Photo by Kristina Alexanderson. CC Summit 2011, Warsaw, CC BY 2.0
We’re proud to announce that summit registration is now open, along with our call for community submissions. Please consider joining us, whether you are a longtime contributor, or new to the CC community. Hope to see you 28-30 April, 2017 at the beautiful new Delta Hotel in Toronto! Please help us spread the word. The CC Summit Program Committee has been working hard to deliver an awesome Summit in 2017. This dedicated group is from a variety of countries and backgrounds and has developed the 2017 theme – “Sharing and the Commons: What’s Next?”. The committee has also set our summit program goals:
To define sharing and the Commons for the next generation
What pressing challenges and/or threats does the Commons currently face?
What issues need the network’s focus and support in the next two years, particularly given our shift in focus toward meaningful human collaboration?
How do we strengthen, expand, and celebrate our ties to the creators of the culture that makes the Commons visible and real to people?
To shift the focus to people, moving beyond licenses to enhance collaboration and sharing
Shift to a truly networked and open collaborative model
Shift focus to people of the Commons over content of the Commons
Shift beyond license adoption to include Commons collaboration and sharing
To discuss the future of the Creative Commons network and grow the CC movement
We will discuss and reach consensus on the new network strategy and structure proposed by the Network Strategy Steering Committee
We will establish collaborative tracks that allow anyone to join the conversation
We will invite creators and users to actively participate and engage with issues that go beyond content licensing
We are creating the summit program with your collaboration. If you’re interested in contributing to the program, please answer our Call for Submissionswithideas. We welcome ideas from affiliates, partners, supporters, and anyone else you know who might help us design a great event. You can submit your own ideas, or just help us get the word out.
We’d love to hear how you’ll bring your ideas to life at the Summit. Deadline for submissions is 27 January, 2017.
2016 is almost at a close, and our global communities are as busy as ever. Around the world, diverse groups are working together to create meaningful connections and light up the commons. From announcements of new communities in Turkey and Panama to the best in music, photography, and open education from communities around the world, we’re pleased to present this year’s best from the commons as chosen by our affiliates and staff.
FILIP STOJANOVSKI, CC MACEDONIA
Vančo Džambaski is a photoactivist who publishes tons of HQ HR photos via flickr using CC BY-NC-SA. He attends events, mostly organized by civil society, as well as protests and demonstrations, and publishes albums of selected photos from each event. His photos are then used by media both local and foreign (incl. Global Voices), as well as social media users, and on the long run, he provided photos from historical events for some books even. We are working on spreading the CC idea amongst activists and independent media as a way for them to increase visibility.
Our Art is Free of Charge! 02.06.2016 #ColorfulRevolution by Vančo Džambaski CC BY-NC-SA 2.0
There are several nonprofit media outlets in Macedonia that use CC licenses (the first two are founded by Metamorphosis).
Portalb.mk (leading news portal in Albanian language)
Meta.mk News Agency (independent news agency working in Macedonian, Albanian and English)
CIVIL — Center of Freedom (NGO working in different areas incl. election monitoring, who also produce a lot of news contents)
JORGE GEMETTO, CC URUGUAY
From the CC Uruguay team we would like to share 2 Year End Lists. From the content of the lists you’ll see that we love music and digitizing
Re:vive’s creative interpretations of archival music with top electronic musicians: Reviving archives through remix. This interview was interesting not only because the project itself is dynamic and wide-reaching, but also because Gregory Markus is a thoughtful representative for creative archival uses and reuse/remix.
Agile uses of CC0 for information literacy in Letters for Black Lives and the Refugee Phrasebook. Letters for Black Lives remains one of our most popular interviews to date because the project spread so rapidly and is a topical and compelling story. The Refugee Phrasebook is equally inspiring and wide-reaching: Teaching language skills to incoming refugees is such a crucial project, and this is an excellent use of CC0 data to create an agile and effective spread of data and information.
Most creative use of CC in nontraditional objects: Make My Pattern. This was one of the first interviews I did at CC, and it was so fun! Joost’s project is so innovative and his adoption of the licenses is always changing for his audience. I love the way that he’s thought through using CC on patterns and physical objects, as well as the way he discovered his community in “sewcialism.”
CC and the concept of the commons in fine art: Caroline Woolard’s artistic practice. I met Caroline at a lecture she gave at the Oxbow school last year and was bowled over by her thoughtful conceptual vision. She has a strong artistic viewpoint and her work speaks volumes to community creation and the concept of the commons.
Information activism and CC: Freedom of the Press Foundation. The work for press freedom has never been more important, and Trevor Timm’s interview was prescient for the current moment, particularly as it concerns privacy and transparency in government and the press.
