Monografico Creative Commons (Infodoc)

07/05/2010 Gmail - [infodoc] Monogr: CREATIVE C…
Sergi Montes <sergi.blanes@gmail.com>
[infodoc] Monogr: CREATIVE COMMONS

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Biblioteca TRDC <alar@usal.es> 7 de mayo de 2010 13:00

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Para: Sergio Montes <sergi.blanes@gmail.com>
Monográficos-InfoDOC
U niversidad de S alamanca
F acultad de Traducción y D ocumentación
B iblioteca
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Monográfico CREATIVE COMMONS

I nfo D oc 07 MAYO de 2010
"Creative Commons Legal Code." Creative Commons vol., n. (2006). pp. Texto completo: http://mirrors.
creativecommons.org/international/mx/mx-license.pdf
Creative Commons corporation no es un estudio juridico ni provee servicios legales. La distribución

de esta licencia no crea una relación abogado-cliente. Creative commons provee esta información 'tal como
esta'. Creative commons no da garantías en relación a la información proporcionada y se libera de
respondabilidad por los daños que resulten de su uso.La obra (como es definida abajo) se otorga bajo los
términos de esta licencia pública de creative commons (“ccpl” o “licencia”). La obra esta protegida por el
derecho de autor y/o por otras leyes aplicables. Esta prohibido cualquier uso de la obra diferente al
autorizado bajo esta licencia o por el derecho de autor. Al ejercitar cualquiera de los derechos hacia la obra
que aquí se otorga, usted acepta y acuerda quedar obligado por los términos de ésta licencia. El licenciante
le concede los derechos aquí contenidos en consideración de su aceptación de tales términos y condiciones.
"Modelo de licencia Creative Commons." Edición electrónica, bibliotecas virtuales y portales para las
ciencias sociales en América Latina y El Caribe vol., n. (2006). pp. Texto completo: http://bibliotecavirtual.
clacso.org.ar/ar/libros/secret/babini/Creative%20Commons.pdf
Creative Commons. Modelo de licencia Creative Commons. En publicación: Babini, Dominique;

Fraga, Jorge CLACSO, Consejo Latinoamericano de Ciencias Sociales, Ciudad de Buenos Aires, Argentina.
2006. pp 239- 240 ISBN: 987-1183-53-4
"7 Things You Should Know About Creative Commons." Educase learning Initiatives vol., n. (2007). pp.
Texto completo: http://www.educause.edu/ir/library/pdf/ELI7023.pdf
In the fall, Dr. Crawford will be teaching a new course on 19th- and 20th-century U.S. municipal
https://mail.google.com/mail/?ui=2&ik… 1/22
politics, covering well-known stories of corruption and graft but also cities whose citizens benefited from the
efforts of their leaders. In putting together the coursepack for the class, Crawford starts with her own
bookshelf, pulling letters, newspaper articles, contracts, and other documents. She then turns to the Web,
which provides numerous artifacts and historical analyses related to the evolution of municipal politics.
"Building an Australasian Commons : Creative Commons case studies vol. 1." vol., n. (2008). pp.
Texto completo: http://eprints.qut.edu.au/29582/
A collection of 60 case studies of the use of Creative Commons licensing in different sectors,
including: music, social activism, film, visual arts, collecting, government, publishing and education.
"Aplicació de les llicències de Creative Commons en les obres culturals." Metodologies vol., n. 4
(2009). pp. Texto completo: http://www20.gencat.cat/docs/CulturaDepartament/SSCC/GT/
Arxius%20GT/MET_004_Creative_Commons.pdf
Gràcies a Internet disposem d’un seguit de mitjans de difusió que permeten fer arribar els continguts
culturals a una gran part de població a un cost relativament baix. Eines com el web, el bloc, serveis com
Flickr, Facebook o Youtube són instruments que certament resulten de gran utilitat per facilitar la
comunicació de continguts a la nostra comunitat d’usuaris
"Guía de licencias Creative Commons." FLACSO Virtual Argentina vol., n. (2009). pp. Texto completo:
http://virtual.flacso.org.ar/file.php/1/Guia_para_licenciamiento.pdf
La presente guía introduce una serie de claves para comprender el sistema de licencias de Creative
Commons. Tiene el propósito de ampliar el conocimiento acerca de los derechos de autor y presentar
soluciones más abiertas frente a la producción, circulación y regulación de obras intelectuales que garanticen
la autoría al mismo tiempo que contribuyan a la libre circulación del saber. En primer lugar, la guía analiza
qué es una licencia y qué significa la frase “algunos derechos reservados” en el contexto del derecho de
autor. Luego describe qué es Creative Commons, algo de su historia y quiénes gestionan las licencias a nivel
nacional. Posteriormente, describe qué obras se pueden licenciar, presenta las licencias Creative Commons
y los procedimientos para obtenerlas. En la parte final, se ofrece información y algunas recomendaciones
tanto para el licenciamiento de obras como para la búsqueda de producciones intelectuales bajo el sistema
de Creative Commons.
"Through the clock's workings." vol., n. (2009). pp. Texto completo: http://eprints.qut.edu.au/25995/
Through the Clock’s Workings is a world first: a remixed and remixable anthology of literature.-----
Prominent Australian authors have written new short stories and released them under a Creative Commons
Attribution Non-Commercial ShareAlike licence. What that means is you can remix the stories, but only if you
acknowledge the author, the remix is not for commercial use, and your new work is available for others to
remix. The authors’ stories were made available on our website and new and emerging writers were invited to
create their own remixes to be posted on the website and considered for publication in the print anthology
alongside the original stories.----- The result is a world first: a remixed and remixable anthology of literature.
Buy your copy now from the Sydney University Press eStore or download the electronic version.----- So how
do you use a remixable anthology? Simple.----- Step 1 - Read. Thumb your way through the pages at will.
Find the stories you love, the ones you hate, the ones that could be better.----- Step 2 - Re/create. Each story
is yours to share and to remix. Use only one paragraph or character or just make subtle changes. Change the
genre, alter its formal or stylistic characteristics, or revise its message. Use as little or as much as you like -
as long as it works.----- Step 3 - Share. Be part of a growing community of literature remixing. Email your
remix to us and start sharing. The entire anthology can be remixed - the original stories, the remixes, and
even the fonts.----- Through the Clock’s Workings is Read&Write!
Amelotti, E. "Protocollo OAI-PMH negli Open Archive e applicazione CDSware per la

rappresentazione dei relativi dati bibliografici." E-LIS: E-Prints in Library and Information Science vol.,
n. (2004). pp. Texto completo: http://eprints.rclis.org/2343/
This work of experimental thesis considers an actual reality that concerns, from a few years, with the
process of scientific communication: Open Archives and the OAI initiative (Open Archive Initiative). The
interest for such matter has sprung from the reading of an article, published on the News-bulletin of the SIMAI
(Italian Society of Applied and Industrial Mathematics) by Dott.ssa Antonella De Robbio, Responsible of the
library of the CAB (Center of athenaeum for libraries) beside the University of the Studies in Padua, in which
some open problems were underlined related to the communication of the research results inside the
academic scientific community. Particularly this thesis focuses the attention on the OAI protocol for the
metadata harvesting developed by the same organization. Are so evidentiated technical aspects related to the
computer communication through the web, giving particular importance to the Data Provider subject, that is
the active actor in such communicative process. Another important treated aspect is made up of OAI-Rights:
internal initiative of the same OAI, which investigates on a new reality that is the guardianship of the
intellectual ownership right regarding the bibliografical metadata. The experimental part of this work consists
in the application of the CDSware software (Cern Document Server Software) for the web representation of
bibliographical records imported by the library managerial system Aleph 500. Particularly, the realization of
such part is focused on the use of a CDSware internal module: BibFormat, that allows the creation of
representation formats related to bibliographical data stored in the system for the end user.
Araya, E. R. M. and S. A. B. G. Vidotti "Direito autoral e tecnologias de informação e comunicação no

