“The New Creative Commons License: CC0 1.0 Universal Lets Rights Holders Waive Their Rights”…03.03.09

3 03 2009

creative-commons

(Image: LuMaxArt)

DigitalKoans blog post The New Creative Commons License: CC0 1.0 Universal Lets Rights Holders Waive Their Rights today relates important Creative Commons waiver excerpted here:

“…Are CC0 and CC’s Public Domain Dedication and Certification (“PDDC”) the same?

No. PDDC was intended to serve two purposes—to allow copyright holders to ‘dedicate’ a work to the public domain, and to allow people to ‘certify’ a work as being in the public domain. Our experience with PDDC shows that having a single tool performing both of these functions can be confusing. CC0 is a single purpose tool, designed to take on the dedication function PDDC has been performing, but in a more complete and legally robust way…”





Copyright Section 108 Spinner Tool for Libraries and Librarians…02.13.09

13 02 2009

This is a really cool tool was brought to my attention by Jill Hurst-Whal’s post Section 108 Spinner on her Digitization 101 blog:

“Thanks to DigitalKoans for pointing this out. The American Libraries Association (ALA) has created a Section 108 Spinner that helps libraries and archives to understand if they can copy or digitize an item using the limitations provided in Section 108. Due to how Section 108 is written, anything that helps to make it intelligible is a benefit! This tools is definitely worth bookmarking.”

Yes, indeed!





Kindle 2 Audio Feature Brews Copyright Charge…02.11.09

11 02 2009

LISNews  post Author’s Guild Claims Kindle 2 Copyright Infringement today:

The Kindle 2 has a feature which allows the book to be read out loud. And wow, does this have the Author’s Guild up in a tizzy.

‘They don’t have the right to read a book out loud,’ said Paul Aiken, executive director of the Authors Guild. ‘That’s an audio right, which is derivative under copyright law.’

Amazon is moving forward with the rather logical opinion that there’s no way a person would confuse the computerized text to speech voice with an audiobook.

So all of you youth librarian types doing story time? STOP IT. You’re violating copyright and you’re probably doing it more ways than one since you’re not only reading Chicka Chicka Boom Boom out loud, but you’re putting on a public performance.

Boing Boing Gadgets has the run down. More on this story from the Wall Street Journal.”





Google Copyright Controversy…02.02.09

2 02 2009

There is a good article entitled Google & the Future of Books in the upcoming Feb. 12 issue of The New York Review of Books by Robert Darnton excerpted here:

“How can we navigate through the information landscape that is only beginning to come into view? The question is more urgent than ever following the recent settlement between Google and the authors and publishers who were suing it for alleged breach of copyright. For the last four years, Google has been digitizing millions of books, including many covered by copyright, from the collections of major research libraries, and making the texts searchable online. The authors and publishers objected that digitizing constituted a violation of their copyrights. After lengthy negotiations, the plaintiffs and Google agreed on a settlement, which will have a profound effect on the way books reach readers for the foreseeable future. What will that future be?

Libraries exist to promote a public good: ‘the encouragement of learning,’ learning ‘Free To All.’ Businesses exist in order to make money for their shareholders—and a good thing, too, for the public good depends on a profitable economy. Yet if we permit the commercialization of the content of our libraries, there is no getting around a fundamental contradiction. To digitize collections and sell the product in ways that fail to guarantee wide access would be to repeat the mistake that was made when publishers exploited the market for scholarly journals, but on a much greater scale, for it would turn the Internet into an instrument for privatizing knowledge that belongs in the public sphere. No invisible hand would intervene to correct the imbalance between the private and the public welfare. Only the public can do that, but who speaks for the public? Not the legislators of the Mickey Mouse Protection Act.