Creating cross-cultural connections: Maya Zankoul’s use of CC and illustration in Lebanon. My mom loved this profile of Maya Zankoul, a popular Lebanese blogger and illustrator. Her use of clever storytelling and beautiful illustrations invite people to step into her captivating and colorful world.
Most inspiring commoners: Superbelfrzy (SuperTeachers) informal and very popular group of influential teachers and their network of educational blogs, almost all CC BY or CC BY-SA,
Elton Nunez, San Juan y San Miguel, CC BY NC-ND 4.0
Favorite CC Music: EEEEKs Favorite CC film: Al margen Most Open Music Collective: Fran CC things or objects: Rodi the robot Most Shared Creative Projects: Fotociclo Most Active Open Source Community: HacklabAsu Journalistic illustrations with CC: El Surtidor
CABLE GREEN, DIRECTOR OF OPEN EDUCATION, CREATIVE COMMONS
Geonet. Lists NZ earthquakes in real time. Had 250 million hits on 14 November 2016, the day of New Zealand’s recent 7.8 magnitude Kaikoura Earthquake. All content CC BY licensed. Look at http://www.geonet.org.nz/quakes/2016p858000
Koordinates.com. Publishes tens of thousands of open government datasets for central, regional and local government in NZ and internationally. Provides detailed metadata including CC licensing.
Digital New Zealand. Search engine for New Zealand culture, connecting people to over 30 million digital items from 200 content partners. Active advocate for CC licensing. Go to http://www.digitalnz.org/
Collections Online, Te Papa (Museum of New Zealand). Offers 30,000 high resolution images, including over 14,000 under a CC BY NC ND licence, allowing legal re-use for “homework, on your blog, print it and hang it on your wall”. Also offers 17,000 images with No Known Rights restrictions. Go to http://collections.tepapa.govt.nz/
This year’s winner of the GIF IT UP contest, created by Jeff Gill and Kristen Carter using material from Europeana.
What does it mean to listen to the past through a truly modern lens? This is the question the Dutch project re:vive seeks to answer. Working with renowned electronic and experimental musicians such as Lakker,Roly Porter, and Bas Mooy, the project from the Netherlands Institute for Sound and Vision draws on global archives and museums to encourage legal, creative reuse of historic sounds.
In the words of Gregory Markus, coordinator at the institute, “Electronic musicians are probably the largest remix community in the world…DJs and electronic musicians usually are sound geeks who just love sound and they love learning and experimenting, and they’re the perfect match for audio archives.”
The perfect match between musicians and archives has turned into a prolific and fruitful project. This week, the project released another compilation with a companion photo book, all in the public domain, which is available for download via Fog Mountain Records.
What prompted this project? How have you defined the scope of what kinds of sounds and artists you want to work with? This project was inspired by seeing Matthew Herbert do a Boiler Room session from the British Library. It made me think, if Boiler Room and Matthew Herbert, two of the coolest and most renowned names in electronic music, were excited to visit and celebrate an archive’s collection, who else would be interested? But I knew I wanted to run this project right. I wanted it to not just be a heritage institution trying to engage “creative” communities from the outside, I wanted it to be intertwined and accepted by the community. In my opinion, the only way to effectively and actively engage a community is to be a part of it. After bouncing ideas around between people involved in electronic music in Europe and the US, we developed a concept and framework and reached out to our first artists, Lakker. It has been incredible to see the response and excitement from so many different artists and fans. We keep learning and growing. Everyone is so encouraging and eager to contribute and help out that we actually can’t keep up!
When it comes to sounds we have two main criteria (in addition to being openly licensed!): The sounds must have context or a story. That’s what’s most exciting for me when it comes to archives: the stories and connections we find related to certain materials and the relationships the artists develop with this context. Some items have absolutely no metadata so we have to do some research but that’s also part of the fun. The sounds need to have enough sonic character so that they’re interesting to work with. Lots of openly licensed archival material like wax cylinders or old 78s have so much noise that they’re pretty useless for non-research purposes. Field recordings are most interesting sonically but not every archive has those or if they do they’re modern and still under a copyright.
When it comes to artists we have found ourselves in a niche of experimental electronic and techno but we’re open to everything!
How do you find the public domain sounds, in particular for the Sample Packs? What kinds of sounds are your favorites? We tend to favor our own collections that we hold at the Netherlands Institute for Sound and Vision because we have such extensive, openly licensed materials and the institute wants to keep that growing. But for other things, Europeana is a great tool if you know how to navigate it and then visiting various archive’s specific portals to see if they have content available online, openly licensed and for download. Few things are worse than finding material online for streaming, openly licensed that you can’t download. As noted above, field recordings are most interesting to work with from a sampling point of view because they’re so complex. But finding obscure 78s on the National Library of France’s portal, Gallica is always exciting!
Cover of 010, Rijksmuseum, Public Domain
How do you choose the artists you want to work with? What is your method of working with artists to create projects?