contexto da produção, uso e disseminação de informação: um olhar para as Licenças Creative
Commons." E-LIS: E-Prints in Library and Information Science vol. 19, n. 3 (2009). pp. 39-51. Texto
completo: http://eprints.rclis.org/18237/
The development of information and communication technologies, in particular, Internet,and its Web
2.0 information environment has led to signifi cant changes in contemporary society as to the ways of
producing informational content. Collaboration and remix, favored by the new services and applications
resulting from the development of the Web, are practices which contribute for the exponential growth of
information producers. An important part of humanity ceases to be a mere consumer of symbolic goods and
becomes a member in a society that sees in the collaboration and remix a new form of creation, use and
dissemination of intellectual content. However, as such practices involve the production and use of information
intelectual content, and are ruled by a legisltion which determine determines under what conditions the author
and the user must produce and use the intellectual work. This legislation established for a context prior to the
develompment of the Web has created an imbalance in the context of Web 2.0 which needs to be solved in
some way so as to provide the required rebalance for the fl ow of information. This study explores the
collaborative Web environment, the scope of copyright law in Web enviroment and the Creative Commons
licenses as an alternative for producers and users of information to create, recreate, share, use, reuse and
disseminate legally the intellectual production for the benefi t of the construction of knowledge.
Asschenfeldt, C. "Copyright and licensing issues : the International Common." CERN Work shop on
Innovations in Scholarly Communication vol. 3, n. (2004). pp. Texto completo: http://eprints.rclis.org/
archive/00000998/01/OAI_Asschenfeldt.pdf
Too often the debate over creative control tends to the extremes. At one pole is a vision of total
control a world in which every last use of a work is regulated and in which 'all rights reserved' (and then some)
is the norm. At the other end is a vision of anarchy a world in which creators enjoy a wide range of freedom
but are left vulnerable to exploitation. Balance, compromise, and moderation once the driving forces of a
copyright system that valued innovation and protection equally have become endangered species. Creative
Commons is working to revive them. We use private rights to create public goods: creative works set free for
certain uses. Like the free software and open-source movements, our ends are cooperative and community-
minded, but our means are voluntary and libertarian. We work to offer creators a best-of-both-worlds way to
protect their works while encouraging certain uses of them to declare 'some rights reserved.' Thus, a single
goal unites Creative Commons' current and future projects: to build a layer of reasonable, flexible copyright in
the face of increasingly restrictive default rules. Creative Commons's first project, in December 2002, was the
release of a set of copyright licenses free for public use. Taking inspiration in part from the Free Software
Foundation's GNU General Public License (GNU GPL), Creative Commons has developed a Web application
that helps people dedicate their creative works to the public domain or retain their copyright while licensing
them as free for certain uses, on certain conditions. Unlike the GNU GPL, Creative Commons licenses are
not designed for software, but rather for other kinds of creative works: websites, scholarship, music, film,
photography, literature, courseware, etc. We hope to build upon and complement the work of others who have
created public licenses for a variety of creative works. Our aim is not only to increase the sum of raw source
material online, but also to make access to that material cheaper and easier. To this end, we have also
developed metadata that can be used to associate creative works with their public domain or license status in
a machine-readable way. We hope this will enable people to use the our search application and other online
applications to find, for example, photographs that are free to use provided that the original photographer is
credited, or songs that may be copied, distributed, or sampled with no restrictions whatsoever. We hope that
the ease of use fostered by machine- readable licenses will further reduce barriers to creativity.
Asschenfeldt, C. "[Copyright and licensing issues : the International Commons]." E-LIS: E-Prints in
Library and Information Science vol., n. (2004). pp. Texto completo: http://eprints.rclis.org/998/
Too often the debate over creative control tends to the extremes. At one pole is a vision of total
control a world in which every last use of a work is regulated and in which "all rights reserved" (and then
some) is the norm. At the other end is a vision of anarchy a world in which creators enjoy a wide range of
freedom but are left vulnerable to exploitation. Balance, compromise, and moderation once the driving forces
of a copyright system that valued innovation and protection equally have become endangered species.
Creative Commons is working to revive them. We use private rights to create public goods: creative works set
free for certain uses. Like the free software and open-source movements, our ends are cooperative and
community-minded, but our means are voluntary and libertarian. We work to offer creators a best-of-both-
worlds way to protect their works while encouraging certain uses of them to declare "some rights reserved."
Thus, a single goal unites Creative Commons' current and future projects: to build a layer of reasonable,
flexible copyright in the face of increasingly restrictive default rules. Creative Commons's first project, in
December 2002, was the release of a set of copyright licenses free for public use. Taking inspiration in part
from the Free Software Foundation's GNU General Public License (GNU GPL), Creative Commons has
developed a Web application that helps people dedicate their creative works to the public domain or retain
their copyright while licensing them as free for certain uses, on certain conditions. Unlike the GNU GPL,
Creative Commons licenses are not designed for software, but rather for other kinds of creative works:
websites, scholarship, music, film, photography, literature, courseware, etc. We hope to build upon and
complement the work of others who have created public licenses for a variety of creative works. Our aim is not
only to increase the sum of raw source material online, but also to make access to that material cheaper and
easier. To this end, we have also developed metadata that can be used to associate creative works with their
public domain or license status in a machine-readable way. We hope this will enable people to use the our
search application and other online applications to find, for example, photographs that are free to use provided
that the original photographer is credited, or songs that may be copied, distributed, or sampled with no
restrictions whatsoever. We hope that the ease of use fostered by machine- readable licenses will further
reduce barriers to creativity.
Augustyn, S., S. Bräu, et al. "Freie Netze. Freies Wissen : Ein Beitrag zum Kulturhauptstadtjahr Linz
2009." vol., n. (2007). pp. Texto completo: http://www.freienetze.at/pdfs/fnfw(komplett).pdf
Free networks. It has never been easier to connect people and remix their (digital) works. Free
networks help to use and expand these potentials by the inclusion of all people. Free knowledge. Access to
digital networks does not automatically mean access to knowledge. Free access to knowledge, however, is
the fundament of innovation and emancipation. New digital possibilities in this area often go hand in hand with
new barriers. In this book, seventeen authors depict the diverse areas of application of Free Networks and
Free Knowledge. Each of the nine chapters also includes interviews with experts or pioneers in the field such
as Richard Stallman or Lawrence Lessig. At the end of the chapters the authors suggest concrete projects as
a contribution to the year 2009, when Linz - the home town of the authors - is going be the European capital
of culture.
Augustyn, S., S. Bräu, et al. "Freie Netze. Freies Wissen : Ein Beitrag zum Kulturhauptstadtjahr Linz
2009." E-LIS: E-Prints in Library and Information Science vol., n. (2007). pp. Texto completo:
http://eprints.rclis.org/9232/
Free networks. It has never been easier to connect people and remix their (digital) works. Free
networks help to use and expand these potentials by the inclusion of all people. Free knowledge. Access to
digital networks does not automatically mean access to knowledge. Free access to knowledge, however, is
the fundament of innovation and emancipation. New digital possibilities in this area often go hand in hand with
new barriers. In this book, seventeen authors depict the diverse areas of application of Free Networks and
Free Knowledge. Each of the nine chapters also includes interviews with experts or pioneers in the field such
as Richard Stallman or Lawrence Lessig. At the end of the chapters the authors suggest concrete projects as
a contribution to the year 2009, when Linz - the home town of the authors - is going be the European capital
of culture.
Austin, A. C., J. M. Coates, et al. "Blog, podcast, vodcast and Wiki copyright guide for Australia." vol.,
n. (2009). pp. Texto completo: http://eprints.qut.edu.au/19714/
The 'Blog, Podcast, Vodcast and Wiki Copyright Guide for Australia' was developed by the Law
Research Program of the ARC Centre of Excellence for Creative Industries and Innovation (CCI) to examine
and explain copyright issues which impact upon creators and users of blogs, podcasts, vodcasts and wikis in
the Australian legal environment. In doing so it provides practical examples of how these issues may arise
and be resolved. The Guide is a step towards: * ensuring that creators and users of these platforms are fully
informed about these issues; and * providing strategies for creators and users to prevent or minimise the legal
risks created by these issues.
Bledsoe, E. "Creative Commons : fair to share?" Artlink vol. 29, n. 4 (2009). pp. Texto completo:
http://eprints.qut.edu.au/29173/
This article explores new the realities of the permissions culture and “all rights reserved copyright” in
the networked environment and poses the question: why is lending a copy of a book sharing but emailing a
PDF of it piracy? It explores new approaches to publishing and distribution of books by highlighting two books
in the Aduki Independent Press catalogue. It was modeled on a presentation delivered by Elliott Bledsoe at
the Changing Climates in Arts Publishing forum run by Artlink and the Copyright Agency Limited in Adelaide,
Australia on 9 May 2009 and in Sydney, Australia on 27 June 2009.
Bradley, F. "Enabling the information commons." ALIA Biennial Conference vol., n. (2004). pp. Texto
completo: http://eprints.rclis.org/archive/00004706/01/bradley.f.paper.pdf
As more libraries embrace the term 'information commons' to name services and symbolise their
mission, this paper explores the meaning of the concept in Australia and the US. The public library as we
know it was founded on principles of providing free access to all. This is now threatened by the growth of
information as commodity, and has led many to question the controls and costs of information in society.
This paper examines threats that emerge from commercialisation, legislation, funding, and the changing role
of libraries. The responses to these threats by libraries, individuals and organisations are detailed. Projects
and alternative models that aim to protect the information commons are discussed. This paper asks if libraries
should be political about this issue, and what the consequences of such action may be on funding,
intellectual freedom, trust and communities.
Bradley, F. "Enabling the information commons." E-LIS: E-Prints in Library and Information Science vol.,
n. (2004). pp. Texto completo: http://eprints.rclis.org/4706/
As more libraries embrace the term 'information commons' to name services and symbolise their
mission, this paper explores the meaning of the concept in Australia and the US. The public library as we
know it was founded on principles of providing free access to all. This is now threatened by the growth of
information as commodity, and has led many to question the controls and costs of information in society.
This paper examines threats that emerge from commercialisation, legislation, funding, and the changing role
of libraries. The responses to these threats by libraries, individuals and organisations are detailed. Projects
and alternative models that aim to protect the information commons are discussed. This paper asks if libraries
should be political about this issue, and what the consequences of such action may be on funding,
intellectual freedom, trust and communities. What steps can librarians take to ensure access to information
for all individuals in the future? Do the information commons represent a new direction for librarianship, or a
renewed emphasis on traditional values?
Brown, H. D. "A Digital Business Model for Independent Musicians." Association of Internet Researchers
Doctoral Colloquium vol., n. (2006). pp. Texto completo: http://eprints.qut.edu.au/7862/
This project will investigate the barriers to independent musicians' creation of a sustainable music
business. It will do via a survey of independent musicians' activities and successes, which will be used to
inform an attempt to build an original music business. The project will harness digital production and
distribution techniques and concentrate mainly on network theory and practice to support its promotion
techniques. It is expected to contribute to our understanding of organised networks and the interaction
between online and offline communication.
Carr, L. D. D. H. S. H. J. H. T. H. S. and C. Oppenheim "Written Evidence to 2003 House of Commons

