Along with an increasing number of digital scholarships, open access became a preferred, more affordable model for scholarly communication in the US.[1] In particular, digital humanists envision a sharing culture that digital contents and tools can be widely distributed through open access licenses.[2] Creative Commons (CC) licenses, with their promise to provide simple ways to grant permissions to creative works, became top options for many digital humanities to handle intellectual property rights in the US.
However, Creative Commons is not a panacea for managing the intellectual property rights of digital scholarship. Digital humanities projects usually consist of complicated components and their intellectual property rights involve various licenses and stakeholders. With misunderstandings of intellectual property and CC licenses, many scholars are not fully aware of the implications of using CC licenses, which cannot provide legal solutions to all intellectual property rights issues. The increasingly popular application and commercialization of digital humanities projects in the US further complicate the issue.
Based on case studies and influential lawsuits involving the topic in the US, this article critically investigates the limitations of using CC licenses and recommends that academic librarians provide scholars with more sophisticated suggestions on using CC licenses as well as providing education on intellectual property rights in general.
NOTES
1. Amanda Hornby andLeslie Bussert, "Digital Scholarship and Scholarly Communication," University of Washington Libraries, accessed November 30, 2016, https://www.uwb.edu/getattachment/tlc/faculty/teachingresources/newmedia.
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3. Elizabeth Joan Kelly, "Rights Instruction for Undergraduate Students: Needs, Trends, and Resources," College & Undergraduate Libraries 25, no. 1 (2018): 1-16, https://doi.org/10.1080/10691316.2016.1275910
4. Daniel Hickey, "The Reuse Evangelist: Taking Ownership of Copyright Questions at Your Library," Reference & User Services Quarterly 51, no. 1 (2011): 9-11;âResearch Guides: Image Resources: Creative Commons Images,âCreative Commons Images -Image Resources -Research Guides at UCLA Library,accessed April 28, 2019,https://guides.library.ucla.edu/c.php?g=180361&p=1185834; âFinding Public Domain & Creative Commons Media: Images,âResearch Guides,accessed April 28, 2019, https://guides.library.harvard.edu/c.php?g=310751&p=2072816 and Harvard are two good examples.
5. Lewin-Lane et al., "The Search for a Service Model of Copyright Best Practices in Academic Libraries," Journal of Copyright in Education and Librarianship 2, no. 2 (2018): 1-24. Harvard.For example, when conducting a literature review of the copyright education in academic libraries to search for best practices, does not discuss any limitation of CC licensesin this article.
6. Zachary Katz, "Pitfalls of Open Licensing: An Analysis of Creative Commons Licensing," Idea: The Intellectual Property Law Review 46, no. 3 (2006): 391-413.
7. Eric E.Johnson,"Rethinking Sharing Licenses for Entertainment Media," Cardozo Arts & Entertainment Law Journal 26, no. 2 (2008): 391-440.
8. AurelijaLukoseviciene, "Beyond the Creative Commons Framework of Production and Dissemination of Knowledge," http://dx.doi.org/10.2139/ssrn.1973967.
9. Mashael Khayyat and Frank Bannister,âOpen Data Licensing: More than Meets the Eye,â Information Polity:The International Journal of Government & Democracy in the Information Age20 (4): 231â52, https://doi:10.3233/IP-150357.
10. Herkko Hietanen, âThe Pursuit of Efficient Copyright Licensing: How Some Rights Reserved Attempts to Solve the Problems of All Rights Reserved,â Lappeenranta University of Technology, 2008.
11. Christa Engel Pletcher Burger, âAre Publicity Rights Gone in a Flash?: Flickr, Creative Commons, and the Commercial Use of Personal Photographs,â Florida State Business Review 8(2009):129, https://ssrn.com/abstract=1476347.
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20. Phil Clapham,âAre Creative Commons Licenses Overly Permissive? The Case of a Predatory Publisher,âBioScience(2018):842-43, accessed April 20, 2019, https://doi:10.1093/biosci/biy098; Cornelius Puschmann and Marco Bastos,âHow Digital Are the Digital Humanities? An Analysis of Two Scholarly Blogging Platforms,â Plos One 10, no. 2 (2015), accessed April 20, 2019. https://doi:10.1371/journal.pone.0115035.
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25. Mark Seeley and Lois Wasoff, âLegal Aspects and Copyright-15,âin Academic and Professional Publishing, edited byRobert Campbell, Ed Pentz,and Ian Borthwick (Cambridge, UK: Elsevier Ltd, 2012), 355-83.
26. Douglas MacMillan, âFight Over Yahooâs Use of Flickr Photos,â Wall Street Journal, November 25, 2014, sec. Tech, http://www.wsj.com/articles/fight-over-flickrs-use-of-photos-1416875564.
27. âFlickr Apologizes but What About CC Abuses by Others?,â accessed December 7, 2016, http://www.artists-bill-of-rights.org/news/campaign-news/flickr-apologizes-but-what-about-cc-abuses-by-others?/.
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31. âWhy CC-BY?âOASPA.â
32. âIntellectual Property Policy,âThe Andrew W. Mellon Foundation, accessed July 28, 2019, https://mellon.org/grants/grantmaking-policies-and-guidelines/grantmaking-policies/intellectual-property-policy/.
