.

== Media ==
http://networkedmedia.adc.rmit.edu.au/wp-content/video/copyright/miller_poster.jpg

Case Studies/Shaun Miller

2008-06-16T22:45:26Z

Rachel cobcroft:

{{Case Study
|Description=Shaun Miller is an entertainment lawyer working with Melbourne’s Marshalls and Dent, advising the Australian film and television industry on issues in IP, and lecturing students in new media.
|Quote=Shaun’s concise presentation provides one of the clearest and easily understood explanations of copyright.
|Quote_Attribution=[http://openchannel.org.au/blogs/videoslam/?p=33 Andrew Garton, VIDEO SLAM Producer]
|Image_Header=http://networkedmedia.adc.rmit.edu.au/wp-content/video/copyright/miller_poster.jpg
|Mainurl=http://www.mdlaw.com.au/staffpages/shaunmiller.html
|Author=Shaun Miller
|User_Status=Creator
|Tag=entertainment law, media, film
|License short name=CC BY-NC-ND
|License=http://creativecommons.org/licenses/by-nc-nd/2.5/au/
|Format=MovingImage
|Country=Australia
}}
== Overview ==

Shaun Miller is a partner specialising in Intellectual Property law in the firm [http://www.mdlaw.com.au/ Marshalls and Dent], based in Melbourne, Australia. Working with the Australian film industry, he advises on issues of entertainment law, collaborating with celebrated directors including Paul Cox and animator Adam Elliot, who won an Oscar in 2004 for his film ''Harvie Krumpet''. Shaun serves on the Board of the Victorian College of the Arts Film and Television School Course Advisory Committee, and is a past board member of Channel 31 community television. Experienced in both private commercial law and public law, Shaun has also worked for the Australian Competition and Consumer Commission (ACCC).

Presented with the question ‘Is MySpace truly your Space, does YouTube care about you?’, in May 2007 Shaun delivered a lecture on [http://www.artshub.com.au/au/event.asp?sId=8775&catId=0&sCatId=7&sCc=61&sRegion=0&sortOrder=2&CYear=2008&CMonth=4&sText= 'Rights Online'] at [http://www.artslaw.com.au/events/PastEvents/VICArtsLawWeek2007.asp Arts Law Week Victoria], examining the place of artist on the Internet. The lecture was received by [http://openchannel.org.au/blogs/videoslam/?p=33 Andrew Garton from OPEN CHANNEL] as ‘one of the clearest and easily understood explanations of copyright.’ A recording of the lecture is available as a [http://openchannel.org.au/media/audio/2007/SHAUN-MILLER.mp3 podcast on the Video Slam site]. Shaun also presented a class on copyright to first year media students in RMIT’s Networked Media Course in August 2007, which is published on Seth Keen’s [http://networkedmedia.adc.rmit.edu.au/wp-content/video/copyright/copyright_miller.mov edublog].

== License Usage ==

Shaun’s RMIT lecture, [http://networkedmedia.adc.rmit.edu.au/wp-content/video/copyright/copyright_miller.mov ''Copyright''], is licensed under a [http://creativecommons.org/licenses/by-nc-nd/2.5/au/ Creative Commons Attribution-NonCommercial-NoDerivatives 2.5 Australia licence].

== Motivations ==

According to his [http://www.mdlaw.com.au/staffpages/shaunmiller.html staff profile at Marshalls and Dent], Shaun feels that today’s entertainment lawyers should operate as facilitators, liaising with producers, distributors, government funding bodies, venture capitalists and creative talent to develop successful works for both small and big screen.

== Media ==

Delete this line and add text here.

[{{SERVER}}{{localurl:{{NAMESPACE}}:{{PAGENAME}}|action=edit}} Please help us edit this.] Add media that is relevant.

Case Studies/A Swarm of Angels

2008-06-16T09:46:10Z

Rachel cobcroft: /* Motivations */

{{Case Study
|Description=A Swarm of Angels is a groundbreaking project to create a £1 million film and give it away to over 1 million people using the Internet and a global community of members.
|Quote=I believe building a feature film from the ground up to be ready for remixing, easy to view, ready to share, and perfect for download, is the way to go. This is the way to invent the future of film… So as much of the project as possible will be licensed under the more flexible ideas of copyright developed by Creative Commons.
|Quote_Attribution=[http://aswarmofangels.com/fund/faq/ A Swarm Of Angels Director Matt Hanson]
|Image_Header=http://www.gulli.com/fileadmin/news_teaser/aswarmofangels.jpg
|Mainurl=http://aswarmofangels.com/
|Author=A Swarm of Angels
|User_Status=Creator
|Tag=film, remix, distributed
|License short name=CC BY-NC-SA
|License=http://creativecommons.org/licenses/by-nc-sa/2.5/
|Format=Image, Sound, Text, MovingImage
|Country=Global
}}
== Overview ==
[http://aswarmofangels.com/ A Swarm of Angels (ASOA)] began in January 2006 on the initiative of Matt Hanson, a 36 year-old visionary director based in Brighton, UK. Hanson’s idea was to gather people from around the word with the desire to take part in a movie-making process. Participation was intended to be ‘creativity/passion/curiosity’-oriented, as opposed to being focused on profit and ownership. Distribution of the final film was agreed to be 'free' (in the open culture sense) because, in the [http://aswarmofangels.com/fund/faq/ words of Hanson], ‘you can’t control media these days. You need to go with it, rather than fight it. We’re part of the remix generation, with the DIY digital tools to make our own digital media, whether that’s film, music, or whatever.’ This means that the product is able to be used, not just consumed, and the users can watch or remix it and, eventually, spin the wheel forward. ‘If you look at the Greek epics,’ says Hanson, ’the story-tellers that were recounting their tales always put their own spin on it.’

As analysed by Oxford Internet Institute researcher Irene Cassarino, the ASOA business model was designed to be ‘a valid new alternative, maybe more enlightened’ than the Hollywood entertainment world. Hanson objected to the possibility that ASOA would become a massively distributed investment opportunity. Instead, he aimed to attract a host of ‘angels,’ keen to give a reasonable amount of their money to sustain an altogether groundbreaking movie-making project in return for having an opportunity to become involved in the creative process.

The minimum subscription fee to participate in the experience and to micro-found the movie was set at £25. Founders contributing these funds were given exclusive rights to participate in the decision-making process through a web-based polling system, an online discussion forum and a wiki platform. Visitors are allowed to assist, but not to actively collaborate. Hanson adheres to the ‘one head one vote’ governance rule within the community, which is the only resemblance to the limited ownership model. Instead, ASOA is unique in following a crowd-funded subscription model. As Hanson expresses it: ‘After all, plenty of films have tried the ”many producers/investors route,” but none have tapped into the wisdom of crowds.’ The distributed ownership also avoids claims regarding possible opportunity for reward, as anyone investing such a small sum does not usually expect to gain from it.

Hanson was the first subscriber to ASOA on 16 January 2006; the second angel joined on 13th of March 2007. By the 7th July 2007, 1000 members had been reached – the second [http://aswarmofangels.com/fund/mission-milestones/ milestone for the project]. The first development phases have now been running for approximately two years. The main outcomes are two draft scripts (‘The Unfold’ and ‘The Ravages’), the trailer and poster for the project, and a poster for ‘The Unfold,’ while other outputs are still in the pipeline.

The angels are the initial and primary source of funding. Hanson declares that with this support the movie could then gather additional funds from media companies and distributors who might want to broadcast or use assets from the production for their own commercial endeavours, and from other opportunities for the project which don’t conflict with ASOA general principles, such as sponsorship and equipment partnership. Funds are required to collect and centralise resources that are not available from within the community, such as film equipment. It is intended that production crew receive 'proper salaries' based on their involvement, and ’market rates' for a £1 million feature. Matt Hanson also draws a salary from the project, having decided a few months after the project was launched to concentrate on ASOA and cancel other work such as upcoming book projects, consultancy and other productions. Hanson regularly engages in promotional events around the world like in his recent appearance as a keynote speaker at the prestigious [http://www.berlinale.de/en/das_festival/special_presentations/berlinale_keynotes/index.html Berlin Film Festival]. Nobody else in the community, regardless of the commitment, is directly paid. In Phase 3, full details on all expenditure and remuneration will be provided to the angels, so that they will have the ability to feedback on budgets, and so forth as they are produced for relevant phases/production.

== License Usage ==
After a consultation process with the angels, it was decided that ASOA will release its end-products to the public under a [http://creativecommons.org/licenses/by-nc-sa/2.5/ Creative Commons Attribution-Noncommercial-ShareAlike 2.5 licence].

The ShareAlike element ensures that the material is available for reuse by other filmmakers, while the Noncommercial option enables the Swarm to generate revenue by offering a separate remunerated license to commercially exploit the created movie, e.g. by screening it in a movie theatre or showing it on TV. This ensures word-of-mouth promotion is unrestricted, whilst providing a guarantee that no commercial entity can appropriate the benefits of the project without remunerating the creative community.

Most contributors to ASOA publish their creations on their own websites or on a [http://blip.tv/ website] provided by Hanson for the streaming of big files and publish the link in the ASOA forum. When contributing media content to ASOA the contributing member has to agree to a 'Media Release Statement' in which they grant a non-exclusive license (subject to attribution) for their contribution ’to be used as part of the A Swarm of Angels project.’ Without such an open licence, it would become almost impossible to track rights related to the different contributions.

== Motivations ==
The ASOA slogan is ‘Remixing Cinema’: the project aims to empower not only creators actively engaged with the ASOA community, but to every creator within or beyond the bounds of the 'Swarm' in the present and in the future by releasing a movie which actively invites remixing. In order to govern and protect this vision, a particular set of Creative Commons licenses have been chosen. CC is an integral part of the identity of the project. When surveyed via questionnaire, 70% of ASOA’s top contributors agreed or strongly agreed that ’Creative Commons Licenses enable creativity.’

Nevertheless, Creative Commons’ Noncommercial licensing option has been controversial. While Matt Hanson did not want corporations to gain from ASOA without contributing remuneration, several angels objected that the generation of income (even for future productions) should not be part of the model, because it was potentially dangerous: they argued that money should always come upfront from angels and should be directly related to a specific project ’so that interested people could fund artistic people to generate interesting work and all of our lives can be enriched by the result’ (JoeK).

The core unresolved questions ASOA is facing are:
*which aspects of the production and financial model should differ from the traditional cinema 1.0 system?
*how to position ASOA with respect to other open business frameworks (eg those used in software production); and
*whether to allow any additional money from commercial exploitation of the original project to be injected into future projects.

For a deeper analysis of organisational and legal issues involved please see the working paper:

Cassarino, Richter: "Swarm Creativity - The Legal and Organizational Challenger of Open Content Film Production" , to be presented at the upcoming DIME conference on the Creative Industries and Intellectual Property, May 22-23, 2008, London, UK
http://www.dime-eu.org/wp14/conferences/creative-industries

== Media ==

Delete this line and add text here.

Add media that is relevant.

{{Incomplete|Media|formedit}}

Case Studies/A Swarm of Angels

2008-06-16T09:44:39Z

Rachel cobcroft: /* License Usage */

{{Case Study
|Description=A Swarm of Angels is a groundbreaking project to create a £1 million film and give it away to over 1 million people using the Internet and a global community of members.
|Quote=I believe building a feature film from the ground up to be ready for remixing, easy to view, ready to share, and perfect for download, is the way to go. This is the way to invent the future of film… So as much of the project as possible will be licensed under the more flexible ideas of copyright developed by Creative Commons.
|Quote_Attribution=[http://aswarmofangels.com/fund/faq/ A Swarm Of Angels Director Matt Hanson]
|Image_Header=http://www.gulli.com/fileadmin/news_teaser/aswarmofangels.jpg
|Mainurl=http://aswarmofangels.com/
|Author=A Swarm of Angels
|User_Status=Creator
|Tag=film, remix, distributed
|License short name=CC BY-NC-SA
|License=http://creativecommons.org/licenses/by-nc-sa/2.5/
|Format=Image, Sound, Text, MovingImage
|Country=Global
}}
== Overview ==
[http://aswarmofangels.com/ A Swarm of Angels (ASOA)] began in January 2006 on the initiative of Matt Hanson, a 36 year-old visionary director based in Brighton, UK. Hanson’s idea was to gather people from around the word with the desire to take part in a movie-making process. Participation was intended to be ‘creativity/passion/curiosity’-oriented, as opposed to being focused on profit and ownership. Distribution of the final film was agreed to be 'free' (in the open culture sense) because, in the [http://aswarmofangels.com/fund/faq/ words of Hanson], ‘you can’t control media these days. You need to go with it, rather than fight it. We’re part of the remix generation, with the DIY digital tools to make our own digital media, whether that’s film, music, or whatever.’ This means that the product is able to be used, not just consumed, and the users can watch or remix it and, eventually, spin the wheel forward. ‘If you look at the Greek epics,’ says Hanson, ’the story-tellers that were recounting their tales always put their own spin on it.’

As analysed by Oxford Internet Institute researcher Irene Cassarino, the ASOA business model was designed to be ‘a valid new alternative, maybe more enlightened’ than the Hollywood entertainment world. Hanson objected to the possibility that ASOA would become a massively distributed investment opportunity. Instead, he aimed to attract a host of ‘angels,’ keen to give a reasonable amount of their money to sustain an altogether groundbreaking movie-making project in return for having an opportunity to become involved in the creative process.

