Creative Commons redresses this power imbalance because it provides alternative opportunities for creators. Creators may now freely choose, without undue influence, the assigning of rights through a CC license to facilitate their own market exposure.
4.2 Freedom to Self-Promote
Freedom for creators is provided by power and control over their own work. CC licenses place the decision making regarding works directly in the hands of the creator. This is then supported by the vast potential for exposure, both through the CC website, its links and other digital mediums such as Google, Amazon, Kindle, YouTube and MySpace. Creators that previously may have been rejected by distributors, or accepted but assigned their exclusive rights away through contract, are no longer confined by these limitations. Releasing work under a CC license enables consumers to test or sample the creator’s work without breaching copyright. If they approve of the work they are likely to seek more of it and pay for it. Creators that are successful before engaging distributors (if they choose to) are in a far stronger position to negotiate on equal terms. Many may choose to self-market and distribute, ensuring they receive 100% of the royalties without any of the encumbrances normally associated with distributor contracts. A strong example of this is the CC license application to Revver videos which has seen over $1 million paid to people who have uploaded their videos and received payments from advertisers.
4.3 Free Digital – Death of the Original?
Opponents of the Creative Commons ethos assert that freely available media on the internet, as facilitated by CC licenses, will reduce sales of the original works because people will not pay when they can download it for free. Critics argue that this perception is over simplistic, and without evidence, countering, that creators gain exposure they would not ordinarily receive by opening access to potential markets not yet discovered by the commercial distributors.
4.4 Fostering Creativity.
One of the primary purposes of CC licenses was to foster creativity and freedom of expression for other creators. With the ability to use the works of others without fear of prosecution in remixing and adapting work, creators are able to explore and create new works not practically possible before. Industry proponents argue that creativity is actually stifled because copying and changing original works is uncreative and regressive. This argument does not withstand rational scrutiny because it ignores the reality that many creators value creating original works, and strive recognition as an ‘original creator’, it also ignores the perspective of current and future generations who may not necessarily value works from a traditional viewpoint.
Additionally, the distribution of a successful remix provides almost limitless opportunity for secondary exposure of the original works. That exposure has enormous potential for creators because it may create interest for more of their works that can be exploited; something that may not have occurred without the use of a CC license.
4.5 Creative Commons – The Challenges.
Whilst Creative Commons offers the potential for a great expansion in the way works and information are exchanged, it does not come without problems.
The primary concern is how creators enforce their rights under CC licences, as potentially the licenses may be unenforceable. To date, there have been no legal test cases in Australia, with only two reported examples overseas, the first being determined in the Netherlands in 2006 regarding the unauthorized use of photographs posted on the Flikr site. Although the court upheld the license conditions in support of the creator, the offending tabloid was not forced to pay restitution.
Further potential conflict may arise in circumstances where creator’s rights have been partially assigned to collecting societies, as occurs in many European states. This was tested in a Spanish case in which a collecting agency, that acquires partial rights for music produced by its members, sought the restitution of royalties for music covered by CC licenses used by a local disco. The court held the agency did not manage the artists or their music and therefore the provisions of the CC licenses stood, the case was dismissed.
Conflict with moral rights copyright provisions may also undermine the integrity of CC licenses. Consumers utilizing CC licensed work believing it to be subject to unrestricted terms may still find themselves subject to prosecution for breaches relating to attribution or integrity.
With all the potential problems, the CC movement continues to grow at a phenomenal rate. It is constantly evolving and refining in response to the needs of its consumers, and now represents a new third form of property rights.
V CONCLUSION.
History has shown that the existence of only two forms of intellectual property, copyright and the public doman, are extremely vulnerable to undue commercial influence, often to the detriment of the creator and society. Whilst Creative Commons is far from offering utopia, its ability to restore balance to the copyright bargain is not only positive but essential to the creative health of society. It may also cause self focused commercial distributors to re-consider their role in society, including their relationship with creators and consumers, which can only be a good thing.
Rebel publisher William Carter, the first person executed for unauthorized printing, discovered that copyright laws can often work against freedom; Creative Commons now offers an additional form to the copyright bargain based on freedom, a form that is long overdue.
finis
BIBLIOGRAPHY
1. Articles/Books/Reports.
Adam, Andrew & McCrindle, Rachel, Pandora’s Box: social and professional issues of the information age (2008) Wiley Publishers, England.
