I N T E R A C T I O N A N D I N T E R O P E R A B I L I T Y B E T W E E N C R E AT I V E C O M M O N S A N D O P E N S O U R C E L I C E N C E SD R A N D R E S G U A D A M U Z U N I V E R S I T Y O F S U S S E X

A P O L O G I E S

H E R E ’ S A C AT

C R E AT I V E C O M M O N S

S P E C T R U M O F R I G H T S

H U M A N - R E A D A B L E C O M M O N S D E E D

L AW Y E R -R E A D A B L E

L E G A L C O D E

M A C H I N E -R E A D A B L E

D I G I TA L C O D E

< A R E L = " L I C E N S E " H R E F = " H T T P : / /

C R E AT I V E C O M M O N S . O R G /L I C E N S E S / B Y- S A /

3 . 0 / " > < I M G A LT = " C R E AT I V E C O M M O N S L I C E N S E "

S T Y L E = " B O R D E R - W I D T H : 0 " S R C = " H T T P : / /

I . C R E AT I V E C O M M O N S . O R G /L / B Y- S A / 3 . 0 / 8 8 X 3 1 . P N G " /

> < / A > < B R / > T H I S W O R K I S L I C E N S E D U N D E R A < A

R E L = " L I C E N S E " H R E F = " H T T P : / /

C R E AT I V E C O M M O N S . O R G /L I C E N S E S / B Y- S A /

3 . 0 / " > C R E AT I V E C O M M O N S AT T R I B U T I O N - S H A R E A L I K E 3 . 0 U N P O R T E D L I C E N S E < /

A > .

C R E AT I V E C O M M O N S

Attribution: Every CC licenses allows the world to copy and distribute a work provided that the licensee credits the creator/licensor.

The author may include these other elements:

NonCommercial: licensees can use the work for non-commercial purposes.

No Derivatives: the work cannot be modified.

ShareAlike: the work can be copied, modified and distributed if the author releases the derivative under the same license.

B Y A T T R I B U T I O N

B Y - N C A T T R I B U T I O N - N O N C O M M E R C I A L

B Y - S A A T T R I B U T I O N - S H A R E A L I K E

B Y - N D A T T R I B U T I O N - N O D E R I V A T I V E S

B Y - N C - S A A T T R I B U T I O N - N O N C O M M E R C I A L - S H A R E A L I K E

B Y - N C - N D A T T R I B U T I O N - N O N C O M M E R C I A L - N O D E R I V A T I V E S

L I C E N C E S

C C 0

• Relatively new licence that works both as a dedication to the public domain, and as a full licence where it’s not permitted to relinquish copyright.

• You can’t always renounce your copyright.

C C I G O L I C E N C E

• Version 3.0 Inter-governmental Organisation Port

• Licence designed for IGOs: WIPO, World Bank, UNESCO, OECD, etc.

• Same as other 3.0 licences, but with added arbitration clause.

T O O M A N Y L I C E N C E S !

• v1 had 6 unported licences and 2 ports (Finland and Israel). 18 licences.

• v2 had 9 ports = 60 licences.

• v2.1 and 2.5 had 1 port each.

• By 3.0, I counted 267 ported CC licences, and stopped counting.

C C 4 . 0 C H A N G E S T H E G A M E

• Unprecedented consultation with affiliates around the world during 2-year drafting process

• Terminology more suitable for international use

• Analysed and addressed countless jurisdiction-specific legal issues

• Introducing official language translations

T H E O P E N S O U R C E L I C E N C E E N V I R O N M E N T

R O S E N ’ S C L A S S I F I C AT I O N

• Academic licenses: Academic licenses place no requirements whatsoever on the license user.

• Reciprocal licenses: Require some form of reciprocity, usually that any derivatives of the software be released under the same license.

• Standard licenses: They seek to create a base standard of software and documentation.

• Content licenses: Protect non-software elements, such as pictures and music.