The minimum subscription fee to participate in the experience and to micro-found the movie was set at £25. Founders contributing these funds were given exclusive rights to participate in the decision-making process through a web-based polling system, an online discussion forum and a wiki platform. Visitors are allowed to assist, but not to actively collaborate. Hanson adheres to the ‘one head one vote’ governance rule within the community, which is the only resemblance to the limited ownership model. Instead, ASOA is unique in following a crowd-funded subscription model. As Hanson expresses it: ‘After all, plenty of films have tried the ”many producers/investors route,” but none have tapped into the wisdom of crowds.’ The distributed ownership also avoids claims regarding possible opportunity for reward, as anyone investing such a small sum does not usually expect to gain from it.

Hanson was the first subscriber to ASOA on 16 January 2006; the second angel joined on 13th of March 2007. By the 7th July 2007, 1000 members had been reached – the second [http://aswarmofangels.com/fund/mission-milestones/ milestone for the project]. The first development phases have now been running for approximately two years. The main outcomes are two draft scripts (‘The Unfold’ and ‘The Ravages’), the trailer and poster for the project, and a poster for ‘The Unfold,’ while other outputs are still in the pipeline.

The angels are the initial and primary source of funding. Hanson declares that with this support the movie could then gather additional funds from media companies and distributors who might want to broadcast or use assets from the production for their own commercial endeavours, and from other opportunities for the project which don’t conflict with ASOA general principles, such as sponsorship and equipment partnership. Funds are required to collect and centralise resources that are not available from within the community, such as film equipment. It is intended that production crew receive 'proper salaries' based on their involvement, and ’market rates' for a £1 million feature. Matt Hanson also draws a salary from the project, having decided a few months after the project was launched to concentrate on ASOA and cancel other work such as upcoming book projects, consultancy and other productions. Hanson regularly engages in promotional events around the world like in his recent appearance as a keynote speaker at the prestigious [http://www.berlinale.de/en/das_festival/special_presentations/berlinale_keynotes/index.html Berlin Film Festival]. Nobody else in the community, regardless of the commitment, is directly paid. In Phase 3, full details on all expenditure and remuneration will be provided to the angels, so that they will have the ability to feedback on budgets, and so forth as they are produced for relevant phases/production.

== License Usage ==
After a consultation process with the angels, it was decided that ASOA will release its end-products to the public under a [http://creativecommons.org/licenses/by-nc-sa/2.5/ Creative Commons Attribution-Noncommercial-ShareAlike 2.5 licence].

The ShareAlike element ensures that the material is available for reuse by other filmmakers, while the Noncommercial option enables the Swarm to generate revenue by offering a separate remunerated license to commercially exploit the created movie, e.g. by screening it in a movie theatre or showing it on TV. This ensures word-of-mouth promotion is unrestricted, whilst providing a guarantee that no commercial entity can appropriate the benefits of the project without remunerating the creative community.

Most contributors to ASOA publish their creations on their own websites or on a [http://blip.tv/ website] provided by Hanson for the streaming of big files and publish the link in the ASOA forum. When contributing media content to ASOA the contributing member has to agree to a 'Media Release Statement' in which they grant a non-exclusive license (subject to attribution) for their contribution ’to be used as part of the A Swarm of Angels project.’ Without such an open licence, it would become almost impossible to track rights related to the different contributions.

== Motivations ==

Delete this line and add text here.

{{Incomplete|Motivations|formedit}}

== Media ==

Delete this line and add text here.

Add media that is relevant.

{{Incomplete|Media|formedit}}

Case Studies/A Swarm of Angels

2008-06-16T09:43:14Z

Rachel cobcroft: /* Overview */

Case Studies/A Swarm of Angels

2008-06-16T09:40:59Z

Rachel cobcroft: New page: {{Case Study |Description=A Swarm of Angels is a groundbreaking project to create a £1 million film and give it away to over 1 million people using the Internet and a global community of ...

Case Studies/Association for Progressive Communications Australia

2008-06-16T01:46:08Z

Rachel cobcroft:

{{Case Study
|Description=apc.au is a digital media communications organisation founded in 1997 and based on the ''Internet Rights Charter'' of the Association for Progressive Communications (APC). Advocating for open content and flexible licensing models, apc.au is engaged in both the development of and sustainable access to community-owned information communication technologies and infrastructure.
|Quote=apc.au advocates for and employs open licenses such as GNU and Creative Commons, as tools that provide a legal framework that would ensure ownership of cultural and intellectual property remains within the public domain and for the public good.
|Quote_Attribution=Grant McHerron, Technical Director, apc.au
|Image_Header=http://www.apc.org.au/img/gg_comms.gif
|Mainurl=http://apc.org.au/
|Author=Association for Progressive Communications Australia
|User_Status=Creator
|Tag=open access, community, development, ICTs, democracy, participation
|License short name=CC BY, CC BY-NC-ND, CC BY-NC-SA
|License=http://creativecommons.org/licenses/by-nc-nd/2.5/au/, http://creativecommons.org/licenses/by-nc-sa/2.5/au/
|Format=Image, Text
|Country=Australia
}}
== Overview ==
apc.au was established in 1997 on the ideals expressed in the [http://rights.apc.org/charter.shtml Association for Progressive Communication's ''Internet Rights Charter'']. Emphasising awareness, realisation, and protection of rights, the Charter commits to Internet access for all, access to knowledge, particularly with respect to shared learning and creation using free and open source software, and freedom of expression and association.

Within this framework, apc.au’s core objectives are:

#To promote and provide services for the development, application and strategic use of, and community education in respect to online and digital media technologies;
#To develop and provide networking online media services, applications and content, including advisory, consulting and related services, production and research;
#To assist the civil sector in the use of online media services and in the development and publication of network content, in areas of community interest including environment, social development, human rights and social justice;
#To support online media initiatives through the Australasian and Asia-Pacific areas and promote open and equitable access to online media technologies particularly for the non-government sector and disadvantaged groups and for the development of strategic working communities.

apc.au sits on the steering committees of [http://www.rmit.edu.au/browse/Our%20Organisation%2FDesign%20and%20Social%20Context%2FSchools%2FApplied%20Communication%2FInformation%20and%20Services%2FIndustry%20and%20Community%2FCommunity%20Spectrum%20Taskforce/ Open Spectrum Australia] sustaining community broadcast licensing on the digital spectrum), [http://wiki.apc.org.au/index.php?title=Home_Lands Home Lands] (remote communications program for refugee youth) and the Arts Law Consortium (providing access to ICT rights issues to cultural development and arts workers).

Within Australia, apc.au has previously traded under the following programmes, each an independently registered business in Victoria, Australia and headed by Andrew Garton, apc.au’s Managing Director:

*[http://c2o.org Community Communications Online (c2o)]
*[http://secession-records.org Secession Records]
*[http://toysatellite.org Toy Satellite]

In 2008, apc.au decommissioned c2o and began the process of archiving Toy Satellite projects, representing a decade of Australian new media art.

'''About the Association for Progressive Communications (APC)'''

Since its establishment in 1990, the [http://apc.org/ Association for Progressive Communications (APC)] has worked with the United Nations to help civil society organisations participate in global policy-making via the strategic use of information and communication technologies (ICTs) including the Internet. APC also examines issues surrounding privacy, surveillance, and encryption, and governance of the Internet.

[http://apc.org.au/ apc.au], the Australian member organisation, sits alongside members in Argentina, Bulgaria, Colombia, the Democratic Republic of Congo, Italy, Mexico, the Philippines, South Africa, Spain, the UK and Uruguay. In addition to many members offering local portals to discuss ICT policies and rights in their respective regions, APC works to achieve social and environmental justice and sustainable development. APC members are often the first providers of Internet in their countries, and they continue to pioneer practical and relevant uses of ICTs, particularly in developing nations and with grassroots organisations. Governed by its constitutive members, APC sets its strategic policies every four years.

== License Usage ==
apc.au is an organisation which advocates open content and flexible licensing models. Projects are developed with partners, clients and associates under an open publishing model utilising a [http://creativecommons.org/licenses/by-nc-nd/2.5/au/ Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 Australia licence]. Many projects have been recognised as pioneering the use of CC licenses in the Australian and international cultural development and screen sectors.

Typically, apc.au uses [http://creativecommons.org/licenses/by-nc-nd/2.5/au/ Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 Australia licenses] as a default, although some works are released under a [http://creativecommons.org/licenses/by-nc-sa/2.5/au/ Creative Commons Attribution-Noncommercial-ShareAlike 2.5 Australia licence], depending on the project and item.

Significantly, as part of apc.au's support for [http://www.documentfreedom.org/ Document Freedom Day 2008 (DFD)], Managing Director Andrew Garton announced the release of 10 years of essays, lectures, reports and articles dealing with [http://wiki.apc.org.au/index.php?title=Documents information communication technologies for cultural development (ICT4CD)], under the [http://creativecommons.org/licenses/by-nc-nd/2.5/au/ Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 Australia Licence]. Reproduction of materials housed on the apc.au wiki is encouraged provided acknowledgement is given.

Observing the importance of open content licensing, Andrew Garton explains in the [http://wiki.apc.org.au/index.php?title=DFD08_Media_Release press statement] issued for the event:
:‘The author may choose to reserve some or all rights through open licenses, providing consumers with immediate access to how content may be used, re-used and/or attributed without having to communicate with neither the author nor any 3rd party. Open licenses puts rights management directly into the hands or authors of any form and medium.’

Further examples of apc.au’s current projects employing Creative Commons include:
*[http://wiki.apc.org.au/index.php?title=Home_Lands Home Lands]: Connecting young refugees to their homelands and separated communities via online media and Creative Commons rights management in association with the Cultural Development Network, the Home Lands Reference Committee, and with support from the City of Melbourne;
*[http://openchannel.org.au/blogs/videoslam/ Video Slam]: Rights and production management workshops that encourage cross-discipline collaboration in the use of flexible licenses. This results in the production of new works that put Creative Commons licenses into direct contact with screen practitioners. Video Slam explores whether these licences can be used to create new works from Share Alike content and whether there is enough material in the public domain to produce works that are both meaningful and watchable.
*[http://wiki.apc.org.au/index.php?title=Sarawak_Gone Sarawak Gone]: As tradition is sacrificed for modernity and capital, indigenous communities also make way for dams. A community media project documenting meetings between six indigenous communities in remote and urban locations. Sarawak Gone will trial the use of CC licences in an indigenous context – all video shot, edited and distributed will remain the intellectual property of the communities that comprise this project.

Detailed information on the projects apc.au undertakes can be found on their [http://wiki.apc.org.au wiki]. In addition to their projects, apc.au is working to establish an open business model that provides operational transparency, effectively applying the open and flexible concept to the company itself.

== Motivations ==
apc.au advocates for and employs open licenses such as GNU and Creative Commons as tools that provide a legal framework to ensure that ownership of cultural and intellectual property remains within the public domain and for the public good.

In an email interview with Grant McHerron, Technical Director of apc.au, with Rachel Cobcroft from Creative Commons Australia in May 2008, he expressed the following opinion:

:‘Open models for licensing, for research and education, the arts and cultural practice, science and business... for everything that we make and the resources we rely on, are an imperative towards the need to move from the dire outcomes of opportunistic development and the mechanisms currently in place to protect them.

:These tools apply a sense of collective ownership and that which strives for the common good, that stimulates innovation and the transformation of unsustainable practices without the burden of patents. apc.au, through its various projects, from broadcast spectrum policy to public performance, from online media advisory to research in collective music making, we seek a more liberal, sustainable society that respects, protects and enhances both bio and cultural diversity and is nourished by it.’

== Media ==
http://www.documentfreedom.org/images/a/a3/Dfd_leaflet_back.png

Case Studies/Association for Progressive Communications Australia

2008-06-16T01:45:03Z

Rachel cobcroft: /* Motivations */

{{Case Study
|Description=apc.au is a digital media communications organisation founded in 1997 and based on the ''Internet Rights Charter'' of the Association for Progressive Communications (APC). Advocating for open content and flexible licensing models, apc.au is engaged in both the development of and sustainable access to community-owned information communication technologies and infrastructure.
|Quote=apc.au advocates for and employs open licenses such as GNU and Creative Commons, as tools that provide a legal framework that would ensure ownership of cultural and intellectual property remains within the public domain and for the public good.
|Quote_Attribution=Grant McHerron, Technical Director, apc.au
|Image_Header=http://www.apc.org.au/img/gg_comms.gif
|Mainurl=http://apc.org.au/
|Author=Association for Progressive Communications Australia (apc.au)
|User_Status=Creator
|Tag=open access, community, development, ICTs, democracy, participation
|License short name=CC BY, CC BY-NC-ND, CC BY-NC-SA
|License=http://creativecommons.org/licenses/by-nc-nd/2.5/au/, http://creativecommons.org/licenses/by-nc-sa/2.5/au/
|Format=Image, Text
|Country=Australia
}}
== Overview ==
apc.au was established in 1997 on the ideals expressed in the [http://rights.apc.org/charter.shtml Association for Progressive Communication's ''Internet Rights Charter'']. Emphasising awareness, realisation, and protection of rights, the Charter commits to Internet access for all, access to knowledge, particularly with respect to shared learning and creation using free and open source software, and freedom of expression and association.