Amour, Paul Saint, Copywrights: Intellectual Property and the Literary Imagination (2003) Cornell University Press, New York.
Arnold, Michael, Schmucker, Martin & Walthusen, Stephen, Techniques and Applications of Digital Watermarking and Content Protection (2003) Artech House, US.
Benkler, Yochai, The Wealth of Networks - How Social Production Transforms Markets and Freedoms (2006) Yale University Press, US.
Bollier, David, Silent Theft: The Private Plunder of Our Common Wealth (2002) Routledge Publishing, New York.
Bowrey, Kathy, ‘The New, the Bad, the Hot, the Fad: Popular Music, Technology and the Culture of Freedom’ in Macmillan, Fiona & Bowrey, Kathy (eds), New Directions in Copyright Law, Volume 2 (2006) Edward Elgar Publishing, Cheltenham.
Boyle, James, The Public Domain: Enclosing the Commons of the Mind (2008) Yale University Press, London.
Broome, Richard, Aboriginal Australians (3rd ed, 2001) Southwood Press, Sydney.
Culture, Media and Sport Committee, Great Britain House of Commons, New Media and the Creative Industries (2006-2007) The Stationery Office, London.
Feather, John, ‘The Book Trade in Politics: The Making of the Copyright Act of 1710’ (1980) 8 Publishing History 19.
Foo, Pam, ‘Do copyright owners understand how to use Creative Commons licences?’ (2007) 25 Copyright Reporter 4.
Gibson, Johanna, Creating Selves: Intellectual Property and the Narration of Culture (2006) Ashgate Publishing Ltd, Hampshire.
Golvan, Colin, Copyright Law and Practice (2007) Federation Press, Sydney.
Gordon, Steve, The Future of the Music Business: How to Succeed with the New Digital Technologies – A Guide for Artists & Entrepreneurs (2005) BackBeat Books, San Francisco.
Guibault, Lucie & Hugenholtz, P, The Future of the Public Domain (2006) Kluwer Law International, Netherlands.
Harold, Christine, Our Space: Resisting the Corporate Control of Culture (2007) University of Minnesota, Minnesota.
Heald, Paul, ‘Losing to Disney: The Complex Lesson of Eldred v Ashcroft and the Corporate Control of Copyright’ in Macmillan, Fiona & Bowrey, Kathy (eds), New Directions in Copyright Law, Volume 2 (2006) Edward Elgar Publishing, Cheltenham.
House of Representatives Standing Committee on Legal and Constitutional Affairs, Commonwealth Parliament of Australia, Cracking down on copycats: enforcement of copyright in Australia (2000).
Katz, Zachary, ‘Pitfalls of Open Licensing: Analysis of Creative Commons Licensing’ (2006) The Intellectual Property Law Review 46.
Laddie, Sir Hugh, ‘Copyright, Over-Strength, Over-Regulated, Over-Rated?’ in Laddie, Sir Hugh, Jacob, Sir Robin, Towse, Ruth, Laurie, Graeme & Waelde, Charlotte (eds), Innovation, Incentive and Reward: Intellectual Property Law and Policy (1997) Edinburgh University Press, Edinburgh.
Lessig, Lawrence, Free Culture: How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity (2004) Penguin Press, New York.
Lessig, Lawrence, ‘Does copyright have limits : Eldred v Ashcroft and it aftermath?’ (2005) 5 Queensland University of Technology Law and Justice Journal 2.
Lessig, Lawrence, ‘(Re)creativity: how creativity lives’ in Porsdam, Helle (ed), Copyright and Other Fairy Tales: Hans Christian Andersen and the Commodification of Creativity (2006) Edward Elgar Publishing, Cheltenham.
Lessig, Lawrence, ‘Creative Freedom for All’ in Amar, Vikram, Passantino, Rosemary, Lessig, Lawrence (eds), The Best American Legal Commentary (2005) Universal Publishers, Florida.
Litman, Jessica, ‘Revising Copyright Law for the Information Age’ in Thierer, Adam & Crews, Clyde (eds), Copy Fights: The Future of Intellectual Property in the Information Age (2002) Cato Institute, Washington, USA.
Maruca, Lisa, ‘The Plagarism Panic: Digital Policing in the New Intellectual Property Regime’ in Macmillan, Fiona & Bowrey, Kathy (eds), New Directions in Copyright Law, Volume 2 (2006) Edward Elgar Publishing, Cheltenham.
