Paul Gerhardt’s (2005) article, entitled Creative Archive, examines the launching of the Creative Archive Licence in the United Kingdom. This Licence was launched on April 13, 2005, by the British Broadcasting Corporation (BBC), Channel 4 Television, the British Film Institute and the Open University (2005). It utilizes the principle concept of the Creative Commons and open-source projects by providing an alternative to copyright laws, which prevent open and free access to information. The Creative Archive enables the public to download and share content from these four organizations for free, in a “safe, legal framework” (2005, ¶ 8). The general public in the United Kingdom will now be able, via their personal computers, to:
· “search for legally cleared TV and radio content – from extracts
to whole programmes
· preview and download non-broadcast quality versions
· modify and create their own versions
· share with others – and with the BBC – on a non-commercial basis”
(2005, ¶ 7).
Gerhardt states that the Creative Archive was “inspired by the Creative Commons movement” (2005, ¶ 10). The Creative Commons is a non-profit organization whose objective is “to expand the range of creative work available for others to legally build upon and share” (Creative, 2005, ¶ 1). “As with Creative Commons, the Creative Archive Licence recognises and preserves copyright, but releases the opportunity to engage in non-commercial sharing and integration into personal derived work” (Gerhardt, 2005, ¶ 10).
The only restrictions placed on the audio and visual programmes available for download are: prohibiting the commercial use of the information; sharing of the documents within the United Kingdom only; and that credit must be given to the owners of the material (Gerhardt, 2005). These are all reasonable restrictions, although it is a shame that the information could not be shared world-wide. However, as the project develops momentum it could be made accessible world-wide, but it could also inspire other organizations to take notice and create their own forms of Creative Archives. The Archive however, is still in the pilot phase, which is not expected to be completed until the year 2006. The BBC has developed the Archive through public consultation “in an open and transparent manner” (2005, ¶ 14), which proved beneficial to both the public and the four organizations by allowing them to produce a product that is of interest to the public and to identify how it will be used by the public. In addition, by getting feedback from the public the Archive can stay on top of any problems they might not have considered or prepared for, such as broken links, problems with downloads or video and audio files that are not working (Raymond, 1998). The Archive effectively employs the concept that open-source programmes benefit from user feedback and are able to quickly spot problems and correct them.
The BBC’s main belief is that making the document available to the public will not only benefit the organizations involved with the project, but also “create public value itself” by encouraging creativity and entrepreneurial activities (Gerhardt, 2005, ¶ 17). Overall, the Creative Archive is a huge step in promoting products such as Creative Commons and making information available to everyone.
Another main purpose of the Creative Archive is the distribution of audio and video material for educational purposes. By releasing broadcast programmes through the Creative Archive, teachers are now able to meld these programmes into their curriculum (Gerhardt, 2005). The addition of Teachers’ TV programmes to the Archive has revealed “that teaching professionals are not only watching and downloading programmes but are also busy adapting content to suit their own needs” (Creative Archive Licence Group [CALG], 2005b, ¶ 1). This example illustrates that the concept of encouraging creativity through the Creative Archive is actually valid. The Creative Archive allows teachers to access the programmes that they feel will aid their class visually and to edit what they have downloaded in order to make it suitable for class exercises (CALG, 2005b).
The concerns raised with the Creative Archive are the same as those identified with the Creative Commons, including how to guarantee that the person who downloads the document will give credit where it belongs and not simply change some aspects in order to make a profit from it. Gerhardt (2005) explains that the pilot phase will clarify such issues as the number of people using the Archive content, how the content is being used, and if the users understand and respect the Creative Archive Licence. However, the article does not explain, in any further detail, the methods that will be used for tracking or tracing downloads and how they will be utilized. It appears that the Archive will use Digital Rights Management (DRM) “to help us identify our source material” (CALG, 2005a, ¶ 11). This means that a Video Watermarking technology will be embedded into the video clips released and will still be evident if the video is edited or changed (2005a). The BBC will also use GEO-IP filtering technology to guarantee that released material will only be shared within the United Kingdom (2005a). Through the use of this technology, the Creative Archive will be able to ensure that the regulations established in the Licence are respected.
Future organizations can learn how to use the Creative Commons, as the Creative Archive has, by using technology to enforce their regulations and ensuring a transparent system that welcomes feedback to meet the needs of the public. If the Creative Archive truly benefits everyone, “from people accessing the internet at home, children and adults using public libraries, to students at school and university” (BBC, 2003, ¶ 7) as it claims, then the future looks bright for this method of sharing information freely over the internet. The Creative Archive is therefore a positive example for the future use of the Creative Commons. By using this Archive as an example, many new ways of sharing information on the internet and increasing creativity can be developed and evolved from the Creative Commons initiative. The positive results from this project will encourage the future participation and involvement of other organizations.
Reference List
BBC News. (2003). Dyke to open up BBC archive. Retrieved November 11, 2005, from http://news.bbc.co.uk/1/hi/entertainment/tv_and_radio
/3177479.stm
Creative Archive Licence Group. (2005a). FAQs. Retrieved October 14, 2005, from http://creativecarchive.bbc.co.uk/archives/faqs/index.html
Creative Archive Licence Group. (2005b). Teachers’TV gets results. Retrieved November 11, 2005, from http://creativecarchive.bbc.co.uk/news/archives/2005/
10/teacherstv_gets.html
Creative Commons. (2005). Wikipedia. Retrieved November 12, 2005, from http://en.wikipedia.org/wiki/Creative_commons
Gerhardt, P. (2005, July). Creative archive. Ariadne, 44. Retrieved October 14, 2005, from http://www.ariadne.ac.uk/issue44/gerhardt/
Raymond, E. S. (1998). Cathedral and the bazaar. First Monday, 3. Retrieved October 7, 2005, from http://www.firstmonday.org/issues/issue3_3/raymond/