Within this framework, apc.au’s core objectives are:

#To promote and provide services for the development, application and strategic use of, and community education in respect to online and digital media technologies;
#To develop and provide networking online media services, applications and content, including advisory, consulting and related services, production and research;
#To assist the civil sector in the use of online media services and in the development and publication of network content, in areas of community interest including environment, social development, human rights and social justice;
#To support online media initiatives through the Australasian and Asia-Pacific areas and promote open and equitable access to online media technologies particularly for the non-government sector and disadvantaged groups and for the development of strategic working communities.

apc.au sits on the steering committees of [http://www.rmit.edu.au/browse/Our%20Organisation%2FDesign%20and%20Social%20Context%2FSchools%2FApplied%20Communication%2FInformation%20and%20Services%2FIndustry%20and%20Community%2FCommunity%20Spectrum%20Taskforce/ Open Spectrum Australia] sustaining community broadcast licensing on the digital spectrum), [http://wiki.apc.org.au/index.php?title=Home_Lands Home Lands] (remote communications program for refugee youth) and the Arts Law Consortium (providing access to ICT rights issues to cultural development and arts workers).

Within Australia, apc.au has previously traded under the following programmes, each an independently registered business in Victoria, Australia and headed by Andrew Garton, apc.au’s Managing Director:

*[http://c2o.org Community Communications Online (c2o)]
*[http://secession-records.org Secession Records]
*[http://toysatellite.org Toy Satellite]

In 2008, apc.au decommissioned c2o and began the process of archiving Toy Satellite projects, representing a decade of Australian new media art.

'''About the Association for Progressive Communications (APC)'''

Since its establishment in 1990, the [http://apc.org/ Association for Progressive Communications (APC)] has worked with the United Nations to help civil society organisations participate in global policy-making via the strategic use of information and communication technologies (ICTs) including the Internet. APC also examines issues surrounding privacy, surveillance, and encryption, and governance of the Internet.

[http://apc.org.au/ apc.au], the Australian member organisation, sits alongside members in Argentina, Bulgaria, Colombia, the Democratic Republic of Congo, Italy, Mexico, the Philippines, South Africa, Spain, the UK and Uruguay. In addition to many members offering local portals to discuss ICT policies and rights in their respective regions, APC works to achieve social and environmental justice and sustainable development. APC members are often the first providers of Internet in their countries, and they continue to pioneer practical and relevant uses of ICTs, particularly in developing nations and with grassroots organisations. Governed by its constitutive members, APC sets its strategic policies every four years.

== License Usage ==
apc.au is an organisation which advocates open content and flexible licensing models. Projects are developed with partners, clients and associates under an open publishing model utilising a [http://creativecommons.org/licenses/by-nc-nd/2.5/au/ Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 Australia licence]. Many projects have been recognised as pioneering the use of CC licenses in the Australian and international cultural development and screen sectors.

Typically, apc.au uses [http://creativecommons.org/licenses/by-nc-nd/2.5/au/ Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 Australia licenses] as a default, although some works are released under a [http://creativecommons.org/licenses/by-nc-sa/2.5/au/ Creative Commons Attribution-Noncommercial-ShareAlike 2.5 Australia licence], depending on the project and item.

Significantly, as part of apc.au's support for [http://www.documentfreedom.org/ Document Freedom Day 2008 (DFD)], Managing Director Andrew Garton announced the release of 10 years of essays, lectures, reports and articles dealing with [http://wiki.apc.org.au/index.php?title=Documents information communication technologies for cultural development (ICT4CD)], under the [http://creativecommons.org/licenses/by-nc-nd/2.5/au/ Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 Australia Licence]. Reproduction of materials housed on the apc.au wiki is encouraged provided acknowledgement is given.

Observing the importance of open content licensing, Andrew Garton explains in the [http://wiki.apc.org.au/index.php?title=DFD08_Media_Release press statement] issued for the event:
:‘The author may choose to reserve some or all rights through open licenses, providing consumers with immediate access to how content may be used, re-used and/or attributed without having to communicate with neither the author nor any 3rd party. Open licenses puts rights management directly into the hands or authors of any form and medium.’

Further examples of apc.au’s current projects employing Creative Commons include:
*[http://wiki.apc.org.au/index.php?title=Home_Lands Home Lands]: Connecting young refugees to their homelands and separated communities via online media and Creative Commons rights management in association with the Cultural Development Network, the Home Lands Reference Committee, and with support from the City of Melbourne;
*[http://openchannel.org.au/blogs/videoslam/ Video Slam]: Rights and production management workshops that encourage cross-discipline collaboration in the use of flexible licenses. This results in the production of new works that put Creative Commons licenses into direct contact with screen practitioners. Video Slam explores whether these licences can be used to create new works from Share Alike content and whether there is enough material in the public domain to produce works that are both meaningful and watchable.
*[http://wiki.apc.org.au/index.php?title=Sarawak_Gone Sarawak Gone]: As tradition is sacrificed for modernity and capital, indigenous communities also make way for dams. A community media project documenting meetings between six indigenous communities in remote and urban locations. Sarawak Gone will trial the use of CC licences in an indigenous context – all video shot, edited and distributed will remain the intellectual property of the communities that comprise this project.

Detailed information on the projects apc.au undertakes can be found on their [http://wiki.apc.org.au wiki]. In addition to their projects, apc.au is working to establish an open business model that provides operational transparency, effectively applying the open and flexible concept to the company itself.

== Motivations ==
apc.au advocates for and employs open licenses such as GNU and Creative Commons as tools that provide a legal framework to ensure that ownership of cultural and intellectual property remains within the public domain and for the public good.

In an email interview with Grant McHerron, Technical Director of apc.au, with Rachel Cobcroft from Creative Commons Australia in May 2008, he expressed the following opinion:

:‘Open models for licensing, for research and education, the arts and cultural practice, science and business... for everything that we make and the resources we rely on, are an imperative towards the need to move from the dire outcomes of opportunistic development and the mechanisms currently in place to protect them.

:These tools apply a sense of collective ownership and that which strives for the common good, that stimulates innovation and the transformation of unsustainable practices without the burden of patents. apc.au, through its various projects, from broadcast spectrum policy to public performance, from online media advisory to research in collective music making, we seek a more liberal, sustainable society that respects, protects and enhances both bio and cultural diversity and is nourished by it.’

== Media ==
http://www.documentfreedom.org/images/a/a3/Dfd_leaflet_back.png

Case Studies/Association for Progressive Communications Australia

2008-06-16T01:42:56Z

Rachel cobcroft:

{{Case Study
|Description=apc.au is a digital media communications organisation founded in 1997 and based on the ''Internet Rights Charter'' of the Association for Progressive Communications (APC). Advocating for open content and flexible licensing models, apc.au is engaged in both the development of and sustainable access to community-owned information communication technologies and infrastructure.
|Quote=apc.au advocates for and employs open licenses such as GNU and Creative Commons, as tools that provide a legal framework that would ensure ownership of cultural and intellectual property remains within the public domain and for the public good.
|Quote_Attribution=Grant McHerron, Technical Director, apc.au
|Image_Header=http://www.apc.org.au/img/gg_comms.gif
|Mainurl=http://apc.org.au/
|Author=Association for Progressive Communications Australia (apc.au)
|User_Status=Creator
|Tag=open access, community, development, ICTs, democracy, participation
|License short name=CC BY, CC BY-NC-ND, CC BY-NC-SA
|License=http://creativecommons.org/licenses/by-nc-nd/2.5/au/, http://creativecommons.org/licenses/by-nc-sa/2.5/au/
|Format=Image, Text
|Country=Australia
}}
== Overview ==
apc.au was established in 1997 on the ideals expressed in the [http://rights.apc.org/charter.shtml Association for Progressive Communication's ''Internet Rights Charter'']. Emphasising awareness, realisation, and protection of rights, the Charter commits to Internet access for all, access to knowledge, particularly with respect to shared learning and creation using free and open source software, and freedom of expression and association.

Within this framework, apc.au’s core objectives are:

#To promote and provide services for the development, application and strategic use of, and community education in respect to online and digital media technologies;
#To develop and provide networking online media services, applications and content, including advisory, consulting and related services, production and research;
#To assist the civil sector in the use of online media services and in the development and publication of network content, in areas of community interest including environment, social development, human rights and social justice;
#To support online media initiatives through the Australasian and Asia-Pacific areas and promote open and equitable access to online media technologies particularly for the non-government sector and disadvantaged groups and for the development of strategic working communities.

apc.au sits on the steering committees of [http://www.rmit.edu.au/browse/Our%20Organisation%2FDesign%20and%20Social%20Context%2FSchools%2FApplied%20Communication%2FInformation%20and%20Services%2FIndustry%20and%20Community%2FCommunity%20Spectrum%20Taskforce/ Open Spectrum Australia] sustaining community broadcast licensing on the digital spectrum), [http://wiki.apc.org.au/index.php?title=Home_Lands Home Lands] (remote communications program for refugee youth) and the Arts Law Consortium (providing access to ICT rights issues to cultural development and arts workers).

Within Australia, apc.au has previously traded under the following programmes, each an independently registered business in Victoria, Australia and headed by Andrew Garton, apc.au’s Managing Director:

*[http://c2o.org Community Communications Online (c2o)]
*[http://secession-records.org Secession Records]
*[http://toysatellite.org Toy Satellite]

In 2008, apc.au decommissioned c2o and began the process of archiving Toy Satellite projects, representing a decade of Australian new media art.

'''About the Association for Progressive Communications (APC)'''

Since its establishment in 1990, the [http://apc.org/ Association for Progressive Communications (APC)] has worked with the United Nations to help civil society organisations participate in global policy-making via the strategic use of information and communication technologies (ICTs) including the Internet. APC also examines issues surrounding privacy, surveillance, and encryption, and governance of the Internet.

[http://apc.org.au/ apc.au], the Australian member organisation, sits alongside members in Argentina, Bulgaria, Colombia, the Democratic Republic of Congo, Italy, Mexico, the Philippines, South Africa, Spain, the UK and Uruguay. In addition to many members offering local portals to discuss ICT policies and rights in their respective regions, APC works to achieve social and environmental justice and sustainable development. APC members are often the first providers of Internet in their countries, and they continue to pioneer practical and relevant uses of ICTs, particularly in developing nations and with grassroots organisations. Governed by its constitutive members, APC sets its strategic policies every four years.

== License Usage ==
apc.au is an organisation which advocates open content and flexible licensing models. Projects are developed with partners, clients and associates under an open publishing model utilising a [http://creativecommons.org/licenses/by-nc-nd/2.5/au/ Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 Australia licence]. Many projects have been recognised as pioneering the use of CC licenses in the Australian and international cultural development and screen sectors.

Typically, apc.au uses [http://creativecommons.org/licenses/by-nc-nd/2.5/au/ Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 Australia licenses] as a default, although some works are released under a [http://creativecommons.org/licenses/by-nc-sa/2.5/au/ Creative Commons Attribution-Noncommercial-ShareAlike 2.5 Australia licence], depending on the project and item.

Significantly, as part of apc.au's support for [http://www.documentfreedom.org/ Document Freedom Day 2008 (DFD)], Managing Director Andrew Garton announced the release of 10 years of essays, lectures, reports and articles dealing with [http://wiki.apc.org.au/index.php?title=Documents information communication technologies for cultural development (ICT4CD)], under the [http://creativecommons.org/licenses/by-nc-nd/2.5/au/ Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 Australia Licence]. Reproduction of materials housed on the apc.au wiki is encouraged provided acknowledgement is given.

Observing the importance of open content licensing, Andrew Garton explains in the [http://wiki.apc.org.au/index.php?title=DFD08_Media_Release press statement] issued for the event:
:‘The author may choose to reserve some or all rights through open licenses, providing consumers with immediate access to how content may be used, re-used and/or attributed without having to communicate with neither the author nor any 3rd party. Open licenses puts rights management directly into the hands or authors of any form and medium.’

Further examples of apc.au’s current projects employing Creative Commons include:
*[http://wiki.apc.org.au/index.php?title=Home_Lands Home Lands]: Connecting young refugees to their homelands and separated communities via online media and Creative Commons rights management in association with the Cultural Development Network, the Home Lands Reference Committee, and with support from the City of Melbourne;
*[http://openchannel.org.au/blogs/videoslam/ Video Slam]: Rights and production management workshops that encourage cross-discipline collaboration in the use of flexible licenses. This results in the production of new works that put Creative Commons licenses into direct contact with screen practitioners. Video Slam explores whether these licences can be used to create new works from Share Alike content and whether there is enough material in the public domain to produce works that are both meaningful and watchable.
*[http://wiki.apc.org.au/index.php?title=Sarawak_Gone Sarawak Gone]: As tradition is sacrificed for modernity and capital, indigenous communities also make way for dams. A community media project documenting meetings between six indigenous communities in remote and urban locations. Sarawak Gone will trial the use of CC licences in an indigenous context – all video shot, edited and distributed will remain the intellectual property of the communities that comprise this project.

Detailed information on the projects apc.au undertakes can be found on their [http://wiki.apc.org.au wiki]. In addition to their projects, apc.au is working to establish an open business model that provides operational transparency, effectively applying the open and flexible concept to the company itself.