You cannot legislate Enlightenment, but you can set rules of the game to protect the public interest. Libraries represent the public good. They are not businesses, but they must cover their costs. They need a business plan. Think of the old motto of Con Edison when it had to tear up New York’s streets in order to get at the infrastructure beneath them: ‘Dig we must.’ Libraries say, ‘Digitize we must.’ But not on any terms. We must do it in the interest of the public, and that means holding the digitizers responsible to the citizenry…

Google is not a guild, and it did not set out to create a monopoly. On the contrary, it has pursued a laudable goal: promoting access to information. But the class action character of the settlement makes Google invulnerable to competition. Most book authors and publishers who own US copyrights are automatically covered by the settlement. They can opt out of it; but whatever they do, no new digitizing enterprise can get off the ground without winning their assent one by one, a practical impossibility, or without becoming mired down in another class action suit. If approved by the court—a process that could take as much as two years—the settlement will give Google control over the digitizing of virtually all books covered by copyright in the United States…

As an unintended consequence, Google will enjoy what can only be called a monopoly—a monopoly of a new kind, not of railroads or steel but of access to information. Google has no serious competitors. Microsoft dropped its major program to digitize books several months ago, and other enterprises like the Open Knowledge Commons (formerly the Open Content Alliance) and the Internet Archive are minute and ineffective in comparison with Google. Google alone has the wealth to digitize on a massive scale. And having settled with the authors and publishers, it can exploit its financial power from within a protective legal barrier; for the class action suit covers the entire class of authors and publishers. No new entrepreneurs will be able to digitize books within that fenced-off territory, even if they could afford it, because they would have to fight the copyright battles all over again. If the settlement is upheld by the court, only Google will be protected from copyright liability...”

Copyright © 1963-2008, NYREV, Inc. All rights reserved.





“Content: Selected Essays on Technology, Creativity, Copyright and the Future of the Future”…01.14.09

14 01 2009

Here is an interesting read as listed on the Internet Archive [http://www.archive.org/details/CoryDoctorow-Content_268]:

Content: Selected Essays on Technology, Creativity, Copyright and the Future of the Future“ by Cory Doctorow. Read by Jan Rubak.

Official Website of the Book: http://craphound.com/content/

The entire text of the book is available in various formats for free download from http://craphound.com/content/download/, or for purchase at your favourite bookstore for US$14.95 (ISBN: 978-1-892391-81-0)…”





“Time to Put Up or Shut Up” About OCLC Policy Change…01.11.09

11 01 2009

The following excerpt from Thingology (LibraryThing’s ideas blog) entitled “Why libraries must reject the OCLC Policy (part 1)“ [http://www.librarything.com/thingology/index.php] seems to be a pretty good assessment of the OCLC policy change debate that has been ongoing.  I would recommend reading the complete post along with the forthcoming “part 2).

“…1. The Policy fundamentally changes the character of OCLC, a “member” institution, with no formal member approval and with little member input…
.
2. The Policy is a legal document. No other statements matter….

3. The Policy is illegitimately retroactive…
.
4. The Policy is perpetual and will create a perpetual monopoly….

5. OCLC can change the Policy at any time, in any way….

6. If you violate the policy your library automatically loses the right to any “OCLC-derived” records you have….

7. OCLC has sole discretion to declare a library in violation and strip it of its records…

Call to action

Librarians and interested parties have only a month before the OCLC Policy goes into effect. It is time to put up or shut up.





Public Domain Blog–New Authors in the Public Domain…01.05.09

5 01 2009

From the Public Domain blog [http://www.xanga.com/publicdomain/687985634/public-domain-day-2009.html] which lists new authors in the public domain:

“…January 1st, which means that this morning at midnight a batch more ‘life-plus’ copyrights expired in those countries — most of them — where copyright expires at the end of the Nth year following the death of the author.

Yes, folks, it’s Public Domain Day! And it’s international! There are little Public Domain Day virtual commemorations going on in places like Poland and Switzerland. Spread the word!

In the life+50 universe, which constitute the largest cohort of countries, including Canada, which collectively have the majority of the world’s population, life-plus copyrights expired at midnight for those authors, or last-surviving of multiple authors, who died in 1958. Some notable life+50 entries into the public domain include life+50 copyrights for authors such as:

Australian politician (and sheep breeder) James Guthrie (“A world history of sheep and wool”)
American film composer Edward H. Plumb (“Bambi” and many other Disney films)
American hymnist George Bennard (“The Old Rugged Cross”)
British painter and illustrator Lucy Kemp-Welch (the original edition of “Black Beauty”)
American screenwriter Jack Henley (“Bonzo Goes to College”)
American writer J. P. McEvoy (“Dixie Dugan”)
American author Betty MacDonald (“Mrs. Piggle-Wiggle”)
British poet Robert Service (“The Cremation of Sam McGee”, etc.)
English poet Alfred Noyes (“The Highwayman”)
English music scholar Percy Scholes (“The Oxford Companion to Music”)
American artist and author Marjorie Flack (“The Story About Ping”)
American writer Johnston McCulley (creator of “Zorro”)
British aircraft manufacturer Alliott Verdon Roe (as in Avro, as in the Arrow)
Serbian geophysicist Milutin Milanković (early proponent of ice ages)
British author and translator Lionel Giles (translator of the most widely-published English edition of Sun-Tzu’s “Art of War”)
Romanian-British rabbi and scholar Shulem Moshkovitz (the Shotzer Rebbe)
American financial analyst John Moody (of Wall Street fame)