Science and Technology Committee." ECS EPrints Repository vol., n. (2004). pp. Texto completo:
http://eprints.ecs.soton.ac.uk/13105/1/399we151.htm
The UK should maximise the benefits to the British tax-payer from the research it funds by mandating
not only (as it does now) that all findings should be published, but also that open access to them should be
provided, for all potential users, through either of the two available means: (1) publishing them in open-access
journals (whenever suitable ones exists) (5%) and (2) publishing the rest (95%) in toll-access journals whilst
also self-archiving them publicly on their own university's website. (1) Open access (worldwide) to UK
research output maximises the impact (ie, visibility, usage, application, citation) of UK research output,
enhancing the productivity and progress of UK (and worldwide) research, thereby maximising the return on the
UK tax-payer's support for research. (2) The unified open-access provision strategy supported by the
Budapest Open Access Initiative, the Berlin Declaration, and other such current movements involves two
complementary strategies OAJ and OAA: (OAJ) Researchers publish their research in an open-access
journal if a suitable one exists, otherwise (OAA) they publish it in a suitable toll-access journal and also self-
archive it in their own research institution's open-access research archive. So why is the Science and
Technology Committee inquiry into scientific publications considering only open access journals (OAJ), rather
than also considering, at least as seriously, mandating university-based provision of open access to their own
(peer-reviewed, published) research output (OAA)? (3) It would be a great mistake (and the press release
already suggests some risk of making it) if open-access provision were to be mistakenly identified only, or
even primarily, with OAJ (open access journal publishing). There are still far too few open-access journals,
whereas OAA self-archiving has the power to provide immediate open access for all the rest of UK research
output. The UK government can do a great deal to maximise the access to and the impact of UK research
output through government research funding policies and through HEFCE influence over academic institutional
policy through research assessment and funding, in particular, by extending existing publish-or-perish policy
to mandate open-access provision. (4) What parliament should mandate is accordingly open-access provision
for all funded research.
Carroll, E. F. and J. M. Coates "The school girl, the Virgin and the billboard." Knowledge Policy for the
21st Century vol., n. (2009). pp. Texto completo: http://eprints.qut.edu.au/19235/
An examination of the legal issues arising from Virgin Mobile's use of Creative Commons licensed
photos in it's 2007 'Are You With Us or What?' advertising campaign, and its implications for the use of
Creative Commons licensed photographs by commercial entities
Coates, J. M. "Creative Commons : the next generation : Creative Commons licence use five years
on." SCRIPTed vol. 4, n. 1 (2007). pp. Texto completo: http://eprints.qut.edu.au/32006/
Since its launch in 2001, the Creative Commons open content licensing initiative has received both
praise and censure. While some have touted it as a major step towards removing the burdens copyright law
imposes on creativity and innovation in the digital age, others have argued that it robs artists of their rightful
income. This paper aims to provide a brief overview and analysis of the practical application of the Creative
Commons licences five years after their launch. It looks at how the Creative Commons licences are being
used and who is using them, and attempts to identify likely motivations for doing so. By identifying trends in
how this licence use has changed over time, it also attempts to rebut arguments that Creative Commons is a
movement of academics and hobbyists, and has no value for traditional organisations or working artists.
Cobcroft, R. S., J. M. Coates, et al. "Asia and the Commons : case studies 2008." vol., n. (2008). pp.
A collection of case studies of individuals and organisations utilising open models in the Asia Pacific
and associated regions. The case studies represent activities in nine countries, broader regions such as the
Arab nations, and global efforts towards sustainability and social justice, revealing creative ways of
participating in the commons. Featured are remix artists, performers, open source software programmers, film
makers, collecting institutions and publishing houses focused on democracy and change, who demonstrate a
diverse set of motivations to engage with the shared ideals of openness and community collaboration.
Danhoff, L. ""All Rights Reserved" to "No Rights Reserved": An Overview of Copyright and Other
Licenses." E-LIS: E-Prints in Library and Information Science vol., n. (2009). pp. Texto completo:
The basics of copyright are detailed and confusing to many. The introduction of Creative Commons
licenses and GNU Free Documentation Licenses has offered a middle ground between “public domain” and
“all rights reserved.” As future information professionals, helping our patrons find and use information
appropriately is going to be increasingly important with the advancement of digital mediums.
de Laat, P. B. "Copyright or copyleft?: An analysis of property regimes for software development."

Research Policy vol. 34, n. 10 (2005). pp. 1511-1532. Texto completo: http://www.sciencedirect.com/
science/article/B6V77-4H5DY6W-1/2/23f78c9804ef378fbdfb6a5fb084be68
Two property regimes for software development may be distinguished. Within corporations, on the
one hand, a Private Regime obtains which excludes all outsiders from access to a firm's software assets. It is
shown how the protective instruments of secrecy and both copyright and patent have been strengthened
considerably during the last two decades. On the other, a Public Regime among hackers may be
distinguished, initiated by individuals, organizations or firms, in which source code is freely exchanged. It is
argued that copyright is put to novel use here: claiming their rights, authors write [`]open source licenses' that
allow public usage of the code, while at the same time regulating the inclusion of users. A [`]regulated
commons' is created. The analysis focuses successively on the most important open source licenses to
emerge, the problem of possible incompatibility between them (especially as far as the dominant General
Public License is concerned), and the fragmentation into several user communities that may result.
De Robbio, A. "Open access e copyright: il copyright scientifico nelle produzioni intellettuali di

