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On the Philippine Commons, and then some.

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Unofficial CC Mag-Shirts

“Where can I get one of those?” was an inquiry I got when I donned heat pressed shirts, with CC newsletter cover designs (as an extension of the “remix” encouragement), during the Creative Commons Asia & Pacific Conference in Manila, Philippines last 4-7 February 2009.

Day 0Day 1
Day 2Day +

Since budget is tight for me to provide shirt giveaways, the digital files for the designs are shared herein for anyone interested to have similar shirts:

And yes, I would agree, I should have taken on a better looking model.


Source images: Day 0: AUSL-ITC/CC-PH, “”, CC BY-NC-SA 3.0 PH; Day 1: Coolbite/Erick Ocampo, AUSL-ITC/CC-PH, CCAPC09-170, CC BY-NC-SA 2.0; Day 2: Zafka/Zafka Zhang, P1010897.JPG, CC BY-NC 2.0; Day + AUSL-ITC/CC-PH, “”,, CC BY-NC-SA 3.0 PH


CC Newsletter Issue #11 Cover: “My Valentine” © 2008. Lairaja. Some Rights Reserved. Except when otherwise noted, this workis licensed under http://creativecommons.org/licenses/by-nc/3.0/ph/ This remixed image isderived from CC Philippines’ “CC-PH Technical/Documentation / AUSL-ITC” http://www.flickr.com/photos/ccphilippines/3119134071/; Mollyali’s “Long table full of revellers” http://flickr.com/photos/mollyali/3114232639/ and “Garin, Ted, and CC swag” http://flickr.com/photos/mollyali/3114232775/; Edna-photos’ “Sparklers and cake to celebrate” http://flickr.com/photos/edna-photos/3112220538/ — all under CC-BY-NC 2.0; and Tvol / Timothy Vollmer’s “CC 6th birthday party Washington DC” http://flickr.com/photos/sixteenmilesofstring/3114972778/, Creativecommoners’ “P1070155” http://flickr.com/photos/creativecommons/3115599765/, and Renata Avila’s “MBosque” http://flickr.com/photos/renata_a_pinto/3116223954/ — all under CC-BY 2.0.

CC Asia & Pacific Conference 2009

You are cordially invited to attend and participate in the regional conference of Creative Commons in Asia and the Pacific in the Philippines on 5-6 February 2009 to be hosted by the Arellano University School of Law, Lead Public Institution of Creative Commons – Philippines. The principal venue for the event will be at the Coral Ballroom of the Manila Pavillon Hotel situated at the heart of the City of Manila.

The conference aims (a) to showcase the various initiatives of Creative Commons in Asia and the Pacific and (b) for the stakeholders to get together in a forum to define the roadmap of Creative Commons in the region following the 2008 iCommons Summit in Sapporo, Japan.

The CC Asia & Pacific Conference 2009 website is available at http://cc-asiapacific.net/.

A year of CC Newsletter PDFs

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It started as a response to an open invitation in one of the last paragraphs of e-mailed newsletter from cc-info AT lists DOT ibiblio DOT org — managed by Ms. Melissa Reeder, Development Manager, Creative Commons headquarters (CC HQ) in San Francisco, California, USA — which stated “This newsletter is licensed under http://creativecommons.org/licenses/by/3.0/ — please share and remix!” (emphasis mine)

The primary motivation of CC Philippines, in the creation of the unofficial newsletter PDFs, then was that, as part of CC advocacy, the CC Newsletter might be extended to cater to those (who have Internet access) who may want to distribute the material (when printed) to those who might not have Internet access.

Coming out with a cover, incorporating the articles provided as hyperlinks in the emailed newsletter, and assembling these in a single publication — the unofficial PDF version of the CC Newsletter, for issue #5, was released by CC Philippines in February 2008. CC Philippines notified Ms. Michelle Thorne of Creative Commons International (which is based in Berlin, Germany; and to which CC Philippines reports to as per license porting), as to the existence of the said PDF version. The intent was more of a concept proposal, albeit unsolicited, through an unofficial prototype.

Not wasting the momentum available in creating the Issue #5 unofficial PDF at that time, the unofficial PDF versions for Issues #1 to 4 were created, just to complete the series, within the next couple of weeks. The completed PDFs were merely attached to the original Issue #5 post as they were subsidiary creations. Ms. Thorne reported the availability of the retroactively created PDFs on March 2008.

The development of CC Newsletter #6, starting late March 2008, brought about the active collaboration of CC Philippines in the creation of official PDF newsletters, with the intercession of Ms. Thorne. Ms. Reeder of CC HQ spearheaded the project, and since Issue #6 featured Creative Commons International (CCi), Ms. Thorne of CCi provided inputs, especially on the articles related to CCi. CC Philippines provided the cover and the initial layout, while Mr. Alex Roberts of CC HQ modified the draft publication and finalized the PDF. Issue #6 was released on April 2008.

Issue #7 (June 2008) featured Science Commons, with additional inputs provided by Kaitlin Thaney and Ani Sittig. Issue #8 (August 2008) featured Culture Commons. Both issues followed the development similar to Issue #6.

Ms. Allison Domicone, Development Assistant at CC HQ, was introduced as the primary coordinator of the CC Newsletter by late August 2008. Issue #9 (October 2008) featured the 2008 Creative Commons fundraising campaign “Build the Commons.” Mr. Roberts provided both the final cover and final layout of the said issue.