A more extensive, but nowhere near complete list is reproduced below. See also Wikipedia’s list of deaths in 1958 and the New General Catalog of Old Books and Authors 1958 deaths page.

Across the pond in the European Union, some other non-EU countries, and certain other countries around the world, being the second-largest copyright universe where the general term is “life plus seventy”, copyrights by sole authors, or the last-surviving of multiple authors, who died in 1938, expired today. 1938 was an especially bad year in Europe, where many literary, scientific, political, and religious creators fell victim to Nazi persecution and Stalinist purges.

Some of the more interesting members of the 1938 class of deceased authors include:

Danish bacteriologist Hans Christian Gram (of Gram staining fame) 
British-Canadian author, conservationist, and literary fraud Archie Belaney (Grey Owl) 
Latvian-born ethnologist and musicologist Abraham Zevi Idelsohn (to whom the lyrics to “Hava Nagila” are attributed) 
American cartoonist E. C. Segar (creator of “Popeye”) 
American illustrator Johnny Gruelle (creator of “Raggedy Ann”) 
American lawyer Clarence Darrow (of “Scopes Monkey Trial” fame) 
American songwriter James Thornton (“When You Were Sweet Sixteen”, written in 1898) 
Japanese martial artist Kano Jigoro (founder of judo) 
American industrialist Harvey Samuel Firestone (of tire fame)

A more extensive, but again far from complete list is reproduced below. See also Wikipedia’s list of deaths in 1938 and the New General Catalog of Old Books and Authors 1938 deaths page…”





Copyright “Gone Wild”…12.13.08

13 12 2008

Copyright madness is spreading.  Now India claims the Taj Mahal is copyrighted.  Read this post from BoingBoing [http://www.boingboing.net/2008/12/12/india-is-trying-to-b.html]:

 

200812121649
(Stereoscope photo from 1906)

A wealthy film director is spending £40 million to build an exact replica of the Taj Mahal in Bangladesh, but Indian officials are trying to block its constructing, claiming the Taj Mahal, which was completed in 1653 is protected by copyright.

For their part, Bangladeshi officials are incensed by suggestions that the Taj Mahal – which was built by the Emperor Shah Jahan in memory of his favourite wife, Mumtaz Mahal, and completed in 1653 – is protected by some sort of copyright.“I’m not sure what they are talking about,” one said. “Show me where it says that emulating a building like this can be illegal.”

To make his Taj, Mr Moni imported marble and granite from Italy and diamonds from Belgium to add to 160kg (350lb) of bronze. He hopes that his version of the mausoleum will attract tourists to Bangladesh, a country that is well off the beaten track for Western holidaymakers.

India is trying to block Bangladesh’s copycat Taj Mahal





Creative Commons Survey Deadline Extended…12.08.08

8 12 2008

From Cory Doctorow on BoingBoing  [http://feeds.feedburner.com/~r/boingboing/iBag/~3/478641929/deadline-extended-on.html]:

Creative Commons has had such a great set of responses to their challenging, though-provoking survey on what constitutes “non-commercial use” that they’ve extended the deadline until Dec 14 — you’ve got six more days to weigh in!

Creative Commons is conducting a study on the meaning of “NonCommercial” and you can weigh in by answering a detailed questionnaire on the subject. We’ve extended the deadline for participation to December 14 (originally December 7) as we’re still getting healthy response via all those who blogged about the questionnaire this week.