== Motivations ==
As a global network of civil society organisations, [http://apc.org/en/about APC’s mission] is to build strategic communities and to make meaningful contributions to ‘equitable human development, social justice, participatory political processes and environmental sustainability.’ The APC mission was approved at the 1997 APC Council meeting in South Africa. In joining Document Freedom Day, apc.au expresses support for organisations, social movements and individuals through the use of open information and communication technologies.

:‘Document freedom is fundamental for your documents to outlive the application you are currently using and allows you to choose and change applications freely.’

Supported by the Free Software Foundation, Google, IBM, Red Hat Linux, and Sun Microsystems, amongst [http://documentfreedom.org/Who many other organisations], Document Freedom Day encourages organisations to embrace open standards. With the announcement of apc.au’s open archive in 2008, Grant McHerron, apc.au Technical Director, provided the following rationale for joining the event:

:‘Many have experienced the pain of trying to convert from one proprietary format to another when exchanging documents (e.g., from MS Word to Lotus.) Formatting is lost or broken and re-work is often required. This extends even to different versions of the same product, as those using Office 2000 are unable to read information created by MS Word 2007. Storing information in open document standards facilitates the flow of information and prevents its loss when older applications become obsolete.’

== Media ==
http://www.documentfreedom.org/images/a/a3/Dfd_leaflet_back.png

Case Studies/Association for Progressive Communications Australia

2008-06-16T01:41:59Z

Rachel cobcroft: /* License Usage */

{{Case Study
|Description=apc.au is a digital media communications organisation founded in 1997 and based on the ''Internet Rights Charter'' of the Association for Progressive Communications (APC). Advocating for open content and flexible licensing models, apc.au is engaged in both the development of and sustainable access to community-owned information communication technologies and infrastructure.
|Quote=apc.au advocates for and employs open licenses such as GNU and Creative Commons, as tools that provide a legal framework that would ensure ownership of cultural and intellectual property remains within the public domain and for the public good.
|Quote_Attribution=Grant McHerron, Technical Director, apc.au
|Image_Header=http://www.apc.org.au/img/gg_comms.gif
|Mainurl=http://apc.org.au/
|Author=Association for Progressive Communications Australia (apc.au)
|User_Status=Creator
|Tag=open access, community, development, ICTs, democracy, participation
|License short name=CC BY, CC BY-NC-ND
|License=http://creativecommons.org/licenses/by/2.5/au/ , http://creativecommons.org/licenses/by-nc-nd/2.5/au/
|Format=Image, Text
|Country=Australia
}}
== Overview ==
apc.au was established in 1997 on the ideals expressed in the [http://rights.apc.org/charter.shtml Association for Progressive Communication's ''Internet Rights Charter'']. Emphasising awareness, realisation, and protection of rights, the Charter commits to Internet access for all, access to knowledge, particularly with respect to shared learning and creation using free and open source software, and freedom of expression and association.

Within this framework, apc.au’s core objectives are:

#To promote and provide services for the development, application and strategic use of, and community education in respect to online and digital media technologies;
#To develop and provide networking online media services, applications and content, including advisory, consulting and related services, production and research;
#To assist the civil sector in the use of online media services and in the development and publication of network content, in areas of community interest including environment, social development, human rights and social justice;
#To support online media initiatives through the Australasian and Asia-Pacific areas and promote open and equitable access to online media technologies particularly for the non-government sector and disadvantaged groups and for the development of strategic working communities.

apc.au sits on the steering committees of [http://www.rmit.edu.au/browse/Our%20Organisation%2FDesign%20and%20Social%20Context%2FSchools%2FApplied%20Communication%2FInformation%20and%20Services%2FIndustry%20and%20Community%2FCommunity%20Spectrum%20Taskforce/ Open Spectrum Australia] sustaining community broadcast licensing on the digital spectrum), [http://wiki.apc.org.au/index.php?title=Home_Lands Home Lands] (remote communications program for refugee youth) and the Arts Law Consortium (providing access to ICT rights issues to cultural development and arts workers).

Within Australia, apc.au has previously traded under the following programmes, each an independently registered business in Victoria, Australia and headed by Andrew Garton, apc.au’s Managing Director:

*[http://c2o.org Community Communications Online (c2o)]
*[http://secession-records.org Secession Records]
*[http://toysatellite.org Toy Satellite]

In 2008, apc.au decommissioned c2o and began the process of archiving Toy Satellite projects, representing a decade of Australian new media art.

'''About the Association for Progressive Communications (APC)'''

Since its establishment in 1990, the [http://apc.org/ Association for Progressive Communications (APC)] has worked with the United Nations to help civil society organisations participate in global policy-making via the strategic use of information and communication technologies (ICTs) including the Internet. APC also examines issues surrounding privacy, surveillance, and encryption, and governance of the Internet.

[http://apc.org.au/ apc.au], the Australian member organisation, sits alongside members in Argentina, Bulgaria, Colombia, the Democratic Republic of Congo, Italy, Mexico, the Philippines, South Africa, Spain, the UK and Uruguay. In addition to many members offering local portals to discuss ICT policies and rights in their respective regions, APC works to achieve social and environmental justice and sustainable development. APC members are often the first providers of Internet in their countries, and they continue to pioneer practical and relevant uses of ICTs, particularly in developing nations and with grassroots organisations. Governed by its constitutive members, APC sets its strategic policies every four years.

== License Usage ==
apc.au is an organisation which advocates open content and flexible licensing models. Projects are developed with partners, clients and associates under an open publishing model utilising a [http://creativecommons.org/licenses/by-nc-nd/2.5/au/ Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 Australia licence]. Many projects have been recognised as pioneering the use of CC licenses in the Australian and international cultural development and screen sectors.

Typically, apc.au uses [http://creativecommons.org/licenses/by-nc-nd/2.5/au/ Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 Australia licenses] as a default, although some works are released under a [http://creativecommons.org/licenses/by-nc-sa/2.5/au/ Creative Commons Attribution-Noncommercial-ShareAlike 2.5 Australia licence], depending on the project and item.

Significantly, as part of apc.au's support for [http://www.documentfreedom.org/ Document Freedom Day 2008 (DFD)], Managing Director Andrew Garton announced the release of 10 years of essays, lectures, reports and articles dealing with [http://wiki.apc.org.au/index.php?title=Documents information communication technologies for cultural development (ICT4CD)], under the [http://creativecommons.org/licenses/by-nc-nd/2.5/au/ Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 Australia Licence]. Reproduction of materials housed on the apc.au wiki is encouraged provided acknowledgement is given.

Observing the importance of open content licensing, Andrew Garton explains in the [http://wiki.apc.org.au/index.php?title=DFD08_Media_Release press statement] issued for the event:
:‘The author may choose to reserve some or all rights through open licenses, providing consumers with immediate access to how content may be used, re-used and/or attributed without having to communicate with neither the author nor any 3rd party. Open licenses puts rights management directly into the hands or authors of any form and medium.’

Further examples of apc.au’s current projects employing Creative Commons include:
*[http://wiki.apc.org.au/index.php?title=Home_Lands Home Lands]: Connecting young refugees to their homelands and separated communities via online media and Creative Commons rights management in association with the Cultural Development Network, the Home Lands Reference Committee, and with support from the City of Melbourne;
*[http://openchannel.org.au/blogs/videoslam/ Video Slam]: Rights and production management workshops that encourage cross-discipline collaboration in the use of flexible licenses. This results in the production of new works that put Creative Commons licenses into direct contact with screen practitioners. Video Slam explores whether these licences can be used to create new works from Share Alike content and whether there is enough material in the public domain to produce works that are both meaningful and watchable.
*[http://wiki.apc.org.au/index.php?title=Sarawak_Gone Sarawak Gone]: As tradition is sacrificed for modernity and capital, indigenous communities also make way for dams. A community media project documenting meetings between six indigenous communities in remote and urban locations. Sarawak Gone will trial the use of CC licences in an indigenous context – all video shot, edited and distributed will remain the intellectual property of the communities that comprise this project.

Detailed information on the projects apc.au undertakes can be found on their [http://wiki.apc.org.au wiki]. In addition to their projects, apc.au is working to establish an open business model that provides operational transparency, effectively applying the open and flexible concept to the company itself.

== Motivations ==
As a global network of civil society organisations, [http://apc.org/en/about APC’s mission] is to build strategic communities and to make meaningful contributions to ‘equitable human development, social justice, participatory political processes and environmental sustainability.’ The APC mission was approved at the 1997 APC Council meeting in South Africa. In joining Document Freedom Day, apc.au expresses support for organisations, social movements and individuals through the use of open information and communication technologies.

:‘Document freedom is fundamental for your documents to outlive the application you are currently using and allows you to choose and change applications freely.’

Supported by the Free Software Foundation, Google, IBM, Red Hat Linux, and Sun Microsystems, amongst [http://documentfreedom.org/Who many other organisations], Document Freedom Day encourages organisations to embrace open standards. With the announcement of apc.au’s open archive in 2008, Grant McHerron, apc.au Technical Director, provided the following rationale for joining the event:

:‘Many have experienced the pain of trying to convert from one proprietary format to another when exchanging documents (e.g., from MS Word to Lotus.) Formatting is lost or broken and re-work is often required. This extends even to different versions of the same product, as those using Office 2000 are unable to read information created by MS Word 2007. Storing information in open document standards facilitates the flow of information and prevents its loss when older applications become obsolete.’

== Media ==
http://www.documentfreedom.org/images/a/a3/Dfd_leaflet_back.png

Case Studies/Association for Progressive Communications Australia

2008-06-16T01:36:58Z

Rachel cobcroft: /* Overview */

{{Case Study
|Description=apc.au is a digital media communications organisation founded in 1997 and based on the ''Internet Rights Charter'' of the Association for Progressive Communications (APC). Advocating for open content and flexible licensing models, apc.au is engaged in both the development of and sustainable access to community-owned information communication technologies and infrastructure.
|Quote=apc.au advocates for and employs open licenses such as GNU and Creative Commons, as tools that provide a legal framework that would ensure ownership of cultural and intellectual property remains within the public domain and for the public good.
|Quote_Attribution=Grant McHerron, Technical Director, apc.au
|Image_Header=http://www.apc.org.au/img/gg_comms.gif
|Mainurl=http://apc.org.au/
|Author=Association for Progressive Communications Australia (apc.au)
|User_Status=Creator
|Tag=open access, community, development, ICTs, democracy, participation
|License short name=CC BY, CC BY-NC-ND
|License=http://creativecommons.org/licenses/by/2.5/au/ , http://creativecommons.org/licenses/by-nc-nd/2.5/au/
|Format=Image, Text
|Country=Australia
}}
== Overview ==
apc.au was established in 1997 on the ideals expressed in the [http://rights.apc.org/charter.shtml Association for Progressive Communication's ''Internet Rights Charter'']. Emphasising awareness, realisation, and protection of rights, the Charter commits to Internet access for all, access to knowledge, particularly with respect to shared learning and creation using free and open source software, and freedom of expression and association.

Within this framework, apc.au’s core objectives are:

#To promote and provide services for the development, application and strategic use of, and community education in respect to online and digital media technologies;
#To develop and provide networking online media services, applications and content, including advisory, consulting and related services, production and research;
#To assist the civil sector in the use of online media services and in the development and publication of network content, in areas of community interest including environment, social development, human rights and social justice;
#To support online media initiatives through the Australasian and Asia-Pacific areas and promote open and equitable access to online media technologies particularly for the non-government sector and disadvantaged groups and for the development of strategic working communities.

apc.au sits on the steering committees of [http://www.rmit.edu.au/browse/Our%20Organisation%2FDesign%20and%20Social%20Context%2FSchools%2FApplied%20Communication%2FInformation%20and%20Services%2FIndustry%20and%20Community%2FCommunity%20Spectrum%20Taskforce/ Open Spectrum Australia] sustaining community broadcast licensing on the digital spectrum), [http://wiki.apc.org.au/index.php?title=Home_Lands Home Lands] (remote communications program for refugee youth) and the Arts Law Consortium (providing access to ICT rights issues to cultural development and arts workers).

Within Australia, apc.au has previously traded under the following programmes, each an independently registered business in Victoria, Australia and headed by Andrew Garton, apc.au’s Managing Director:

*[http://c2o.org Community Communications Online (c2o)]
*[http://secession-records.org Secession Records]
*[http://toysatellite.org Toy Satellite]

In 2008, apc.au decommissioned c2o and began the process of archiving Toy Satellite projects, representing a decade of Australian new media art.

'''About the Association for Progressive Communications (APC)'''

Since its establishment in 1990, the [http://apc.org/ Association for Progressive Communications (APC)] has worked with the United Nations to help civil society organisations participate in global policy-making via the strategic use of information and communication technologies (ICTs) including the Internet. APC also examines issues surrounding privacy, surveillance, and encryption, and governance of the Internet.

[http://apc.org.au/ apc.au], the Australian member organisation, sits alongside members in Argentina, Bulgaria, Colombia, the Democratic Republic of Congo, Italy, Mexico, the Philippines, South Africa, Spain, the UK and Uruguay. In addition to many members offering local portals to discuss ICT policies and rights in their respective regions, APC works to achieve social and environmental justice and sustainable development. APC members are often the first providers of Internet in their countries, and they continue to pioneer practical and relevant uses of ICTs, particularly in developing nations and with grassroots organisations. Governed by its constitutive members, APC sets its strategic policies every four years.