We have a mix of people in the scene when it comes to artists. Working with these materials in a musical and conceptual manner is not for everyone- and it doesn’t have to be! We want to work with artists who will take this material, spend time with it and examine it in order to create a new work and own that work.
We come up with a curatorial theme and then work from there, reaching out to artists directly and personally. This project is close to our hearts – it’s not just a job anymore. I hope this puts us on the same level as the artists we work with whose music isn’t just their job, it’s their lives.
For some projects like the compilations we’ve done the process is based more on providing the sounds, footage, and images to allow artists to use their own experiences and knowledge to fill in the blanks and go crazy. But with the bigger sessions we’ve done we invite the artists to the Netherlands where they meet with researchers and academics to really get some context.
RE:VIVE tries to straddle the worlds of PR/marketing stunt, community outreach and academia. It’s been refreshing to also see how excited and curious academics are about the project and how willing they are to share their knowledge.
Lakker presenting Struggle and Emerge at the Hague’s REWIRE festival, April 2015. Photo by Rene PassetCC BY-NC-ND
How does licensing play into this project? You’re working with Public Domain sounds and licensing them under CC. How do you explain that to artists, collaborators, and the public? We don’t only work with PD material simply because there isn’t enough audio material. We use a lot of Creative Commons material so long as it’s not “non-derivative”. But the most interesting thing we’ve learned from this project is just how unaware many artists and labels are of Creative Commons. I remember having a meeting with the editor-in-chief of a large music editorial platform and he joked “is that still a thing? I remember it was big in 2008…”. Our first release was planned to be released under Creative Commons BY SA NC but at the last minute the label changed that. They said they’d love to investigate Creative Commons more but they’re already so busy trying to stay afloat that it’s not on the agenda so for the time being they’re sticking to All Rights Reserved.
When we ask artists or tell artists that their new works have to be released under Creative Commons they’re pretty open to it since it’s a special project but I don’t foresee anyone we’re working with adopting it as their norm. Artists are easier to convince than labels but labels need to see financial impact use cases etc.
The other big thing we’ve been confronted with about licensing and Creative Commons is that people just don’t understand it. All Rights Reserved is crystal clear. It’s going to be tough for RE:VIVE to change mindsets but we can at least talk to artists one at a time and let them know what’s up and what Creative Commons stands for, what it means for them and their work and why they should consider adopting it.
Electronic musicians are probably the largest remix community in the world. They share music at an alarmingly fast rate with mixes and DJ-sets online all of which feature uncleared, copyrighted material, but most don’t care. They sample from everywhere and anywhere, they don’t clear these samples, they just hope that they don’t get caught. Most make so little money and have warped the samples to the point where they’re unrecognizable so they think they’ll never get caught. RE:VIVE can’t work in this manner because we are part of a public institution. We play by the rules and we want to play by the rules so that we can see what’s working and what’s not and initiate change at a policy level.
There are a few collections we want to work with that are based in the US that are available for personal, non-commercial reuse, but it’s hard to approach music labels and say, “We want to use this collection, tell its story, and give it some attention because it’s incredible material… and there’s no commercial reuse so there’s no financial value in it for you.” If they could sell the music or press it to vinyl or stream it more doors would open and these collections hidden in corners of the web could get the love and attention we feel they deserve. But rights clearing takes time and money which artists, labels, and archives really don’t have.
Do you see this initiative as translatable to other languages, record labels, and types of music? What other projects influence you? Where do you look for inspiration? I certainly hope it’s translatable. We’d love to see more archives get directly involved because we already have artists and labels lining up out the door. RE:VIVE is an initiative from an archive first and foremost and our job is to promote archives and reuse. We don’t want to just take content from the web and reuse it, we want the archives to get involved in the process, meet the artists, and impart their knowledge and love for their collections on them. If they can see the excitement we’ve encountered when bringing people to our depots, watching them explore the thousands of old record players, sifting through thousands of records. You really see the connection. DJs and electronic musicians usually are sound geeks who just love sound and they love learning and experimenting, and they’re the perfect match for audio archives.
Other labels and genres of music are definitely an option too! That’s the beauty of starting with audio and music. It’s so much easier to build on top of it with texts, images and footage.
I like to refer to archives as one-stop shopping – they have sounds to sample, images for artwork, footage for music videos and context for inspiration. It’s fantastic and transferable to so many genres. We focus on sample based music so we can have the most direct reuse.
