Planet Creative Commons

This page aggregates blogs from Creative Commons, CC jurisdiction projects, and the CC community. Opinions are those of individual bloggers.

Valkaama – Open Source Film

Markus Beckedahl, January 27, 2010 02:07 PM   License: Namensnennung-Keine kommerzielle Nutzung-Weitergabe unter gleichen Bedingungen 3.0 Deutschland

valkaama_poster2Nach einiger Entwicklungszeit ist Valkaama veröffentlicht worden. Valkaama ist ein kollaborativer Open Source Film in Spielfilmlänge von Tim Baumann und wurde inklusive aller Quelldaten unter der Creative Commons Namensnennung-Weitergabe unter gleichen Bedingungen Lizenz (CC-BY-SA) veröffentlicht. Damit können Remixe auch zu kommerziellen Zwecken erstellt werden, solange Weiterentwicklungen wieder unter derselben Lizenz stehen und der Urheber genannt wird.

Der Name Valkaama ist aus den beiden finnischen Worten valkama und kaamos (Heimat und Polarnacht) zusammengesetzt. Die Filmmusik stammt von Michael Georgi und kann auch gesondert heruntergeladen werden. Die Story basiert auf dem Roman Valkama von Hendrik Behnisch. Das Buch wird im März 2010 veröffentlicht.

Man kann sich den Film auf der Webseite anschauen, vom Server herunterladen (AVI) oder über Bittorrent herunterladen. Untertitel gibt es in den Sprachen Englisch, Deutsch, Französisch und Polnisch.

Es gibt einen FTP Postproduktionsserver unter valkaama.digitmedia.de und für 11,99 Euro kann die DVD auch bestellt werden.

Das Public Domain Manifesto

Markus Beckedahl, January 27, 2010 01:03 PM   License: Namensnennung-Keine kommerzielle Nutzung-Weitergabe unter gleichen Bedingungen 3.0 Deutschland

Das Netzwerk Communia hat in den letzten Tagen ein Manifest für die Public Domain veröffentlicht:

The digital networked information society has brought the issue of the Public Domain to the foreground of copyright discussions. In order to preserve and strengthen the Public Domain we need a robust and up-to-date understanding of the nature and role of this essential resource. This Public Domain Manifesto defines the Public Domain and outlines the necessary principles and guidelines for a healthy Public Domain at the beginning of the 21st century.

Das Manifest betont die Bedeutung gemeinfreier Werke und der Schranken des Urheberrechts für unsere Gesellschaft. Es erinnert daran, dass die Public Domain gepflegt werden muss, um der Allgemeinheit zugute zu kommen:

Taken together, the public domain, the voluntary sharing of works and exceptions and limitations to copyright, fair use and fair dealing go a long way to ensure that everyone has access to our shared culture and knowledge in order to facilitate innovation and cultural participation for the benefit of the entire society. It is therefore important that the Public Domain in both its incarnations is actively maintained so that it can continue to fulfill this key role in this period of rapid technological and social change.

Das Manifest enthält zudem eine Liste mit neun Empfehlungen, die vor allem in Novellen von Gesetzen zum Urheberrecht einfließen sollten. Wichtig ist auch die Feststellung, “The Public Domain is the rule, copyright protection is the exception.” Diese Tatsache wird leider allzu häufig übersehen.

Zu den Erstunterzeichnern des Manifests gehören Organisationen wie Creative Commons und internationale Wissenschaftler, darunter Lawrence Lessig und Urs Gasser. Das Manifests kann nun auch öffentlich unterzeichnet werden.

(via)

7th Communia Workshop (1-2 Feb. 2010, Luxemburg)

COMMUNIA, January 27, 2010 11:46 AM   License: Attribution-Share Alike 3.0 Unported

Digital Policies: the Public Domain and Alternative Compensation Systems

National_Library_Main_Entrance_from_Blvd_Roosevelt

Under the title "Digital Policies: the Public Domain and Alternative Compensation Systems", the 7th COMMUNIA Workshop will take place at the National Library of Luxemburg in Luxemburg, on Monday 1st and Tuesday 2nd February 2010.

Please note that draft programme (here below) is still subject to changes and do not forget to pre-register ASAP in order to confirm your participation and receive any update.

Presentations slides, abstracts, policy recommendations, as well as for some speakers transcripts or papers, will be available from this website download section immediately after the workshop.

Please read below also for hotel accomodations and other logistics information.

[11jan10]

read more

To Shoot an Elephant global screenings in the Arab world

Donatella Della Ratta, January 27, 2010 10:01 AM   License: Attribution-Share Alike 3.0 United States


The team from “To Shoot an Elephant” , the award-winning CC-licensed documentary directed by Alberto Arce and Mohammad Rujeilah, organized a global screening of the documentary last January 18, 2010.

The campaign, called “Global Screening Global Screaming”, was coordinated through the documentary’s community website and has inspired 240 screenings worldwide, from Venezuela to Thailand from the US to India. More will be organised in the next months, in different countries and locations.

The response of the Arab world community to this event has been significant. I would just like to bring some examples about the incredible community participation and enthusiasm that this event has registered throughout the Arab Region.

Royal Film Commission in Amman, Jordan, has screened “To shoot an elephant” with around 100 people attending and  hosting a phone live debate with Mohammad Rujeilah, a Gaza citizen and one of the two directors of the documentary.

With the kind cooperation of Hisham Morocco was able to screen the movie at the Ecole Hassania des Travaux Publics in Casablanca, as well as France which hosted two screenings, one in Poitiers and the other one in Paris.

The latter was organised by Regarde à Vue an association of social media activists who organises training and workshops mostly in Palestine and share all its works under Creative Commons.

Thanks to Hussein , Bahrain screened “To shoot an elephant” at the Bahraini Medical Society. Pictures of the event can be found here: http://community.toshootanelephant.com/ar/node/268?quicktabs_2=1

The virtual world of Second Life also had its “To Shoot an Elephant” at the Galleria Szczepanski cinema thanks to  Movieoonline and  2LifeCast

You can have a look at some beautiful SL pictures of the event here http://www.flickr.com/photos/samayasilberman/sets/72157623244931668/

It seems that the SL residents are asking for more screenings, the next one should be February 8, so watch out!

I`d like to thank all the people that have made all these worldwide events possible, and not only in the Arab world.

“To shoot an elephant” is  available for free download under Creative Commons license at http://thepiratebay.org/torrent/5249337/To_shoot_an_elephant.

ps For those of you who are in Rome, tonite Forte Prenestino is screening the film at 21.30 local time info at http://www.forteprenestino.net/index.php?option=com_content&task=view&id=564&Itemid=1

거버먼트 2.0 어떻게 추진할 것인가? 국회 세미나 발표 내용

CC Korea (Korean), January 27, 2010 04:02 AM   License: 저작자표시 2.0 대한민국

공공정보, CCL달고 시민들 품으로 - <거버먼트 2.0 어떻게 추진할 것인가?>


최근들어 전세계적으로 거버먼트 2.0에 대한 논의가 본격화되고 있습니다.

거버먼트 2.0은 간단히 말해 행정에 웹2.0 방식을 입힌 것으로, 민간에 공공정보를 공개하고 이를 통해 공익성을 높이는 동시에 공공영역의 업무효율성과 투명성을 제고하려는 개념입니다.

국내에도 거버먼트 2.0 개념을 도입하기 위해 지난 1월 15일 국회도서관에서는 정책토론회 <거버먼트 2.0 어떻게 추진할 것인가?>가 열렸습니다. 그리고 이 자리에 CC Korea의 윤종수 판사님이 초청돼 발제자로 초청돼 ‘Government 2.0 in Web 2.0 Era’라는 제목으로 발표를 하셨습니다.

발표하신 자료를 공유를 해 드립니다.



윤종수 판사님은 이날 기조 발제에서 패러다임 전환에 따른 거버먼트 2.0 활성화의 당위성과 그 가치에 대해서 발표하셨습니다 .
단순하게 공공정보의 오픈을 넘어서 공익을 위해서 누구나 활용되어 질 수 있는 거대한 공공의 플랫폼의 기능을 제공해야 한다고 강조하셨습니다.

실제로 최근 미국, 호주, 영국 등에서는 잇따라 민간에 공공데이터를 개방하면서 새로운 가치를 창출하는 원천으로 활용하고 있습니다.
해외의 사례을 옅볼 수 있는 URL입니다.

[호주]

호주의 공공정보 데이터셋 - CCL
http://data.australia.gov.au/

호주의 Government2.0 Task Force Team
http://gov2.net.au/
http://gov2.net.au/blog/2009/12/22/final-taskforce-report-released/


[미국]

미국의 공공정보 데이터: Discover, Participate, Engage - Public Domain
http://www.data.gov/
a catalog of all the federal government's Web services. (Web services, as opposed to static government Web sites, provide raw government data, allowing third parties to build alternate services and interfaces to government programs.)

[영국, UK]

DirectGov - Public services all in one place
http://www.direct.gov.uk/en/index.htm

Government on the Web
http://www.governmentontheweb.org/index.asp

국내 행정 분야에도 거버먼트 2.0이 구현돼 공공컨텐츠에 CCL을 붙이는 방안이 본격화되면 CC가 사회에 기여할 수 있는 부분이 더욱 크게 늘어날 것으로 보입니다.

 

Good News/Bad News

James Boyle, January 26, 2010 01:00 PM   License: Attribution 3.0 Unported

My new Financial Times column on the Obama Administration’s copyright policy just came out..  I had previously written about the hugely disappointing failure to back copyright limitations to benefit visually impaired citizens.  But that has changed…

“The good news? In December of 2009 the United States changed its position. Speaking at the World Intellectual Property Organization, Justin Hughes, a very distinguished and impressive senior advisor in the Department of Commerce, broke new ground. “We recognize that some in the international copyright community believe that any international consensus on substantive limitations and exceptions to copyright law would weaken international copyright law… The United States does not share that point of view.” The US, it seems, could actually stand up for the principle of a balanced copyright policy – at least in the context of the visually impaired.

It is a mark of how reduced our expectations have been in copyright law that this seemed like a great victory. When the decision not to throw the blind under the copyright juggernaut counts as enlightened policy, it tells one a lot. But I am a great believer in praising policy makers for doing the right thing, so kudos to Mr. Hughes and the Obama administration for having the spine to take a stand on principle. (EU policy makers might study the process to their advantage. The process of evolution from invertebrate to vertebrate is an exciting one.) Let us hope these words turn into real achievements for the visually impaired.