Recently, a new format was initiated by CC HQ, with CC Philippines collaborating in the draft layout, debuting with Issue #10 (December 2008), featuring ccLearn.

With the release of the tenth issue, CC Philippines has been in pace with six bi-monthly releases of the CC Newsletter, five officially, concluding the first annual cycle of its participation in such endeavor. It continues to look forward in contributing to the next ones.

Creative Commons newsletters are posted to the CC Weblog. For back issues please visit http://wiki.creativecommons.org/CCNewsletter.


Endnotes

  1. Issue #1: “Mainstream?” © 2008. Berne Guerrero. Some Rights Reserved. Except when otherwise noted , this work is licensed under http://creativecommons.org/licenses/by/3.0/ph/ This remixed image includes images from deeners/Dino Laurel, “Tattoo Outline” http://www.flickr.com/photos/dinolaurel/160580125/; Fractal Artist/Cheryl, “011 Inside of Pottery Bowl Close-up” http://www.flickr.com/photos/8720628@N04/2188745824/; Katmere/Kate Mereand, “Grafitti/Art/Mural” http://www.flickr.com/photos/katmere/89080470/ and “Dentist Safari” http://www.flickr.com/photos/katmere/89072187/; eva101/eva, “Brooklyn grafitti” http://www.flickr.com/photos/evapro/347812641/; all under CC BY 2.0 licenses. []
  2. Issue #2: “c-Flame” © 2008. Berne Guerrero. Some Rights Reserved. Except when otherwise noted , this work is licensed under http://creativecommons.org/licenses/by/3.0/ph/ This remixed image includes images (all CC BY 2.0) from quatro.sinko, “Ring of Fire” http://www.flickr.com/photos/93932066@N00/718320900/, “Medieval Fortifications” http://www.flickr.com/photos/93932066@N00/557485013/, and “Getting the brainstorming juices flowing” http://www.flickr.com/photos/93932066@N00/557484809/; creativecommoner/Creative Commons - SF HQ, http://www.flickr.com/photos/creativecommons/556069232/, http://www.flickr.com/photos/creativecommons/645836136/, http://www.flickr.com/photos/creativecommons/644972127/, “DSC03543″ http://www.flickr.com/photos/creativecommons/559583784/, “Lawrence Lessig, CEO, Creative Commons” http://www.flickr.com/photos/creativecommons/559982955/, “Eva!” http://www.flickr.com/photos/creativecommons/556070572/, “Fouad Bajwa, Creative Commons Pakistan” http://www.flickr.com/photos/creativecommons/559947441/, “Karien Bezuidenhout, Shuttleworth Foundation” http://www.flickr.com/photos/creativecommons/559601404/”, “Grete Pasch” http://www.flickr.com/photos/creativecommons/559950765/, “Joanne Boulle, Free High School Science Texts” http://www.flickr.com/photos/creativecommons/559582586/, “Michelle Thorne, CCi & Mount Holyoke Collge” http://www.flickr.com/photos/creativecommons/569811553/, “Fumi Yamazaki, Technorati Japan” http://www.flickr.com/photos/creativecommons/559982007/, “Mark Surman” http://www.flickr.com/photos/creativecommons/559583334/, “Neeru” http://www.flickr.com/photos/creativecommons/559951617/, “Gustavo Rodriguez, Cultura Libre, Creative Commons Venezuela” http://www.flickr.com/photos/creativecommons/559603880/, “Yueh Hsin Chu, Pig Head Skin, Taiwan” http://www.flickr.com/photos/creativecommons/559984489/, “Russel John, Creative Commons, Bangladesh” http://www.flickr.com/photos/creativecommons/559983651/ “Mavzuna Abdurakhmanova, OSI Tajikistan” http://www.flickr.com/photos/creativecommons/559581258/, “Nathaniel Stern, Artist in Residence” http://www.flickr.com/photos/creativecommons/559602626/, “Tommy, a fabulous host” http://www.flickr.com/photos/creativecommons/569367838/, “Joichi Ito, Chair of Creative Commons Board” http://www.flickr.com/photos/creativecommons/559604490/, and “Ronaldo Lemos, Fundacion Getulio Vargas, Brazil” http://www.flickr.com/photos/creativecommons/559582270/; all under CC BY 2.0 licenses []
  3. Issue #3: “Publicity Rights?” © 2008. Berne Guerrero. Some Rights Reserved. Except when otherwise noted , this work is licensed under http://creativecommons.org/licenses/by-sa/3.0/ph/. This remixed image includes images from Cover: Guerrero, Berne. CC BY-SA 3.0; Grevel/Greta PPP, “shyness is nice” http://www.flickr.com/photos/gre/16460056/; ibanda, “Another creative commons ‘remix’” http://www.flickr.com/photos/ibanda/19324960/; burnstation-cordoba, http://www.flickr.com/photos/burnstation-cordoba/1100301540/ and http://www.flickr.com/photos/burnstation-cordoba/1099864159/; esenabre/Enric senabre, “Creative Commons Remix Party” http://www.flickr.com/photos/esenabre/1364711129/; dmcdevit, “Joi Ito at Wikimania” http://www.flickr.com/photos/dmcdevit/1186753657/; aksi_great, “DCP_3293″ http://www.flickr.com/photos/43964938@N00/1096724762/; vlidi, “IMG_0346_w.jpg” http://www.flickr.com/photos/vlidi/1017132608/ bovinity/alex roberts, “CC Salon - September” http://www.flickr.com/photos/bovinity/1326389791/, and “CC Stickers” http://www.flickr.com/photos/bovinity/1327285400/; all under CC BY-SA 2.0 licenses. []
  4. Issue #4: “Wrapped” © 2008. Berne Guerrero. Some Rights Reserved. Except when otherwise noted , this work is licensed under http://creativecommons.org/licenses/by/3.0/ph/. This remixed image includes images from cambodia4kidsorg/Beth Kanter, “Another Year, Another Creative Commons T-Shirt for Two Photo” http://www.flickr.com/photos/cambodia4kidsorg/2042494522/; null0 / Roland Dobbins, http://www.flickr.com/photos/null0/271915844/; psd / Paul Downey, “Openness and Collaboration” http://www.flickr.com/photos/psd/1805374441/ and “Towers of WS-Babel” http://www.flickr.com/photos/psd/1805565187/; tvol/Timothy Vollmer, “Creative Commons & Fedora @ LinuxWorld 2007″ http://www.flickr.com/photos/sixteenmilesofstring/1042922132/ and “Creative Commons & Fedora @ LinuxWorld 2007” http://www.flickr.com/photos/sixteenmilesofstring/1042952050/; calu777/Carlos Correa Loyola, “Creative Commons Ecuador a cargo de Juan José Puertas” http://www.flickr.com/photos/calu777/2055304056/; and creativecommoner/Creative Commons - SF HQ, “Mike, Michelle, and Patricia” http://www.flickr.com/photos/creativecommons/1466831407/; all under CC BY 2.0 licenses. []