== License Usage ==
apc.au is an organisation which advocates open content and flexible licensing models, being engaged in both the development of, and sustained access to, community-owned communications and broadcast infrastructure.

On 26 March 2008, [http://www.documentfreedom.org/ Document Freedom Day (DFD)], apc.au Managing Director Andrew Garton [http://wiki.apc.org.au/index.php?title=Documents announced] the release of 10 years of essays, lectures, reports and articles dealing with ICT4CD, information communication technologies for cultural development, under the [http://creativecommons.org/licenses/by-nc-nd/2.5/au/ Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 Australia licence]. Reproduction of materials housed on the wiki is encouraged provided acknowledgement is given.

Observing the importance of open content licensing, Andrew Garton explains in the [http://wiki.apc.org.au/index.php?title=DFD08_Media_Release press statement] issued for the event:
:‘The author may choose to reserve some or all rights through open licenses, providing consumers with immediate access to how content may be used, re-used and/or attributed without having to communicate with neither the author nor any 3rd party. Open licenses puts rights management directly into the hands or authors of any form and medium.’

== Motivations ==
As a global network of civil society organisations, [http://apc.org/en/about APC’s mission] is to build strategic communities and to make meaningful contributions to ‘equitable human development, social justice, participatory political processes and environmental sustainability.’ The APC mission was approved at the 1997 APC Council meeting in South Africa. In joining Document Freedom Day, apc.au expresses support for organisations, social movements and individuals through the use of open information and communication technologies.

:‘Document freedom is fundamental for your documents to outlive the application you are currently using and allows you to choose and change applications freely.’

Supported by the Free Software Foundation, Google, IBM, Red Hat Linux, and Sun Microsystems, amongst [http://documentfreedom.org/Who many other organisations], Document Freedom Day encourages organisations to embrace open standards. With the announcement of apc.au’s open archive in 2008, Grant McHerron, apc.au Technical Director, provided the following rationale for joining the event:

:‘Many have experienced the pain of trying to convert from one proprietary format to another when exchanging documents (e.g., from MS Word to Lotus.) Formatting is lost or broken and re-work is often required. This extends even to different versions of the same product, as those using Office 2000 are unable to read information created by MS Word 2007. Storing information in open document standards facilitates the flow of information and prevents its loss when older applications become obsolete.’

== Media ==
http://www.documentfreedom.org/images/a/a3/Dfd_leaflet_back.png

Case Studies/Association for Progressive Communications Australia

2008-06-16T01:34:26Z

Rachel cobcroft:

Case Studies/Remix My Lit

2008-06-16T01:23:03Z

Rachel cobcroft: /* License Usage */

{{Case Study
|Description=Remix My Lit: Literature that’s Read&Write
|Quote=Why isn't the literati getting amongst it? There's no reason why writers can't mix, match, push and pull content to create remixed works. And that's why remix my lit exists. We don't like buzz words, but if we had to use them we'd probably say we are a web 2.0 online collaborative space for creative people who want to get stuck up to their elbows in remixing!
|Quote_Attribution=http://www.remixmylit.com/
|Image_Header=http://www.remixmylit.com/wp-content/images/rml-logo.png
|Image_attribution=Remix My Lit banner used with permission, remixed image [http://www.flickr.com/photos/olivepixel/154385478 'Street Art' from Kim Laughton]
|Image_license=http://creativecommons.org/licenses/by/2.0/
|Mainurl=http://www.remixmylit.com/
|Author=Remix My Lit
|User_Status=Creator
|Tag=remix, literature, writing, collaboration, text
|License short name=CC BY-NC-SA
|License=http://creativecommons.org/licenses/by-nc-sa/2.5/au
|Format=Text
|Country=Australia
}}
== Overview ==
Most creative disciplines have grappled with the concept of remix. For mediums such as film and music, entire communities of appropriation (legal or otherwise) have emerged. Artists whose creative practice is contingent on the adaptation of and addition to existing creative products populate this space. But other creative disciplines have not yet embraced this creative technique.

Read/Write has always been a dichotomy in literature. The author on one side of the production process, toiling away in solitude to produce the manuscript which is read by many, in solitude. But is there a more collaborative space for literature? Can your pages be Read&Write?

[http://www.remixmylit.com/ Remix My Lit] is a Brisbane-based, international remixable literature project. The project aims to apply the lessons learned from music and film remixing to literature. Remix My Lit is designed to explore where remix fits into literature. It will provide a space within the discipline to encourage and foster a community and culture of remix. It will spin out a number of projects, each of which will endeavour to embed legal appropriation of works into aspects of the publishing environment. Remix My Lit is a research project as an exercise in creative practice.

The first project of Remix My Lit is a printed anthology of remixed and remixable short stories. A group of established authors from around Australia will contribute a short story to be published under a [http://creativecommons.org/licenses/by-nc-sa/2.5/au Creative Commons Attribution-Noncommercial-Share Alike] licence. These stories will be hosted on the website where emerging writers can create their own remixes of them and post them back up on the website. From this body of new works, the best remixed stories will appear in the anthology alongside the original stories. The anthology will be distributed online and in a hardcopy print run. Because all the works and the anthology will be available under a Creative Commons licence that permits remixing, these works will seed the beginnings of a remixable body of literature.

The remixable anthology project was initially funded by [http://www.australiacouncil.gov.au/the_arts/projects/about_story_of_the_future Story of the Future] – an initiative supported by the [http://www.australiacouncil.gov.au/ Australia Council for the Arts] in partnership with the [http://www.aftrs.edu.au/ Australian Film Television and Radio School]. This funding was matched by the [http://www.cci.edu.au/ Australian Research Council Centre of Excellence for Creative Industries and Innovation (CCi)] at [http://www.qut.edu.au Queensland University of Technology].

== License Usage ==
Remix My Lit currently uses a [http://creativecommons.org/licenses/by-nc-sa/2.5/au Creative Commons Attribution-Noncommercial-Share Alike 2.5 Australia licence]. Long-term the project is considering allowing other Creative Commons licences.

The Remix My Lit logo is a derivative work of a [http://creativecommons.org/licenses/by/2.0/ CC Attribution 2.0] Flickr image [http://www.flickr.com/photos/olivepixel/154385478 ‘Street Art’] by Kim Laughton, aka ‘olivepixel.’

== Motivations ==
The decision to rely on a non-commercial remix licence for the first project reflects some early observations of the publishing industry’s reaction to remix as a concept. Firstly, that the authors involved in the project were willing to experiment with new ideas but only where the reuse of that material was for non-commercial purposes. Equally, the Share Alike requirement reflects the need, at least during the seeding stage, to require ongoing remixability to ensure the concept is properly propagated into a creative discipline that as yet has not widely acknowledged and adopted remix practices.

== Media ==

Delete this line and add text here.

Add media that is relevant.

{{Incomplete|Media|formedit}}

Case Studies/Remix My Lit

2008-06-16T01:17:33Z

Rachel cobcroft:

{{Case Study
|Description=Remix My Lit: Literature that’s Read&Write
|Quote=Why isn't the literati getting amongst it? There's no reason why writers can't mix, match, push and pull content to create remixed works. And that's why remix my lit exists. We don't like buzz words, but if we had to use them we'd probably say we are a web 2.0 online collaborative space for creative people who want to get stuck up to their elbows in remixing!
|Quote_Attribution=http://www.remixmylit.com/
|Image_Header=http://www.remixmylit.com/wp-content/images/rml-logo.png
|Image_attribution=Remix My Lit banner used with permission, remixed image [http://www.flickr.com/photos/olivepixel/154385478 'Street Art' from Kim Laughton]
|Image_license=http://creativecommons.org/licenses/by/2.0/
|Mainurl=http://www.remixmylit.com/
|Author=Remix My Lit
|User_Status=Creator
|Tag=remix, literature, writing, collaboration, text
|License short name=CC BY-NC-SA
|License=http://creativecommons.org/licenses/by-nc-sa/2.5/au
|Format=Text
|Country=Australia
}}
== Overview ==
Most creative disciplines have grappled with the concept of remix. For mediums such as film and music, entire communities of appropriation (legal or otherwise) have emerged. Artists whose creative practice is contingent on the adaptation of and addition to existing creative products populate this space. But other creative disciplines have not yet embraced this creative technique.

Read/Write has always been a dichotomy in literature. The author on one side of the production process, toiling away in solitude to produce the manuscript which is read by many, in solitude. But is there a more collaborative space for literature? Can your pages be Read&Write?

[http://www.remixmylit.com/ Remix My Lit] is a Brisbane-based, international remixable literature project. The project aims to apply the lessons learned from music and film remixing to literature. Remix My Lit is designed to explore where remix fits into literature. It will provide a space within the discipline to encourage and foster a community and culture of remix. It will spin out a number of projects, each of which will endeavour to embed legal appropriation of works into aspects of the publishing environment. Remix My Lit is a research project as an exercise in creative practice.

The first project of Remix My Lit is a printed anthology of remixed and remixable short stories. A group of established authors from around Australia will contribute a short story to be published under a [http://creativecommons.org/licenses/by-nc-sa/2.5/au Creative Commons Attribution-Noncommercial-Share Alike] licence. These stories will be hosted on the website where emerging writers can create their own remixes of them and post them back up on the website. From this body of new works, the best remixed stories will appear in the anthology alongside the original stories. The anthology will be distributed online and in a hardcopy print run. Because all the works and the anthology will be available under a Creative Commons licence that permits remixing, these works will seed the beginnings of a remixable body of literature.

The remixable anthology project was initially funded by [http://www.australiacouncil.gov.au/the_arts/projects/about_story_of_the_future Story of the Future] – an initiative supported by the [http://www.australiacouncil.gov.au/ Australia Council for the Arts] in partnership with the [http://www.aftrs.edu.au/ Australian Film Television and Radio School]. This funding was matched by the [http://www.cci.edu.au/ Australian Research Council Centre of Excellence for Creative Industries and Innovation (CCi)] at [http://www.qut.edu.au Queensland University of Technology].

== License Usage ==
Remix My Lit currently uses a [http://creativecommons.org/licenses/by-nc-sa/2.5/au Creative Commons Attribution-Noncommercial-Share Alike 2.5 Australia licence]. Long-term the project is considering allowing other Creative Commons licences.

== Motivations ==
The decision to rely on a non-commercial remix licence for the first project reflects some early observations of the publishing industry’s reaction to remix as a concept. Firstly, that the authors involved in the project were willing to experiment with new ideas but only where the reuse of that material was for non-commercial purposes. Equally, the Share Alike requirement reflects the need, at least during the seeding stage, to require ongoing remixability to ensure the concept is properly propagated into a creative discipline that as yet has not widely acknowledged and adopted remix practices.

== Media ==

Delete this line and add text here.

Add media that is relevant.

{{Incomplete|Media|formedit}}

Case Studies/Nine Inch Nails The Slip

2008-06-10T05:26:02Z

Rachel cobcroft: /* Motivations */

{{Case Study
|Description=''The Slip'', a ten-track album by American band Nine Inch Nails (NIN), is the second artistic release made available to fans ‘for free’ under a Creative Commons licence.
|Quote=thank you for your continued and loyal support over the years - this one’s on me
|Quote_Attribution=[http://ninblogs.wordpress.com/ Trent Reznor]
|Image_Header=http://dl.nin.com/style/ninslip/images/slip_banner.jpg
|Image_attribution=[http://www.archive.org/details/nine_inch_nails_the_slip Nine Inch Nails ''The Slip''] art direction by Rob Sheridan and Trent Reznor. Album image available under
|Image_license=http://creativecommons.org/licenses/by-nc-sa/3.0/us/
|Mainurl=http://theslip.nin.com/
|Author=Nine Inch Nails
|User_Status=Creator
|Tag=NIN, fan, remix, business model
|License short name=CC BY-NC-SA
|License=http://creativecommons.org/licenses/by-nc-sa/3.0/us/
|Format=Image, Sound
|Country=United States of America
}}
== Overview ==
:‘It’s loud, abrasive, difficult, angry, explosive, and, oh yeah, absolutely free.’ [http://www.suburbanchicagonews.com/beaconnews/lifestyles/939113,2_5_AU09_LISTENUP_S1.article ''Beacon News'']

Two months after the release of [http://wiki.creativecommons.org/Nine_Inch_Nails_Ghosts_I-IV ''Ghosts I-IV''], prominent and polemic American noir rock band [http://nin.com/ Nine Inch Nails] has licensed a second album under Creative Commons, [http://theslip.nin.com/ ''The Slip'']. Pitched as ‘one hundred percent free’ by front man Trent Reznor, ''The Slip'' (aka ''Halo 27'') has been proclaimed as a further challenge to the music industry, defining an alternative path for musicians interested in the self-promotion of works. Available for digital download in an array of formats – mp3, lossless FLAC, m4a, and the impressive higher-than-CD quality 24-bit, 96kHz .wav files via torrents – the ten tracks are readily remixable via their multi-track audio source files at http://remix.nin.com. The release also includes a pdf with artwork and credits.