Mason, Matt, The Pirate’s Dilemma: How Youth Culture is Reinventing Capitalism (2008) Free Press.
McDonald, Ian, ‘Creative Commons, Just Say ‘CC’?’ (2006) 24 Copyright Reporter 4.
McLeod, Kembrew & Lessig, Lawrence, Freedom of Expression: Resistance and Repression in the Age of Intellectual Property (2007) University of Minnesota Press, Minnesota.
Park, David, Conglomerate Rock (2007) Lexington Books, UK.
Patterson, Lyman Ray, Copyright in Historical Perspective (1968) Vanderbilt University Press, US.
Rimmer, Matthew, Digital Copyright and the Consumer Revolution: Hands off my Ipod (2007) Edward Elgar Publishing, Cheltenham.
Samuels, Edward, ‘The Public Domain in Copyright Law’ (1993) 41 Journal of the Copyright Society 137.
Schrader, Dorothy, ‘Copyright Term Extension and Music Licensing: Analysis of Sonny Bono Copyright Term Extension Act and the Fairness in Music Licensing Act’ in Martin, John (ed), Copyright: Current Issues & Law (2002) Nova Publishers, New York.
Simpson, Shane, Music Business (3rd ed, 2006) Omnibus Press, Sydney.
Spurgeon, Christina, Advertising and New Media (2008) Routledge Publishing, New York.
Teilmann, Stina, ‘On real nightingales and mechanical reproductions’ in Porsdam, Helle (ed), Copyright and Other Fairy Tales: Hans Christian Andersen and the Commodification of Creativity (2006) Edward Elgar Publishing, Cheltenham.
Torremans, Paul, Copyright Law: A Handbook of Contemporary Research (2007) Edward Elgar Publishing, New York.
Vaidhyanathan, Siva, Copyrights and Copywrongs: the Rise of Intellectual Property and How it Threatens Creativity (2001) NYU Press, New York.
van Schijndel, Marieke & Smiers, Joost, ‘Imagining a World Without Copyright’ in Porsdam, Helle (ed), Copyright and Other Fairy Tales: Hans Christian Andersen and the Commodification of Creativity (2006) Edward Elgar Publishing, Cheltenham.
Waelde, Charlotte, ‘Copyright, Corporate Power and Human Rights: Reality and Rhetoric’ in Macmillan, Fiona & Bowrey, Kathy (eds), New Directions in Copyright Law, Volume 2 (2006) Edward Elgar Publishing, Cheltenham.
Wynants, Marleen & Cornelis, Jan, How Open is the Future? Economic, Social & Cultural Scenarios Inspired by Free & Open Source Software (2005) VUBPress, Brussels.
2. Case Law.
Eldred v. Ashcroft (01-618) 537 U.S. 186 (2003) 239 F.3d 372.
3. Legislation
Copyright Act 1968 (Cth).
Copyright Act of 1790, 1 Stat L 124.
Copyright Term Extension Act of 1998, Pub L 105-298, 11 Stat. 2827.
The Statute of Anne 1710.
4. Treaties
Berne Convention, opened for signature 14 July 1967, 828 UNTS 222, (entered into force 27 January 1970).
International Convention for the Protection, of Performers, Producers of Phonographs and Broadcasting Organisations, opened for signature 26 October 1961, 496 UNTS 3, (entered into force 18 May 1964).
World Intellectual Property Organisation Copyright Treaty, opened for signature 31 December 1997, WIPO, (entered into force 6 March 2002).
5. Other Sources
ABC Radio National, ‘Creative Commons’, Law Report, 20 November 2007, <> at 2 December 2009.
Australian Copyright Council, Copyright Purposes and Sources (2008) <> at 27 November 2009.
Australian Government Attorney General’s Department, Australia-United States Free Trade Agreement - changes to Australian copyright law - March 2005 (2009) <> at 2 December 2009
Canadian Music Creators Coalition (CMCC), A New Voice (2008) <> at 2 December 2009.
Claremont Copyright, Alternatives to Standard Copyright (2008) <> at 2 December 2009.
Creative Commons, About Licenses (2008) <> at 2 December 2009.
Creative Commons, CC Network (2008) <> 2 December 2009.