  5. Issue #5: “No. 5” © 2008. Berne Guerrero. Some Rights Reserved. Except when otherwise noted, this work is licensed under http://creativecommons.org/licenses/by/3.0/ph/ This remixed image includes images from Patzig, Franz, “CC Birthday Party Berlin.” http://flickr.com/photos/franzlife/2116478152/ and http://flickr.com/photos/franzlife/2116594556/; Laihiu / Ryanne lai hiu yeung, “creative commons HK legal team!” http://flickr.com/photos/laihiu/2226441456/; kaerubsd / Khairil Yusof, “Norbert, Dave and Minh Do” http://flickr.com/photos/57634952@N00/2213146511/; all under CC BY 2.0 licenses; and Creative Commons http://wiki.creativecommons.org/Image:Cc_five_years.png under CC BY 3.0 license. []
  6. Issue #6: “Airborne.” © 2008. Berne Guerrero. Some Rights Reserved. Except when otherwise noted, this work is licensed under http://creativecommons.org/licenses/by/3.0/ph/. This remixed image includes images from glutnix / Brett Taylor “Cooing Commons” http://www.flickr.com/photos/glutnix/2079710471/ and paparutzi / Christina Rutz, “hot air balloon” http://www.flickr.com/photos/paparutzi/1994353606/; all under CC BY 2.0 licenses. []
  7. Issue #7: “Slides” © 2008. Berne Guerrero. Some Rights Reserved. Except when otherwiase noted , this work is licensed under http://creativecommons.org/licenses/by/3.0/ph/. This remixed image includes images from xmatt/Matthew Hine, http://flickr.com/photos/hine/162772082/; duckmackay, http://flickr.com/photos/23230806@N05/2316697574/, http://flickr.com/photos/23230806@N05/2315888701/, http://flickr.com/photos/23230806@N05/2315889059/, http://flickr.com/photos/23230806@N05/2315888537/, http://flickr.com/photos/23230806@N05/2316698336/, and http://flickr.com/photos/23230806@N05/2316697894/; kevinzim / Kevin Walsh, http://flickr.com/photos/86624586@N00/10175738/, and http://flickr.com/photos/86624586@N00/10178578/; absolutwade / Beau Wade, http://flickr.com/photos/absolutwade/86353287/; FreaksAnon, http://flickr.com/photos/benbengraves/164677535/; burge5000 / Peter Burgess, http://flickr.com/photos/burge5000/22608723/; ComputerHotline / Thomas Bresson, http://flickr.com/photos/computerhotline/2367979507/, http://flickr.com/photos/computerhotline/2367980339/, and http://flickr.com/photos/computerhotline/1570945226/; CULTIVARTE / Andres Felipe Quiroga Striedinger, http://flickr.com/photos/cultivarte/2293001035/; mdxdt, http://flickr.com/photos/dxdt22/254030610/, and http://flickr.com/photos/dxdt22/315745462/; jim 5 / Jim Rudnicki, http://flickr.com/photos/hangar5/514358295/, and http://flickr.com/photos/hangar5/514400319/; chromalux / michael, http://flickr.com/photos/impossible/1211227322/; kaeau / Ka Lodger, http://flickr.com/photos/kaeau/31336163/; kaibara87, http://flickr.com/photos/kaibara/2234750993/, and http://flickr.com/photos/kaibara/2520908714/; mattcyp88 / Matthew, http://flickr.com/photos/mattcyp88/503262705/; Rosa Menkman, http://flickr.com/photos/r00s/1465180742/, http://flickr.com/photos/r00s/1465182196/, http://flickr.com/photos/r00s/1465181138/, http://flickr.com/photos/r00s/1464325997/; snickclunk, http://flickr.com/photos/snickclunk/202909801/; NatureFreak07 / Tonio H., http://flickr.com/photos/tonios-pics/387510817/; all under CC BY 2.0 licenses. []
  8. Issue #8: “Traced.” © 2008. Lairaja. Some Rights Reserved. Except when otherwise noted, this work is licensed under http://creativecommons.org/licenses/by/3.0/ph/. This remixed image incorporates the image of Joi Ito, “tiles” http://flickr.com/photos/joi/1734721/) and elements derived from the works of Michael Schamis, “Constantine Maroulis of The Wedding Singer” http://flickr.com/photos/michael_schamis/240161156/; Pedro Simões, “Street Painter” http://flickr.com/photos/pedrosimoes7/190673196/; dbking, “US Supreme Court” http://flickr.com/photos/bootbearwdc/37621686; and Joi Ito, “Alexandre” http://flickr.com/photos/joi/2723077409/, “The amazing video duo” http://flickr.com/photos/joi/2723880372/, “Thomas the Guitar Hero” http://flickr.com/photos/joi/2694771733/, and “Michelle Thorne” http://flickr.com/photos/joi/559566738/; all under CC BY 2.0 licenses. []
  9. Issue #9: Cover: “Building the Commons II” © 2008 Alex Roberts, based on “Building the Commons” by Lairaja licensed under http://creativecommons.org/licenses/by-sa/3.0/ph. Some Rights Reserved. Except when otherwise noted, this work is licensed under http://creativecommons.org/licenses/by-sa/3.0/. This remixed image incorporates Creative Commons’ Support page elements (http://support.creativecommons.org/), tanakawho (“At a construction site (orange sky)” http://flickr.com/photos/28481088@N00/246357466/), Daniel Morris (“Construction” http://flickr.com/photos/danielmorris/298268975/), jerine (“Singapore Skyline” http://flickr.com/photos/jerine/2597371279/), and 100kr (“Grass 01” http://flickr.com/photos/100kr/209708058/); all under CC BY 2.0 licenses. []
  10. Issue #10: “Photo text” © 2008. Lairaja. Some Rights Reserved. Except when otherwise noted, this work is licensed under http://creativecommons.org/licenses/by/3.0/ph/. This remixed image incorporates Creative Commons newsletter article (see pages 3 to 5 of Issue #10), under Creative Commons Attribution 3.0 license; the ccLearn logo; and Gavin Baker / naufragio (“The XO Inspires” http://flickr.com/photos/naufragio/635759795/), and Alexandre Duret-Lutz / gadl (“Bookshelves” http://flickr.com/photos/gadl/91539531/), both under CC BY 2.0 licenses. []