NonCommercial study questionnaire extended to December 14





Defining “Non-Commercial Use” in Creative Commons…12.04.08

4 12 2008

From Cory Doctorow on BoingBoing today “What is Non-Commercial Use?” [http://www.boingboing.net/2008/12/03/what-is-noncommercia.html]–inquiring librarian minds want to know, doesen’t everybody?:

Creative Commons is running a study on what ‘non-commercial’ means to different people — creators, remixers, corporations, webmasters, and so on. Many of us give out our works under Creative Commons ‘non-commercial’ licenses (I do!), but there’s a lot of disagreement about where the boundary between commercial and non-commercial lies. Your contribution to the survey will help Creative Commons refine this border and come up with something that we can all point to when a disagreement arises.

As previously announced, Creative Commons is studying how people understand the term ‘noncommercial use’. At this stage of research, we are reaching out to the Creative Commons community and to anyone else interested in public copyright licenses – would you please take a few minutes to participate in our study by responding to this questionnaire? Your response will be anonymous – we won’t collect any personal information that could reveal your identity.Because we want to reach as many people as possible, this is an open access poll, meaning the survey is open to anyone who chooses to respond. We hope you will help us publicize the poll by reposting this announcement and forwarding this link to others you think might be interested. The questionnaire will remain online through December 7 or until we are overwhelmed with responses — so please let us hear from you soon!”

Non-Commercial study questionnaire 





Creative Commons Copyright Licenses Made Simple…12.02.08

2 12 2008

There is a very good Creative Commons copyright license overview entitled “The beauty of ‘Some Rights Reserved’: Introducing Creative Commons to librarians, faculty, and students[http://www.acrl.org/ala/mgrps/divs/acrl/publications/crlnews/2008/nov/beautyofsrr.cfm] by Molly Kleinman [http://mollykleinman.com/  which is excerpted here:

“…Creative Commons is a nonprofit organization that created a set of simple, easy-to-understand copyright licenses. These licenses do two things: They allow creators to share their work easily, and they allow everyone to find work that is free to use without permission. The value of those two things is enormous. Before Creative Commons licenses, there was no easy way a creator could say, “Hey world! Go ahead and use my photographs, as long as you give me attribution.”

Similarly, there was no place for members of the public to go to find new works that they were free to reuse and remix without paying fees. Creative Commons changed all that. As it says on its Web site, ‘Creative Commons defines the spectrum of possibilities between full copyright—all rights reserved— and the public domain—no rights reserved. Our licenses help you keep your copyright while inviting certain uses of your work—a ‘some rights reserved’ copyright.’2

The licenses come in three languages: Human Readable, which is a very brief and easy-to-understand summary of what is permitted and under what conditions; Lawyer Readable, which is a legally binding three-page deed; and Machine Readable, which is the metadata, a little snippet of code that makes it possible for search engines like Google to search by Creative Commons license, and return only those works that are free to reuse.

There are six major Creative Commons licenses that all include different combinations of four basic requirements:

Attribution: You let others copy, distribute, display, and perform your copyrighted work—and derivative works based upon it —but only if they give you credit the way you request. This element is a part of all six licenses.

Non-Commercial: You let others copy, distribute, display, and perform your work —and derivative works based upon it—but for noncommercial purposes only.

No Derivatives: You let others copy, distribute, display, and perform only exact copies of your work, not derivative works based upon it.

Share Alike: You allow others to distribute derivative works only under a license identical to the license that governs your work…”





“The Public Domain: Enclosing the Commons of the Mind” Sounds Like a Good Read on Copyright…11.30.08

30 11 2008

He is a book review by Cory Doctorow [http://www.boingboing.net/2008/11/30/james-boyles-the-pub.html] on BoingBoing that made me want to place it on my reading list although copyright/copyfight has not been a major point of interest with me:

“Jamie Boyle, of the Duke Center for the Public Domain, has a new book out, The Public Domain: Enclosing the Commons of the Mind. Boyle ranks with Lessig, Benkler and Zittrain as one of the most articulate, thoughtful, funny and passionate thinkers in the global fight for free speech, open access, and a humane and sane policy on patents, trademarks and copyrights. A legal scholar who can do schtick like a stand-up comedian, Boyle is entertaining as well as informative.