But sadly the rejoicing must have limits. Those of you who use that useful communications network known as “the Internet” might be interested to know that a treaty that could profoundly affect your rights is now being negotiated by a group of developed states including the United States and the EU…”

The rest is here

Thoughts on Deploying and Maintaining SMW Applications

Nathan Yergler, January 26, 2010 05:24 AM   License: Attribution-Share Alike 3.0 United States

In September or October of last year, I received an email from someone who had come across CC Teamspace and was wondering if there was a demo site available they could use to evaluate it. I told them, “No, but I can probably throw one up for you.” A month later I had to email them and say, “Sorry, but I haven’t found the time to do this, and I don’t see that changing.” This is clearly not the message you want to send to possible adopters of your software — “Sorry, even I can’t install it quickly.” Now part of the issue was my own meta/perfectionism: I wanted to figure out a DVCS driven upgrade and maintenance mechanism at the same time. But even when I faced the fact that I didn’t really need to solve both problems at the same time, I quickly became frustrated by the installation process. The XML file I needed to import seemed to contain extraneous pages, and things seemed to have changed between MediaWiki and/or extension versions since the export was created. I kept staring at cryptic errors, struggling to figure out if I had all the dependencies installed. This is not just a documentation problem.

If we think about the application life cycle, there are a three stages a solution to this problem needs to address:

  1. Installation
  2. Customization
  3. Upgrade

If an extension is created using PHP, users can do all three (and make life considerably easier if they’re a little VCS savvy). But if we’re dealing with an “application” built using Semantic MediaWiki and other SMW Extensions, it’s possible that there’s no PHP at all. If the application lives purely in the wiki, we’re left with XML export/import as the deployment mechanism. With this we get a frustrating release process, Customization support, and a sub-par Installation experience.

The basic problem is that we currently have two deployment mechanisms: full-fledged PHP extensions, and XML dumps. If you’re not writing PHP, you’re stuck with XML export-import, and that’s just not good enough.

A bit of history: When Steren created the initial release of CC Teamspace, he did so by exporting the pages and hand tweaking the XML. This is not a straight-forward, deterministic process that we want to go through every time a bug fix release is needed.

For users of the application, once the import (Installation) is complete (assuming it goes better than my experience), Customization is fairly straight-forward: you edit the pages. When an Upgrade comes along, though, you’re in something of a fix: how do you re-import the pages, retaining the changes you may have made? Until MediaWiki is backed by a DVCS with great merge handling, this is a question we’ll have to answer.

We brainstormed about these issues at the same time we were thinking about Actions. Our initial thoughts were about making the release and installation process easier: how does a developer indicate these pages in my wiki make up my application, and here’s some metadata about it to make life easier.

Semantic Packaging

We brainstormed a solution with the following features:

  1. An Application namespace: just as Forms, Filters, and Templates have their own namespace, an Application namespace would be used to define groups of pages that work together.
  2. Individual Application Pages, each one defining an Application in terms of Components. In our early thinking, a Component could be a Form, a Template, a Filter, or a Category; in the latter case, only the SMW-related aspects of the Category would be included in the Application (ie, not any pages in the Category, on the assumption that they contain instance-specific data).
  3. Application Metadata, such as the version, creator, license, etc.

A nice side effect of using a wiki page to collect this information is that we now have a URL we can refer to for Installation. The idea was that a Special page (ie, Special:Install, or Special:Applications) would allow the user to enter the URL of an Application to install. Magical hand waving would happen, the extension dependencies would be checked, and the necessary pages would be installed.

While we didn’t get too far with fleshing out the Upgrade scenario, I think that a good first step would be to simply show the edit diff if the page has changed since it was Installed, and let the user sort it out. It’s not perfect, but it’d be a start.

I’m not sure if this is exactly the right approach to take for packaging these applications. It does effectively invent a new packaging format, which I’m somewhat wary of. At the same time, I like that it seems to utilize the same technologies in use for building these applications; there’s a certain symmetry that seems reassuring. Maybe there are other, obvious solutions I haven’t thought of. If that’s the case, I hope to find them before I clear enough time from the schedule to start hacking on this idea.


Address or work around, that is; there has to be a clear story for how the user accomplishes each.

It’s possible that in the six months since I last worked closely with this, things have changed considerably, but some brief searching didn’t turn anything up. I’d love to be corrected if I’ve missed something obvious.

I think one development model to be encouraged using SMW is that of the user-developer: a user who utilizes SMW to get the job done, and in the process creates something that they’d like to release to the larger world.

One obvious short-coming of our solution is with respect to versioning: what does it mean to version an application that primarily exists as a bunch of wiki pages?

Planning for sustainable and strategic impact: Creative Commons and open education

Creative Commons, January 25, 2010 06:49 PM   License: Attribution 3.0 Unported

Creative Commons recently celebrated its seventh anniversary, capping an impressive year of success for the organization, including the launch of CC0, our new public domain tool, migration of Wikipedia to a CC license, and compelling new implementations — from CC-aware discovery in both Google and Yahoo! image search, to adoptions of CC licenses ranging from the U.S. White House to Al Jazeera, and by major educational and scientific institutions to countless individual bloggers, musicians, photographers, teachers, and more. We also surpassed our year end public fundraising goal, raising $533,898 to continue building infrastructure that makes sharing easy, scalable, and legal. Thanks again!

In light of our continued growth and maturation, we are ever mindful of how CC can best ensure that as an organization we continue to increase our impact sustainably. As a provider of critical infrastructure that millions and more depend upon, this is our responsibility. Sustainability is not only or first a financial issue — though we will ask for your continued support in funding the organization — but depends on staying focused on our goals, executing on our strengths and core competencies, constantly looking for ways to streamline operations while empowering our vast international community, and avoiding mission creep however tempting.

Over the last six months we’ve been putting these thoughts into plans and action. Last summer we integrated the team supporting our international affiliates with our core team of experts based in San Francisco, eliminating two of our three Berlin-based staff positions. Over the next several months most of our science team (Science Commons) will move from Boston to San Francisco to align message and operations with our core, also. This month, we are integrating our education team (known heretofore as CC Learn), the subject of the rest of this message.

CC Learn was conceived as a focus point for CC adoption in the education arena. Since its launch two and one half years ago, it has progressed itself into a valuable member of, and broadly engaging with, the open education movement, providing not only legal and technical infrastructure and expertise, but subject matter expertise on a range of issues relevant to open education. Education is one of the most compelling uses of CC legal and technical tools. CC licenses are mission-critical for the development and adoption of Open Educational Resources (OER) — the ecosystem would fail without standard, interoperable legal terms for sharing, using and reusing content. It relies on collaboration between many institutions and many individuals in many different jurisdictions. Only CC licenses are capable of providing such a bridge.

Yet as much as CC has to offer as a leader of the open education movement, we remain humbled by the many others with yet deeper expertise and experience in these areas and from whom we continue to learn. And while we have much to offer, and will continue to offer as a life-long member of these remarkable movements and communities, we feel compelled to consider our own sustainability. We come back to, as we always have, our irreplaceability on the infrastructure level of providing unparalleled legal and technical excellence that allows education, science, and culture to work — this is what we do uniquely, and this is what we do best. We’ve decided that we can best support the open education and OER communities by focusing our resources and support where we are strongest and provide the most unique value. This means engaging the open education community as legal and technical experts rather than as participants in a broad conversation about the potentialities of open education — which we fully believe in, making the need to support open education in the most leveraged fashion we can all the more compelling.

Such changes mean that some of the activities and, sadly, personnel cannot be integrated successfully with the new structure, consequently transitioning out of CC so that they can better pursue such work elsewhere. In this current transition, Ahrash Bissell, the Executive Director of CC Learn, has left the organization. As with all alumni, CC expects great things of the departing staff and looks forward to ongoing collaboration with Ahrash and the open education community, building on his excellent work. We extend to Ahrash our heartfelt gratitude for his passion, dedication and wisdom, and wish him well with his future endeavors.

In the coming months we’ll be making further announcements about our comprehensive integration of education and science into our core activities and messaging. Exciting developments are on the horizon with respect to new and enhanced legal and technical tools as well as explanatory materials and support for policy development in education and science. More importantly we’ll be asking for your support and input, including specific feedback on designs, prototypes, messages, and initiatives as they develop. Most importantly, we will be asking for your input on whether we’re on the right track. Have something to say about CC? We’re listening!

Domini Públic

CC Catalonia, January 25, 2010 02:02 PM   License: Reconeixement 2.5 Espanya

Avui dilluns s’ha publicat el Manifest del Domini Públic elaborat en el marc de la xarxa temàtica europea Communia sobre el domini públic digital. En el manifest s’apunten una sèrie de principis generals (entre els quals: El domini públic és la regla, el dret d’autor l’excepció) i es tracten temes rellevants sobre el domini públic actual. [...]

Manifiesto del Dominio Público

CC Spain, January 25, 2010 12:31 PM   License: Reconocimiento 3.0 España

Hoy lunes se publica el Manifiesto del Dominio Público elaborado en el marco de la red temática europea Communia sobre el dominio público digital. En el manifiesto se señalan una serie de principios generales (entre ellos: El dominio público es la regla, el derecho de autor la excepción) y se abordan temas relevantes sobre el dominio [...]

Manifest Domeny Publicznej

CC Poland, January 25, 2010 12:01 AM   License: Uznanie autorstwa 2.5 Polska

Opracowany w ciągu 2 lat w ramach konsorcjum COMMUNIA, Manifest Domeny Publicznej (w org. Public Domian Manifesto) został dziś oficjalnie ogłoszony i udostępniony na stronie http://publicdomainmanifesto.org/. Manifest podkreśla rozumienie domeny publicznej jako bogactwa informacji, które są wolne od barier w dostępie do ponownego użytku związanych z ochroną praw autorskich. Według ...

The Public Domain Manifesto

COMMUNIA, January 24, 2010 05:51 PM   License: Attribution-Share Alike 3.0 Unported

Developed within the COMMUNIA network during the last two years, we are pleased to announce the official launch of The Public Domain Manifesto. The document outlines a series of general principles (opening with: the Public Domain is the rule, copyright protection is the exception), then addresses various issues relevant to today’s cultural landscape finally provides some recommendations aimed at protecting the Public Domain and ensuring that it can continue to function in a meaningful way. While these recommendations are applicable across the spectrum of copyright, they are of particular relevance to education, cultural heritage and scientific research.

The Public Domain as aspired to in our Manifesto has a broad range to include cultural material that can be used without restriction, in the absence of copyright protection; shared material released under alternative licensing options such as Creative Commons licenses; and a variety of fair use and "open access" policies. These sources need to be actively maintained in order for society to reap the full benefit of our shared knowledge and culture, even more so with the wider penetration of digital technologies. It is therefore our hope that The Public Domain Manifesto could be embrace by the civil society at large as a tool to maintain and promote this precious common goods for citizens across the world and for future generations to come.

The document is available in several languages and includes a list of initial signers (both individuals and organizations). Everyone is encouraged to sign it, to follow our Facebook page and... to spread the word (here is our PDF Press Release)![24jan10]

read more

An introduction to Creative Commons licensing for photographs

Ivan Chew, January 24, 2010 02:01 PM   License: Attribution 3.0 Singapore

From digital-photography-school.com, on an introduction to CC licensing for photographs:
"... But aren’t you afraid someone will steal your images?