“I love you, brother”

The talents of others can radiate through the utilization of another’s work. Discussions on creativity, sometimes, can be dampened by serious considerations on legal matters involving copyright, enforcement of such, and appropriate licensing. Coming from a legal background, I would, even in the temptation to advocate strongly on issues on licensing, rather pause to share certain developments involving a proprietary work of a Filipino circulated as part of pop culture.

Renaldo Lapuz auditioned during the 7th season of the US talent show “American Idol,” at Dallas, Texas, by singing his composition “We’re Brothers Forever.” He also sang during the show’s Finale on 21 May 2008.

Renaldo Lapuz’ website reports of a “We’re Brothers Forever Remix contest,” determining therein the “Best Renaldo Remix in the Entire WORLD.”

Remixes of the song “We’re Brothers Forever” can be found liberally over the Internet, including those by JustinB, and the one determined by the Lapuz site as the best one, that of The Brotherhood. My personal favorites, however, include those by Eliot Bronson and Alina.

It would have been implied that some form of licensing has been involved in the said contest. At present though, I am unsure what the terms of such would have been.1

Congratulations, Mr. Lapuz! Kudos also to those who made brilliant remixes of the catchy, albeit raw, composition. I am immensely entertained.


  1. The lack of specific stipulations sometimes prevents me from participating in certain endeavors — not music but graphic arts for example — so as to avoid [re]experiencing the depreciation of an initial genial collaboration in case un-altruistic interests would develop into primordial concerns. []

Is Creative Commons anti-copyright?

Is Creative Commons anti-copyright? It is a question that is normally proffered, considering the rationale of Creative Commons licenses departs from strict control of copyright rights and leans toward the legal sharing, reuse, and remixing of copyrighted works. The reality of the matter is that Creative Commons cannot be anti-copyright — in the context towards the negation of the protection of rights under Copyright laws.

Creative Commons licensing does not try to wrestle from the copyright owner the rights thereof so as to allow the sharing of copyrighted works to the public. Neither does Creative Commons coerce anyone to share their works to the public. What Creative Commons licensing provides is an avenue for the copyright owner to allow sharing of his copyrighted works to the public through standardized forms of permission, attached to the work itself so as to release the copyright owner from individually granting licenses to those who would request permissions, if he/she desires so. Clearly then, one has to be the copyright owner to validly license (which is non-exclusive licensing) a work to others using Creative Commons licenses.

Copyright laws provide provisions tackling exclusive licensing and assignments of copyright. Permission requirements are implied in their provisions, since rights are explicitly reserved to the copyright owner, and the common mode is explicit permission requests to the copyright owner. Copyright laws, however, are silent as to the mechanism for a copyright owner to grant permissions as embedded in the work itself.

The usual resort, on this point, is for the copyright owner, who is willing to share his/her work in such a manner, would muster a few sentences as to his intent. This could prove to be vague when the meaning of such stipulations become in focus later on, especially when the manner of the use of such work becomes contentious. The problem with vague stipulations, however, is that it inures against the one who has provided for the doubt in the intent of such stipulations, i.e. ironic it may seem, doubt inures against the permission provider not the grantee.