ricerca." E-LIS: E-Prints in Library and Information Science vol., n. (2006). pp. Texto completo:
The aim of Open Access international movement is the removal of any economic, legal or technical
barrier to the access to scientific information, this in order to guarantee scientific and technological progress
for the benefit of the collectivity. Copyright Management in higher education is a strategic issue because it is
involved in any process from creation to dissemination of scholarly works created at the university. Whatever
the situation regarding ownership of copyright, university policies should balance the interests of stakeholders
by reserving rights or benefits for research uses or teaching activities. A variety of approach can exist even
within one country, depending by laws or by habits to faculties. Copyright laws - customized on musical and
cinematographic environment - are often inadequate to deal with the complex issues surrounding the
management of intellectual works created at universities. Nowadays, inside scholarship communication world,
the copyright is perceived as very strong legal barrier, because copyright laws influence in a negative way the
dissemination of intellectual research output, and most intellectual content (90%) are hindered inside editorial
platforms. Furthermore authors, but also Universities, not always are awake about difference between
authorship and ownership with disastrous consequences about rights ceased to third market actors which
limit or slowdown the dissemination processes and negatively influences the impact on the community, with
heavy cultural, social and economic relapses. For this reason authors must take the control of their right and
learn to determine the conditions under which her or his work is made available on open access, choosing to
deposit a copy of a work in a repository or publish in an open access journal. On the other side the
universities, in particular in Italy, should put as priority the identification of stakeholders and the allocation of
their own interests. This direction is a crucial step toward the development of policies or agreements that
seek to assure to the University and their authors the ability to use and manage the works in fulfillment of
their most important interests.
De Robbio, A. "I metadati per la gestione dei diritti." E-LIS: E-Prints in Library and Information Science
vol., n. (2007). pp. Texto completo: http://eprints.rclis.org/10450/
The presentation is focused on metadata copyright, included in case of the open data bases and on
copyright metadata, as to the right part in MICHAEL, DRM, DOI, DRE, DPM, MINERVA, creative commons
license, Dublin Core, languages and dictionaries of data.
Denaro, C. "Dialogues with the prototype." vol., n. (2007). pp. Texto completo: http://eprints.qut.edu.au/
16553/
This exegesis traces a path through the production of an animated work, and discusses the evolution
of an individual production workflow that refigures the industrial animation process of prototyping. By
incorporating spontaneity within the animation workflow, the creative output of the project focusses on the
development of a series of non-narrative, process-driven temporal constructions that fuse form and process.
The creative work occupies 75% of this Masters project, and the exegesis 25% (7500 Words)
Fitzgerald, A. M. "Copyright and Data." ANDS Roadshow vol., n. (2009). pp. Texto completo:
Presented by Professor Anne Fitzgerald at the ANDS (Australian National Data Service) Roadshow,
Brisbane on 30 September 2009. http://ands.org.au/events/roadshow.html
Fitzgerald, A. M. "Open access policies, practices and licensing : a review of the literature in
Australia and selected jurisdictions." vol., n. (2009). pp. Texto completo: http://eprints.qut.edu.au/28026/
The full economic, cultural and environmental value of information produced or funded by the public
sector can be realised through enabling greater access to and reuse of the information. To do this effectively it
is necessary to describe and implement a policy framework that supports greater access and reuse among a
distributed, online network of information suppliers and users. The objective of this study was to identify
materials dealing with policies, principles and practices relating to information access and reuse in Australia
and in other key jurisdictions internationally. Open Access Policies, Practices and Licensing: A review of the
literature in Australia and selected jurisdictions sets out the findings of an extensive review of published
materials dealing with policies, practices and legal issues relating to information access and reuse, with a
particular focus on materials generated, held or funded by public sector bodies. The report was produced as
part of the work program of the project “Enabling Real-Time Information Access in Both Urban and Regional
Areas”, established within the Cooperative Research Centre for Spatial Information (CRCSI).
Fitzgerald, A. M. "Overview : open access policies, practices and licensing : a review of the literature
in Australia and selected jurisdictions." vol., n. (2009). pp. Texto completo: http://eprints.qut.edu.au/
28146/
Governments generate a vast and important flow of information and content which is produced by their
employees and contractors, or by other organisations that receive government funding, across a very broad
range of scientific, social, cultural and economic activity. The term “public sector information” (PSI) is used
here in a broad sense to include information and data produced by the public sector as well as materials that
result from publicly-funded cultural, educational and scientific activities. It can include policy documents and
reports of government departments, public registers, legislation and regulations, meteorological information,
scientific research databases, statistical compilations and datasets, maps and geospatial information1 and
numerous other data and information products produced by government for public purposes. The importance
of ensuring that such information flows to those who want access to it in order to use and reuse it is
increasingly recognised. The value of PSI derives from its use. A great deal of the information and content
generated by governments and publicly-funded researchers is of value and relevance to the broader
community. Properly used, as well as contributing to social and economic development, advancing education,
research and innovation, it enhances public health and safety, creates opportunities for engagement between
government and citizens, fosters transparency of governance and promotes democratic ideals. It is an
essential foundation of an informed, participatory society and provides a foundation for evidence-based policy
and decision-making, for example, in the planning and delivery of health and social welfare programs. The
ability of the global community to address pressing challenges in the environmental, economic, health,
cultural, and other fields is dependent on realising the full potential of this information and data, which
demands improved levels of access and clearer reuse rights.
Fitzgerald, A. M. "Open access and public sector information : policy developments in Australia and
key jurisdictions." Access to Public Sector Information : Law, Technology & Policy vol., n. (2010). pp.
This book chapter considers recent developments in Australia and key jurisdictions both in relation to
the formation of a national information strategy and the management of legal rights in public sector
information.
Fitzgerald, A. M., B. F. Fitzgerald, et al. "Enabling open access to public sector information with
Creative Commons Licences : the Australian experience." Access to Public Sector Information : Law,
Technology & Policy vol., n. (2010). pp. Texto completo: http://eprints.qut.edu.au/29773/
This chapter considers how open content licences of copyright-protected materials – specifically,
Creative Commons (CC) licences - can be used by governments as a simple and effective mechanism to
enable reuse of their PSI, particularly where materials are made available in digital form online or distributed
on disk.
Fitzgerald, A. M. and K. M. Pappalardo "Creative Commons and Data." vol., n.: pp. Texto completo:
This guide is relevant to anyone who owns copyright in data compilations or databases and wants to
share their data openly, or to anyone who wants to use data under an open content licence. ANDS Guides
are available at http://ands.org.au/guides/index.html.
Fitzgerald, A. M., K. M. Pappalardo, et al. "Practical Data Management: A Legal and Policy Guide."
vol., n. (2008). pp. Texto completo: http://eprints.qut.edu.au/14923/
This guide has been produced to meet the demand for resources to assist researchers with data
management. It is designed to help researchers and database managers understand the legal, management
and policy questions that arise in relation to research data. The guide is based on the recommendations
made in chapter 10 of Building the Infrastructure for Data Access and Reuse in Collaborative Research: An
Analysis of the Legal Context (2007) OAK Law Project and Legal Framework for e-Research Project.
Fitzgerald, B. F. "Creative Commons (CC): Accessing, Negotiating and Remixing Online Content."
Intellectual property rights and communications in Asia : conflicting traditions vol., n. (2005). pp. Texto
completo: http://eprints.qut.edu.au/1265/
This chapter overviews the Creative Commons project and looks at key issues facing copyright in the
digital age
Fitzgerald, B. F. "Creative Commons: accessing, negotiating and remixing online content." ON LINE
Opinion vol. Posted April 26th 2005., n. (2005). pp. Texto completo: http://eprints.qut.edu.au/1321/
Overview of the Creative Commons project.
Fitzgerald, B. F. "Copyright 2010: The Need for Better Negotiability/Usability Principles." Knowledge
Policy: Challenges for the 21st Century vol., n. (2008). pp. Texto completo: http://eprints.qut.edu.au/5260/
Creative economy guru, John Howkins, has a plan for a project over the next few years culminating in
a congressional styled conference in London in 2010. It will celebrate, commiserate and investigate three
hundred years of copyright law in England, since the passing of the Statute of Anne in 1709, and most
importantly will chart a course for the future. This chapter considers three principles that might be invoked to
make copyright material more legally accessible in the digital environment and thereby starts a journey
towards Copyright 2010.
Fitzgerald, B. F., J. M. Coates, et al. "Open Content Licensing: Cultivating the Creative Commons."