Honestly, I don’t believe any licensing mechanism will keep people from stealing your images. If a photo is available to view on the internet, someone may use it regardless of whether you reserve all rights on the photo or not. Licensing your works under Creative Commons does not make it any easier or harder to infringe on your copyright.


What is the benefit of using Creative Commons?

As a photographer, I want my images to be seen by as wide an audience as possible. That, beyond all else, is my ultimate goal.

... When I started licensing my images with under Creative Commons, I saw a huge increase in the number of sites showing and linking back to my images. There are many tools and search engines available to find CC works and I want my photos to be available to them.


What about getting paid?

... Regardless of my licensing, I still have photos shown in galleries and still sell
prints and books containing my images. In actuality, I credit much of my success in photography to Creative Commons as it has increased my exposure and thus brought in new viewers and potential clients."

LINK

BTW, if you're located in Singapore and have adopted any one of the CC Singapore license, email me. I'll include you in the Creative Commons Singapore blog.

Bericht und Protokoll Meeting Creative Commons Switzerland 18.1.2010

CC Switzerland, January 24, 2010 10:11 AM   License: Namensnennung 2.5 Schweiz

Am Montag 18.1.2010 hatten wir eine rege Diskussion mit vielen an Creative Commons Switzerland interessierten Personen. Debatiert wurde über viele verschiedene Themen, wie weitere Bekanntmachung von Creative Commons, Organisation, Veranstaltungen und Projekte von Teilnehmenden. Weitere Infos gibt es im Protokoll.

El Reino Unido libera sus datos

CC Spain, January 23, 2010 12:33 PM   License: Reconocimiento 3.0 España

Data.gov.uk es un punto de acceso para información no-personal de que dispone el gobierno del Reino Unido. El sitio pone en el dominio público cada bit de información recopilada por entidades públicas que no es personal ni sensitiva, por ejemplo estadísticas sobre salud, transporte, medio ambiente, etc. Se trata de una fuente invaluable de información, [...]

De Al Jazeera a la Casa Blanca

CC Spain, January 23, 2010 11:19 AM   License: Reconocimiento 3.0 España

Hay muchas razones para considerar el año 2009 como un año exitoso para Creative Commons. Durante el 2009, ambos la cadena de noticias Al Jazeera y la Casa Blanca adoptaron estas licencias, en el primer caso para un portal de vídeo contribuido por usuarios, y en el segundo caso como complemento a material que ya [...]

A partir de hoy, red y libertad

CC Spain, January 23, 2010 11:19 AM   License: Reconocimiento 3.0 España

Consideramos imprescindible la retirada de la disposición final primera de la Ley de Economía Sostenible por los siguientes motivos: 1 – Viola los derechos constitucionales en los que se ha de basar un estado democrático en especial la presunción de inocencia, libertad de expresión, privacidad, inviolabilidad domiciliaria, tutela judicial efectiva, libertad de mercado, protección de consumidoras [...]

Licencia para copiar

CC Spain, January 23, 2010 11:19 AM   License: Reconocimiento 3.0 España

Este viernes 15 de enero a las 21:30 en el Teatre Xesc Forteza de Palma de Mallorca se ofrece un concierto de los grupos Salvarez y Pacotiempo. La novedad del concierto es que cualquiera lo podrá grabar y difundir porque así lo han decidido los grupos y los organizadores. Estas dos bandas no sólo ofrecen [...]

eduMac lanza set de fotografías en Flickr bajo CC

CC Mexico, January 23, 2010 06:01 AM   License: Atribución 2.5 México

eduMac, Centro de Artes Digitales, es una institución prestigiada y reconocida por impartir cursos de la más alta calidad en diferentes niveles para diseñadores, fotógrafos, ilustradores, ingenieros en audio, etc. A través de Abelardo Ojeda nos llega la noticia de que ahora eduMac pone a disposición del público en general un ...

Al Jazeera adds new footage under Creative Commons

Donatella Della Ratta, January 22, 2010 09:40 AM   License: Attribution-Share Alike 3.0 United States


Al Jazeera has started to add more footage to its Creative Commons Al Jazeera online repository. The footage is about daily life in Iraq and it seems more will be added, concerning other countries, very soon.  The footage is availale under CC BY license, the most “lenient” CC license which allows people to download, share, remix, translate, even re-sell under the only condition of attributing the source.

Collaborative Futures 4

Mike Linksvayer, January 22, 2010 08:46 AM   License: CC0 1.0 Universal

Day 4 of the Collaborative Futures book sprint and I added yet another chapter intended for the “future” section, current draft copied below. I’m probably least happy with it, but perhaps I’m just tired. I hope it gets a good edit, but today (day 5) is the final day and we have lots to wrap up!

(Boring permissions note: I’m blogging whole chapter drafts before anyone else touches them, so they’re in the public domain like everything else original here. The book is licensed under CC BY-SA and many of the chapters, particularly in the first half of the book, have had multiple authors pretty much from the start.)

Another observation about the core sprint group of 5 writers, 1 facilitator, and 1 developer: although the sprint is hosted in Berlin, there are no Germans. However, there are three people living in Berlin (from Ireland, Spain, and New Zealand), two living in New York (one from there, another from Israel), one living in and from Croatia, and me, from Illinois and living in California.

I hope to squeeze in a bit of writing about postnationalism and collaboration today — hat tip to Mushon Zer-Aviv. Also see his day 4 post, and Postnational.org, one of his projects.


Beyond Education

Education has a complicated history, including swings between decentralization, e.g., loose associations of students and teachers typifying some early European universities such as Oxford, to centralized control by the state or church. It’s easy to imagine that in some of these cases teachers had great freedom to collaborate with each other or that learning might be a collaboration among students and teacher, while in others, teachers would be told what to teach, and students would learn that, with little opportunity for collaboration.

Our current and unprecedented wealth has brought near universal literacy and enrollment in primary education in many societies and created impressive research universities and increasing enrollment in university and and graduate programs. This apparent success masks that we are in an age of centralized control, driven by standards politically determined at the level of large jurisdictions and a model in which teachers teach how to take tests and both students and teachers are consumers of educational materials created by large publishers. Current educational structures and practices do not take advantage of the possibilities offered by collaboration tools and methods and in some cases are in opposition to use of such tools.

Much as the disconnect between the technological ability to access and build upon and the political and economic reality of closed access in scientific publishing created the Open Access (OA) movement, the disconnect between what is possible and what is practiced in education has created collaborative responses.

Open Educational Resources

The Open Educational Resources (OER) movement encourages the availability of educational materials for free use and remixing — including textbooks and also any materials that facilitate learning. As in the case of OA, there is a strong push for materials to be published under liberal Creative Commons licenses and in formats amenable to reuse in order to maximize opportunities for latent collaboration, and in some cases to form the legal and technical basis for collaboration among large institutions.

OpenCourseWare (OCW) is the best known example of a large institutional collaboration in this space. Begun at MIT, over 200 universities and associated institutions have OCW programs, publishing course content and in many cases translating and reusing material from other OCW programs.

Connexions, hosted by Rice University, is an example of an OER platform facilitating large scale collaborative development and use of granular “course modules” which currently number over 15,000. The Connexions philosophy page is explicit about the role of collaboration in developing OER:

Connexions is an environment for collaboratively developing, freely sharing, and rapidly publishing scholarly content on the Web. Our Content Commons contains educational materials for everyone — from children to college students to professionals — organized in small modules that are easily connected into larger collections or courses. All content is free to use and reuse under the Creative Commons “attribution” license.

Content should be modular and non-linear
Most textbooks are a mass of information in linear format: one topic follows after another. However, our brains are not linear – we learn by making connections between new concepts and things we already know. Connexions mimics this by breaking down content into smaller chunks, called modules, that can be linked together and arranged in different ways. This lets students see the relationships both within and between topics and helps demonstrate that knowledge is naturally interconnected, not isolated into separate classes or books.
Sharing is good
Why re-invent the wheel? When people share their knowledge, they can select from the best ideas to create the most effective learning materials. The knowledge in Connexions can be shared and built upon by all because it is reusable:

  • technologically: we store content in XML, which ensures that it works on multiple computer platforms now and in the future.
  • legally: the Creative Commons open-content licenses make it easy for authors to share their work – allowing others to use and reuse it legally – while still getting recognition and attribution for their efforts.
  • educationally: we encourage authors to write each module to stand on its own so that others can easily use it in different courses and contexts. Connexions also allows instructors to customize content by overlaying their own set of links and annotations. Please take the Connexions Tour and see the many features in Connexions.
Collaboration is encouraged
Just as knowledge is interconnected, people don’t live in a vacuum. Connexions promotes communication between content creators and provides various means of collaboration. Collaboration helps knowledge grow more quickly, advancing the possibilities for new ideas from which we all benefit.

Connexions – Philosophy, CC BY, http://cnx.org/aboutus/

Beyond the institution

OER is not only used in an institutional context — it is especially a boon for self-learning. OCW materials are useful for self-learners, but OCW programs generally do not actively facilitate collaboration with self-learners. A platform like Connexions is more amenable to such collaboration, while wiki-based OER platforms have an even lower barrier to contribution that enable self-learners (and of course teachers and students in more traditional settings) to collaborate directly on the platform. Wiki-based OER platforms such as Wikiversity and WikiEducator make it even easier for learners and teachers in all settings to participate in the development and repurposing of educational materials.

Self-learning only goes so far. Why not apply the lessons of collaboration directly to the learning process, helping self-learners help each other? This is what a project called Peer 2 Peer University has set out to do:

The mission of P2PU is to leverage the power of the Internet and social software to enable communities of people to support learning for each other. P2PU combines open educational resources, structured courses, and recognition of knowledge/learning in order to offer high-quality low-cost education opportunities. It is run and governed by volunteers.

Scaling educational collaboration

As in the case of science, delivering the full impact of the possibilities of modern collaboration tools requires more than simply using the tools to create more resources. For the widest adoption, collaboratively created and curated materials must meet state-mandated standards and include accompanying assessment mechanisms.

While educational policy changes may be required, perhaps the best way for open education communities to convince policymakers to make these changes is to develop and adopt even more sophisticated collaboration tools, for example reputation systems for collaborators and quality metrics, collaborative filtering and other discovery mechanisms for educational materials. One example are “lenses” at Connexions (see http://cnx.org/lenses), which allow one to browse resources specifically endorsed by an organization or individual that one trusts.

Again, similar to science, clearing the external barriers to adoption of collaboration may result in general breakthroughs in collaboration tools and methods.