Pre-empting the album release, the single ''Discipline'' was distributed freely via the official NIN site in April 2008, and a second, ''Echoplex'', was released for free from [http://www.ilike.com/ iLike]. ''The Slip''’s track listing is as follows:

#999,999 – 1:25
#1,000,000 – 3:56
#Letting You – 3:49
#Discipline – 4:19
#Echoplex – 4:45
#Head Down – 4:55
#Lights in the Sky – 3:29
#Corona Radiata – 7:33
#The Four of Us Are Dying – 4:37
#Demon Seed – 4:59

To cater for the substantial fan base interested in acquiring sought-after merchandise, NIN also intends to release the album on vinyl and CD under a variable pricing model over the American summer period.

''The Slip'' was written by Trent Reznor 
Performed by Trent Reznor with Josh Freese, Robin Finck and Alessandro Cortini 
Produced by Trent Reznor, Atticus Ross and Alan Moulder 
Mixed by Alan Moulder 
Programmed by Atticus Ross 
Engineered by Michael Tuller, Atticus Ross and Alan Moulder

== License Usage ==
NIN actively encourages its fan base to engage with its music, through redistribution and remix via audio tracks at http://remix.nin.com and user-generated film festivals on [http://www.youtube.com/group/ninghosts YouTube]. As with ''Ghosts I-IV'', ''The Slip'' is licensed under a [http://creativecommons.org/licenses/by-nc-sa/3.0/us/ Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States licence]. NIN’s intention with this release is clear, as per the [http://dl.nin.com/theslip/signup download site]:

:‘we encourage you to
:remix it
:share it with your friends,
:post it on your blog,
:play it on your podcast,
:give it to strangers,
:etc.’

In contrast to services which prevent re-distribution of tracks, all files are 100% DRM-free.

== Motivations ==
Releasing under Creative Commons licences has been a successful strategy for NIN: the manoeuvre has accrued substantial profit and prominence in the world-wide press. As [http://www.techdirt.com/articles/20080304/162842435.shtml widely reported] on 4 March 2008, the $300 ultra deluxe edition of ''Ghosts I-IV'', limited to 2500 copies, sold out in a matter of days. With fans still keen to seek ‘personalisation, authenticity, embodiment’ in the hard copy, [http://www.kk.org/thetechnium/archives/2008/01/better_than_fre.php Kevin Kelly] notes that considerable incentives remain surrounding items released for ‘free.’ In relation to the release of the deluxe editions and associated products, [http://gondwanaland.com/mlog/2008/03/04/nin-ghosts/ Mike Linksvayer] observes: ‘If an artist typically makes $1.60 on a $15.99 CD sale, profit from sales of the limited edition already matches profit from a CD selling hundreds of thousands of copies.’

Celebrating their North American tour with a free EP sampler [http://dl.nin.com/lightsinthesky/signup ''Lights In the Sky''], [http://ninblogs.wordpress.com/2008/06/05/new-band-new-tour-sampler/ Trent Reznor adds]:

:‘If you like what you hear, be sure to show up early to the show (and please remember to support them by purchasing their music, if so inclined).’

Evident throughout entries such as [http://blog.wired.com/music/2008/05/nine-inch-nails.html ''Wired Magazine’s Listening Post''] announcing the release on 5 May 2008, reactions from the fans continue to be strongly positive:

:‘Reznor is the man!!!!! I swear I am going to buy his next (for sale) studio album just b/c he is so f#$%ng cool’ Glenn

:‘And it’s another epic victory for Reznor. Three albums in practically a year, and all of them absolutely stellar. The man knows music, plain and simple. I’ll be picking up a vinyl copy come July.’ McTool

In response to these statements of fan fealty, ‘the constant skeptic’ notes:

:‘@glenn that is exactly what Reznor is hoping he will do, convince his fans that he is the man so that the next time something is for sale they will buy it up. It is called selling free, and it works every time, especially in the online arena. Still, it is a masterful move and shows that he knows how to manage his brand better than anyone else out there right now, besides maybe radiohead.’

Emphasising the importance of tour promotion and the smartness of this strategy in ensuring ongoing revenue streams, RandomCake responds:

:‘@the constant skeptic, Well, I’m not sure Trent really cares about every day record sales these days, these free downloads really help with tour sales, and tours are a lot more profitable than CD sales, then there are the limited edition items such as vinyl and numbered CDs which really help to rake it in (Ghosts had an ‘Ultra Limited Edition Package’ at $300, and there were 2,500 of them so that’s $750,000 made there!) Then there are other options, so without selling huge quantities there is large profit, and by giving away large quantities he gains mass appeal! Win win all round!’

In the week following this release, NIN led [http://blog.wired.com/music/2008/03/nine-inch-nai-1.html Amazon.com’s mp3 chart], with Radiohead coming in at number 5. As ''Wired''’s Eliot Van Buskirk muses: ‘There's a lesson for the labels in there somewhere.’

== Media ==
http://theslip.nin.com/splash.jpg

NIN album artwork available [http://ia360928.us.archive.org/2/items/nine_inch_nails_the_slip/cover.jpg here].

Case Studies/Nine Inch Nails The Slip

2008-06-10T05:13:07Z

Rachel cobcroft: /* Overview */

{{Case Study
|Description=''The Slip'', a ten-track album by American band Nine Inch Nails (NIN), is the second artistic release made available to fans ‘for free’ under a Creative Commons licence.
|Quote=thank you for your continued and loyal support over the years - this one’s on me
|Quote_Attribution=[http://ninblogs.wordpress.com/ Trent Reznor]
|Image_Header=http://dl.nin.com/style/ninslip/images/slip_banner.jpg
|Image_attribution=[http://www.archive.org/details/nine_inch_nails_the_slip Nine Inch Nails ''The Slip''] art direction by Rob Sheridan and Trent Reznor. Album image available under
|Image_license=http://creativecommons.org/licenses/by-nc-sa/3.0/us/
|Mainurl=http://theslip.nin.com/
|Author=Nine Inch Nails
|User_Status=Creator
|Tag=NIN, fan, remix, business model
|License short name=CC BY-NC-SA
|License=http://creativecommons.org/licenses/by-nc-sa/3.0/us/
|Format=Image, Sound
|Country=United States of America
}}
== Overview ==
:‘It’s loud, abrasive, difficult, angry, explosive, and, oh yeah, absolutely free.’ [http://www.suburbanchicagonews.com/beaconnews/lifestyles/939113,2_5_AU09_LISTENUP_S1.article ''Beacon News'']

Two months after the release of [http://wiki.creativecommons.org/Nine_Inch_Nails_Ghosts_I-IV ''Ghosts I-IV''], prominent and polemic American noir rock band [http://nin.com/ Nine Inch Nails] has licensed a second album under Creative Commons, [http://theslip.nin.com/ ''The Slip'']. Pitched as ‘one hundred percent free’ by front man Trent Reznor, ''The Slip'' (aka ''Halo 27'') has been proclaimed as a further challenge to the music industry, defining an alternative path for musicians interested in the self-promotion of works. Available for digital download in an array of formats – mp3, lossless FLAC, m4a, and the impressive higher-than-CD quality 24-bit, 96kHz .wav files via torrents – the ten tracks are readily remixable via their multi-track audio source files at http://remix.nin.com. The release also includes a pdf with artwork and credits.

Pre-empting the album release, the single ''Discipline'' was distributed freely via the official NIN site in April 2008, and a second, ''Echoplex'', was released for free from [http://www.ilike.com/ iLike]. ''The Slip''’s track listing is as follows:

#999,999 – 1:25
#1,000,000 – 3:56
#Letting You – 3:49
#Discipline – 4:19
#Echoplex – 4:45
#Head Down – 4:55
#Lights in the Sky – 3:29
#Corona Radiata – 7:33
#The Four of Us Are Dying – 4:37
#Demon Seed – 4:59

To cater for the substantial fan base interested in acquiring sought-after merchandise, NIN also intends to release the album on vinyl and CD under a variable pricing model over the American summer period.

''The Slip'' was written by Trent Reznor 
Performed by Trent Reznor with Josh Freese, Robin Finck and Alessandro Cortini 
Produced by Trent Reznor, Atticus Ross and Alan Moulder 
Mixed by Alan Moulder 
Programmed by Atticus Ross 
Engineered by Michael Tuller, Atticus Ross and Alan Moulder

== License Usage ==
NIN actively encourages its fan base to engage with its music, through redistribution and remix via audio tracks at http://remix.nin.com and user-generated film festivals on [http://www.youtube.com/group/ninghosts YouTube]. As with ''Ghosts I-IV'', ''The Slip'' is licensed under a [http://creativecommons.org/licenses/by-nc-sa/3.0/us/ Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States licence]. NIN’s intention with this release is clear, as per the [http://dl.nin.com/theslip/signup download site]:

:‘we encourage you to
:remix it
:share it with your friends,
:post it on your blog,
:play it on your podcast,
:give it to strangers,
:etc.’

In contrast to services which prevent re-distribution of tracks, all files are 100% DRM-free.

== Motivations ==
Releasing under Creative Commons licences has been a successful strategy for NIN: the manoeuvre has accrued substantial profit and prominence in the world-wide press. As [http://www.techdirt.com/articles/20080304/162842435.shtml widely reported] on 4 March 2008, the $300 ultra deluxe edition of ''Ghosts I-IV'', limited to 2500 copies, sold out in a matter of days. With fans still keen to seek ‘personalisation, authenticity, embodiment’ in the hard copy, [http://www.kk.org/thetechnium/archives/2008/01/better_than_fre.php Kevin Kelly] notes that considerable incentives remain surrounding items released for ‘free.’ In relation to the release of the deluxe editions and associated products, [http://gondwanaland.com/mlog/2008/03/04/nin-ghosts/ Mike Linksvayer] observes: ‘If an artist typically makes $1.60 on a $15.99 CD sale, profit from sales of the limited edition already matches profit from a CD selling hundreds of thousands of copies.’

Celebrating their North American tour with a free EP sampler [http://dl.nin.com/lightsinthesky/signup ''Lights In the Sky''], [http://ninblogs.wordpress.com/2008/06/05/new-band-new-tour-sampler/ Trent Reznor adds]:

:‘If you like what you hear, be sure to show up early to the show (and please remember to support them by purchasing their music, if so inclined).’

Evident throughout entries such as [http://blog.wired.com/music/2008/05/nine-inch-nails.html ''Wired Magazine’s Listening Post''] announcing the release on 5 May 2008, reactions from the fans continue to be strongly positive:

:‘Reznor is the man!!!!! I swear I am going to buy his next (for sale) studio album just b/c he is so f#$%ng cool’ Glenn

:‘And it’s another epic victory for Reznor. Three albums in practically a year, and all of them absolutely stellar. The man knows music, plain and simple. I’ll be picking up a vinyl copy come July.’ McTool

In response to these statements of fan fealty, ‘the constant skeptic’ notes:

:‘@glenn that is exactly what Reznor is hoping he will do, convince his fans that he is the man so that the next time something is for sale they will buy it up. It is called selling free, and it works every time, especially in the online arena. Still, it is a masterful move and shows that he knows how to manage his brand better than anyone else out there right now, besides maybe radiohead.’

Emphasising the importance of tour promotion and the smartness of this strategy in ensuring ongoing revenue streams, RandomCake responds:

:‘@the constant skeptic, Well, I’m not sure Trent really cares about every day record sales these days, these free downloads really help with tour sales, and tours are a lot more profitable than CD sales, then there are the limited edition items such as vinyl and numbered CDs which really help to rake it in (Ghosts had an ‘Ultra Limited Edition Package’ at $300, and there were 2,500 of them so that’s $750,000 made there!) Then there are other options, so without selling huge quantities there is large profit, and by giving away large quantities he gains mass appeal! Win win all round!’

== Media ==
http://theslip.nin.com/splash.jpg

NIN album artwork available [http://ia360928.us.archive.org/2/items/nine_inch_nails_the_slip/cover.jpg here].

Case Studies/Nine Inch Nails The Slip

2008-06-10T05:06:32Z

Rachel cobcroft:

{{Case Study
|Description=''The Slip'', a ten-track album by American band Nine Inch Nails (NIN), is the second artistic release made available to fans ‘for free’ under a Creative Commons licence.
|Quote=thank you for your continued and loyal support over the years - this one’s on me
|Quote_Attribution=[http://ninblogs.wordpress.com/ Trent Reznor]
|Image_Header=http://dl.nin.com/style/ninslip/images/slip_banner.jpg
|Image_attribution=[http://www.archive.org/details/nine_inch_nails_the_slip Nine Inch Nails ''The Slip''] art direction by Rob Sheridan and Trent Reznor. Album image available under
|Image_license=http://creativecommons.org/licenses/by-nc-sa/3.0/us/
|Mainurl=http://theslip.nin.com/
|Author=Nine Inch Nails
|User_Status=Creator
|Tag=NIN, fan, remix, business model
|License short name=CC BY-NC-SA
|License=http://creativecommons.org/licenses/by-nc-sa/3.0/us/
|Format=Image, Sound
|Country=United States of America
}}
== Overview ==
:‘It’s loud, abrasive, difficult, angry, explosive, and, oh yeah, absolutely free.’ [http://www.suburbanchicagonews.com/beaconnews/lifestyles/939113,2_5_AU09_LISTENUP_S1.article ''Beacon News'']

Two months after the release of [http://wiki.creativecommons.org/Nine_Inch_Nails_Ghosts_I-IV ''Ghosts I-IV''], prominent and polemic American noir rock band [http://nin.com/ Nine Inch Nails] has licensed a second album under Creative Commons, [http://theslip.nin.com/ ''The Slip'']. Pitched as ‘one hundred percent free’ by front man Trent Reznor, ''The Slip'' (aka ''Halo 27'') has been proclaimed as a further challenge to the music industry, defining an alternative path for musicians interested in the self-promotion of works. Available for digital download in an array of formats – mp3, lossless FLAC, m4a, and the impressive higher-than-CD quality 24-bit, 96kHz .wav files via torrents – the ten tracks are readily remixable via their multi-track audio source files at http://remix.nin.com. The release also includes a pdf with artwork and credits.