vol., n. (2007). pp. Texto completo: http://eprints.qut.edu.au/6677/
Open Content Licensing: Cultivating the Creative Commons brings together papers from some of the
most prominent thinkers of our time on the internet, law and the importance of open content licensing in the
digital age. Drawing on material presented at the Queensland University of Technology conference of the
same name in January 2005, the text provides a snapshot of the thoughts of over 30 Australian and
international experts – including Professor Lawrence Lessig, Futurist Richard Neville and the Hon Justice
Ronald Sackville – on topics surrounding the international Creative Commons, from the landmark Eldred v
Ashcroft copyright term decision to the legalities of digital sampling in a remix world. Edited book:
Contributors include: Richard Neville, Professor Arun Sharma, Mark Fallu, Professor Barry Conyngham AM,
Greg Lane, Professor Brian Fitzgerald, Nic Suzor, Professor Lawrence Lessig, Professor Richard Jones,
Professor Greg Hearn, Professor John Quiggin, Dr David Rooney, Neeru Paharia, Michael Lavarch, Stuart
Cunningha, Dr Terry Cutler, Damien O’Brien, Renato Ianella, Carol Fripp, Dennis MacNamara, Jean Burgess,
The Hon Justice James Douglas, The Hon Justice Ronald Sackville, Linda Lavarch MP, Tom Cochrane, Ian
Oi, Dr Anne Fitzgerald, Neale Hooper, Keith Done, Sal Humphreys, John Banks
Fitzgerald, B. F. and I. Oi "Free Culture: Cultivating the Creative Commons." vol., n. (2004). pp. Texto
completo: http://eprints.qut.edu.au/122/
Throughout March and April 2004 the authors have been involved (along with fellow Project Leader
QUT DVC Tom Cochrane) in a series of talks to brief the community about the further development of the
Creative Commons Project in Australia – http://creativecommons.org/projects/international/au/. In February
2004 Queensland University of Technology (QUT) became the institutional affiliate for the project and over the
last few months has worked closely with Blake Dawson Waldron Lawyers, who have taken primary
responsibility for drafting an Australian version of the Creative Commons licences. This overview of the project
is based on a seminar delivered at Melbourne University Law School hosted by IPRIA. Creative Commons
aims to promote better identification, negotiation and reutilization of content for the purposes of creativity and
innovation. It aims to make copyright content more “active by ensuring that content can be reutilized with a
minimum of transactional effort. As the project highlights, the use of an effective identification or labeling
scheme and an easy to understand and implement legal framework is vital to furthering this purpose.
Fitzgerald, B. F. and R. Olwan "The legality of free and open source software licences: the case of
Jacobsen v. Katzer." Knowledge Policy for the 21st Century vol., n. (2008). pp. Texto completo:
In August 2008 one of, if not the most, influential Intellectual Property courts in the USA known as
the Court of Appeals for Federal Circuit upheld the validity of a free and open source software licence known
as the Artistic Licence. The case is significant because up until this point there has been little judicial
discussion of the legal operation of this new type of copyright licensing that is sweeping across the world
fuelled by the ubiquity of the Internet. The decision in Robert Jacobsen v. Matthew Katzer and Kamind
Associates, Inc. 2008 U.S. App. LEXIS 17161 (Fed. Cir. 2008) issued on 13 August 2008 provides a unique
and welcomed insight into the legal operation of free and open source software licences and by analogy
Creative Commons styled open content licences. This article analyses the judgment and provides
commentary on its reasoning.
Fitzgerald, B. F. and J. F. Reid "Digital rights management (DRM): managing digital rights for open
access." Handbook On The Knowledge Economy vol., n. (2005). pp. Texto completo:
When one mentions the term digital rights management (DRM), the immediate perception is of a
copyright owner seeking to further exploit their product for economic reward. This article explains the
nonrivalrous nature of information and how intellectual property rights can also be used to manage digital
content for open access. In short DRM should be seen as being capable of facilitating not only restricted
access but also facilitating open access. The paradigm shift proposed is for us to conceptualise DRM as
being about the management of intellectual propert rights either for an open or restrictive purpose.
Flew, T. "Creative Commons and the Creative Industries." Media and Arts Law Review vol. 10, n. 4
(2005). pp. Texto completo: http://eprints.qut.edu.au/2188/
This paper explores the growing significance of legal questions to innovation and creative practice in
what are now being termed the creative industries. Noting that the case for strong copyright protection as the
cornerstone of innovation is highly contested, it explores the significance of Creative Commons licences as an
alternative to Digital Rights Management and copyright law. It also introduces the case studies of music,
online computer games, and ‘remix culture’ that are covered in this special issue of Media and Arts Law
Review.
Flew, T., G. N. Hearn, et al. "Alternative intellectual property regimes in the global creative
economy." Intellectual property rights and communications in Asia : conflicting traditions vol., n. (2006). pp.
Flew, T., S. H. Leisten, et al. "Alternative systems for Intellectual Property in the digital age."
International Conference on Intellectual Property Rights, Communication and the Public Domain in the Asia-
Pacific Region 14-17 December 2004 Brisbane, Australia Organized by the World Association for Christian
Communication (WACC) & School of Journalism a vol., n. (2004). pp. Texto completo:
This paper investigates the current turbulent state of copyright in the digital age, and explores the
viability of alternative compensation systems that aim to achieve the same goals with fewer negative
consequences for consumers and artists. To sustain existing business models associated with creative
content, increased recourse to DRM (Digital Rights Management) technologies, designed to restrict access
to and usage of digital content, is well underway. Considerable technical challenges associated with DRM
systems necessitate increasingly aggressive recourse to the law. A number of controversial aspects of
copyright enforcement are discussed and contrasted with those inherent in levy based compensation
systems. Lateral exploration of the copyright dilemma may help prevent some undesirable societal impacts,
but with powerful coalitions of creative, consumer electronics and information technology industries having
enormous vested interest in current models, alternative schemes are frequently treated dismissively. This
paper focuses on consideration of alternative models that better suit the digital era whilst achieving a more
even balance in the copyright bargain.
Franceschini, M. G., F. Meschini, et al. "L'Open Archive della Tuscia: un ponte tra docenti e
biblioteca." E-LIS: E-Prints in Library and Information Science vol. 10, n. 28 (2009). pp. 5-26. Texto
This paper illustrates the experience made at Tuscia University about both the creation and the
administration of an institutional repository. Unitus DSpace, this is the name of the open archive, has been
created by means of collaboration between academic staff and librarians, and has been in function since
2005. A particular attention has been given to doctoral thesis, upon which the work of librarians has been
focused on, having a constant and active cooperation with the competent administrative staff. Other issues
which have been handled are promotion of open access movement in the university, metadata standards,
copyright, and more technical aspects. Next step is an analysis and review of the results so to constantly
improve Unitus Dspace.
Geist, M. "Unlocking Access." E-LIS: E-Prints in Library and Information Science vol., n. (2007). pp. Texto
We hold the key to unlocking access! This dynamic presentation covers open access in the broader
context of the potential of the internet. Reasons for providing open access include: it's required (for example,
the Canadian Institutes of Health Research open access policy), it's easy, and there are many benefits.
Discusses open licenses, open digitization methods, new means of delivering content, open content and
collaborative content development. This presentation includes many examples of interesting open access
projects, particularly within the Canadian context, such as the IDRC digital library, Alouette Canada, OA
books such as In the Public Interest, the Public Knowledge Project and Open Medicine, YouTube and more.
Hauptman, G. L. "The Library and the Bazaar: Open Content and Libraries." E-LIS: E-Prints in Library
and Information Science vol., n. (2008). pp. Texto completo: http://eprints.rclis.org/15092/
This essay will consider new copyright models in libraries, and how libraries can and should modify
their own systems to promote and provide access to open content. It focuses on the reasoning behind
supporting new models and methods of distribution, especially with regards to open licenses like Creative
Commons, and the resources and systems libraries have developed to provide access to open licensed work.
The paper examines the current roles libraries take in promoting Creative Commons and Open Access, and
possible future roles, as well as how libraries organize and share open access works and develop
relationships with others producing or developing content.
Kapitzke, C. "Intellectual property rights: Governing cultural and educational futures." Policy Futures
in Education vol. 4, n. 4 (2006). pp. Texto completo: http://eprints.qut.edu.au/5855/
This article uses Foucauldian theories of governmentality to examine ways in which intellectual
property rights regimes are embedded within broad spectrums of global and globalising discourses and yet
are enacted through changing subjectivities at the local level. Using the 2004 Australia–United States Free
Trade Agreement as a case in point, it shows how culture, education, free trade, foreign policy, and national
security intersect and have the potential to limit access to cultural knowledge and textual resources for young
people and educators.
Kapitzke, C. "Critical copyright literacy: Reading copyright as governmentality." Australian School
Library Association XX Biennial Conference, Hearts on Fire: Sharing the Passion, 2-5 October vol., n.