彈性授權中的「彈性授權」

CC Taiwan, January 22, 2010 03:08 AM   License: 姓名標示-相同方式分享 2.0 台灣

最近在CC主網站上有一篇網誌介紹了一本書-"Be the media"。說實在,在創用CC網站上或是電子報中介紹以創用CC授權釋出的素材,並沒有什麼稀奇。但,這本書倒有一個讓我覺得還滿值得介紹的原因:它只有其中的一個章節以CC釋出。  這本書顧名思義,就是一本教讀者「成為(任何一種)媒體」的書。他的讀者群鎖定的包括有創作者:作者、製作影片的人、樂團、部落客等等;專業領域的人:教育家、圖書館、學生或是記者;政策制訂者等等。內容雖然我還未拜讀,不過從他的簡介上大致可以瞭解,這是一本教讀者如何成為一種獨立媒體的指南;無論讀者是哪一個領域的人,都能從這種獨立媒體中獲得某種方便或是權力。  這本書也有一個章節介紹了CC,並且將該章節以Attribution-Noncommercial-Share Alike 3.0 Unported釋出-整本書僅有該章節以CC釋出。過去有不少實體出版品的介紹,但絕大多數全部以CC釋出,這本書的操作模式倒也不失為一種有趣的例子。這種行銷模式在我看來,第一,介紹CC的章節以CC釋出,聰明!第二,可以自由下載某一章節,就跟試看的原理一樣,但是更大方也更容易被散佈,聰明!而剩下的內容,作者還是選擇了all rights reserved,這就是雙贏的經營模式。當然更是一種很有「彈性」的彈性授權方式。  或許我把「經營」這種東西看得太簡單,但無論如何,這種授權模式確實沒有那種非黑即白的問題。我知道有許多人總想著:如果我把作品以CC釋出,以後想要營利怎麼辦?當然,這問題有一種很簡單的辦法-就是選擇非商業性的選項就可以解決。不過,總是有人還是會疑慮,那麼這本書也許可以當個例子。誰說,一張唱片裡面不能只有一首歌以CC釋出?一套漫畫中不能只有兩集以CC釋出?只要你能說服別人剩下的部分也很有趣就好囉~  這裡可以免費下載該章節(要先註冊)以及購買本書。...

Lessig lançará Creative Commons 3.0 nacional na Campus Party 2010

CC Brazil, January 22, 2010 02:00 AM   License: Atribuição 2.0 Brasil

da Info Online (http://info.abril.com.br/noticias/internet/lessig-lancara-creative-commons-3.0-nacional-20012010-11.shl)SÃO PAULO – Lawrence Lessig, um dos fundadores do Creative Commons, irá lançar as licenças 3.0 do projeto na Campus Party, no dia 29 de janeiro, sexta-feira, às 19h.Lançado globalmente em fevereiro de 2007, o Creative Commons 3.0 deve ganhar uma adaptação para o contexto jurídico brasileiro,...

UK government datasets now freely available for re-use

COMMUNIA, January 21, 2010 11:57 PM   License: Attribution-Share Alike 3.0 Unported

Data.gov.uk screeshot «Making public data available for re-use is about increasing accountability and transparency and letting people create new, innovative ways of using it. Government data should be a public resource. By releasing it, we can unlock new ideas for delivering public services, help communities and society work better, and let talented entrepreneurs and engineers create new businesses and services.» With these words Sir Tim Berners-Lee announced today the launch of Data.gov.uk, a collection of over 2,500 UK government datasets - now freely available to the public for consultation and re-use.

The Open Knowledge Foundation (OKFN, a COMMUNIA member) worked closely with the Cabinet Office team to make Data.gov.uk a reality - the repository is even using CKAN, the OKFN open source registry of open data. More details - including a selection of the great media coverage about the launch - are available on this OKFN page. [21jan10]

read more

UK moves towards opening government data

Creative Commons, January 21, 2010 03:38 PM   License: Attribution 3.0 Unported

In a step towards openness, the UK has opened up its data to be interoperable with the Attribution Only license (CC BY). The National Archives, a department responsible for “setting standards and supporting innovation in information and records management across the UK,” has realigned the terms and conditions of data.gov.uk to accommodate this shift. Data.gov.uk is “an online point of access for government-held non-personal data.” All content on the site is now available for reuse under CC BY. This step expresses the UK’s commitment to opening its data, as they work towards a Creative Commons model that is more open than their former Click-Use Licenses. From the blog post,

“This is the first major step towards the adoption of a non-transactional, Creative Commons style approach to licensing the re-use of government information.

The Government’s commitment in Putting the Frontline First: smarter government is to “establish a common licence to re-use data which is interoperable with the internationally recognised Creative Commons model”. This is key to supporting new information initiatives such as the beta release of data.gov.uk also launched today to promote transparency, public service improvement and economic growth.”

We at CC are thrilled by this new development and congratulate the UK for this move. Though we are confident that this shift will increase the UK’s capacity to foster reuse, collaboration, and innovation in government and the world, we hope to see the UK as well as other governments move in the future towards even fuller openness and the preferred standard for open data via CC Zero, a tool that “enables scientists, educators, artists and other creators and owners of copyright-protected content to waive copyright interests in their works and thereby place them as completely as possible in the public domain, so that others may freely build upon, enhance and reuse the works for any purposes without restriction under copyright.”

This would not have been possible without the hard work of Creative Commons teams in the UK, especially that of Dr. Prodromos Tsiavos, our CC England and Wales Legal Project Lead. Check out the press release, the PerSpectIves or data.gov.uk blog, and the Guardian article for more details.

New Stanford Electronic Dissertation Program enables CC licensing

Creative Commons, January 21, 2010 03:33 PM   License: Attribution 3.0 Unported

Last November, Stanford started accepting digital dissertations for the first time, allowing students to opt out of hundreds of dollars in printing and processing costs. The new program also enabled CC licensing, allowing students to make their work available under a license of their choosing. Of the 60 doctoral students who submitted their dissertations electronically, 52 went with CC licensing, choosing the CC BY-NC license. 47 doctoral theses will be displayed in their entirety in the Stanford Digital Repository. From the Stanford Report,

“The doctoral students who chose the digital route last quarter came from five of Stanford’s seven schools: Earth Sciences (1), Education (2), Medicine (7), Humanities and Sciences (15) and Engineering (35).

Gunnarsdottir’s 160-page dissertation, “Modeling the Martian Surface Using Bistatic Radar at High Incidence Angles,” honed an existing method for evaluating the roughness of the planet’s terrain – one of many factors NASA uses to select landing sites for spacecraft.

She used “The Dish,” the 150-foot diameter radio telescope located in the Stanford foothills, to beam a signal to Mars. Then she analyzed the surface echo detected by the orbiting 2001 Mars Odyssey, the NASA spacecraft carrying science experiments designed to improve understanding of the planet’s climate and geologic history.

“Our results were incorporated into the landing site selection of the 2007 Mars Phoenix Lander,” said Gunnarsdottir, who earned a bachelor’s degree in electrical and computer engineering at the University of Iceland in 1999, and a master’s degree in electrical engineering at Stanford in 2002.”

Since the program is already in place, Stanford expects greater numbers of electronic dissertations this quarter. We hope other universities will take Stanford’s lead in enabling the CC license option for their students’ work. For past dissertations that have been CC licensed by individuals, see my post “CC Licensing Your Dissertations.” “CC licensing increases your creation’s visibility, even if by only a small margin at first. It lets current and future students access and read (and even derive, based on the specific CC license you choose) your work so that they can build and improve upon it—all the while giving credit where credit is due, namely, to you.”

Collaborative Futures 3

Mike Linksvayer, January 21, 2010 11:22 AM   License: CC0 1.0 Universal

Day 3 of the Collaborative Futures book sprint and we’re close to 20,000 words. I added another chapter intended for the “future” section, current draft copied below. It is very much a scattershot survey based on my paying partial attention for several years. There’s nothing remotely new apart from recording a favorite quote from my colleague John Wilbanks that doesn’t seem to have been written down before.

Continuing a tradition, another observation about the sprint group and its discussions: an obsession with attribution. A current drafts says attribution is “not only socially acceptable and morally correct, it is also intelligent.” People love talking about this and glomming on all kinds of other issues including participation and identity. I’m counter-obsessed (which Michael Mandiberg pointed out means I’m still obsessed).

Attribution is only interesting to me insofar as it is a side effect (and thus low cost) and adds non-moralistic value. In the ideal case, it is automated, as in the revision histories of wiki articles and version control systems. In the more common case, adding attribution information is a service to the reader — nevermind the author being attributed.

I’m also interested in attribution (and similar) metadata that can easily be copied with a work, making its use closer to automated — Creative Commons provides such metadata if a user choosing a license provides attribution information and CC license deeds use that metadata to provide copy&pastable attribution HTML, hopefully starting a beneficient cycle.

Admittedly I’ve also said many times that I think attribution, or rather requiring (or merely providing in the case of public domain content) attribution by link specifically, is an undersold term of the Creative Commons licenses — links are the currency of the web, and this is an easy way to say “please use my work and link to me!”

Mushon Zer-Aviv continues his tradition for day 3 of a funny and observant post, but note that he conflates attribution and licensing, perhaps to make a point:

The people in the room have quite strong feelings about concepts of attribution. What is pretty obvious by now is that both those who elevate the importance of proper crediting to the success of collaboration and those who dismiss it all together are both quite equally obsessed about it. The attribution we chose for the book is CC-BY-SA oh and maybe GPL too… Not sure… Actually, I guess I am not the most attribution obsessed guy in the room.


Science 2.0

Science is a prototypical example of collaboration, from closely coupled collaboration within a lab to the very loosely coupled collaboration of the grant scientific enterprise over centuries. However, science has been slow to adopt modern tools and methods for collaboration. Efforts to adopt or translate new tools and methods have been broadly (and loosely) characterized as “Science 2.0″ and “Open Science”, very roughly corresponding to “Web 2.0″ and “Open Source”.

Open Access (OA) publishing is an effort to remove a major barrier to distributed collaboration in science — the high price of journal articles, effectively limiting access to researchers affiliated with wealthy institutions. Access to Knowledge (A2K) emphasizes the equality and social justice aspects of opening access to the scientific literature.

The OA movement has met with substantial and increasing success recently. The Directory of Open Access Journals (see http://www.doaj.org) lists 4583 journals as of 2010-01-20. The Public Library of Science’s top journals are in the first tier of publications in their fields. Traditional publishers are investing in OA, such as Springer’s acquisition of large OA publisher BioMed Central, or experimenting with OA, for example Nature Precedings.

In the longer term OA may lead to improving the methods of scientific collaboration, eg peer review, and allowing new forms of meta-collaboration. An early example of the former is PLoS ONE, a rethinking of the journal as an electronic publication without a limitation on the number of articles published and with the addition of user rating and commenting. An example of the latter would be machine analysis and indexing of journal articles, potentially allowing all scientific literature to be treated as a database, and therefore queryable — at least all OA literature. These more sophisticated applications of OA often require not just access, but permission to redistribute and manipulate, thus a rapid movement to publication under a Creative Commons license that permits any use with attribution — a practice followed by both PLoS and BioMed Central.