L I C E N C E C H E C K E R S

T O P L I C E N C E S

L I C EN S E P E RC ENT GP L   COMPAT I B L E

GP L / LG P L   ( 2   &   3 ) 4 5% Y E S

N EW   B SD   /  M I T 2 2% Y E S

A PACHE   L I C EN S E 1 5% Y E S   ( G P L 3   ON LY )

A R T I S T I C   L I C EN S E   ( P E R L ) 5% Y E S   ( A L   V 2   ON LY )

M I C RO SO F T   PUB L I C   L I C EN S E   (M S -­‐ P L ) 2% NO

EC L I P S E   PUB L I C   L I C EN S E   ( E P L ) 2% NO

CODE   P RO J EC T   O P EN   L I C EN S E 1% NO

MOZ I L L A   PUB L I C   L I C EN S E   (MP L ) ~ 1% NO   ( UN L E S S   S P EC I F I E D )

Z L I B / L I B PNG   L I C EN S E < 1% Y E S

C O M PAT I B I L I T Y C H A R T

C C I N T E R O P E R A B I L I T Y

E V E N C C L I C E N C E S A R E I N C O M PAT I B L E W I T H O N E A N O T H E R

C C A N D G P L

• Big debate in the community.

• Historically, many FLOSS members strongly support CC. Lessig sat on FSF board, etc.

• FLOSS proponents usually use CC for everything that is not software.

• Compatibility talks ongoing.

D O W E N E E D C O M PAT I B I L I T Y ? C A S E S T U D I E S F R O M U S E R S• GPL game with CC content (music, images, textures, sound,

animations).

• “There is Battle for Wesnoth¹ with GPL licensed text and artwork, and Ryzoom² with cc by-sa assets.”

• “Another example for this problem becomes visible in the simplest of games: The text adventures in scripting languages. An example is the branching story in the TextRPG. Since the code imports GPL libraries, it has to be licensed under GPL. If the text were under cc by-sa, then it would have to be put into a separate file and the code would have to get a full templating system, which makes it impossible to just use the capabilities of the scripting language and the program state in the text (otherwise it would have intimate data communication again).”

S TAT E O F T H E P R O C E S S

• “Currently, developers are sometimes reluctant to integrate BY-SA content into GPL projects because of uncertainty about how the two licenses work together. Eliminating obstacles to remix between licenses so similar in aim and spirit is precisely what the compatibility mechanism in BY-SA was designed to do.”

• Conversations since Feb 2015.

I N C O M PAT I B I L I T Y 1 : AT T R I B U T I O N

C C - B Y 4 . 0 G P L 3

AT T R I B U T I O N E L E M E N T S

1. C R E AT O R A N D AT T R I B U T I O N PA R T I E S ;

2. C O P Y R I G H T N O T I C E ; 3. L I C E N S E N O T I C E 4. D I S C L A I M E R N O T I C E ; 5. U R I O R L I N K T O T H E

L I C E N S E D M AT E R I A L ; 6. L I N K T O L I C E N S E

1. C O P Y R I G H T N O T I C E 2. L I C E N S E N O T I C E S

A N D A N Y N O T I C E O F A D D I T I O N A L T E R M S

3. N O T I C E S A B O U T L A C K O F W A R R A N T Y

4. C O P Y O F T H E L I C E N S E

I N C O M PAT I B I L I T Y 2 : T P M

• BY-SA prohibits application of DRM by licensees entirely if those measures would prevent others from exercising their rights under the license.

• In contrast, the GPL does not explicitly prohibit application of DRM. Instead, it addresses any potential lockdown of licensed works by requiring distribution of source code in a modifiable form. In the software context, this is sufficient to make DRM moot because a reuser in possession of the source code may freely modify and redistribute the licensed work.

C C - B Y I S C O M PAT I B L E

• “This is a non-copyleft free license that is good for art and entertainment works, and educational works. It is compatible with all versions of the GNU GPL; however, it is not recommended for use on software.”

C C C A S E S

• Curry v. Audax (Netherlands)

• Pontevedra ruling (Spain)

• Case 09-1684-A (Belgium)

• Avi Re'uveni v. Mapa inc. (Israel)

• Gerlach v die-rechte.info (Germany)

C O N C L U D I N G …

T H A N K S@ T E C H N O L L A M A