Creative Commons, History (2008) <http://creativecommons.org/about/history/> at 2 December 2009.
Creative Commons, Press Releases (2008) <> at 2 December 2009.
Creative Commons, Supporters (2008) <> at 2 December 2009.
Demos, Chrisanthi, Interview with Coates, Jessica, Project Manager Creative Commons Australia, Queensland University of Technology, 16 October 2008, <> at 2 December 2009.
FSF Free Software Foundation, FSF Free Software Licensing and Compliance Lab (2008) <> at 2 December 2009.
, Sebastian, Why New Artists and Musicians Need Legal Advice the Most - To Keep From Being Taken Advantage Of (2009) Ezine Articles – Legal, <> at 28 November 2009.
Glaser, Mark, Creative Commons + Flickr = 22 Million Sharable Photos (2006) MediaShift: Your Guide to the Digital Media Revolution at 2 December 2009.
Korn, Naomi & Oppenheim, Charles, Creative Commons Licences in Higher and Further Education: Do We Care? (2006) Ariadne Magazine, <> at 2 December 2009.
MacDonald, Ian, Creative Commons licences for visual artists: a good idea? (2006) Australian Copyright Council, <> at 2 December 2009.
Mia Garlick, Creative Commons Licenses Enforced in Dutch Court (2006) Creative Commons, <> at 2 December 2009.
Mia Garlick, Spanish Court Recognises CC Music (2009) Creative Commons <> at 2 December 2009.
Moldova Org, US court to try first case of copyright claims over music downloads on file-sharing networks (2009) <> at 28 November 2009.
Morris, Scot & Jacobs, Kirti, Creative Commons (2008) <> at 2 December 2009.
Musician’s Copyright Association, Home (2008) <> at 2 December 2009.
Simington, Gerard, Music Industry Runs Into Copyright Enforcement Problems In France (2009) Ezine Articles – Legal, <> at 2 December 2009.
SPARC, Scholarly Publishing and Academic Resources Coalition, About SPARC (2008) <> at 2 December 2009.
Steuer, Eric, Creative Commons Launches Study of “Noncommercial Use” (2008) Creative Commons, <> at 2 December 2009.
Wikipedia, List of Countries’ Copyright Term Length (2009) <> at 29 November 2009.
Wikipedia, Creative Commons: Legal Test Case (2009) <> at 2 December 2009.
WIPO, WIPO Administered Treaties (2009) <> at 2 December 2009.
Writer’s Copyright Association, Home (2008) < at 2 December 2009.
Lawrence Lessig, Free Culture: How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity (2004) xv.
The term ‘creator’ is used throughout this essay to describe the originators of literary, dramatic, artistic or musical works, sound recordings, broadcasts, cinematograph films, and live performances.
James Boyle, The Public Domain: Enclosing the Commons of the Mind (2008) 1-4,
Michael Arnold, Martin Schmucker & Stephen Walthusen, Techniques and Applications of Digital Watermarking and Content Protection (2003) 245,
Siva Vaidhyanathan, Copyrights and Copywrongs: the Rise of Intellectual Property and How it Threatens Creativity (2001) 152,
Lisa Maruca, ‘The Plagarism Panic: Digital Policing in the New Intellectual Property Regime’ in Fiona Macmillan & Kathy Bowrey (eds), New Directions in Copyright Law, Volume 2 (2006) 241.
Jessica Litman, ‘Revising Copyright Law for the Information Age’ in Adam Thierer & Clyde Crews (eds), Copy Fights: The Future of Intellectual Property in the Information Age (2002) 125-126.
Arnold, above n 3,
Vaidhyanathan, above n 3,
Maruca, above n 3.
Lessig, above n 1, 8-9,
Boyle, above n 3, 1-4,
Christine Harold, Our Space: Resisting the Corporate Control of Culture (2007) 144,
Charlotte Waelde, ‘Copyright, Corporate Power and Human Rights: Reality and Rhetoric’ in in Fiona Macmillan & Kathy Bowrey (eds), New Directions in Copyright Law, Volume 2 (2006) 291-310.
Lessig, above n 1, 8-9,
Boyle, above n 3, 1-4,
ABC Radio National, ‘Creative Commons’, Law Report, 20 November 2007, <> at 2 December 2009,
Samuels, Edward, ‘The Public Domain in Copyright Law’ (1993) 41 Journal of the Copyright Society 137, 1-6
Colin Golvan, Copyright Law and Practice (2007) 207,
David Park, Conglomerate Rock (2007) 12-13.