In terms of other projects that inspire us? I am always inspired by our resident tour guide at Sounds and Vision, Rob de Bie. His love for sound and history of recorded sound and moving image is contagious, the British Library’s Cheryl Tipp and Will Prentice from the sound archive are also wonderful. The National Library of France’s Gallica portal, the Rijksmueum and National Archive of the Netherlands open collections remind me of all the possibilities. And then of course all the artists and labels we work with. But I think I get the most inspiration from my old friends in Iowa City who run a music festival and label called Mission Creek Music Festival. Their love and support was so unyielding. They just saw that something was missing in the town and wanted to fill that gap but they did not want to do it in an isolationist way. They brought in everyone in the community and made everyone feel involved and supported. I cherish that and I think that emotional connection might be missing too often in projects. We try to channel that somehow!
After this release, what’s next for your project? What do you hope to make and discover next? We have quite a few releases planned for the first half of 2017 already that we’re really excited about. What Sound and Vision, the institute that started the RE:VIVE project, hopes for is to set a leading example for other institutes much like the Rijksmuseum did with their public domain dump in 2013, which changed the game.
It’d be great to see more institutes open up or at least add clarity to their rights statements. Even just in the Netherlands we have so many stories we want to share I think we’ll be pretty busy for a while. We’re on the hunt for funding for these!
In a perfect world we’d love to get the point where doing a RE:VIVE session is the same as doing a Boiler Room session, a kind of right of passage for electronic musicians, but we have a lot of work to do to get there!
In the end though, if we can just get a few more people interested in their local archive and see the archives equally get engaged with their local arts scene then our job is done.
I’m thrilled to announce two new additions to Creative Commons’ full-time staff—Claudio Ruiz and Simeon Oriko. Both Claudio and Simeon will be taking on newly developed positions focused on supporting the growth of CC’s global network.
Expanding and strengthening the Creative Commons global network has been a primary focus of the organization since our most recent Summit in Seoul, South Korea. Most recently, we announced CC’s next global summit, which will take place in Toronto at the end of April, and will bring together hundreds of community members from around the world to work on growing the commons. Leading up to the Summit, the CC community will be drafting its first collaborative global movement strategy. This effort follows an extensive research project aimed at identifying the specific needs of community members. It will mean a big shift in how CC builds, enables, and works as a network and a global movement. And it will require strong leadership and support, which is why I am so pleased to bring on Claudio and Simeon into these new roles.
In Claudio’s position as Director of Ecosystem Strategy, he will focus on supporting the development and implementation of the new global network strategy. He will collaborate with the CC global community to develop plans and recommendations for shifting Creative Commons to a more open, global, and inclusive organization, and a more powerful, impactful movement led by its community. Claudio is based in Chile and speaks Spanish and English. Read Claudio’s full job description
As Network Manager, Simeon will provide daily support to affiliate teams, collect information about their work, make connections and introductions, and manage administrative needs. This is an essential role to facilitate everyday collaboration and connectivity in the network. Simeon is based in Kenya and speaks Swahili and English. Read Simeon’s full job description.
Claudio and Simeon have been part of the CC community for many years and their work has been integral to the growth of our global network. For the Creative Commons movement to continue to grow and to flourish, ongoing and open communication between CC HQ and all the members of our community is a must. I couldn’t be happier to be able to make an investment in leadership that will support this communication and facilitate a new era of global engagement.
Please join me in welcoming Claudio and Simeon. If you have any questions about their work or about how to get involved in CC’s network, please send a message to network@creativecommons.org.
About a month ago, CC moved its daily communications to Slack, the team messaging service popular with communities around the world. You can read more about our decision here.
What a month it’s been. We’ve seen our daily community grow to nearly 500 users, with an average of 110 people posting every day. We’ve also seen significant growth in the geographic range of our community, with dedicated channels for different regions like #cc-europe (55 members), #cc-mena (20 members), #cc-africa (22 members) #cc-latinamerica (19 members), and others. In many of these channels, communities are using their local languages to communicate and collaborate.
In addition, our IRC bridge has allowed users who prefer those tools to connect with each other without leaving their preferred tool, seeing the messages in our #general channel from their IRC clients.
One of the reasons our new tools have been so impactful is that they are free to use, registration is open to all, and we empower the members of our community to organize themselves. We’re making use of 21 Slack channels, and this system has made it simple for people to align around projects and themes. From #cc-opened to #cc-developers, you can select a community that supports your interests and give direct, real time feedback to your community members.
It should come as no surprise that commoners love chatting. We’re sending nearly 4,000 messages per week, with over 80% in public channels and direct messages to one another. We’ve also used Slack to send approximately 300 files, passing documents back and forth in order to collaborate on projects. In addition, channels like #cc-music,#cc-reads, and #cc-certificates allow commoners to engage with each other to talk about specific subjects that matter to them.
CC has never had so much daily activity in our online communities. We’re excited to report that this experiment has been a positive experience, connecting people all over the world to each other, and to the commons.
collect information about their work, make connections and introductions, and manage administrative needs. This is an essential role to facilitate everyday collaboration and connectivity in the network. Simeon is based in Kenya and speaks Swahili and English. Read 