The next option is for the permission to be drafted by a lawyer to flesh out one’s intent accurately in legal terminology. If gratuitous legal services are unavailable or the intent is to resort to commonly used permission schemes to allow interoperability of autonomous permissions, the other option is alternative licensing. Alternative licensing provides for lawyer-drafted instruments that could embody the allowance and limitations in the use of such work to flesh out such intent.

The unported/generic Creative Commons licenses use the terminologies and the tenor of copyright treaties (such as the Berne Convention for the Protection of Literary and Artistic Works [as amended on September 28, 1979], the Rome Convention of 1961, the WIPO Copyright Treaty of 1996, the WIPO Performances and Phonograms Treaty of 1996 and the Universal Copyright Convention [as revised on July 24, 1971]) in their stipulations. The Philippine ported licenses use the terminologies and tenor of the Philippine Intellectual Property Code (Republic Act 8293) and the Civil Code of the Philippines (Republic Act 386). If Creative Commons is anti-copyright, it would negate the efficacy of its licenses.

To share, reuse and remix legally; one has to observe the law, whether they may be under statutory provisions or contractual stipulations.

Creative Commons cannot be anti-copyright.

Creative Commons icons and the protection of works

There is a mistaken notion that Creative Commons icons (such as the one on the right sidebar) provides for the positive act to protect copyrighted works.

The truth of the matter is that copyright laws protect the copyrighted work. Section 172.2 of Republic Act 8293 or the Intellectual Property Code of the Philippines provides that “Works are protected by the sole fact of their creation, irrespective of their mode or form of expression, as well as of their content, quality and purpose.” By the fact of creation, works created are ipso facto protected by copyright laws. Registration, as required by Section 191 thereof1 merely provides for the best evidence as to the right of one person over a work (and, of course, avoids the penalties, if any, imposed as a result of non-compliance of Section 191).

Providing a Creative Commons license on one’s website or one’s work would indicate that the owner of the site or of the work is allowing any person, who would come across the website or work, permission to use the work according to the terms the owner has specified. Contrary to expectations towards consolidating one’s copyright (”All Rights Reserved”), it actually indicates permission in sharing but with “Some Rights Reserved.”

Nevertheless, it would be similarly erroneous to claim that Creative Commons licensing does not protect the copyright of works. Since the work is merely licensed (non-exclusively) and not dedicated as part of public domain, certain rights of the license under copyright law remain intact. The parameters of which rights are not waived are provided in the conditions imposed in the Creative Commons license. Further, since the license serves as a contract according to the Philippine-ported licenses (or in the terminology of the Unported license and other jurisdictional license: “to the extent this license may be considered to be a contract,”), besides the benefits of protection based on the copyright law, it shares the benefit of protection based on the laws on contracts.


Endnotes

  1. Section 191. Registration and Deposit with National Library and the Supreme Court Library. - After the first public dissemination of performance by authority of the copyright owner of a work falling under Subsections 172.1, 172.2 and 172.3 of this Act, there shall, for the purpose of completing the records of the National Library and the Supreme Court Library, within three (3) weeks, be registered and deposited with it, by personal delivery or by registered mail two (2) complete copies or reproductions of the work in such form as the directors of said libraries may prescribe. A certificate of deposit shall be issued for which the prescribed fee shall be collected and the copyright owner shall be exempt from making additional deposit of the works with the National Library and the Supreme Court Library under other laws. If, within three (3) weeks after receipt by the copyright owner of a written demand from the directors for such deposit, the required copies or reproductions are not delivered and the fee is not paid, the copyright owner shall be liable to pay a fine equivalent to the required fee per month of delay and to pay to the National Library and the Supreme Court Library the amount of the retail price of the best edition of the work. Only the above mentioned classes of work shall be accepted for deposit by the National Library and the Supreme Court Library. []

Unported viz Philippine ported license

Eugene Villa posted an inquiry, to wit: “Are the ported licenses the same thing as the unported licenses but only reinterpreted for the Philippine legal system or are they two completely different licenses?” on “Why use Creative Commons Philippine licenses?” The follow up questions provide that “[S]uppose I license a piece of creative work under the unported CC-BY-SA-3.0 license[, d]oes this mean that I have also licensed it under the Philippine CC-BY-SA-3.0 ported license when the work is used in the Philippines? Or do I have to specifically say that I also license it under the Philippine license for my intended licensing use to be enforced in the Philippines?


I could answer the first question in an imperfect analogy of “twins.” Are they same? It would be a yes and a no. On the other hand, I could answer the subsequent question with another question such as “Why not shift to a CC BY-SA 3.0 Philippines license instead of maintaining the Unported one?” But then again, it would not help anyone for me to provide such simplistic answers, as they would not answer the question “Why?”