The Statute of Anne 1710 also known as the Act for the Encouragement of Learning, by vesting the Copies of Printed Books in the Authors or purchasers of such Copies, during the Times therein mentioned.
The Statute of Anne 1710,
Samuels, above n 7, 1-6
John Feather, ‘The Book Trade in Politics: The Making of the Copyright Act of 1710’ (1980) 8 Publishing History 19, 31—36,
Arnold, above n 3, 4,
Vaidhyanathan, above n 3, 37,
Lyman Ray Patterson, Copyright in Historical Perspective (1968) 28-149.
Copyright Act of 1790, 1 Stat L 124 (US),
Patterson, above n 9, 180-202.
Over twenty four in total –see
WIPO, WIPO Administered Treaties (2009) <> at 2 December 2009.
WIPO, above n 11,
Berne Convention, opened for signature 14 July 1967, 828 UNTS 222, (entered into force 27 January 1970,
International Convention for the Protection, of Performers, Producers of Phonographs and Broadcasting Organisations, opened for signature 26 October 1961, 496 UNTS 3, (entered into force 18 May 1964),
World Intellectual Property Organisation Copyright Treaty, opened for signature 31 December 1997, WIPO, (entered into force 6 March 2002),
Among many others.
Samuels, above n 7, 1-4,
Lessig, above n 1, 1-8,
Boyle, above n 3, 1-4.
Samuels, above n 7, 1-6,
Lessig, above n 1, 1-8,
Boyle, above n 3, 1-4.
Samuels, above n 7, 1-6,
Lessig, above n 1, 1-8,
Boyle, above n 3, 1-4.
Samuels, above n 7, 1-6,
Lessig, above n 1, 1-8,
Boyle, above n 3, 1-4.
Arnold, above n 3, 4,
Australian Copyright Council, Copyright Purposes and Sources (2008) <> at 27 November 2009.
Patterson, above n 9, 222-230,
Shane Simpson, Music Business (3rd ed, 2006) 377,
Arnold, above n 3, 4,
Vaidhyanathan, above n 3, 37-40,
Richard Broome, Aboriginal Australians (3rd ed, 2001) 266,
, Why New Artists and Musicians Need Legal Advice the Most - To Keep From Being Taken Advantage Of (2009) Ezine Articles – Legal, <> at 28 November 2009.
Patterson, above n 9, 222-230,
Shane Simpson, above n 19, 377,
Arnold, above n 3, 4,
Vaidhyanathan, above n 3, 37-40,
Broome, above n 19, 266,
, above n 19.
Moldova Org, US court to try first case of copyright claims over music downloads on file-sharing networks (2009) <> at 28 November 2009.
Canadian Music Creators Coalition (CMCC), A New Voice (2008) <> at 2 December 2009,
Sir Hugh Laddie, ‘Copyright, Over-Strength, Over-Regulated, Over-Rated?’ in Sir Hugh Laddie, Sir Robin Jacob, Ruth Towse, Graeme Laurie & Charlotte Waelde (eds), Innovation, Incentive and Reward: Intellectual Property Law and Policy (1997) 1-16,
Stina Teilmann, ‘On real nightingales and mechanical reproductions’ in Helle Porsdam (ed) Copyright and Other Fairy Tales: Hans Christian Andersen and the Commodification of Creativity (2006) 34-35.
Andrew Adam & Rachel McCrindle, Pandora’s Box: social and professional issues of the information age (2008) 454.
Wikipedia, List of Countries’ Copyright Term Length (2009) <> at 29 November 2009.
Samuels, above n 7, 1-4,
Lessig, above n 1, 1-8,
Boyle, above n 3, 1-4.
Samuels, above n 7, 1-4,
Lessig, above n 1, 1-8,
Boyle, above n 3, 1-4.
Teilmann, above n 22, 34-35.
Lawrence Lessig, ‘(Re)creativity: how creativity lives’ in Helle Porsdam (ed) Copyright and Other Fairy Tales: Hans Christian Andersen and the Commodification of Creativity (2006) 17-19.