Scientists have also adopted web tools to enhance collaboration within a working group as well as to facilitate distributed collaboration. Wikis and blogs have been purposed as as open lab notebooks under the rubric of “Open Notebook Science”. Connotea is a tagging platform (they call it “reference management”) for scientists. These tools help “scale up” and direct the scientific conversation, as explained by Michael Nielsen:

You can think of blogs as a way of scaling up scientific conversation, so that conversations can become widely distributed in both time and space. Instead of just a few people listening as Terry Tao muses aloud in the hall or the seminar room about the Navier-Stokes equations, why not have a few thousand talented people listen in? Why not enable the most insightful to contribute their insights back?

Stepping back, what tools like blogs, open notebooks and their descendants enable is filtered access to new sources of information, and to new conversation. The net result is a restructuring of expert attention. This is important because expert attention is the ultimate scarce resource in scientific research, and the more efficiently it can be allocated, the faster science can progress.

Michael Nielsen, “Doing science online”, http://michaelnielsen.org/blog/doing-science-online/

OA and adoption of web tools are only the first steps toward utilizing digital networks for scientific collaboration. Science is increasingly computational and data-intensive: access to a completed journal article may not contribute much to allowing other researcher’s to build upon one’s work — that requires publication of all code and data used during the research used to produce the paper. Publishing the entire “resarch compendium” under apprpriate terms (eg usually public domain for data, a free software license for software, and a liberal Creative Commons license for articles and other content) and in open formats has recently been called “reproducible research” — in computational fields, the publication of such a compendium gives other researches all of the tools they need to build upon one’s work.

Standards are also very important for enabling scientific collaboration, and not just coarse standards like RSS. The Semantic Web and in particular ontologies have sometimes been ridiculed by consumer web developers, but they are necessary for science. How can one treat the world’s scientific literature as a database if it isn’t possible to identify, for example, a specific chemical or gene, and agree on a name for the chemical or gene in question that different programs can use interoperably? The biological sciences have taken a lead in implementation of semantic technologies, from ontology development and semantic databsases to inline web page annotation using RDFa.

Of course all of science, even most of science, isn’t digital. Collaboration may require sharing of physical materials. But just as online stores make shopping easier, digital tools can make sharing of scientific materials easier. One example is the development of standardized Materials Transfer Agreements accompanied by web-based applications and metadata, potentially a vast improvement over the current choice between ad hoc sharing and highly bureaucratized distribution channels.

Somewhere between open science and business (both as in for-profit business and business as usual) is “Open Innovation” which refers to a collection of tools and methods for enabling more collaboration, for example crowdsourcing of research expertise (a company called InnoCentive is a leader here), patent pools, end-user innovation (documented especially by Erik von Hippel in Democratizing Innovation), and wisdom of the crowds methods such as prediction markets.

Reputation is an important question for many forms of collaboration, but particularly in science, where careers are determined primarily by one narrow metric of reputation — publication. If the above phenomena are to reach their full potential, they will have to be aligned with scientific career incentives. This means new reputation systems that take into account, for example, re-use of published data and code, and the impact of granular online contributions, must be developed and adopted.

From the grand scientific enterprise to business enterprise modern collaboration tools hold great promise for increasing the rate of discovery, which sounds prosaic, but may be our best tool for solving our most vexing problems. John Wilbanks, Vice President for Science at Creative Commons often makes the point like this: “We don’t have any idea how to solve cancer, so all we can do is increase the rate of discovery so as to increase the probability we’ll make a breakthrough.”

Science 2.0 also holds great promise for allowing the public to access current science, and even in some cases collaborate with professional researchers. The effort to apply modern collaboration tools to science may even increase the rate of discovery of innovations in collaboration!

CC Licenses and the Haiti Relief Effort

Creative Commons, January 21, 2010 01:26 AM   License: Attribution 3.0 Unported

In the immediate aftermath of the 2010 Haiti earthquake a number of efforts were put in place to connect survivors with their family and loved ones. In all its good intention, this lead to numerous websites that, in the words of Marc Fest of the Knight Foundation, became “silos” of information with no ability to interact. As a result, Fest – who is VP of Communications – sent an impassioned plea to news organizations to utilize an open-source Google app that was not only collecting similar information but releasing the data under a CC Attribution license – from PhilanTopic:

We recognize that many newspapers have put precious resources into developing a people-finder system. We nonetheless urge them to make their data available to the Google project and standardize on the Google widget. Doing so will greatly increase the number of successful reunions. Data from the Google site is currently available as “dumps” in the standard PFIF format…and an API is being developed and licensed through Creative Commons. I am not affiliated with Google — indeed, this is a volunteer initiative by some of their engineers — but this is one case where their reach and capacity can help the most people.

A similar effort has been taken up by Architecture for Humanity. Already known for their use of CC licenses, AFH is proposing a plan to build Community Resource Centers – centralized locales that will operate as base points for greater building relief through out Haiti. All of the work produced in these recovery centers would be released under a CC license, mirroring similar centers that were built in New Orleans after Hurricane Katrina.

In both efforts, there is a distinct desire to keep relief efforts fluid and focused on helping people, a goal assisted by keeping valuable information open, free, and widely usable. Put succinctly by AFH co-founder Cameron Sinclair, “there is no ‘ownership’ in rebuilding lives.”

Asterisk on a $20/mo. Linode, part 2.

CC Techblog, January 20, 2010 11:56 PM   License: Attribution 3.0 Unported

I mentioned in my recent post about running Asterisk on a $20/month Linode that I would try to follow up with a review of the steps necessary to actually get it working. This isn’t going to be a detailed review, but just a more or less bulleted list of steps to take.

In the previous post I said that I had run into a kernel-package bug (#508487) that was preventing me from successfully building a Xen kernel with make-kpkg. So I installed the version from unstable, in which the bug had been fixed. This step may not be necessary at some point:

# vi /etc/apt/sources.lst
[change deb-src to point to an unstable repository]
# apt-get update
# mkdir kernel-package && cd kernel-package
# apt-get source kernel-package
# apt-get build-dep kernel-package
# dpkg-buildpackage -rfakeroot -uc -b
# dpkg -i kernel-package_12.025_all.deb

Now to build the kernel.

# cd /usr/src
# apt-get source linux-image-`uname -r`
# cd linux-2.6-2.6.26
# aptitude install linux-patch-debian-2.6.26
# /usr/src/kernel-patches/all/2.6.26/apply/debian -a amd64 -f xen
# make menuconfig
[Processor type & features -> Timer frequency -> 1000 HZ]
# make-kpkg clean
# make-kpkg –initrd kernel_image
[wait a good while for the kernel to compile]
# mv /lib/modules/2.6.26/kernel/ /root/kernel.old.old
# dpkg -i ../linux-xen0-2.6.26_2.6.26-10.00.Custom_amd64.deb
# update-initramfs -c -k 2.6.26

Now to build the Zaptel (DAHDI) kernel modules. It would normally be just a few steps, but there were some other problems regarding references to the RTC in zaptel-sources. You can find more information about this at the voip-info.org wiki, most relevantly under the heading “zaptel and xen-kernel 2.6.26-1-xen-686 in Debian Lenny“:

# apt-get install zaptel-source
# cd /usr/src
# vi modules/zaptel/kernel/ztdummy.c
[comment out #define USE_RTC lines]
# m-a prepare
# m-a build zaptel
# m-a install zaptel
# modprobe ztdummy

I think those are the basic steps I took. The actual path was much less clean, as I hit bugs and went back and forth. It’s possible I have missed a step or two in there, or that the way I went about things wasn’t right, ideal or even correct. Of course, all of this also presupposes that you have already configured your Linode to boot from a custom local kernel instead of the default Linode kernel. Instructions on how to do this can be found at at linode.com.

열정을 쏟아낼 CC Korea 인턴을 찾습니다

CC Korea (Korean), January 20, 2010 02:26 AM   License: 저작자표시 2.0 대한민국

CC Korea 인턴을 모집합니다


CC Korea는 자신의 창작물에 대한 자유이용을 허락하는 내용의 퍼블릭 라이선스인 CCL(Creative Commons License)을 무료로 보급하여 온 비영리 단체입니다.
CCKorea는 CCL 보급으로 창작과 나눔으로 모든 사람들이 함께 하는 열린 문화를 만들고자 합니다.

대한민국의 열린 문화를 위해서 열정을 쏟아낼 인턴을 모집합니다.

  이런 분을 찾아요

  • CC에 관심 있으신 분
  • 정보 문화 운동, 온라인, 디지털 컨텐츠 등에 관심 있으신 분
  • 유창한 영어 능력을 가지신 분
  • 유연한 커뮤니케이션 능력과 열정을 소유하신 분
  • 포토샵이나 HTML 코딩 가능하시면 더더욱 좋습니다.

    * 너무 많나요?~ 가장 중요한 것은 열정과 CC에 관심있고 동참하기를 원하시는 분!!! 이런 분을 꼭 원해요.

  CCKorea 인턴분은 이런 일을 하게 됩니다.

  • CCKorea 자원활동가 지원, 코디네이터
  • 국제 세미나 기획 / 해외 강연자 코디네이터
  • 정보 공유 관련된 온라인 컨텐츠 제작

     CCKorea 인턴이 되시면 이런 혜택이 있습니다.

    -  다양한 사람들을 만나실 수 있습니다.
       : 국내 CC자원활동가 뿐만 아니라 해외의 CC활동가들까지 다양한 사람들과 만나고 소통하실 수 있는 기회가 있답니다.  또한 CC Korea에서 기획한 일들에 참여하시는 많은 분들을 만나보실 수 있답니다.

  • 다양한 일들을 기획해 볼 수 있습니다.
      : 세미나/컨퍼런스 /스터드 / 콘테스트 / 이벤트 / 캠페인 등 다양한 일들을 준비하고 있습니다.
       다양한 일들을 경험해 보실 수 좋은 기회가 있습니다.

  • 비영리단체라고 무보수는 아닙니다 ~ 급여 있어요 (이 질문이 자주 들어와서요)

     근무기간

    - 2월 16일부터 ~ 최소  6개월 이상 근무 (오래 근무하시면 더 좋아요)


     모집인원 : 1명 
     
    지원 방법
  • 간단한 자기 소개서 / 이력서(연락처 기입)을 작성하셔서 담당자에게 2월 3일(수)까지 메일로 보내주세요.
  • 담당자 (CC Korea 강현숙 , hskang(at)cckorea.org , 070 7618 0321)


    궁금하신 사항이 있으시면 언제든지 말씀해 주세요~
    주변에 인재분이 계시다면 꼭 추천해 주셔야 하는 것도 잊지 마세요.
  • ¿Qué es la red SOStenible?

    CC Spain, January 19, 2010 09:18 PM   License: Reconocimiento 3.0 España

    En el canal La 2, David Bravo, abogado y activista por los derechos digitales, presenta con mucha claridad la iniciativa Red SOStenible, una iniciativa ciudadana que busca una regulación del entorno digital que permita expresar todo el potencial de la Red y de la creación cultural, y que respete las libertades fundamentales de las personas.