Let’s have again an overview of Creative Commons Unported/Generic licenses. Creative Commons Unported/Generic licenses are jurisdiction-agnostic. They do not mention any particular jurisdiction’s laws or statutes or contain any sort of choice-of-law provision. The licenses (before version 3.0) are based on the U.S. Copyright Act in many respects. The version 3.0 licenses, on the other hand, utilizes the terminologies of the Berne Convention for the Protection of Literary and Artistic Works (as amended on September 28, 1979), the Rome Convention of 1961, the WIPO Copyright Treaty of 1996, the WIPO Performances and Phonograms Treaty of 1996 and the Universal Copyright Convention (as revised on July 24, 1971), and contains stipulations are generally made, and which may or may not necessarily applicable according to a certain jurisdiction’s law. Although there is no reason to believe that the licenses would not function in legal systems across the world, it is at least conceivable that some aspects of Creative Commons licenses will not align perfectly to a particular jurisdiction’s laws.1

Due to the reality articulated in the immediately preceding sentence above, Creative Commons embarked on an internationalization project, which includes a porting process, to ensure that Creative Commons licenses are enforceable in specific jurisdictions, as well as globally. It has been proffered that the Unported licenses serve two purposes. One, the unported licenses may be the actual licenses used by any licensor (copyright owner) around the world, especially if their jurisdiction has not released any jurisdictionally ported licenses yet, as what was the case in the Philippines prior to 15 December 2007. On the other hand, the unported licenses may also serve as a template for Creative Commons jurisdictional affiliates to develop jurisdictionally specific (ported) licenses which are consistent and compliant with the terminologies and mechanics of that specific jurisdiction’s laws, as what the Philippine affiliates did. Needless to say, the porting process involved a conscious balance between (1) maintaining the context of the generic licenses (especially as to matters of permissions and limitations in the legal code) so that the resulting jurisdictional licenses may interoperate with the unported licenses and other jurisdictional licenses, and (2) the proper alignment of the stipulations according to the jurisdiction’s laws to ensure their enforceability in said jurisdiction and elsewhere through treaty obligations. Creating a jurisdictionally ported license does not negate the applicability of the unported license in that jurisdiction.

Answering the questions

For the purpose of clarity and distinction, it might be convenient to paraphrase the first question into “Are the ported licenses (including the Philippine ported one) identical (or same) to the unported/generic license?“; the answer of which is no. On the other hand, “Are the ported licenses (including the Philippine ported one) equivalent or similar (or same) to the unported/generic license?” The answer is yes. The licenses are not the same, in the context that they are not identical. Porting the Creative Commons license according to Philippine laws did not merely require a translation of the terms of the unported licenses to be consistent with the terminologies of Philippine copyright law, nor involved a mere translation of the unported licenses in a local Philippine language. The end results of a mere translation would have been identical licenses, and a better understanding of the unported licenses but without necessarily approximating a perfect alignment of the licenses to a particular jurisdiction’s laws so as to ensure its full enforceability, which is a drawback in the practical sense of licensing. The ultimate aim is to allow the full enforcement of the licenses with the least difficulty in explaining the stipulations. On the other hand, licenses are the same, in the context that they are equivalent. The Philippine-ported Creative Commons license, are equivalent to the unported licenses and other jurisdictional licenses (following the balance in the porting process as stated above). Authors of works licensed under CC BY-SA 3.0 Unported can be enforced in the Philippines, although there may be a need to substantiate the applicability of a stipulation or the meaning of a certain terminology if such are not aligned with Philippine laws. The CC BY-SA 3.0 Philippines can provide clues as to the applicability of the unported stipulation(s) and the meanings of terminologies found in the unported license. This answers a subsequent paraphrased question, “Suppose I license a work under CC BY-SA 3.0 Unported, can I enforced the same in the Philippines, even if I have not license it under a CC BY-SA 3.0 Philippines license?“l the answer of which is yes.

Expounding the subsequent questions still, it can be paraphrased into “Suppose I license a work under CC BY-SA 3.0 Unported, do I need to licensed it concurrently as CC BY-SA 3.0 Philippines?” The answer is no. Multiple licensing under equivalent terms may be awkward for the licensor. The licensor usually licenses his work globally, and he might find it tedious to license his work with the latest unported license, the Philippine-ported license, and forty-three (43) other jurisdictional licenses (and counting) to ensure enforceability in each and every jurisdiction. Further, it might be confusing for the licensee to abide to multiple licenses especially if there are nuances in the chosen concurrent licenses and the licensee may, in the end, choose a concurrent license beneficial to him (and perhaps prejudicial to the licensor) in any claims against his use of such work. I think the other solution is to license it according to the terms of a jurisdictional license (to peg the jurisdictional laws in which one claims his right over the work and right to transact with another in such a manner), like the Philippine-ported one, and rely upon the mechanics of copyright law and treaty obligations to enforce one’s right in most jurisdictions. Again, there is no mandatory obligation to use jurisdictionally ported licenses in lieu of unported or generic ones, although if the jurisdiction — in which the licensor belongs in — has already ported the licenses according to the jurisdiction’s laws, a shift towards jurisdictionally ported license is recommended.

On the other hand, “Suppose I license a work under CC BY-SA 3.0 Unported, did I, in effect, licensed it under the precise terms of CC BY-SA 3.0 Philippines (since CC BY-SA 3.0 Philippines is available), if the work is used and the rights in the license are to be enforced in the Philippines?” The answer is no. Corollarily, “Can I use the terms of the CC BY-SA 3.0 Philippines as the real terms of the license when enforcing CC BY-SA 3.0 Unported in the Philippines? The answer is no. The terms of the unported licenses and the Philippine-ported licenses are not identical. The licensee can only be bound by the specific terms in which he has agreed on. Since inevitably there would be doubts as to the proper terminology and applicability of certain stipulations of the licenses, which are not aligned to a specific jurisdictional law, doubts may inure to the benefit of the licensee, especially if the licensor is not allowed by the court to clarify the context of the parties’ intent in agreeing to the license in question. Hence, to the paraphrased question “Can I use the terms of the CC BY-SA 3.0 Philippines to explain the terms of the CC BY-SA 3.0 Unported according to the context of Philippine law? “; the answer is a qualified yes, i.e. if parol evidence can be presented as an exception to the best evidence rule under Philippine Rules of Court.2 That could be legalese, but it merely means that circumstances might persuade the court to allow the introduction of evidence if the letter of the agreement is unclear or does not encapsulate accurately the actual intent of the parties.