Gerard Simington, Music Industry Runs Into Copyright Enforcement Problems In France (2009) Ezine Articles – Legal, <> at 2 December 2009,
House of Representatives Standing Committee on Legal and Constitutional Affairs, Commonwealth Parliament of Australia, Cracking down on copycats: enforcement of copyright in Australia (2000) 16-17.
CMCC, above n 24,
Lessig, above n 26, 21-22,
Litman, above n 4, 135-136.
Dorothy Schrader, ‘Copyright Term Extension and Music Licensing: Analysis of Sonny Bono Copyright Term Extension Act and the Fairness in Music Licensing Act’ in John Martin (ed), Copyright: Current Issues & Law (2002) 161-172,
Matthew Rimmer, Digital Copyright and the Consumer Revolution: Hands off my Ipod (2007) 41.
Schrader, above n 30.
Rimmer, above n 30.
Wikipedia, List of Countries’ Copyright Term Length (2009) <> at 29 November 2009.
Samuels, above n 7, 1-4,
Lessig, above n 1, 1-8,
Boyle, above n 3, 1-4.
Australian Government Attorney General’s Department, Australia-United States Free Trade Agreement - changes to Australian copyright law - March 2005 (2009) <> at 2 December 2009,
Wikipedia, List of Countries’ Copyright Term Length (2009) <> at 29 November 2009.
Samuels, above n 7, 1-4,
Lessig, above n 1, 1-8,
Rimmer, above n 30.
Paul Heald, ‘Losing to Disney: The Complex Lesson of Eldred v Ashcroft and the Corporate Control of Copyright’ in Fiona Macmillan & Kathy Bowrey (eds), New Directions in Copyright Law, Volume 2 (2006) 316,
David Bollier, Silent Theft: The Private Plunder of Our Common Wealth (2002) 123.
Bollier, above n 34, 124,
Eldred v. Ashcroft (01-618) 537 U.S. 186 (2003) 239 F.3d 372,
Paul Saint-Amour, Copywrights: Intellectual Property and the Literary Imagination (2003) 125-126,.
Rimmer, above n 30, 261-263,
Kembrew McLeod & Lawrence Lessig, Freedom of Expression: Resistance and Repression in the Age of Intellectual Property (2007) 306.
Lawrence Lessig, ‘Creative Freedom for All’ in Vikram Amar, Rosemary Passantino, Lawrence Lessig (eds), The Best American Legal Commentary (2005) 90,
Creative Commons, History (2008) <http://creativecommons.org/about/history/> at 2 December 2009.
Lessig, above n 37,
Creative Commons, above n 37,
Rimmer, above n 30, 261-264,
Marieke van Schijndel & Joost Smiers, ‘Imagining a World Without Copyright’ in Helle Porsdam (ed) Copyright and Other Fairy Tales: Hans Christian Andersen and the Commodification of Creativity (2006) 151.
Lessig, above n 37, 89-90,
Creative Commons, above n 37.
Arnold, above n 3,
Vaidhyanathan, above n 3,
Maruca, above n 3.
Arnold, above n 3,
Vaidhyanathan, above n 3,
Maruca, above n 3.
Creative Commons, About Licenses (2008) <> at 2 December 2009,
Lessig, above n 1, 286.
Scot Morris & Kirti Jacobs, Creative Commons (2008) <> at 2 December 2009.
Christina Spurgeon, Advertising and New Media (2008) 111.
Harold, above n 6,
CMCC, above n 24,
Ian MacDonald, Creative Commons licences for visual artists: a good idea? (2006) Australian Copyright Council, <> at 2 December 2009,
Morris, above n 43.
Rimmer, above n 30, 263,
ABC Radio National, above n 7,
Claremont Copyright, Alternatives to Standard Copyright (2008) <> at 2 December 2009.
Lawrence Lessig, ‘Does copyright have limits : Eldred v Ashcroft and it aftermath?’ (2005) 5 Queensland University of Technology Law and Justice Journal 2, 219-230,
ABC Radio National, above n 7,
Culture, Media and Sport Committee, above n 59,
Harold, above n 6.
Simpson, above n 19,
ABC Radio National, above n 7,
Culture, Media and Sport Committee, Great Britain House of Commons, New Media and the Creative Industries (2006-2007) 340,
Harold, above n 6,
van Schijndel, above n 38, 147-152,
Lessig, above n 37,
Lessig, above n 48.
Lessig, above n 37,
Lessig, above n 48.