Pre-empting the album release, the single ''Discipline'' was distributed freely via the official NIN site in April 2008, and a second, ''Echoplex'', was released for free from [http://www.ilike.com/ iLike]. ''The Slip''’s track listing is as follows:

#999,999 – 1:25
#1,000,000 – 3:56
#Letting You – 3:49
#Discipline – 4:19
#Echoplex – 4:45
#Head Down – 4:55
#Lights in the Sky – 3:29
#Corona Radiata – 7:33
#The Four of Us Are Dying – 4:37
#Demon Seed – 4:59

''The Slip'' was written by Trent Reznor
Performed by Trent Reznor with Josh Freese, Robin Finck and Alessandro Cortini
Produced by Trent Reznor, Atticus Ross and Alan Moulder
Mixed by Alan Moulder
Programmed by Atticus Ross
Engineered by Michael Tuller, Atticus Ross and Alan Moulder

To cater for the substantial fan base interested in acquiring sought-after merchandise, NIN also intends to release the album on vinyl and CD under a variable pricing model over the American summer period.

== License Usage ==
NIN actively encourages its fan base to engage with its music, through redistribution and remix via audio tracks at http://remix.nin.com and user-generated film festivals on [http://www.youtube.com/group/ninghosts YouTube]. As with ''Ghosts I-IV'', ''The Slip'' is licensed under a [http://creativecommons.org/licenses/by-nc-sa/3.0/us/ Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States licence]. NIN’s intention with this release is clear, as per the [http://dl.nin.com/theslip/signup download site]:

:‘we encourage you to
:remix it
:share it with your friends,
:post it on your blog,
:play it on your podcast,
:give it to strangers,
:etc.’

In contrast to services which prevent re-distribution of tracks, all files are 100% DRM-free.

== Motivations ==
Releasing under Creative Commons licences has been a successful strategy for NIN: the manoeuvre has accrued substantial profit and prominence in the world-wide press. As [http://www.techdirt.com/articles/20080304/162842435.shtml widely reported] on 4 March 2008, the $300 ultra deluxe edition of ''Ghosts I-IV'', limited to 2500 copies, sold out in a matter of days. With fans still keen to seek ‘personalisation, authenticity, embodiment’ in the hard copy, [http://www.kk.org/thetechnium/archives/2008/01/better_than_fre.php Kevin Kelly] notes that considerable incentives remain surrounding items released for ‘free.’ In relation to the release of the deluxe editions and associated products, [http://gondwanaland.com/mlog/2008/03/04/nin-ghosts/ Mike Linksvayer] observes: ‘If an artist typically makes $1.60 on a $15.99 CD sale, profit from sales of the limited edition already matches profit from a CD selling hundreds of thousands of copies.’

Celebrating their North American tour with a free EP sampler [http://dl.nin.com/lightsinthesky/signup ''Lights In the Sky''], [http://ninblogs.wordpress.com/2008/06/05/new-band-new-tour-sampler/ Trent Reznor adds]:

:‘If you like what you hear, be sure to show up early to the show (and please remember to support them by purchasing their music, if so inclined).’

Evident throughout entries such as [http://blog.wired.com/music/2008/05/nine-inch-nails.html ''Wired Magazine’s Listening Post''] announcing the release on 5 May 2008, reactions from the fans continue to be strongly positive:

:‘Reznor is the man!!!!! I swear I am going to buy his next (for sale) studio album just b/c he is so f#$%ng cool’ Glenn

:‘And it’s another epic victory for Reznor. Three albums in practically a year, and all of them absolutely stellar. The man knows music, plain and simple. I’ll be picking up a vinyl copy come July.’ McTool

In response to these statements of fan fealty, ‘the constant skeptic’ notes:

:‘@glenn that is exactly what Reznor is hoping he will do, convince his fans that he is the man so that the next time something is for sale they will buy it up. It is called selling free, and it works every time, especially in the online arena. Still, it is a masterful move and shows that he knows how to manage his brand better than anyone else out there right now, besides maybe radiohead.’

Emphasising the importance of tour promotion and the smartness of this strategy in ensuring ongoing revenue streams, RandomCake responds:

:‘@the constant skeptic, Well, I’m not sure Trent really cares about every day record sales these days, these free downloads really help with tour sales, and tours are a lot more profitable than CD sales, then there are the limited edition items such as vinyl and numbered CDs which really help to rake it in (Ghosts had an ‘Ultra Limited Edition Package’ at $300, and there were 2,500 of them so that’s $750,000 made there!) Then there are other options, so without selling huge quantities there is large profit, and by giving away large quantities he gains mass appeal! Win win all round!’

== Media ==
http://theslip.nin.com/splash.jpg

NIN album artwork available [http://ia360928.us.archive.org/2/items/nine_inch_nails_the_slip/cover.jpg here].

Case Studies/Nine Inch Nails The Slip

2008-06-10T04:56:57Z

Rachel cobcroft: /* Motivations */

{{Case Study
|Description=''The Slip'', a ten-track album by American band Nine Inch Nails (NIN), is the second artistic release made available to fans ‘for free’ under a Creative Commons licence.
|Quote=thank you for your continued and loyal support over the years - this one’s on me
|Quote_Attribution=Trent Reznor, http://ninblogs.wordpress.com/
|Image_Header=http://dl.nin.com/style/ninslip/images/slip_banner.jpg
|Image_attribution=Nine Inch Nails ''The Slip''
|Mainurl=http://theslip.nin.com/
|Author=Nine Inch Nails
|User_Status=Creator
|Tag=NIN, fan, remix, business model
|License short name=CC BY-NC-SA
|License=http://creativecommons.org/licenses/by-nc-sa/3.0/us/
|Format=Image, Sound
|Country=United States of America
}}
== Overview ==
:‘It’s loud, abrasive, difficult, angry, explosive, and, oh yeah, absolutely free.’ [http://www.suburbanchicagonews.com/beaconnews/lifestyles/939113,2_5_AU09_LISTENUP_S1.article ''Beacon News'']

Two months after the release of [http://wiki.creativecommons.org/Nine_Inch_Nails_Ghosts_I-IV ''Ghosts I-IV''], prominent and polemic American noir rock band [http://nin.com/ Nine Inch Nails] has licensed a second album under Creative Commons, [http://theslip.nin.com/ ''The Slip'']. Pitched as ‘one hundred percent free’ by front man Trent Reznor, ''The Slip'' (aka ''Halo 27'') has been proclaimed as a further challenge to the music industry, defining an alternative path for musicians interested in the self-promotion of works. Available for digital download in an array of formats – mp3, lossless FLAC, m4a, and the impressive higher-than-CD quality 24-bit, 96kHz .wav files via torrents – the ten tracks are readily remixable via their multi-track audio source files at http://remix.nin.com. The release also includes a pdf with artwork and credits.

Pre-empting the album release, the single ''Discipline'' was distributed freely via the official NIN site in April 2008, and a second, ''Echoplex'', was released for free from [http://www.ilike.com/ iLike]. ''The Slip''’s track listing is as follows:

#999,999 – 1:25
#1,000,000 – 3:56
#Letting You – 3:49
#Discipline – 4:19
#Echoplex – 4:45
#Head Down – 4:55
#Lights in the Sky – 3:29
#Corona Radiata – 7:33
#The Four of Us Are Dying – 4:37
#Demon Seed – 4:59

To cater for the substantial fan base interested in acquiring sought-after merchandise, NIN also intends to release the album on vinyl and CD under a variable pricing model over the American summer period.

== License Usage ==
NIN actively encourages its fan base to engage with its music, through redistribution and remix via audio tracks at http://remix.nin.com and user-generated film festivals on [http://www.youtube.com/group/ninghosts YouTube]. As with ''Ghosts I-IV'', ''The Slip'' is licensed under a [http://creativecommons.org/licenses/by-nc-sa/3.0/us/ Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States licence]. NIN’s intention with this release is clear, as per the [http://dl.nin.com/theslip/signup download site]:

:‘we encourage you to
:remix it
:share it with your friends,
:post it on your blog,
:play it on your podcast,
:give it to strangers,
:etc.’

In contrast to services which prevent re-distribution of tracks, all files are 100% DRM-free.

== Motivations ==
Releasing under Creative Commons licences has been a successful strategy for NIN: the manoeuvre has accrued substantial profit and prominence in the world-wide press. As [http://www.techdirt.com/articles/20080304/162842435.shtml widely reported] on 4 March 2008, the $300 ultra deluxe edition of ''Ghosts I-IV'', limited to 2500 copies, sold out in a matter of days. With fans still keen to seek ‘personalisation, authenticity, embodiment’ in the hard copy, [http://www.kk.org/thetechnium/archives/2008/01/better_than_fre.php Kevin Kelly] notes that considerable incentives remain surrounding items released for ‘free.’ In relation to the release of the deluxe editions and associated products, [http://gondwanaland.com/mlog/2008/03/04/nin-ghosts/ Mike Linksvayer] observes: ‘If an artist typically makes $1.60 on a $15.99 CD sale, profit from sales of the limited edition already matches profit from a CD selling hundreds of thousands of copies.’

Celebrating their North American tour with a free EP sampler [http://dl.nin.com/lightsinthesky/signup ''Lights In the Sky''], [http://ninblogs.wordpress.com/2008/06/05/new-band-new-tour-sampler/ Trent Reznor adds]:

:‘If you like what you hear, be sure to show up early to the show (and please remember to support them by purchasing their music, if so inclined).’

Evident throughout entries such as [http://blog.wired.com/music/2008/05/nine-inch-nails.html ''Wired Magazine’s Listening Post''] announcing the release on 5 May 2008, reactions from the fans continue to be strongly positive:

:‘Reznor is the man!!!!! I swear I am going to buy his next (for sale) studio album just b/c he is so f#$%ng cool’ Glenn

:‘And it’s another epic victory for Reznor. Three albums in practically a year, and all of them absolutely stellar. The man knows music, plain and simple. I’ll be picking up a vinyl copy come July.’ McTool

In response to these statements of fan fealty, ‘the constant skeptic’ notes:

:‘@glenn that is exactly what Reznor is hoping he will do, convince his fans that he is the man so that the next time something is for sale they will buy it up. It is called selling free, and it works every time, especially in the online arena. Still, it is a masterful move and shows that he knows how to manage his brand better than anyone else out there right now, besides maybe radiohead.’

Emphasising the importance of tour promotion and the smartness of this strategy in ensuring ongoing revenue streams, RandomCake responds:

:‘@the constant skeptic, Well, I’m not sure Trent really cares about every day record sales these days, these free downloads really help with tour sales, and tours are a lot more profitable than CD sales, then there are the limited edition items such as vinyl and numbered CDs which really help to rake it in (Ghosts had an ‘Ultra Limited Edition Package’ at $300, and there were 2,500 of them so that’s $750,000 made there!) Then there are other options, so without selling huge quantities there is large profit, and by giving away large quantities he gains mass appeal! Win win all round!’

== Media ==
http://theslip.nin.com/splash.jpg

Case Studies/Nine Inch Nails The Slip

2008-06-10T04:50:41Z

Rachel cobcroft: /* License Usage */

Case Studies/Nine Inch Nails The Slip

2008-06-10T04:48:17Z

Rachel cobcroft: /* Overview */

Case Studies/Nine Inch Nails The Slip

2008-06-10T04:47:10Z

Rachel cobcroft: New page: {{Case Study |Description=''The Slip'', a ten-track album by American band Nine Inch Nails (NIN), is the second artistic release made available to fans ‘for free’ under a Creative Comm...

Case Studies/Remix My Lit

2008-06-08T01:59:39Z

Rachel cobcroft: /* Overview */

{{Case Study
|Description=Remix My Lit: Literature that’s Read&Write
|Quote=Why isn't the literati getting amongst it? There's no reason why writers can't mix, match, push and pull content to create remixed works. And that's why remix my lit exists. We don't like buzz words, but if we had to use them we'd probably say we are a web 2.0 online collaborative space for creative people who want to get stuck up to their elbows in remixing!
|Quote_Attribution=http://www.remixmylit.com/
|Image_Header=http://www.remixmylit.com/wp-content/images/rml-logo.png
|Image_attribution=Remix My Lit banner used with permission
|Mainurl=http://www.remixmylit.com/
|Author=Remix My Lit
|User_Status=Creator
|Tag=remix, literature, writing, collaboration, text
|License short name=CC BY-NC-SA
|License=http://creativecommons.org/licenses/by-nc-sa/2.5/au
|Format=Text
|Country=Australia
}}
== Overview ==
Most creative disciplines have grappled with the concept of remix. For mediums such as film and music, entire communities of appropriation (legal or otherwise) have emerged. Artists whose creative practice is contingent on the adaptation of and addition to existing creative products populate this space. But other creative disciplines have not yet embraced this creative technique.