    新生代新媒体艺术领军人物-曹斐

    CC China Mainland, January 19, 2010 06:14 PM   License: 署名 2.5 中国大陆

    caofei

    曹斐,1978 年出生。广州人。目前中国最具国际声望的当代艺术家之一, 也是国内最早使用CC协议发布相关作品的重要艺术家。2000 年开始, 曹斐通过《三元里》、《角色》(Cosplayers) 、《嘻哈: 广州》, 《嘻哈: 福冈》和《嘻哈:纽约》,《珠三角枭雄传》、《父亲》、《谁的乌托邦》(Whose Utopia) 等作品确立了自己在中国当代艺术领域让人无法忽视的重要地位。从2007 年开始, 曹斐基于3D 在线虚拟世界Second Life 创作的《我? 镜》( i . Mirror) 和《人民城寨》(RMB city) 更是引发了国际广泛关注, 被誉为是数字时代的史诗。
    知识共享中国大陆项目组采访了曹斐, 听曹斐谈谈她的个人艺术世界, 她和C C 的故事, 以及她的数字时代艺术理念。

    CCQ:您最早通过什么渠道了解到CC,并从什么时间开始使用CC协议?
    曹斐:我在2007年用了半年时间游历3D在线虚拟世界Second Life(第二人生)后,认识了linden lab(Second Life的研发和运营公司)的负责人之一Robin Linden,是她最早把cc介绍给我的。之后6月中旬我在她推荐下参加了当年CC在克罗地亚举办的CC国际大会。
    我第一次使用CC协议是2007年6月威尼斯双年展的参展录像作品《我,镜》。

    iMirror

    iMirror02

    CCQ:您如何看待CC协议对艺术作品传播的影响?CC协议的引进对中国的当代艺术(新媒体艺术)发展会有促进吗?
    曹斐:首先目前在国内使用cc协议的当代艺术家及其作品还属少数,因为大多艺术作品的版权原则是免复制,限量,并且很多艺术家对自己作品传播及版权没有开放意识。首先,他们不一定靠网络宣传,多是传统展览渠道;其次,还没了解cc或直接受惠于cc,没有意识到cc协议对于自己作品传播的有效性。

    CCQ:您有画册、博客、影像等不同类别的作品用CC协议发布,您有没有一个标准或是方法来决定你哪些作品会选用CC协议发布?
    曹斐:出版物和影像作品通常我会选择:作者署名-非商业性-禁止演绎;音像出版方面则选择: 作者署名-非商业性-相同方式共享。

    CCQ:CC协议的使用是否更加拓展了您作品的传播面?
    曹斐:其实我也没有很明确感受到使用cc协议后,有否对我的作品起到更大的传播作用,但至今我仍会使用它是因为坚持一种“共享”理念,希望能持续向接受传统版权的大众传达一种开放的版权意识,这对于我们将来能得到更宽松的创作交流环境有着长远的影响,而我相信cc落地中国到被大众认可,到被更广泛的使用将需要一个过程。

    nuRiver-cdcover

    CCQ:在Second Life虚拟世界中的物品使用CC协议与现实生活中的作品、画册使用CC协议有不同的体验吗?
    曹斐:虚拟世界内的创造物如果它们很大程度上开放其版权,那么将更容易得到广泛传播和应用,如被人改造、再创造,这将提供给其他创作者、使用者、玩家更多idea,也是一个积极分享互助的动态过程。遇到这样的物品时,我就很乐于主动和朋友分享。如果我们自己需要建造一个新的虚拟物品时,这些开放版权的物品就能成为我们很好的基础元素或参考素材了。而我在现实画册上使用cc,我曾看到有网络全篇转载或把画册内容扫描放置网络供人免费阅读,那我认为它给了很多人去分享这些思考和创作成果的机会,以及给予了一个合法合理的版权背景。阅读纸媒体的人是有限的,也会越来越少,只有有效地打开它的版权空间,那么才能把一个创作结晶最大限度地带入其良性循环与互动发展的过程中。

    CCQ:您不少创作都较早使用如Cosplay、Second Life等一些新潮的流行文化元素,CC倡导的分享、Remix理念跟您以往的创作似乎有一种微妙的内在关联?
    曹斐:Remix在今天后现代的创作观念里是一个很重要的词汇,包括电影/音乐等也在不断的发展这种Remix。我过去的部分作品大多是在创造观念上Remix:借用,挪用,采样,拼贴,合成,戏仿。如hip hop Remix 街头老百姓,如Cosplay中的关于真实身份、角色扮演之间的Remix,在Second Life内现实与虚构的Remix。我认为精神上的越界,艺术上的开放,对多元文化融合的探索与追求,其实在本质上都是关于如何寻找“自由表达”的出口,那么cc所倡导的分享理念,恰恰给为这些创作精神找到最大限度被“解放”的现实意味和行动框架。

    A Mirage

    Bunny's world 奔尼的世界

    CCQ:您怎么看待艺术收藏体系的作品限量与CC倡导的保留部分权利开放复制的关系?
    曹斐:“限量”是保护艺术作品价值的手段,而对艺术作品版权的过于精心保护将限制了艺术作品的传播,但完全的开放版权又会损害艺术家的劳动价值。如何在限量、利益、传播三者之间找到一个平衡点呢?我觉得目前cc的保留部分权利的条理是可以解决这样的矛盾,自选搭配的协议内容能保护作品与作者同时也展示了它的开放性。

    CCQ:
    在使用CC协议过程中有没有遇到过问题或是疑惑?
    曹斐:有人曾质疑我使用“非商业使用”协议在有可能商业使用的作品上,后来经我详细了解,“非商业使用”并不是作者本人不能对自己的作品进行商业使用,作者仍拥有商业上的使用权,只是限制了他者不得对署名作品进行商业性使用。因此这个协议它是保护了艺术家的利益的而不是进一步的限制。这些协议其实需要自己去认真了解,否则会产生疑惑并导致对cc开放核心概念的误解。

    RMBCityOverview

    CCQ:目前RMB City项目进展如何?下一步有哪些新的作品计划?
    曹斐:我们09年1月10日RMB City前期建造完毕并全面对外开放,很多游客进入我们城市游历拍摄,并把拍摄的城市图片发布在自己博客,甚至当作自己的摄影作品,我们并不约束这样的做法,因为城市只有开放,包容,共享,它才会有持续的生命力,城市被建造出来了,它在某种程度上就是属于大众的了。目前我们开展了RMB City的市长计划,每3个月将委任一个新的荣誉市长来引领这个城市。我们将在城市的城中村内开展了“虚拟生活流”项目,以发掘一种属于这个城市的生活形态,倡导一种新的虚拟生活观。包括年底或明年计划完成一部虚拟戏剧或电影。

    ( 本文图片均为曹斐作品, 采用知识共享“ 署名- 非商业性使用- 相同方式共享2 . 5 中国大陆” 许可协议授权)

    在iPhone上创作混合视听作品

    CC China Mainland, January 19, 2010 03:19 PM   License: 署名 2.5 中国大陆

    2009年11月12日,CC日本和iPhone软件开发商Appliya工作室发布了一款全新的iPhone软件“Into Infinity视听混合器”。该软件是专为日本Into Infinity项目而设计开发,用户可以用这一软件在iPhone上创作混合视听作品。

    Into Infinity是Creative Commons和非营利性在线广播组织Dublab的一个合作项目。该项目从世界各地的不同艺术家处收集了众多12英寸大小的圆型艺术图案作品和长度8秒钟的音乐片段。这些艺术家包括著名涂鸦艺术家Kofie、2008 惠特尼双年展作品集、Lucky Dragons、Anticon成员Odd Nosdam,以及电子音乐家Flying Lotus 和DNTEL(Postal Service乐队的AKA Jimmy Tamborello)等。此外,Into Infinity还从日本的听觉和视觉艺术家那里收集了50段音乐和50个圆盘状视觉艺术作品。这些视觉和听觉艺术作品(分别被称为“眼睛”和“耳朵”)都采用CC“署名-非商业性使用”协议发布,可以用于进行混合创作。

    “Into Infinity视听混合器”正是为了方便人们使用Into Infinity提供的这些素材进行创作而开发的。软件启动后,将连接到储存项目全部资源的服务器上,自动下载音乐片段(“耳朵”)及其相应的圆盘图案(“眼睛”)。画面上Into Infinity的logo就是启动音响的锚点:用手指拖动圆盘,拖到logo的轨道上即可进行混音。在这里,通过iPhone简单的触屏操作即可完成混音创作,可以让任何人领略混音的乐趣或欣赏音景。

    用户还可以即时把自己的混合作品上传到Twitter上或者传给朋友来进行分享。用户发送的信息会包含一个指向其混音作品的链接,可以让他人重复他的体验。也可以把混音作品下载到家用电脑上,并作为iPhone的手机铃声使用。

    所有用户制作的混音作品同样使用CC“署名—非商业性使用”协议发布,以符合项目的共享精神。

    (原文:http://creativecommons.org/weblog/entry/19139    编译:杨飞)

    澳大利亚的城市百科全书“悉尼大辞典”采用CC协议

    CC China Mainland, January 19, 2010 03:13 PM   License: 署名 2.5 中国大陆

    澳大利亚又一个使用CC协议的项目-悉尼大辞典(Dictionary of Sydney)于年前上线。

    悉尼大辞典项目旨在为澳大利亚悉尼市的历史建立一部由用户自行维护的数字化百科全书,并展示CC是如何进入文化领域的更多项目、如何为更广大的人群谋取更多价值。

    该网站由一批合作组织运营,并由澳大利亚研究理事会(ARC)提供主要资金支持,集成了字典、百科全书、地图册、指导手册和地名词典等多种功能。现已包含470个词条,60万个单词,1200多个图片文件和多媒体文件,超过1万个链接和注释,并且还在不断增加中。悉尼大辞典的目标是收罗所有类型的历史信息,从社会史、文化史到经济史,从最早的人类定居者一直到今天的悉尼。

    网站的贡献者包括来自学界、历史学家和公众志愿者的广大人群,他们提供的内容包括文本、照片,还有视频音频文件。在为该网站提供内容时,作者可以选择保留全部版权,但也可以选择使用CC“署名-相同方式共享”许可协议。但网站鼓励贡献者使用CC协议,希望这些内容能够得到更多的应用,使公众、教师、学生、社会组织、旅行社甚至维基百科都可以拿来使用。令人兴奋的是,到现在为止,绝大多数贡献者都选择了CC协议。也就是说,网站上几乎所有的页面都打上了BY-SA的CC标记,允许人们使用这些内容。

    能从广大专业人员和当地居民中免费获得如此丰富的信息资源,这对社会大有好处;人们自发的贡献分享关于这个城市的百科知识,也是人们回报社会的一个绝佳的例子。“悉尼大辞典”网站上多样的主题和众多的贡献者提供了对澳大利亚第一大城市的深入理解,把悉尼的名人、政客、作家、梦想家、运动员甚至犯罪分子都栩栩如生地带到人们面前——正是他们塑造了今天的悉尼。