33. âWhy Iâm Giving up on Creative Commons on YouTube,â Eddie.com, September 6, 2014, http://eddie.com/2014/09/05/why-im-giving-up-on-creative-commons-on-youtube/.
34. âCreative CommonsâAttribution 4.0 InternationalâCC BY 4.0,â accessed December 7, 2016, https://creativecommons.org/licenses/by/4.0/.
35. âWhy Iâm Giving up on Creative Commons on YouTube.â
36, âCreative CommonsâAttribution 4.0 InternationalâCC BY 4.0.â
37. âWhy Iâm Giving up on Creative Commons on YouTube.â
38. âCreative CommonsâAttribution 4.0 InternationalâCC BY 4.0.â
39. Ibid.
40. âCC Search,â accessed December 7, 2016, https://search.creativecommons.org/.
41. âCreative CommonsâAttribution-NonCommercial-ShareAlike 4.0 InternationalâCC BY-NC-SA 4.0,â accessed December 7, 2016, https://creativecommons.org/licenses/by-nc-sa/4.0/legalcode.
42. âU.S. Copyright Office Fair Use Index,âU.S. Copyright Office, accessed April 21, 2019, https://www.copyright.gov/fair-use/.
43. Ibid.
44. Ibid.
45. Jerry D Campbell,âIntellectual Property in a Networked World: Balancing Fair Use and Commercial Interests,â Library Acquisitions: Practice and Theory 19, no. 2 (1995): 179-84, https://doi:10.1016/0364-6408(95)00020-A; Igor Slabykh,âAmbiguous Commercial Nature of Use in Fair Use Analysis,â AIPLA Quarterly Journal 46, no. 3 (2018): 293-339.
46. âDefending Noncommercial Uses: Great Minds v Fedex Office,â Creative Commons, August 30, 2016, https://creativecommons.org/2016/08/30/defending-noncommercial-uses-great-minds-v-fedex-office/.
47. âPrinceton University Press v. Michigan Document Services,â Bitlaw, accessed December 7, 2016, http://www.bitlaw.com/source/cases/copyright/pup.html#IIIA.
48. Justia, âGreat Minds v. FedEx Office & Print Services, Inc,âStanford Copyright and Fair Use Center, March 21, 2018, https://fairuse.stanford.edu/case/great-minds-v-fedex-office-print-services-inc/.
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51. âThe Creative Commons and Copyright Protection in the Digital Era: Uses of Creative Commons Licenses.â
52. Ibid.
53. âCreative CommonsâAttribution-ShareAlike 4.0 InternationalâCC BY-SA 4.0,â accessed December 7, 2016, https://creativecommons.org/licenses/by-sa/4.0/legalcode#s6a.
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56. âCreative CommonsâAttribution-NonCommercial-NoDerivatives 4.0 InternationalâCC BY-NC-ND 4.0.â
57. The famous Campbell v. Acuff-Rose Music case established that a commercial parodycould qualify as fair use.
58. Katz, âPitfalls of Open Licensing,â411.
59. âProfessional Ethics,âTools, Publications & Resources, American Library Association, February 6, 2019, http://www.ala.org/tools/ethics.
60. âCreative CommonsâAttribution-ShareAlike 4.0 InternationalâCC BY-SA 4.0,â accessed December 7, 2016, https://creativecommons.org/licenses/by-sa/4.0/.
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62. âCompatible Licenses,â Creative Commons,accessed December 7, 2016, https://creativecommons.org/share-your-work/licensing-considerations/compatible-licenses/.
63. Katz, âPitfalls of Open Licensing,â391; Susan Corbett, âCreative Commons Licences,the Copyright Regime and the Online Community: Is There a Fatal Disconnect?,â The Modern Law Review 74, no. 4 (2011):506, http://www.jstor.org/stable/20869091.
64. Lawrence Lessig,âAgainst Transparency,â New Republic, October 8, 2009, https://newrepublic.com/article/70097/against-transparency.
65. âCreative Commons CEO Apologizes To Virgin MobileâStock Photography News, Analysis and Opinion,â accessed December 7, 2016, https://www.selling-stock.com/Article/creative-commons-ceo-apologizes-to-virgin-mob.
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67. âDefending Noncommercial Uses: Great Minds v Fedex Office,â Creative Commons, August 30, 2016, https://creativecommons.org/2016/08/30/defending-noncommercial-uses-great-minds-v-fedex-office/.
68. Andrea Maloneet al., âCenter Stage: Performing a Needs Assessment of Campus Research Centers and Institutes,â Journal of Library Administration 57, no.4 (2017): 406â19, https://doi:10.1080/01930826.2017.1300451.
69. Laura Gordon-Murnane,âFEATURE: Creative Commons: Copyright Tools for the 21st Century,â Information Today, accessed December 7, 2016, http://www.infotoday.com/online/jan10/Gordon-Murnane.shtml.
70. Ibid.
Originally published as âAttribution Confusionâ with the Creative Commons Attribution 4.0 International license.