(2007). pp. Texto completo: http://eprints.qut.edu.au/8963/
Two notable social developments characterizing the last decade are an upsurge in cultural
participation enabled by Web2.0 media and calls in state and national government policy for enhanced
innovation through education. Paradoxically, this has occurred alongside increasingly restrictive access to
cultural resources through changes to conventional copyright law. Concepts from governmentality theory are
used here to examine this paradox. In particular, Foucault’s critique of the author figure and of ‘freedom’ as
part of the ‘will to govern’ within liberal democratic societies is used to argue for a critical copyright literacy.
This pedagogical intervention would include education on alternative and more socially productive cultural
governance frameworks such as Creative Commons licensing.
Kapitzke, C. "Rethinking Copyrights for the Library through Creative Commons Licensing." Library
Trends vol. 58, n. 1 (2009). pp. 95-108. Texto completo: http://eprints.qut.edu.au/26742/1/26742.pdf
Two recent and related social developments of note for libraries are an upsurge in cultural
participation enabled by Web 2.0 media and calls in government policy for enhanced innovation through
education. Ironically, these have occurred at the same time that increasingly stringent copyright laws have
restricted access to cultural content. Concepts of governmentality are used here to examine these tensions
and contradictions. In particular, Foucault's critique of the author figure and freedom as part of the will to
govern within liberal democratic societies is used to argue for better quality copyright education programs in
school libraries and library information science education programs. For purposes of teaching and research,
copyrights are defined as agglomerations of legal, economic, and educational discourses that enable and
constrain what can and cannot be done with text in homes, schools, and library media centers. This article
presents some possibilities for renewal of school libraries around copyright education and Creative Commons
licensing.
Kapitzke, C. "Rethinking copyrights for the library through Creative Commons licensing." Library
Trends vol. 58, n. 1 (2009). pp. Texto completo: http://eprints.qut.edu.au/26742/
Two recent and related social developments of note for libraries are an upsurge in cultural
participation enabled by Web 2.0 media and calls in government policy for enhanced innovation through
education. Ironically, these have occurred at the same time that increasingly stringent copyright laws have
restricted access to cultural content. Concepts of governmentality are used here to examine these tensions
and contradictions. In particular, Foucault’s critique of the author figure and of freedom as part of the will to
govern within liberal democratic societies is used to argue for better quality copyright education programs in
school libraries and library information science education programs. For purposes of teaching and research,
copyrights are defined as agglomerations of legal, economic, and educational discourses that enable and
constrain what can and cannot be done with text in homes, schools, and library media centers. The article
presents some possibilities for renewal of school libraries around copyright education and Creative Commons
licensing.
Katuli , T. "Intelektualno vlasništvo danas." E-LIS: E-Prints in Library and Information Science vol. 5, n. 36
(2005). pp. Texto completo: http://eprints.rclis.org/4850/
Intellectual property is one of buzzwords that we hear every day from politicians, businessmen or
scientists. Also, media constantly remind us of that immaterial, ethereal category of ownership.
Korn, N. and C. Oppenheim "Creative Commons licences in higher and further education: do we
care?" Ariadne vol., n. 49 (2006). pp. np. Texto completo: http://www.ariadne.ac.uk/issue49/korn-
oppenheim/
Discusses the history and merits of using Creative Commons licences while questioning whether
these licences are indeed a panacea. Creative Commons ( http: //creativecommons.org/) provides a means for
licensing a range of protections and freedoms for authors, artists, and educators, building on the concept of
'all rights reserved of traditional copyright to offer a voluntary 'some rights reserved approach. All of the tools
are free. The Creative Commons is helping to instigate cultural change by empowering rights holders with the
knowledge and tools to decide under what terms they wish third parties to use their creations, whilst
permitting users easy and user-friendly means to use content lawfully without the necessity of requesting
permission. The recent incorporation of Creative Commons licences within Microsoft Office Word, Excel and
PowerPoint applications via a downloadable plug-in now provides an integrated method for the creation and
licensing of content. (Quotes from original text)
Labastida i Juan, I. "Las licencias de Creative Commons en el Estado español." BiD: textos universitaris
de biblioteconomia i documentació vol., n. 15 (2005). pp. Texto completo: http://www2.ub.edu/bid/
consulta_articulos.php?fichero=15labast.htm
El proyecto de Creative Commons en el Estado español se gestó a principios del año 2003, aunque
hasta hace un año no fue posible acceder a las licencias adaptadas a la legislación española sobre
propiedad intelectual. Además de este trabajo de adaptación, se han realizado otras actividades -centradas,
sobretodo, en la difusión y explicación del sistema de licencias- que han sido positivamente acogidas. En
este artículo se recoge la historia del proyecto, la explicación de las licencias y la descripción de las
iniciativas que utilizan este sistema legal.
Leslie, S. W. "Introducing SOL*R." E-LIS: E-Prints in Library and Information Science vol., n. (2006). pp.
Texto completo: http://eprints.rclis.org/6149/
Brief introductory powerpoint slides to SOL*R, BCcampus' Shareable Online Learning Resources
service, which aims to facilitate the sharing, discovery, remixing and reuse of instructional materials from
across the BC Post-Secondary system and beyond.
Marandola, M. "El sistema de las Creative Commons: Creative Commons scheme." El Profesional de la
Información vol. 14, n. 4 (2005). pp. 285-289. Texto completo: http://www.elprofesionaldelainformacion.
com/contenidos/2005/julio/6.pdf
El movimiento Creative Commons representa la vertiente jurídica de los elementos que componen el
copyleft. Las licencias se basan en algunos puntos, fundamentales: todo titular de la copia de una obra
protegida por la licencia puede utilizarla sin límites; distribuir o redistribuir tantas copias como desee y
modificarla del modo que desee, siempre que se juzgue conveniente. Existen tres esquemas generales de
licencias: las common deed, las legal code y las digital code. Los Creative Commnons son el primer intento
de proveer de un marco jurídicamente válido al acceso abierto.
Marconi, C. "Open Access e archivi aperti: nuove modalità di diffusione della letteratura scientifica."
E-LIS: E-Prints in Library and Information Science vol., n. (2008). pp. Texto completo: http://eprints.rclis.org/
15759/
Knowledge as primary good of modern society is a topic widely discussed, so that the latter is often
defined in terms of the first as "information society". But what about its particular form which much of today
well-being depends on: scientific knowledge? Scholar needs to publish. Academic careers depend on
publishing and without scientific pubblications it would not be possible for those who decide to undertake
research, build anything: "we are like dwarfs on the shoulders of giants". Scholar, however, soon learns that
the traditional scientific publications, except for the text adopted as manuals, are by no means profitable.
Equally, the resulting texts are not public but private. In the hands of the publishers they become subject to
restrictive policies aimed at maximizing profit, not at dissemination, as any scholar would like. Libraries are
forced to buy back for their users something their colleagues have produced without any expectation, except
the broader circulation. A third party, the publisher, becomes the filter and a real obstacle to dissemination of
scientific knowledge. The argument presented here is based on this paradox, in the belief that speech
technology and markets affect the word itself, suggesting a review of recent developments which have affected
the scientific communication system and discussing the movement for Open Access to scientific literature,
whose goal is precisely the reconciliation between the cultural practices of scholars and the economy these
practices are based on.
Marta, L. V., P. P. Jordi, et al. "UPCommons." CERN Work shop on Innovations in Scholarly Communication
vol. 3, n. (2007). pp. Texto completo: http://eprints.rclis.org/archive/00009720/
Marta, López Vivancos and Jordi, Prats Prat and Pep, Torn and Roser, Gómez Enrich (2007)
UPCommons. In Proceedings CERN Workshop on Innovations in Scholarly Communication (OAI5), Geneve,
Switzerland.
Maurel, L. "Creative Commons en bibliothèque : Vers une alternative juridique ?" Bulletin des
bibliothèques de France vol. 52, n. 4 (2007). pp. Texto completo: http://bbf.enssib.fr/sdx/BBF/pdf/bbf-2007-
4/bbf-2007-04-0069-001.pdf
Comment les bibliothèques peuvent-elles, en utilisant les Creative Commons, mieux maîtriser les
contraintes juridiques liées au numérique et contribuer à une libération des œuvres ? Passage d’une logique
prohibitive à une logique permissive s’appuyant sur une libération graduée des œuvres, les Creative
Commons, malgré les incertitudes qui pèsent encore sur leur validité juridique en droit français, constituent
une alternative réelle pour la bibliothèque, que ce soit pour l’utilisation d’œuvres, pour la diffusion des
contenus qu’elle crée, ou en lien avec l’enseignement et la recherche.
McMichael, J. "Culture and Copyright, Coexisting: Preserving Culture in a Digital World." E-LIS: E-
Prints in Library and Information Science vol., n. (2008). pp. Texto completo: http://eprints.rclis.org/15914/
From music to literature to film, an increasing amount of culturally significant information is being
published in digital formats. Vendors like the iTunes Store or Audible are already specializing in digital-only
information. With copyrights restricting libraries’ usage and thus collection of digital material, there exists the
potential of culturally relevant information (i.e. songs, works of fiction, visual content) to remain under-archived
by libraries globally. The paper shows that legal constraints prevent libraries from pursuing a collection of new