Paul Torremans, Copyright Law: A Handbook of Contemporary Research (2007) 312-313,
Yochai Benkler, The Wealth of Networks - How Social Production Transforms Markets and Freedoms (2006) 455-456,
Lessig, above n 37,
Lessig, above n 48,
Waelde, above n 6.
Lessig, above n 37,
Waelde, above n 6,
Harold, above n 6.
Lessig, above n 37,
Waelde, above n 6,
Harold, above n 6.
Creative Commons, CC Network (2008) <> 2 December 2009,
ABC Radio National, above n 7.
Torresmans, above n 51,
Benkler, above n 51,
Waelde, above n 6,
Harold, above n 6,
ABC Radio National, above n 7.
Rimmer, above n 30, 289,
Lessig, above 37.
Lessig, above n 37,
Waelde, above n 6,
Harold, above n 6.
Steve Gordon, The Future of the Music Business: How to Succeed with the New Digital Technologies – A Guide for Artists & Entrepreneurs (2005) 130-192,
ABC Radio National, above n 8.
Mark Glaser, Creative Commons + Flickr = 22 Million Sharable Photos (2006) MediaShift: Your Guide to the Digital Media Revolution at 2 December 2009.
McDonald, above n 46,
Morris, above n 43.
Lessig, above n 37,
Lessig, above n 48,
Rimmer, above n 30,
Waelde, above n 6,
ABC Radio National, above n 7.
Lessig, above n 37,
Lessig, above n 48,
Rimmer, above n 30,
Waelde, above n 6.
ABC Radio National, above n 7.
Johanna Gibson, Creating Selves: Intellectual Property and the Narration of Culture (2006) 107-109,
Matt Mason, The Pirate’s Dilemma: How Youth Culture is Reinventing Capitalism (2008) 101,
Lucie Guibault & P Hugenholtz, The Future of the Public Domain (2006) 335-338.
Harold, above n 6, 142,
Lessig, above n 26, 20,
Lessig, above n 48.
Lessig, above n 26, 20,
Harold, above n 6, 142,
Gordon, above n 58.
Zachary Katz, ‘Pitfalls of Open Licensing: Analysis of Creative Commons Licensing’ (2006) The Intellectual Property Law Review 46, 391-413,
Kathy Bowrey, ‘The New, the Bad, the Hot, the Fad: Popular Music, Technology and the Culture of Freedom’ in Fiona Macmillan & Kathy Bowrey (eds), New Directions in Copyright Law, Volume 2 (2006) 270.
Ian McDonald, ‘Creative Commons, Just Say ‘CC’?’ (2006) 24 Copyright Reporter 4, 223-234,
McDonald, above n 46,
Bowrey, above n 67.
Naomi Korn & Charles Oppenheim, Creative Commons Licences in Higher and Further Education: Do We Care? (2006) Ariadne Magazine, <> at 2 December 2009,
Wikipedia, Creative Commons: Legal Test Case (2009) <> at 2 December 2009.
Mia Garlick, Creative Commons Licenses Enforced in Dutch Court (2006) Creative Commons, <> at 2 December 2009.
Wikipedia, above n 69.
Katz, above n 67,
Mia Garlick, Spanish Court Recognises CC Music (2009) Creative Commons <> at 2 December 2009.
Sociedad General de Autores y Editores (SGAE).
Katz, above n 67,
Garlick, above n 70.
Creative Commons, above n 42.
Copyright Act 1968 (Cth) Pt IX.
ABC Radio National, above n 7,
Chrisanthi Demos, Interview with Jessica Coates, Project Manager Creative Commons Australia, Queensland University of Technology, 16 October 2008, <> at 2 December 2009,
Creative Commons, Supporters (2008) <> at 2 December 2009,
Creative Commons, Press Releases (2008) <> at 2 December 2009.
McDonald, above n 46,
McDonald, above n 68,
Pam Foo, ‘Do copyright owners understand how to use Creative commons licences?’ (2007) 25 Copyright Reporter 4, 132-148,
Bowrey, above n 67,
Katz, above n 67,
Foo, above n 79.
Arnold, above n 3,
Vaidhyanathan, above n 3,
Maruca, above n 3,
Lessig, above n 37,
Lessig, above n 48.
ABC Radio National, above n 7,
Mason, above n 65,
Gordon, above n 58.