cc0 #2

The main theme in conversation related to yesterday’s post about the CC0 license was that it reduces the amount of trouble it takes to publish music under a permissive license. Commenters differed on whether that was valuable or even a good thing at all.

Crosbie Fitch:

The GPL is a license that restores liberty to the public (otherwise suspended by copyright and patent), albeit at the expense of friction (easily surmountable by coders used to it). CC-SA is somewhat similar.

The CC0 is a license/waiver that unencumbers the art from constraint by the author’s copyright, and friction due to (well intentioned) licensing conditions, albeit at the expense of not being able to liberate anyone apart from the immediate users. It may be that opprobrium will be enough to prevent derivatives of CC0 works from being re-encumbered with copyright.

There is a similar issue (and confusion) between manumission and laissez faire between the GPL and BSD licenses (as between CC-SA and CC0). The GPL is actually freer (in restoring more people’s liberty), whereas the BSD is least encumbered by licensing conditions (the licensee is free to suspend others’ liberty).


why complicate something that’s really not necessary yet? I am frustrated seeing a new license when I don’t fully understand the old ones yet. Or more accurately, I have never really seen a real example of a CC license giving more or less musical freedom to anyone yet. In theory yeah but honestly, no.

Secondly without attribution, data gets lost. If I like a sound I hear in a work and want to find it, CC0 won’t help or most likely misinform me of it’s origin. CC0 in my opinion will mess thing up and make people lazy.

Mike Linksvayer:

CC0 means attribution is not legally required. It doesn’t mean attribution is automatically lost or that releasing under CC0 is the equivalent of publishing anonymously. … Whether you want to legally require attribution depends on how much being able to legally demand credit is worth to you in creating more friction around uses of your work.

For myself as a musician, I’m a white collar worker who makes music purely as a hobby and I’m damned happy when my music is used at all. But then again I work hard to play well and the biggest constraint on getting better is that I don’t get compensated for playing time. If only I was in a position to impose friction I might be able to make better music.