Endnotes

  1. With reference to texts found in http://creativecommons.org/international/ []
  2. See Section 9 of Rule 130, http://www.supremecourt.gov.ph/rulesofcourt/RULES%20OF%20COURT.htm#rule_130. []

Who/what protects you in CC license violations?

Jim provided the following inquiries and comment. “If a Creative Commons License is violated here in the Philippines, who gets to represent the holder of that license? The Philippines is not exactly known for respecting intellectual property. What’s there to assure individuals or groups who publishes under the Creative Commons that they will get protection for their work?” at the Philippine Internet Review website, as per comments on the article “Philippine Commons Empowers Content Creators”.


Any violation of any intellectual property rights, whether “All Rights Reserved” or “Some Rights Reserved,” are pursued through the usual methods provided by law (RA 8293), with due regard to international treaties if the violation is transnational. A copyright owner (as well as work licensor under Creative Commons [as he/she in fact is a copyright owner]) is usually represented by his/her own counsel of choice to enforce his claim through legal means, including resort to the courts. If there would be questions to the interpretations of the Creative Commons licenses here in the Philippines, the Creative Commons affiliates here can collaborate with the attending counsel or the court itself (as amici curiae), as to this particular aspect.

The law on intellectual property and the law on contract provide for the mechanism for the protection of the work and the licensor’s intent, respectively. Upon practical deduction, however, even if these laws are in place, these do not ensure that there would be no instance of violations of such laws or of anyone’s rights. The laws merely provide for the protection for the above, and the reliefs in case of violations thereof.

Significantly, the introduction of Web 2.0 technologies has diffused the options in the creation and publication of works. This development provides awareness on intellectual property issues since the masses, as alternative content providers, now consider the repercussions involving the use of their own works by others. Alternative licensing, like Creative Commons licensing, provides an additional dynamics in the interplay of alternative and mainstream content providers — suppletorily increasing the awareness on intellectual property as well on contracts themselves.

I would assume that the comment regarding “[t]he Philippines is not exactly known for respecting intellectual property” is non-exclusive conclusion since such could be similarly proffered against other jurisdictions; and would touch on a vein of truth similar to a sweeping statement that “the Philippine government is not exactly known for respecting international contracts and agreements.” Nevertheless, I believe that such statements should not be self-defeating conclusions but that avenues and alternatives be made available to depart from such situations. Fostering a culture of respect is primordial, and we [in Creative Commons Philippines] could contribute to such in our own way, i.e. through alternative licensing. We hope that [anyone] can also offer possible solutions to cultivate such culture.

The term “license”

The term “license” provides a minor confusion in the Philippines when one talks about Creative Commons licenses, in light of the attached meaning of “license” in ordinary legal dealings.

CC License != permit

When one talks about licenses in the Philippines, the first thing that comes to mind would be government permits. Since one needs a license to pursue a regulated profession, a license to pursue business, a license to drive on Philippine roads, and so on; one has to go to the government to procure a license before one can pursue a particular regulated task. In case the government is not involved in the dispensation of certain licenses, the power of a certain non-governmental organizations is sometimes recognized to provide for the same. Particularly significant, for example, is the license necessary to mark certain food packages to be Halal compliant, as provided by the Office on Muslim Affairs.

It is not unusual thus to be confronted with a question, about Creative Commons licenses, made in the following fashion: “Where do I register so that I can use Creative Commons licenses?”

CC License = Your permission

The licenses of Creative Commons are more in the nature of written permissions, rather than in the nature of formal permits. No one is required to register with Creative Commons to use Creative Commons licenses (including their visual buttons and links) to mark shared works. Creative Commons licenses are provided by Creative Commons — as standardized permission documents which are human, lawyer, and machine-readable — to enable people who are willing to share their works to the community towards the “Some Rights Reserved” direction (as against locking them under “All Rights Reserved,” and short of fully dedicating them into the public domain).1

Significantly, thus, the distinction lies in the central actor in permits and permissions. Empowerment cascades in permissions.

CC PH license = contract between licensor and licensee

The Philippine-ported Creative Commons licenses are treated as contracts2 unlike in the unported license, which admits that its applicability relies on “To the extent this license may be considered to be a contract.” The reason for the exclusion of this clause in the Creative Commons Philippine-ported license was the fact that the Philippines follows civil law rather than common law. Supreme Court decisions do not extend the law but merely form part of the legal system of the Philippines3 Further, there are only five sources of obligations in the Philippines: law, contract, quasi-contract, delict and quasi-delict. The obligations of the licensee, in complying with the license, cannot attach unless the document is deemed to be a contract.


  1. The Creative Commons website provides, in part, that “Creative Commons provides free tools that let authors, scientists, artists, and educators easily mark their creative work with the freedoms they want it to carry. You can use CC to change your copyright terms from ‘All Rights Reserved’ to ‘Some Rights Reserved.’ We’re a nonprofit organization. Everything we do — including the software we create — is free.” []
  2. Subsection “The Creative Commons Philippine-ported licenses” in Why use Creative Commons Philippine licenses? []
  3. Article 8, Republic Act 386 (Civil Code of the Philippines) provides that “Judicial decisions applying or interpreting the laws or the Constitution shall form a part of the legal system of the Philippines.” []

The path towards Creative Commons Philippine licenses, and why use them?