I’ve got a copy on its way to me, but while I’m waiting, I’m delighted to discover that Jamie talked his publisher, Yale University Press, into offering the book as a free, CC-licensed download. And right there, in the preface, I’m hooked:

Each person has a different breaking point. For one of my students it was United States Patent number 6,004,596 for a “Sealed Crustless Sandwich.” In the curiously mangled form of English that patent law produces, it was described this way:A sealed crustless sandwich for providing a convenient sandwich without an outer crust which can be stored for long periods of time without a central filling from leaking outwardly. The sandwich includes a lower bread portion, an upper bread portion, an upper filling and a lower filling between the lower and upper bread portions, a center filling sealed be- tween the upper and lower fillings, and a crimped edge along an outer perimeter of the bread portions for sealing the fillings there between. The upper and lower fillings are preferably comprised of peanut butter and the center filling is comprised of at least jelly. The center filling is pre- vented from radiating outwardly into and through the bread portions from the surrounding peanut butter.

‘But why does this upset you?’ I asked; ‘you’ve seen much worse than this.’ And he had. There are patents on human genes, on auctions, on algorithms. The U.S. Olympic Committee has an expansive right akin to a trademark over the word ‘Olympic’ and will not permit gay activists to hold a ‘Gay Olympic Games.’ The Supreme Court sees no First Amendment problem with this. Margaret Mitchell’s estate famously tried to use copyright to prevent Gone With the Wind from being told from a slave’s point of view. The copyright over the words you are now read- ing will not expire until seventy years after my death; the men die young in my family, but still you will allow me to hope that this might put it close to the year 2100. Congress periodically considers legislative proposals that would allow the ownership of facts. The Digital Millennium Copyright Act gives content providers a whole array of legally protected digital fences to en- close their work. In some cases it effectively removes the privilege of fair use. Each day brings some new Internet horror story about the excesses of intellectual property. Some of them are even true. The list goes on and on. (By the end of this book, I hope to have convinced you that this matters.) With all of this going on, this enclosure movement of the mind, this locking up of symbols and themes and facts and genes and ideas (and eventually people), why get excited about the patenting of a peanut butter and jelly sandwich? ‘I just thought that there were limits,’ he said; ‘some things should be sacred.’” 





Google “Copyright Accord” Means “Millions More Books Available Online”…10.29.08

29 10 2008

The announcement yesterday by google Authors, Publishers, and Google Reach Landmark Settlement [http://www.google.com/intl/en/press/pressrel/20081027_booksearchagreement.html] has important implications for libraries and publishing which will be far-reaching for a long time to come:

“NEW YORK, NY (October 28, 2008) – The Authors Guild, the Association of American Publishers (AAP), and Google today announced a groundbreaking settlement agreement on behalf of a broad class of authors and publishers worldwide that would expand online access to millions of in-copyright books and other written materials in the U.S. from the collections of a number of major U.S. libraries participating in Google Book Search. The agreement, reached after two years of negotiations, would resolve a class-action lawsuit brought by book authors and the Authors Guild, as well as a separate lawsuit filed by five large publishers as representatives of the AAP’s membership. The class action is subject to approval by the U.S. District Court for the Southern District of New York.

The agreement promises to benefit readers and researchers, and enhance the ability of authors and publishers to distribute their content in digital form, by significantly expanding online access to works through Google Book Search, an ambitious effort to make millions of books searchable via the Web. The agreement acknowledges the rights and interests of copyright owners, provides an efficient means for them to control how their intellectual property is accessed online and enables them to receive compensation for online access to their works.

If approved by the court, the agreement would provide:

  • More Access to Out-of-Print Books – Generating greater exposure for millions of in-copyright works, including hard-to-find out-of-print books, by enabling readers in the U.S. to search these works and preview them online;
  • Additional Ways to Purchase Copyrighted Books – Building off publishers’ and authors’ current efforts and further expanding the electronic market for copyrighted books in the U.S., by offering users the ability to purchase online access to many in-copyright books;
  • Institutional Subscriptions to Millions of Books Online – Offering a means for U.S. colleges, universities and other organizations to obtain subscriptions for online access to collections from some of the world’s most renowned libraries;
  • Free Access From U.S. Libraries – Providing free, full-text, online viewing of millions of out-of-print books at designated computers in U.S. public and university libraries; and
  • Compensation to Authors and Publishers and Control Over Access to Their Works – Distributing payments earned from online access provided by Google and, prospectively, from similar programs that may be established by other providers, through a newly created independent, not-for-profit Book Rights Registry that will also locate rightsholders, collect and maintain accurate rightsholder information, and provide a way for rightsholders to request inclusion in or exclusion from the project…”




WorldCat Copyright Evidence Registry Beta Test…08.27.08

27 08 2008

Catablog reports today [http://catalogablog.blogspot.com/] on the beta test of WorldCat Copyright Evidence Regsistry:

“OCLC is conducting a beta test of the WorldCat Copyright Evidence Registry.