digital content as exhaustively as would be preferred, thus obscuring the library from various cultural elements
being published today. This paper also details ways in which libraries are attempting to enter new digital
formats within their collections and offers new perspectives on Creative Commons as an alternative means to
collect cultural material in their digital collections.
Morrison, H. "Open Access, Authors' Rights and the Commons." E-LIS: E-Prints in Library and
Information Science vol., n. (2008). pp. Texto completo: http://eprints.rclis.org/13570/
Open Access (OA) is beginning to open up interesting conversation about scholarship and copyright.
There are already more than 3,300 fully open access, peer-reviewed scholarly journals listed in DOAJ, many
millions of items available in open access archives. Research funders, universities and faculty themselves are
requiring OA. A traditional copyright transfer agreement in which all rights are assigned by the author to the
publisher, does not make sense in this environment. Most publishers are modifying how they work with
authors. One approach is a more liberal copyright policy, which leaves some rights with the author. Some
publishers use a license to publish approach, leaving copyright with the author and clarifying rights to publish.
Many authors are negotiating copyright, whether individually or through the use of Authors' Addenda. Some
publishers and authors are using Creative Commons licenses.
Morrison, H. "Creative Commons and Media: an Introduction." E-LIS: E-Prints in Library and Information
Science vol., n. (2009). pp. Texto completo: http://eprints.rclis.org/16109/
Presentation to the British Columbia Media Exchange Cooperative. Introduces Creative Commons
and the implications of Creative Commons for media in the post-secondary institution. Explains how to create
a license, and introduces the many resources now available through YouTube.edu.
Pappalardo, K. M., A. M. Fitzgerald, et al. "A Guide to Developing Open Access Through Your Digital
Repository." vol., n. (2007). pp. Texto completo: http://eprints.qut.edu.au/9671/
A guide to Developing Open Access Through Your Digital Repository assists universities and
education institutions in formulating an open access policy for their digital repository. The guide explains how
to establish digital repository infrastructure in an institution and describes best practice legal and
management frameworks for this important asset. Copyright issues are are considered in detail so that
academic material can be legally deposited in and made available through a digital repository. The guide
encourages Australian academic institutions to consider their commitment to open access and articulate this
in clear policies and copyright management frameworks.
Pappalardo, K. M., B. F. Fitzgerald, et al. "Understanding Open Access in the Academic Environment:
A Guide for Authors." vol., n. (2008). pp. Texto completo: http://eprints.qut.edu.au/14200/
The OAK Law Project aims to facilitate seamless access to knowledge and improve social, economic
and cultural outcomes. This guide aims to provide practical guidance for academic authors interested in
making their work more openly accessible to readers and other researchers. The guide provides authors with
an overview of the concept of and rationale for open access to research outputs and how they may be involved
in its implementation and with what effect. In doing so it considers the central role of copyright law and
publishing agreements in structuring an open access framework as well as the increasing involvement of
funders and academic institutions. The guide also explains different methods available to authors for making
their outputs openly accessible, such as publishing in an open access journal or depositing work into an open
access repository. Importantly, the guide addresses how open access goals can affect an author’s
relationship with their commercial publisher and provides guidance on how to negotiate a proper allocation of
copyright interests between an author and publisher. A Copyright Toolkit is provided to further assist authors
in managing their copyright.
Reale, L. M. "La “nuova economia” del libro elettronico. Prospettive per una sostanziale qualità
dell’informazione." E-LIS: E-Prints in Library and Information Science vol., n. 15 March 2004 (2004). pp.
A scholarly electronic publishing of quality not sight to the profit but to the circulation of the ideas.
The strategy to adopt also for the distribution of electronic books is that one, parallel to the Open Source for
the software, of the Open Content, in compliance with the licence Creative Commons with at least two relative
restrictions: not to make derivative works of the text and not to make commercial use of the work outside of
the channel of distribution controlled from the publisher. It cannot however be thought that an electronic book
is bound to a format owner and one determined technological platform: the future is that one of a flexible
system that guarantees the usability and full accessibility of the contents in the time.
Rodríguez Mederos, M. "La difusión de las creaciones en la era digital: El Copyleft para distribuir
creaciones en la era digital." Acimed: revista cubana de los profesionales de la información y la
comunicación en salud vol. 15, n. 1 (2007). pp. Texto completo: http://eprints.rclis.org/
archive/00008923/01/La_difusion_de_las_creaciones_en_la_era_digital._El_Copyleft.pdf
Se establece la importancia del copyleft para la sociedad actual. Se realiza una valoración crítica del
copyright; se exponen los antecedentes del copyleft y se define. Se abordan los principios el software libre,
como base del modelo bazar para la creación de programas para computadoras. Se enuncian los valores que
promueve el copyleft. Se describen y analizan las licencias existentes, tanto en el mundo tecnológico como
en el cultural, desarrolladas a partir del copyleft. Se expone el caso de Cuba como una particularidad. Se
propone una clasificación, según la autoría y el contenido de la obra para facilitar el licenciamiento de una
creación. Se relaciona el copyleft con la gestión del conocimiento y como se relaciona esta filosofía de
trabajo con el mundo mercantil.
Rodríguez Mederos, M. "La difusión de las creaciones en la era digital: El Copyleft para distribuir
creaciones en la era digital." E-LIS: E-Prints in Library and Information Science vol. 15, n. 1 (2007). pp.
The importance of copyleft for the present society is established. A critical analysis of copyright is
made, and its antecedents and definition are exposed. The principles of free software, as the basis for the
bazaar model for the creation of computer programs are dealt with. The values promoted by the copyleft are
enunciated. The licenses existing in the technological and cultural world, which are developed starting from
the copyleft, are described and analyzed. The case of Cuba is exposed as a particularity. A classification,
according to the author and the content of the work is recommended to facilitate the licensing of a creation.
The copyleft is related to knowledge management and it is explained how this working philosophy is
connected with the commercial world.
Rodríguez Palchevich, D. R. "Nuevas tecnologías Web 2.0: Hacia una real democratización de la
información y el conocimiento." E-LIS: E-Prints in Library and Information Science vol., n. (2008). pp.
With the present work it is pursued to spread to the new IT and communication (Tics) available in
Web 2.0. Web 2,0 is defined and his are determined basic advantages, requirements and actions that all the
users can undertake in relation to the production, use and interchange of the information in line. One
concludes with a general vision of the necessity and convenience of implementing and of using these services
of communication and information for a real inclusion in the Society of the Knowledge.
Suzor, N. P. and B. F. Fitzgerald "The Role of Open Content Licences in Building Open Content
Communities: Creative Commons, GFDL and Other Licences." vol., n. (2007). pp. Texto completo:
This article seeks to highlight the unique and fundamental interaction between the legal notion of
providing permission to reproduce or communicate copyright content (copyright licensing) and the building of
open user generated online communities such as ccMixter and Flickr. As much of the information and
content that is found in online communities – especially text, images, music and film – is subject to
copyright, it can only be reproduced or communicated to the public with the permission of the copyright
owner. Copyright licensing therefore plays a fundamental role in the development and day to day functioning of
these online communities. In this way, copyright plays the role of a constitutional principle which delineates
the rights to reuse expression. This article examines a number of case studies and provides some
commentary on the way open content licensing can be used to support community building.
Tarkowski, A. "Otwarty model licencjonowania Creative Commons." E-LIS: E-Prints in Library and
Information Science vol., n. EBIB Materia y konferencyjne nr 18 (2007). pp. Texto completo:
The paper presents a family of Creative Commons licenses (which form nowadays one of the basic
legal tools used in the Open Access movement), as well as a genesis of the licenses – inspired by Open
Software Licenses and the concept of commons. Then legal tools such as individual Creative Commons
licenses are discussed as well as how to use them, with a special emphasis on practical applications in
science and education. The author discusses also his research results on scientific publishers attitude
towards Open Access movement.
Vercelli, A. "Creative Commons y la Profunidad del Copyright." E-LIS: E-Prints in Library and
Information Science vol., n. enero (2003). pp. Texto completo: http://eprints.rclis.org/10694/
Description of the Creative Commons project like an attempt of promoting an ethos based on the
possibility of sharing with the neighbor (as Richard Stallman comes affirming for several years), in the public
education and in the creative interactivity. There are synthesized the types of licenses CC, and its relation
with the copyright.
Vercelli, A. "Creative Commons y la Profunidad del Copyright." E-LIS: E-Prints in Library and
Information Science vol., n. (2007). pp. Texto completo: http://eprints.rclis.org/archive/00010694/
Vercelli, Ariel (2003) Creative Commons y la Profunidad del Copyright. Enredando(enero).