Read/Write has always been a dichotomy in literature. The author on one side of the production process, toiling away in solitude to produce the manuscript which is read by many, in solitude. But is there a more collaborative space for literature? Can your pages be Read&Write?

[http://www.remixmylit.com/ Remix My Lit] is a Brisbane-based, international remixable literature project. The project aims to apply the lessons learned from music and film remixing to literature. Remix My Lit is designed to explore where remix fits into literature. It will provide a space within the discipline to encourage and foster a community and culture of remix. It will spin out a number of projects, each of which will endeavour to embed legal appropriation of works into aspects of the publishing environment. Remix My Lit is a research project as an exercise in creative practice.

The first project of Remix My Lit is a printed anthology of remixed and remixable short stories. A group of established authors from around Australia will contribute a short story to be published under a [http://creativecommons.org/licenses/by-nc-sa/2.5/au Creative Commons Attribution-Noncommercial-Share Alike] licence. These stories will be hosted on the website where emerging writers can create their own remixes of them and post them back up on the website. From this body of new works, the best remixed stories will appear in the anthology alongside the original stories. The anthology will be distributed online and in a hardcopy print run. Because all the works and the anthology will be available under a Creative Commons licence that permits remixing, these works will seed the beginnings of a remixable body of literature.

The remixable anthology project was initially funded by [http://www.australiacouncil.gov.au/the_arts/projects/about_story_of_the_future Story of the Future] – an initiative supported by the [http://www.australiacouncil.gov.au/ Australia Council for the Arts] in partnership with the [http://www.aftrs.edu.au/ Australian Film Television and Radio School]. This funding was matched by the [http://www.cci.edu.au/ Australian Research Council Centre of Excellence for Creative Industries and Innovation (CCi)] at [http://www.qut.edu.au Queensland University of Technology].

== License Usage ==
Remix My Lit currently uses a [http://creativecommons.org/licenses/by-nc-sa/2.5/au Creative Commons Attribution-Noncommercial-Share Alike 2.5 Australia licence]. Long-term the project is considering allowing other Creative Commons licences.

== Motivations ==
The decision to rely on a non-commercial remix licence for the first project reflects some early observations of the publishing industry’s reaction to remix as a concept. Firstly, that the authors involved in the project were willing to experiment with new ideas but only where the reuse of that material was for non-commercial purposes. Equally, the Share Alike requirement reflects the need, at least during the seeding stage, to require ongoing remixability to ensure the concept is properly propagated into a creative discipline that as yet has not widely acknowledged and adopted remix practices.

== Media ==

Delete this line and add text here.

Add media that is relevant.

{{Incomplete|Media|formedit}}

Case Studies/Remix My Lit

2008-06-08T01:55:50Z

Rachel cobcroft: /* Motivations */

{{Case Study
|Description=Remix My Lit: Literature that’s Read&Write
|Quote=Why isn't the literati getting amongst it? There's no reason why writers can't mix, match, push and pull content to create remixed works. And that's why remix my lit exists. We don't like buzz words, but if we had to use them we'd probably say we are a web 2.0 online collaborative space for creative people who want to get stuck up to their elbows in remixing!
|Quote_Attribution=http://www.remixmylit.com/
|Image_Header=http://www.remixmylit.com/wp-content/images/rml-logo.png
|Image_attribution=Remix My Lit banner used with permission
|Mainurl=http://www.remixmylit.com/
|Author=Remix My Lit
|User_Status=Creator
|Tag=remix, literature, writing, collaboration, text
|License short name=CC BY-NC-SA
|License=http://creativecommons.org/licenses/by-nc-sa/2.5/au
|Format=Text
|Country=Australia
}}
== Overview ==
Most creative disciplines have grappled with the concept of remix. For mediums such as film and music, entire communities of appropriation (legal or otherwise) have emerged. Artists whose creative practice is contingent on the adaptation of and addition to existing creative products populate this space. But other creative disciplines have not yet embraced this creative technique.

Read/Write has always been a dichotomy in literature. The author on one side of the production process, toiling away in solitude to produce the manuscript which is read by many, in solitude. But is there a more collaborative space for literature? Can your pages be Read&Write?

[http://www.remixmylit.com/ Remix My Lit] is a Brisbane-based, international remixable literature project. The project aims to apply the lessons learned from music and film remixing to literature. Remix My Lit is designed to explore where remix fits into literature. It will provide a space within the discipline to encourage and foster a community and culture of remix. It will spin out a number of projects, each of which will endeavour to embed legal appropriation of works into aspects of the publishing environment. Remix My Lit is a research project as an exercise in creative practice.

The first project of Remix My Lit is a printed anthology of remixed and remixable short stories. A group of established authors from around Australia will contribute a short story to be published under a [http://creativecommons.org/licenses/by-nc-sa/2.5/au Creative Commons Attribution-Noncommercial-Share Alike] licence. These stories will be hosted on the website where emerging writers can create their own remixes of them and post them back up on the website. From this body of new works, the best remixed stories will appear in the anthology alongside the original stories. The anthology will be distributed online and in a hardcopy print run. Because all the works and the anthology will be available under a Creative Commons licence that permits remixing, these works will seed the beginnings of a remixable body of literature.

The remixable anthology project was initially funded by [http://www.australiacouncil.gov.au/the_arts/projects/about_story_of_the_future Story of the Future] – an initiative supported by the Australia Council for the Arts in partnership with the Australian Film Television and Radio School. This funding was matched by the [http://www.cci.edu.au/ Australian Research Council Centre of Excellence for Creative Industries and Innovation (CCi)] at [http://www.qut.edu.au Queensland University of Technology].

== License Usage ==
Remix My Lit currently uses a [http://creativecommons.org/licenses/by-nc-sa/2.5/au Creative Commons Attribution-Noncommercial-Share Alike 2.5 Australia licence]. Long-term the project is considering allowing other Creative Commons licences.

== Motivations ==
The decision to rely on a non-commercial remix licence for the first project reflects some early observations of the publishing industry’s reaction to remix as a concept. Firstly, that the authors involved in the project were willing to experiment with new ideas but only where the reuse of that material was for non-commercial purposes. Equally, the Share Alike requirement reflects the need, at least during the seeding stage, to require ongoing remixability to ensure the concept is properly propagated into a creative discipline that as yet has not widely acknowledged and adopted remix practices.

== Media ==

Delete this line and add text here.

Add media that is relevant.

{{Incomplete|Media|formedit}}

Case Studies/Remix My Lit

2008-06-08T01:55:24Z

Rachel cobcroft: /* License Usage */

{{Case Study
|Description=Remix My Lit: Literature that’s Read&Write
|Quote=Why isn't the literati getting amongst it? There's no reason why writers can't mix, match, push and pull content to create remixed works. And that's why remix my lit exists. We don't like buzz words, but if we had to use them we'd probably say we are a web 2.0 online collaborative space for creative people who want to get stuck up to their elbows in remixing!
|Quote_Attribution=http://www.remixmylit.com/
|Image_Header=http://www.remixmylit.com/wp-content/images/rml-logo.png
|Image_attribution=Remix My Lit banner used with permission
|Mainurl=http://www.remixmylit.com/
|Author=Remix My Lit
|User_Status=Creator
|Tag=remix, literature, writing, collaboration, text
|License short name=CC BY-NC-SA
|License=http://creativecommons.org/licenses/by-nc-sa/2.5/au
|Format=Text
|Country=Australia
}}
== Overview ==
Most creative disciplines have grappled with the concept of remix. For mediums such as film and music, entire communities of appropriation (legal or otherwise) have emerged. Artists whose creative practice is contingent on the adaptation of and addition to existing creative products populate this space. But other creative disciplines have not yet embraced this creative technique.

Read/Write has always been a dichotomy in literature. The author on one side of the production process, toiling away in solitude to produce the manuscript which is read by many, in solitude. But is there a more collaborative space for literature? Can your pages be Read&Write?

[http://www.remixmylit.com/ Remix My Lit] is a Brisbane-based, international remixable literature project. The project aims to apply the lessons learned from music and film remixing to literature. Remix My Lit is designed to explore where remix fits into literature. It will provide a space within the discipline to encourage and foster a community and culture of remix. It will spin out a number of projects, each of which will endeavour to embed legal appropriation of works into aspects of the publishing environment. Remix My Lit is a research project as an exercise in creative practice.

The first project of Remix My Lit is a printed anthology of remixed and remixable short stories. A group of established authors from around Australia will contribute a short story to be published under a [http://creativecommons.org/licenses/by-nc-sa/2.5/au Creative Commons Attribution-Noncommercial-Share Alike] licence. These stories will be hosted on the website where emerging writers can create their own remixes of them and post them back up on the website. From this body of new works, the best remixed stories will appear in the anthology alongside the original stories. The anthology will be distributed online and in a hardcopy print run. Because all the works and the anthology will be available under a Creative Commons licence that permits remixing, these works will seed the beginnings of a remixable body of literature.

The remixable anthology project was initially funded by [http://www.australiacouncil.gov.au/the_arts/projects/about_story_of_the_future Story of the Future] – an initiative supported by the Australia Council for the Arts in partnership with the Australian Film Television and Radio School. This funding was matched by the [http://www.cci.edu.au/ Australian Research Council Centre of Excellence for Creative Industries and Innovation (CCi)] at [http://www.qut.edu.au Queensland University of Technology].

== License Usage ==
Remix My Lit currently uses a [http://creativecommons.org/licenses/by-nc-sa/2.5/au Creative Commons Attribution-Noncommercial-Share Alike 2.5 Australia licence]. Long-term the project is considering allowing other Creative Commons licences.

== Motivations ==

Delete this line and add text here.

{{Incomplete|Motivations|formedit}}

== Media ==

Delete this line and add text here.

Add media that is relevant.

{{Incomplete|Media|formedit}}

Case Studies/Remix My Lit

2008-06-08T01:54:21Z

Rachel cobcroft: /* Overview */

{{Case Study
|Description=Remix My Lit: Literature that’s Read&Write
|Quote=Why isn't the literati getting amongst it? There's no reason why writers can't mix, match, push and pull content to create remixed works. And that's why remix my lit exists. We don't like buzz words, but if we had to use them we'd probably say we are a web 2.0 online collaborative space for creative people who want to get stuck up to their elbows in remixing!
|Quote_Attribution=http://www.remixmylit.com/
|Image_Header=http://www.remixmylit.com/wp-content/images/rml-logo.png
|Image_attribution=Remix My Lit banner used with permission
|Mainurl=http://www.remixmylit.com/
|Author=Remix My Lit
|User_Status=Creator
|Tag=remix, literature, writing, collaboration, text
|License short name=CC BY-NC-SA
|License=http://creativecommons.org/licenses/by-nc-sa/2.5/au
|Format=Text
|Country=Australia
}}
== Overview ==
Most creative disciplines have grappled with the concept of remix. For mediums such as film and music, entire communities of appropriation (legal or otherwise) have emerged. Artists whose creative practice is contingent on the adaptation of and addition to existing creative products populate this space. But other creative disciplines have not yet embraced this creative technique.

Read/Write has always been a dichotomy in literature. The author on one side of the production process, toiling away in solitude to produce the manuscript which is read by many, in solitude. But is there a more collaborative space for literature? Can your pages be Read&Write?

[http://www.remixmylit.com/ Remix My Lit] is a Brisbane-based, international remixable literature project. The project aims to apply the lessons learned from music and film remixing to literature. Remix My Lit is designed to explore where remix fits into literature. It will provide a space within the discipline to encourage and foster a community and culture of remix. It will spin out a number of projects, each of which will endeavour to embed legal appropriation of works into aspects of the publishing environment. Remix My Lit is a research project as an exercise in creative practice.

The first project of Remix My Lit is a printed anthology of remixed and remixable short stories. A group of established authors from around Australia will contribute a short story to be published under a [http://creativecommons.org/licenses/by-nc-sa/2.5/au Creative Commons Attribution-Noncommercial-Share Alike] licence. These stories will be hosted on the website where emerging writers can create their own remixes of them and post them back up on the website. From this body of new works, the best remixed stories will appear in the anthology alongside the original stories. The anthology will be distributed online and in a hardcopy print run. Because all the works and the anthology will be available under a Creative Commons licence that permits remixing, these works will seed the beginnings of a remixable body of literature.

The remixable anthology project was initially funded by [http://www.australiacouncil.gov.au/the_arts/projects/about_story_of_the_future Story of the Future] – an initiative supported by the Australia Council for the Arts in partnership with the Australian Film Television and Radio School. This funding was matched by the [http://www.cci.edu.au/ Australian Research Council Centre of Excellence for Creative Industries and Innovation (CCi)] at [http://www.qut.edu.au Queensland University of Technology].

== License Usage ==

Delete this line and add text here.

{{Incomplete|License Usage|formedit}}

== Motivations ==

Delete this line and add text here.

{{Incomplete|Motivations|formedit}}

== Media ==

Delete this line and add text here.

Add media that is relevant.

{{Incomplete|Media|formedit}}

Case Studies/Remix My Lit

2008-06-08T01:50:37Z

Rachel cobcroft: New page: {{Case Study |Description=Remix My Lit: Literature that’s Read&Write |Quote=Why isn't the literati getting amongst it? There's no reason why writers can't mix, match, push and pull conte...