The WorldCat Copyright Evidence Registry (CER) is a community of people, libraries, and other organizations working together to discover and share information about the copyright status of books.

The Copyright Evidence Registry is based on WorldCat, which contains more than 100 million bibliographic records describing items held in thousands of libraries worldwide. In addition to the WorldCat metadata, the Copyright Evidence Registry uses data contributed by libraries and other organizations.

You can search the Copyright Evidence Registry to find information about a book, learn what others have said about its copyright status, and share what you know.

If your library or organization is a Copyright Evidence Registry subscriber, you can run automated copyright rules that you create in the Copyright Evidence Registry to conform to your standards for determining copyright status. The rules help you analyze the information available in the Copyright Evidence Registry and form your own conclusions about copyright status.”

Also, you can receive an e-mail notification when information about a book changes within the Copyright Evidence Registry.





Update on the Legality of Using Book Cover Images in OPACs…08.14.08

14 08 2008

Mary Minow writes today on the Law Librarian blog an interesting post titled “Book jackets - can libraries put pictures of book covers on the websites”[http://blog.librarylaw.com/librarylaw/2008/08/book-jackets--.html] which will continue the dialog on the matter:

Peter Hirtle and I have tried to analyze this over a couple of years and may write an article some day – so readers, feel free to weigh in. Meanwhile, Peter tells me that LJannounced that a million book covers are now available for download and display in library OPACs via LibraryThing.  I expect libraries will be delighted to try this service.

But who actually owns the copyright to the book covers? Likely the book publisher, though it could be an artist who designed the cover.  The question then is whether or not there is an exception in copyright law that allows libraries and others to scan and post images of the covers.

LibraryThing states: ‘Publishers and authors want libraries and bookstores to show their covers. Under U.S. law showing covers to show off books for sale, rental or commentary falls under Fair Use in most circumstances. (We are not lawyers and make no warrant that your use will be legal.)’

Minow take: I’m not aware of a court case that supports this statement, but readers please add comments if you are.  It seems that Fair Use would need to be evaluated on a case by case basis. Questions should be asked such as: what is the library’s purpose in posting the scan? OPAC? Reading program? Posters? How creative is the cover? Did the cover have its own copyright or is it a small part of a much larger copyrighted work (i.e. the book)?

However, there’s another copyright exception that could be useful here — the “useful article” provision at 17 USC 113(c) which states:

In the case of a work lawfully reproduced in useful articles that have been offered for sale or other distribution to the public, copyright does not include any right to prevent the making, distribution, or display of pictures or photographs of such articles in connection with advertisements or commentaries related to the distribution or display of such articles, or in connection with news reports.

and 17 USC 101 defines ‘useful article’ as:

A “useful article” is an article having an intrinsic utilitarian function that is not merely to portray the appearance of the article or to convey information. An article that is normally a part of a useful article is considered a ‘useful article’

Assuming the books are ‘useful articles’ it seems that Sect. 113 is more helpful than Fair Use. It seems that a strong argument can be made that with today’s enhanced online catalogs that include book reviews, the commentary criteria is met. For items that do not have reviews attached, there is still a possible argument that the pictures are used to help advertise the book. 

This assumes that ‘advertise’ can be used in a broad, nonprofit sense – to promote checkouts of the book, rather than sales…”

I have scanned images and “borrowed” them for our library’s OPAC.  Although we are a non-profit, special library where only staff use our OPAC and collections, this is a concern.





Copyright Made Easy–New ALA Slide Rule…07.25.08

25 07 2008

The Centered Librarian’s blog post today http://centeredlibrarian.blogspot.com/ relates helpful information for busy librarians regarding the copyright maze:

Copyright law. Not my favorite subject, but an important one to the librarian profession. If you are like me and do not have the time or inclination to wade through pages of legal jargon or sit through hours of mind numbing copyright workshops, then you will appreciate this tool from the American Library Association’s Office for Information Technology Policy.

The copyright slide-rule is designed to help librarians determine the copyright status of creative works.







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