Descripción del proyecto Creative Commons como un intento de promover un ethos basado en la posibilidad
de compartir con el vecino (tal como lo viene afirmando Richard Stallman desde hace varios años), en la
educación pública y en la interactividad creativa.
Vercelli, A. "Creative Commons y la Profunidad del Copyright. Enredando(enero)." E-LIS: E-Prints in

Library and Information Science vol., n. (2007). pp. Texto completo: http://eprints.rclis.org/archive/00010694/
Descripción del proyecto Creative Commons como un intento de promover un ethos basado en la
posibilidad de compartir con el vecino (tal como lo viene afirmando Richard Stallman desde hace varios años),
en la educación pública y en la interactividad creativa. Se sintetizan los tipos de licencias CC, y su relación
con el copyright.
Vercelli, A. "Guía de Licencias Creative Commons 2.0." E-LIS: E-Prints in Library and Information
Science vol., n. (2009). pp. Texto completo: http://eprints.rclis.org/16805/
This guide introduces a key series to understand the open licensing system 'Creative Commons'.
Shows how this open licenses help the exercise of certain copyright and at the same time, allow the public
broad access to the culture. This guide is intended to extend knowledge about the 'copyright and the right to
copy' in the digital age.
Vercelli, A. "Guía de licencias Creative Commons: Versión 2.02." Ariel Vercelli vol., n. (2009). pp. Texto
completo: http://www.arielvercelli.org/gdlcc2-0.pdf
La presente guía introduce una serie de claves para comprender el sistema de licencias abiertas de
‘Creative Commons’. Muestra como estas licencias abiertas favorecen el ejercicio de ciertos derechos de
autor y, al mismo tiempo, permiten al público en general un amplio acceso a la cultura. Esta guía tiene el
propósito de ampliar el conocimiento acerca del ‘derecho de autor y derecho de copia’ en la era digital.
Vercelli, A. "Repensando los bienes intelectuales comunes: Análisis socio-técnico sobre el proceso
de co-construcción entre las regulaciones de derecho de autor y derecho de copia y las tecnologías
digitales para su gestión." E-LIS: E-Prints in Library and Information Science vol., n. (2009). pp. Texto
‘Rethinking intellectual commons’ analyzes, from a socio-technical view, the legal-political tensions
that arise between the appropriation and release of intellectual goods and works in the digital age. This thesis
describes the processes of co-construction between regulations on authorial and copy rights and digital
technologies oriented to manage these rights. For this purpose, three cases which evince the conflict
between the appropiation and the release of intellectual goods, and show the processes of co-construction,
are analyzed. The first case of analysis is an anti-copying artifact designed by the trading corporation Sony-
BMG Music Entertainment. The second one is the open licensing system of selective reservation of authorial
and copy rights of Creative Commons Corporation. The third one is the management system of intellectual
works in the virtual world called Second Life. The new regulative forms linked to the design of technologies
define the political, cultural, social and economical future of our societies. This thesis aims at encouraging
and strengthening these legal-political and technological discussions on the regional and global scale.
Vercelli, A. and A. Marotias "Guía de licencias Creative Commons." Flasco vol., n. (2007). pp. Texto
completo: http://www.arielvercelli.org/gdlcc1-0.pdf
La presente guía introduce una serie de claves para comprender el sistema de licencias de Creative
Commons. Tiene el propósito de ampliar el conocimiento acerca de los derechos de autor y presentar
soluciones más abiertas frente a la producción, circulación y regulación de obras intelectuales que garanticen
la autoría al mismo tiempo que contribuyan a la libre circulación del saber. En primer lugar, la guía describe
qué es Creative Commons, algo de su historia y quiénes gestionan las licencias a nivel nacional. Luego,
brevemente, analiza qué es una licencia y qué significa la frase “algunos derechos reservados” en el contexto
del derecho de autor. Posteriormente, describe qué obras se pueden licenciar, presenta las licencias Creative
Commons y los procedimientos para obtenerlas. En la parte final, se ofrece información y algunas
recomendaciones tanto para el licenciamiento de obras como para la búsqueda de producciones
intelectuales bajo el sistema de Creative Commons
Vercelli, A. H. "La conquista silenciosa del ciberespacio : Creative commons y el diseño de entornos
digitales como nuevo arte regulativo en Internet." Master Thesis, Maestría en Ciencia Política y
Sociología, Facultad Latinoamaricana de Ciencias Sociales - FLACSO. vol., n. (2004). pp. Texto completo:
http://eprints.rclis.org/archive/00010627/01/lcsdcvercelli.pdf
La conquista silenciosa del ciberespacio explora una de las tendencias más profundas en el gobierno
de nuestras sociedades: a saber, el cambio de paradigma regulativo que emerge en el heterogéneo campo de
las regulaciones en Internet. El trabajo analiza las luchas, tensiones y estrategias políticas que enfrentan la
apertura y la libertad, con la clausura y el control en las capas superiores de Internet. No descarta las formas
políticas clásicas o evidentes, sin embargo, esta más atraído por las profundas mediaciones técnicas que
regulan espacios y conductas de forma silenciosa. Describe la emergencia de un nuevo arte regulativo que,
articulando diferentes reguladores, crea y diseña el ciberespacio al mismo tiempo que lo regula. Muestra
como este arte regulativo, a diferencia de la reactiva regulación jurídica, se apoya en estrategias proactivas,
abiertas y transparentes, que son producidas en laboratorios con el objeto de gobernar la tensión entre el
diseño de nuevos entornos digitales y los (re)diseños que logran los usuarios productores finales gracias a la
arquitectura simétrica de Internet. Finalmente, ausculta el laboratorio Creative Commons, una organización-
neo-gubernamental que, a través del nuevo arte regulativo, lucha por un ambientalismo digital creativo, diverso
y libre en las capas superiores de Internet.
Vercelli, A. H. "La conquista silenciosa del ciberespacio : Creative commons y el diseño de entornos
digitales como nuevo arte regulativo en Internet." E-LIS: E-Prints in Library and Information Science
vol., n. (2004). pp. Texto completo: http://eprints.rclis.org/10627/
The silent conquest of cyberspace explores one of the strongest tendencies in the government of our
societies: the change in the regulatory paradigm that emerges from the heterogeneous field of regulations in
the Internet. This work analyzes the political struggles, tensions and strategies that face the openness and
the freedom, with the enclosure and the control exerted over the upper layers of the Internet. This work is not
intended to discard traditional or evident politics, yet it focuses on the deep technical mediations that silently
regulate spaces and behaviors. In addition, it describes the emergence of a new regulative art that, articulating
different regulators, creates and designs the cyberspace as well as regulating it; it shows how this regulative
art, unlike the reactive juridical regulation, is grounded on open and proactive strategies born in laboratories
with the purpose of governing the tension between the design of new digital environment and the (re)design
that users, ultimately, achieve thanks to the symmetrical architecture of the Internet. Finally, this work
auscultate Creative Commons Laboratory, a neo-governmental-organization that, through the new regulatory
art, struggles for creativity, diversity and freedom regarding digital environmentalism in the upper levels of the
Internet.
Vimal Kumar, V. "Open Licenses and Content Distribution." Proceedings Emerging Trends and
Challenges in Library and Information Services vol., n. (2008). pp. Texto completo: http://eprints.rclis.org/
archive/00012692/01/Open_Licenses_and_Content_Distribution.pdf
Commercial content distributors prevent the free access of digital content using copyright law and
technology. Open content licenses give opportunity to publish the work free without loosing creator’s
ownership. And users have the right to use, copy, distribute, modify, perform, display and create derivative
works. Open content license ensures community participation in content development and distribution, and
give hype and hope for both content developers and users.
Vimal Kumar, V. "Open Licenses and Content Distribution." E-LIS: E-Prints in Library and Information
Science vol., n. (2008). pp. 19. Texto completo: http://eprints.rclis.org/12692/
Commercial content distributors prevent the free access of digital content using copyright law and
technology. Open content licenses give opportunity to publish the work free without loosing creator’s
ownership. And users have the right to use, copy, distribute, modify, perform, display and create derivative
works. Open content license ensures community participation in content development and distribution, and
give hype and hope for both content developers and users.
Xalabarder Plantada, R. "Las licencias Creative Commons: ¿una alternativa al copyright?" UOC
papers. Revista sobre la Sociedad del Conocimiento vol., n. 2 (2006). pp. Texto completo:
http://www.uoc.edu/uocpapers/2/dt/esp/xalabarder.pdf
Las licencias Creative Commons (CC) han revolucionado el ejercicio de los derechos de propiedad
intelectual en Internet. Mediante unos modelos de licencias estandarizadas, las CC facilitan que el autor
autorice el uso y la explotación de su obra publicada en Internet. El proyecto se ha entendido (y se ha
explicado) como un movimiento de oposición al copyright, pero la realidad es mucho más compleja. En este
artículo examinaremos el contexto tecnológico y normativo que explica la aparición y la ejecución del
proyecto, así como la adecuación de las licencias CC al régimen de propiedad intelectual en el Estado
español. La intención es explicar el origen del proyecto, identificar los rasgos fundamentales de las licencias
CC para entender mejor su alcance y procurar aclarar algunos malentendidos.
Yamey, G. and C. Juma "Improving Human Welfare: The Crucial Role of Open Access." E-LIS: E-
Prints in Library and Information Science vol. 29, n. 5 (2006). pp. 163-165. Texto completo:
Developing countries are increasingly improving their capacity to use scientific and technical
knowledge to solve local problems. They are investing in communication infrastructure and improving
technology policies. For such measures to be effective, those countries also need greater access to the
world’s pool of knowledge. Restrictions on access to scientific and health information are hindering progress,
particularly in the world’s least-developed countries, and are impeding efforts toward global development.
Essential information is locked away behind such barriers as journal subscription charges or individual article
download fees. Journal articles are typically subject to restrictive copyright licenses that prevent reproduction,
distribution, translation, or the creation of derivative works, all of which would help published work to be used
for innovation. These restrictions are compounded by infrastructure inadequacies and lack of incentives for
increasing the use of scientific and technologic knowledge in solving challenges in developing countries.
Zanni , A. "Wiki, Creative Commons e Open Access. Collaborare per Condividere Conoscenza." E-
LIS: E-Prints in Library and Information Science vol., n. (2009). pp. Texto completo: http://eprints.rclis.org/
17063/
The presentation introduces the Open Access movement and offers a general overview of Creative
Commons licenses. It explores the relationships among wiki and Open Access, illustrating similarities,
differences and mutual influences.
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07/05/2010 Gmail - [infodoc] Monogr: CREATIVE C…

Sergi Montes <sergi.blanes@gmail.com>

[infodoc] Monogr: CREATIVE COMMONS

Biblioteca TRDC <alar@usal.es> 7 de mayo de 2010 13:00

Monográfico CREATIVE COMMONS

Creative Commons corporation no es un estudio juridico ni provee servicios legales. La distribución

Creative Commons. Modelo de licencia Creative Commons. En publicación: Babini, Dominique;

Amelotti, E. "Protocollo OAI-PMH negli Open Archive e applicazione CDSware per la

Araya, E. R. M. and S. A. B. G. Vidotti "Direito autoral e tecnologias de informação e comunicação no

Carr, L. D. D. H. S. H. J. H. T. H. S. and C. Oppenheim "Written Evidence to 2003 House of Commons

de Laat, P. B. "Copyright or copyleft?: An analysis of property regimes for software development."

De Robbio, A. "Open access e copyright: il copyright scientifico nelle produzioni intellettuali di

Overview of the Creative Commons project.

Vercelli, Ariel (2003) Creative Commons y la Profunidad del Copyright. Enredando(enero).

Vercelli, A. "Creative Commons y la Profunidad del Copyright. Enredando(enero)." E-LIS: E-Prints in

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