    打开悉尼大辞典网站,对这个城市百科知识库里的知识,你尽可以拿来分享和使用,更可以点击“贡献”链接,把自己的故事添加到这个知识库中去。

    (原文:http://www.creativecommons.org.au/ 编译:杨飞 和晓琳)

    Film Annex开设专播CC协议发布影片的网络电视频道

    CC China Mainland, January 19, 2010 03:04 PM   License: 署名 2.5 中国大陆

    纽约一家在线电影出版和网络电视公司Film Annex日前设立了6个网络电视频道,专门播放采用知识共享许可协议发布的电影。
    FilmAnnex.com是一个专为独立影片制作者及对独立制作影片感兴趣的人提供的分享平台。通过网络电视播放和在线电影出版,Film Annex突破了过去大股东及厂商投资拍电影的模式,变为影片观看者直接资助影片制作者的模式,成功地将全球电影网络上的电影爱好者、地下电影创作者、演员、电影社区、电影人才发掘者直接联系起来。
    Film Annex新开设的六个网络电视频道,将分别播放用“署名”、“署名-相同方式共享”、“署名-禁止演绎”、“署名-非商业使用”、“署名-非商业使用-相同方式共享”及“署名-非商业使用-禁止演绎’等不同CC协议发布的影片。Film Annex在其网络上传平台中增加了选择CC协议的功能,以方便影片制作者在上传影片时选择不同的CC协议。一旦选择了某一CC协议,上传的影片即可自动在该协议所对应的频道播放。
    Film Annex的创始人兼董事长Francesco Rulli说:“长期以来,分享的概念被许多人、公司及单位所忽视。缺乏分享将限制发展及转变。Creative Commons帮助人们在遵守著作权规则的前提下,分享并发展他们的创作。对于那些想要教育或娱乐观众的创作者来说,这都是非常重要的资源。因此Film Annex非常乐意将这作为自己工作的一部分。”
    Film Annex将这些频道50%的广告收益资助Creative Commons的发展;还有一部分收入将支付给这些影片的制作者。

    (原文:Eren Gulfidan,编译:和晓琳)

    波波里电影节获奖影片用CC协议授权

    CC China Mainland, January 19, 2010 12:05 PM   License: 署名 2.5 中国大陆

    2009年11月上旬,一部以知识共享“署名-相同方式共享”协议授权的纪录片《枪击大象》(To Shoot An Elephant)在意大利佛罗伦萨波波里电影节获得了“最佳导演” 奖。
    这部影片是Alberto Arce 和Mohammed Rujailah从2008年12月8日到2009年1月9日用一个多月时间在巴勒斯坦加沙地带拍摄的,反映了加沙地带人们在封锁下的生活以及以色列的进攻所造成的破坏。
    波波里电影节评审委员会说:“观看了这部片子后,我们进行了长时间的热烈讨论。这部电影的画面长久浮现眼前。我们要把奖颁发给这位与我们一起分享了这段震撼、现实而紧张的经历的影片制作者,今年早些时候,他们在加沙封锁地带目睹并拍摄下了那里的恐怖和毁灭。”
    能看到开放资源的影片获得如此的赞誉是令人鼓舞的,这将巩固这类影片在更广阔的电影发展远景里的位置。衷心的恭贺电影制作者Alberto Arce 与 Mohammed Rujailah!
    这部影片除了在波波里电影节获奖外,还获得了阿姆斯特丹国际纪录片电影节、斯德哥尔摩电影节等众多电影节的提名。你可以登录影片的官方网站(http://toshootanelephant.com/ )了解更多关于这部记录片的信息。

    原文:Cameron Parkins  http://creativecommons.org/weblog/entry/19263 翻译:和晓琳

    Collaborative Futures 1

    Mike Linksvayer, January 19, 2010 01:42 AM   License: CC0 1.0 Universal

    Day 1 of the Collaborative Futures book sprint was spent with the participants introducing themselves and their relevant projects and thoughts, grouping of points of interest recorded on sticky notes by all during the introduction, and distillation into a high level table of contents.

    The other participants had too many interesting things to say to catalog here — check out their sites:

    Incidentally, I was fairly pleased to see 5 participants running Linux (counting Adam Hyde, who doesn’t seem to have a blog, and me) and only 2 running OS X. All also are doing interesting Creative Commons licensed projects, not to mention mostly avoiding licenses with the NonCommercial term.

    A good portion of the introductory discussion concerned free software and free culture, leading to a discussion of how to include them in the table of contents — the tentative decision is to not include them explicitly, as they would be referenced in various ways throughout. I believe the tentative high level table of contents looks like this:

    This doesn’t adequately give an impression of much progress on day 1 — I think we’re in a fairly good position to begin writing chapters tomorrow morning, and we finished right at midnight.

    Also see day 0 posts from Michael Mandiberg, Mushon Zer-Aviv, and me.

    Evaluatie Creative Commons Buma/Stemra pilot

    CC Netherlands, January 18, 2010 05:57 PM   License: Naamsvermelding 3.0 Nederland

    Afgelopen zaterdag presenteerden Matthijs Bobeldijk (Buma/Stemra) en Paul Keller op het Noorderslag festival in Groningen de resultaten van het evaluatieonderzoek naar de gezamenlijke pilot van Creative Commons en Buma/Stemra. Dit onderzoek heeft in de afgelopen twee maanden plaatsgevonden: in november 2009 vond er een bijeenkomst met Nederlandse musici en andere experts uit de muzieksector plaats. De uitkomsten van deze bijeenkomst zijn gebruikt als input voor een enquête onder leden van Buma/Stemra en een klein aantal andere musici.

    De doelstelling van het onderzoek was tweeledig. Ten eerste wilden wij uitzoeken waarom er tot nu toe relatief weinig gebruik van de mogelijkheden van de pilot gemaakt wordt (eind 2009 waren er slechts 30 deelnemers die gezamenlijk zo’n 100 nummers onder een van de CC licenties aanbieden). Ten tweede is in het kader van het onderzoek ook gekeken naar de behoeften van musici met betrekking tot een meer flexibel beheer van hun auteursrecht door collectieve beheersorganisaties zoals Buma/Stemra.

    Wat betreft het laatste punt paste het onderzoek prima bij een andere discussie die op Noorderslag gevoerd werd. Tijdens een van de meest interessante panels van de conferentie werd er met veel passie over meer flexibiliteit bij het beheer van auteursrechten van de leden van Buma/Stemra gediscussieerd. De uitkomsten van het onderzoek naar de pilot bevestigen het beeld dat er onder muziekauteurs behoefte is aan een meer flexibele omgang met hun auteursrecht:

    • ‘Meer flexibiliteit bij het beheer van mijn rechten’ spreekt meer dan 75% van de ondervraagde muziekauteurs aan.
    • ‘Het maken van een verschil tussen commercieel en niet-commercieel gebruik van mijn werk’ spreekt 69% van de ondervraagde muziekauteurs aan.

    Terwijl de pilot duidelijk op deze twee behoeften inspeelt (verschil maken tussen commercieel en niet-commercieel gebruik is de kern van de pilot) is er bij de ondervraagde muziekauteurs een sterk verschil in de animo voor de pilot en de bekendheid van de Creative Commons licenties te constateren:

    • 64% van de ondervraagden heeft nog nooit van Creative Commons gehoord en slechts 3% van de ondervraagden maakt gebruik van de CC licenties.
    • 25% van de respondenten gaven aan dat zij wel interesse in de door de pilot geboden mogelijkheden hebben.

    Op basis van deze cijfers moeten wij dan ook concluderen dat de pilot weliswaar bestaansrecht heeft maar in zijn huidige uitwerking onvoldoende bij de wensen en behoeften van muziekauteurs aansluit en onvoldoende bij hun bekend is.

    Een van de meest geuite kritiekpunten m.b.t. de pilot is het feit dat de in het kader van de pilot gehanteerde definitie van niet-commercieel gebruik van de gelicenseerde muziekwerken te nauw is. In de enquête hebben we daarom een aantal vormen van gebruik van muziekwerken aan de muziekauteurs voorgelegd. Per vorm van gebruik is vervolgens gevraagd of de auteurs toestemming voor gratis gebruik van hun eigen werk zouden geven als er sprake van promotie is.

    De resultaten hiervan zijn vrij duidelijk: de meeste vormen van online gebruik worden door een meerderheid van de muziekauteurs als promotioneel gezien. De meer traditionele vormen van gebruik (gebruik op radio en TV, in de horeca etc.) worden daarentegen door een meerderheid van de muziekauteurs niet als promotie gezien, maar als commerciële exploitatie waarvoor zij een vergoeding willen ontvangen (de hieronder afgebeelde figuur is van betrekking op de leeftijdscategorie 20-29, voor een chart met de resultaten voor alle leeftijdscategorieën zie slide nummer 19 in de presentatie hieronder):

    chart: gratis gebruik voor promotie

    Dit bevestigt de indruk dat de, in het kader van de pilot, gehanteerde definitie van commercieel gebruik onvoldoende bij de promotiewensen van de ondervraagde muziekauteurs aansluit. Op basis van de uitkomsten van dit onderzoek gaat Creative Commons Nederland samen met Buma/Stemra tot aan het einde van de pilot periode (23 augustus 2010) aanpassingen aan de pilot onderzoeken. Naast de gehanteerde definitie van commercieel gebruik zal er ook naar de communicatie over de pilot worden gekeken.

    To shoot an elephant live on Second Life today!

    Donatella Della Ratta, January 18, 2010 05:12 PM   License: Attribution-Share Alike 3.0 United States


    Thanks to Movieoole and  2LifeCast the Creative Commons released documentary “To shoot an elephant” by Alberto Arce and Mohammad Rujeilah will be broadcasted today live on Second Life at 22 pm Central European Time at the Galleria Szczepanski cinema . Press release here below (Italian only).

    Grazie al supporto di Movieoole e 2Lifecast il documentario rilasciato sotto licenza Creative CommonsTo shoot an elephant” di Alberto Arce e Mohammad Rujeilah verrà proiettato in diretta alle 22 ora italiana presso il cinema virtuale di Seconf Life Galleria Szczepanski. Ecco di seguito il comunicato stampa.

    Buona visione, e grazie a @sennet & team per aver reso possibile la proiezione SL!

    18 gennaio 2010: proiezione globale

    del film-documentario su Gaza

    “To shoot an elephant”

    2lifecast e Moovioole partecipano alla distribuzione

    … dopo, naturalmente, ci furono discussioni infinite circa l’uccisione dell’elefante. Il proprietario era furioso, ma era solo un indiano e non poteva fare niente. Inoltre, sul piano giuridico avevo fatto la cosa giusta, perché un elefante pazzo deve essere ucciso, come un cane pazzo, se il proprietario non riesce a controllarlo.

    (George Orwell, Uccidendo un elefante)

    “To shoot an elephant” è un resoconto realizzato da testimoni oculari presenti nella Striscia di Gaza durante i bombardamenti effettuati dall’esercito israeliano lo scorso dicembre, nel corso dell’Operazione “Piombo fuso”: 21 giorni a sparare sull’elefante, documentati da Alberto Arce e Mohammad Rujeilah.