Creative Commons and Creative Commons licenses

When the initial Creative Commons licenses (version 1.0) were introduced in December 2002, the licenses were based on United States (US) copyright law. These licenses, although based on US copyright law were referred to as “generic” inasmuch as they do not specify a specific jurisdiction or governing law that would apply in the interpretation of the licenses. By the end of 2003, Creative Commons embarked in the internationalization of the licenses, by porting the generic licenses according to the applicable laws in different jurisdictions around the world.1 Considering the feedbacks that were gathered after the release of version 1.0, version 2.0 was released (Some of the changes were: Attribution becomes standard; the Link-back attribution was clarified, the Synch rights was similarly clarified, and other music-specific rights were likewise clarified; Warranties were left to licensors; and emphasis was made on Share-Alike, i.e. that it is Share Alike Across Borders; and that BY-SA and BY-NC-SA are not compatible.) on May 2004. Version 2.5 was released on June 2005, to provide a modification in the attribution clause.

Considering that the generic licenses are based on US copyright law, and in light of an internationalization process, there was a quandary as to the status of the “generic” licenses. The solution was to convert the “generic” licenses as the United States ported licenses; while the “generic” licenses have to be recrafted to utilize the language of the international intellectual property / copyright conventions or treaties. Version 3.0 “Unported” (departing from the term “generic”), which was released on February 2007, relied upon the language of the Berne Convention for the Protection of Literary and Artistic Works, Rome Convention of 1961, the WIPO Copyright Treaty of 1996 , the WIPO Performances and Phonograms Treaty of 1996, and the Universal Copyright Convention.2

Creative Commons Philippines

Creative Commons Philippines (CC-PH) began on 2 March 2005 with the signing of the iCommons MOU and the designation of Atty. Jaime N. Soriano, CPA, MNSA, as Legal Project Lead. The Arellano University School of Law, where he sits as Executive Director of the e-Law Center, is the lead public institution. The first draft of the cc-ph license, as part of the porting process, was officially submitted to Creative Commons International on 27 April 2005 and appeared on or about 27 May 2005 on-line at the Creative Commons website as a project jurisdiction. The Philippines participated in the 1st iCommons Summit in Harvard Law School in June 2005. Since then, it has also collaborated with Atty. JJ Disini and Atty. Rissa Ofilada of the College of Law (Internet & Society Program) of the University of the Philippines, in elation to the porting process. For a year, the legal project lead has pre-occupied himself with the public discussion of the first draft of the cc-ph license and the propagation of the rationale and the working principles behind Creative Commons before the legal community and some groups of artists in the country.3 When the unported version 3.0 was released, and since version 3.0 revision was substantial,4 the Philippine porting process was reinitiated by late March 2007. The ported Creative Commons Philippine licenses were made consistent to the provisions of the Philippine Intellectual Property Code (Republic Act 8293) and the Civil Code of the Philippines (Republic Act 386). The result was the Philippine ported licenses, which became live on 15 December 2007 and which were publicly launched on 14 January 2008.

The Creative Commons Philippine-ported licenses

The effect of the porting process was to make the terminologies found in the “unported” or generic version consistent with the terminologies of the Philippine law so as to make the license, which is to be treated as a contract (This was made to remove any doubt as to the nature of the document to assure its enforceability; since there being only five sources of obligations here in the Philippines: law, contract, quasi-contract, delict and quasi-delict. The licenses, considering their true nature, are not laws or government regulation that could lose jurisdiction outside the Philippine territory.), enforceable in Philippine courts, especially in case the licensor’s rights are violated by non-compliance of the terms of the license by the license user or licensee. If the unported or generic licenses are the ones used, they remain to be enforced in the Philippines as the Philippines is a signatory of the treaties in which the licenses are based, but one has to explain the correlation of the terminology found in the unported licenses with the terminologies found under the Philippine Intellectual Property Code. Further, there may be other stipulations in the unported licenses, which are taken too broadly to allow the unported licenses to serve as templates for various jurisdictions to port and create their jurisdictional licenses, and which may not have the desired applicability in the Philippines as they are not recognized, or differently appreciated, under Philippine laws (The list of changes are outlined in http://itlawjournal.arellanolaw.net/2008/01/14/ported-license-modifications/). Notwithstanding certain adjustments in the stipulations in the jurisdictional licenses, due care was made to make the jurisdictional licenses consistent with the unported licenses (and hence, also other jurisdictional licenses), so as not to depart from the intent and effect of the stipulations provided therein.

Why use Creative Commons Philippine licenses? For those who have used generic/unported Creative Commons licenses or are geared towards adopting Creative Commons licenses in the near future, seamless enforceability is one. I hope you find more with the explanations above.


  1. Garlick, Mia. “Creative Commons Version 3.0 licenses explained — A brief explanation” []
  2. Ibid. []
  3. http://soriano-ph.com/wp-content/uploads/2006/08/CC-Philippines%202006%20Report%20to%20the%202nd%20Creative%20Commons%20Summit.pdf []
  4. Definitions, moral rights provision, and clarification of the collecting society schemes []

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Berne Guerrero tries to explain Creative Commons licenses and other subject matters involving the Commons, especially in the Philippine context, and does not provide legal advice. The opinion of CC HQ and CCi, however, prevails in case of conflict.

 

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