    Incalzante, sporco, da far perdere il sonno, immagini che fanno rabbrividire raccolte dagli unici stranieri che hanno deciso di rimanere -e ci sono riusciti- all’interno delle ambulanze nella striscia di Gaza, con i civili palestinesi.

    Il film-premiato lo scorso novembre al Festival dei Popoli di Firenze- sta organizzando il 18 gennaio 2010 un “global screening day” in tutto il mondo, in occasione dell’anniversario dei bombardamenti israeliani a Gaza. Arce- consapevole del problema “distributivo” di cui le immagini su Gaza hanno sofferto e tuttora soffrono- ha deciso di rilasciare il suo film sotto licenza Creative Commons “attribuzione condividi allo stesso modo” CC BY SA per permettere a chi interessato, nel mondo intero, di scaricare legalmente il film, copiarlo, proiettarlo in pubblico, distribuirlo, tradurlo, alla sola condizione di citarne la fonte originaria e rilasciare il prodotto finale sotto lo stesso tipo di licenza.

    2lifecast e Moovioole hanno deciso di supportare la diffusione del film, organizzando una proiezione congiunta

    - in Second Life, Cinema della Galleria Szczepanski, ore 22.30 (http://slurl.com/secondlife/Galleria/84/96/22)

    - sul web, Cineteca Moovioole, ore 21 e ore 23 (http://www.moovioole.it/eventi/).

    2lifecast e Moovioole costituiscono insieme un circuito distributivo e di comunicazione integrato e crossmedia, composto da siti web (il sito di Moovioole e una serie di blog), una sala a Milano (http://www.creaticitygate.org) e una sede virtuale in SecondLife (http://slurl.com/secondlife/Galleria/84/96/22), ed è aperto a tutti gli autori che producono fiction, animazione, live e desiderano condividere i propri contenuti in licenza Creative Commons. Condividiamo pertanto la scelta distributiva operata da Arce e Rujeilah, volta a superare logiche distributive che rischiano di oscurare o mettere a tacere contenuti importanti, e offriamo loro il nostro contributo nelle modalità che ci sono proprie.

    Maggiori informazioni sul film sono disponibili nei siti:

    http://mediaoriente.com/2010/01/09/to-shoot-an-elephant-su-gaza-proiezione-globale-il-18-gennaio/

    http://toshootanelephant.com

    Open AGH – Otwarte Zasoby Edukacyjne

    CC Poland, January 18, 2010 12:06 PM   License: Uznanie autorstwa 2.5 Polska

    8 stycznia Akademia Górniczo-Hutnicza w Krakowie uruchomiła serwis Open AGH - repozytorium otwartych zasobów edukacyjnych tworzonych przez pracowników, doktorantów i studentów AGH. Pomysłodawcą, twórcą i administratorem samego serwisu jest Centrum e-Learningu AGH. To pierwszy taki projekt w Polsce, repozytorium otwartych zasobów edukacyjnych tworzonych przez uczelnię, nowatorski również w skali światowej. ...

    Collaborative Futures 0

    Mike Linksvayer, January 17, 2010 06:47 PM   License: CC0 1.0 Universal

    FLOSS Manuals has produced numerous excellent free manuals for free software, as the name implies. Now, led by the excellent Adam Hyde, they’re branching out to produce free books on other subjects via their approximately sprint+wiki methodology. Appropriately, and recursively, one of these books, maybe the first, addresses the future of collaboration, to be titled Collaborative Futures.

    I’ve arrived in Berlin to help write that book over the next five days — with several others in person and hopefully a significant online contingent. (I understand online participation instructions will be published Tuesday, will link to them here.)

    I think I’ve met Adam Hyde a few times before, but first had significant conversations at Wikimania last year (check out his presentation, lots of deep observations about cultural production and freedom). When he later emailed to recruit me to this book sprint, the subject was to be the future of free culture. That would be a fine book, but I’m excited about the change, if only because the future of collaboration may be the most important determinant of how free culture is, as I’ve written for another book project:

    Generally culture is much more varied than software, and the success of free culture projects relative to free software projects may reflect this. It seems that free culture is at least a decade behind free software, with at least one major exception—Wikipedia. Notably, Wikipedia to a much greater extent than most cultural works has requirements for mass collaboration and maintenance similar to those of software. Even more notably, Wikipedia has completely transformed a sector in a way that free software has not.

    One, perhaps the, key question for free culture advocates is how more cultural production can gain WikiNature—made through wiki-like processes of community curation, or more broadly, peer production. To the extent this can be done, free culture may “win” faster than free software—for consuming free culture does not require installing software with dependencies, in many cases replacing an entire operating system, and contributing often does not require as specialized skills as contributing to free software often does.

    However, the import of the future of collaboration for freedom goes well beyond its import for free culture, and indeed, its import goes well beyond freedom. Perhaps nobody other than myself will have noticed the relevance of many of the themes I’ve written about at this blog, but for anyone who has, you may particularly enjoy an interview with Mushon Zer-Aviv, one of the other sprint participants.

    Photos and an interview from my only previous visit to Berlin in October, 2007.

    Al Jazeera Creative Commons Repository: Daily life in Iraq

    Ivan Chew, January 17, 2010 04:00 PM   License: Attribution 3.0 Singapore

    Learned about the Al Jazeera CC Repository from this post:
    Last year, Al Jazeera launched their Creative Commons Repository with 12 videos shot in Gaza under CC’s most open license, Attribution only. Since then, Al Jazeera’s collection has grown, and their most recent footage includes videos documenting everyday life and culture in Iraq.

    I'm sure Al Jazeera has considered the use of its video by its rival money-making broadcaster, but think about it -- the rival broadcaster has to acknowledge Al Jazeera as the creator (as per the CC license), which means it's free advertisement:
    The good news is that the video and all others in this repository are licensed CC BY, so someone can help translate this into English or other languages, for use by rival broadcasters or in documentaries.

    ... All Al Jazeera CC repository videos are available via CC BY, which means you can edit, adapt, translate, remix or otherwise use them as long as you credit Al Jazeera.

    Copyright Criminals: PBS Documentary on Sampling

    Creative Commons, January 15, 2010 10:51 PM   License: Attribution 3.0 Unported

    Copyright Criminals is a new documentary on the rise of sampling, specifically in hip-hop music, and the cultural and legal effects it has caused. From the Copyright Criminals website:

    Copyright Criminals examines the creative and commercial value of musical sampling, including the related debates over artistic expression, copyright law, and (of course) money.

    This documentary traces the rise of hip-hop from the urban streets of New York to its current status as a multibillion-dollar industry. For more than thirty years, innovative hip-hop performers and producers have been re-using portions of previously recorded music in new, otherwise original compositions. When lawyers and record companies got involved, what was once referred to as a “borrowed melody” became a “copyright infringement.”The film showcases many of hip-hop music’s founding figures like Public Enemy, De La Soul, and Digital Underground—while also featuring emerging hip-hop artists from record labels Definitive Jux, Rhymesayers, Ninja Tune, and more.

    The film will be broadcast publicly on PBS this Tuesday night, January 19th so be sure to check your local listings for time. You can get a taste of what is in store by watching the film’s trailer and starting January 26th you will be able purchase the film on DVD.

    In conjunction with the film’s development a contest was held at ccMixter challenging community members to sample select voice-overs from the film to create an original track. Winner Dermes’ track Sounds that Sound good is featured on the Copyright Criminals DVD as well as a compilation CD featuring the other 12 top entries. All of the tracks are available for free at ccMixter under a CC Attribution-NonCommercial license.

    Lastly, for those in New York City, a party is being held this Tuesday (1/19) at The Brooklyn Bowl to celebrate the film’s premiere and DVD release. The night will feature appearances by EL-P, Eclectic Method, Mr. Len and DJ Spooky – doors open at 8PM to be followed by the PBS Broadcast Premiere at 10PM.

    CC-film från Gaza visas i Sverige

    CC Sweden, January 15, 2010 07:13 PM   License: Erkännande 2.5 Sverige

    Den Creative Commons-licensierade filmen To Shoot an Elephant, som handlar om situationen i Gaza, kommer att visas världen över måndagen den 18 januari. I Sverige visas filmen i Göteborg, Stockholm och Umeå (mer info). Filmen kan även laddas ner eller ses online på http://toshootanelephant.com/.

    Po spotkaniu NetTuesday o wolnym licencjonowaniu

    CC Poland, January 15, 2010 06:01 PM   License: Uznanie autorstwa 2.5 Polska

    W ostatni wtorek w Klubokawiarni Chłodna 25 obyło się spotkanie z cyklu NetTuesday, (na które zapraszaliśmy na łamach naszej strony). Podczas spotkania omawiana była rola wolnego licencjonowania w trzecim sektorze, zarówno z perspektywy praktycznej jak i ideologicznej. O otwartości, licencjach oraz ich wykorzystywaniu mówili: Alek Tarkowski, koordynator Creative Commons Polska ...

    El Mostrador licencia sus contenidos con CC

    CC Chile, January 15, 2010 04:47 PM   License: Atribución-No Comercial-Licenciar Igual 2.0 Chile

    El diario electrónico El Mostrador ha licenciado sus contenidos informativos — incluyendo textos, gráficos e imágenes – con Creative Commons. Gracias a esto, y con la debida atribución, puedes copiar, distribuir y comunicar públicamente los contenidos publicados pero sin  generar obras derivadas o utilizarlos con fines comerciales.

    El Cine Chileno y las nuevas formas de creatividad y distribución

    CC Chile, January 15, 2010 03:16 PM   License: Atribución-No Comercial-Licenciar Igual 2.0 Chile

    Un nuevo ejemplo se ha agregado a la wiki de Casos de Estudio CC. Se trata de “El Cine Chileno y las nuevas formas de creatividad y distribución“, que cuenta algunas experiencias de uso de Creative Commons como fundamento para nuevas formas de distribución y de creación, por parte de algunos cineastas en Chile que, poco a poco, se han atrevido a experimentar con el mundo digital.

    Este ejemplo se une a los casos chilenos expuestos en esta wiki sobre netlabels y prensa chilena.

    *Foto Cinepata.com

    Daily life in Iraq—new footage at Al Jazeera

    Creative Commons, January 14, 2010 11:15 PM   License: Attribution 3.0 Unported

    Last year, Al Jazeera launched their Creative Commons Repository with 12 videos shot in Gaza under CC’s most open license, Attribution only. Since then, Al Jazeera’s collection has grown, and their most recent footage includes videos documenting everyday life and culture in Iraq.

    Check out this video of an Iraqi artist sculpting a Minaret and painting a tree. The sculptures seem to be encased afterward in gold or some other substance—I’m not entirely sure since I’m not fluent in Arabic. The good news is that the video and all others in this repository are licensed CC BY, so someone can help translate this into English or other languages, for use by rival broadcasters or in documentaries.

    There are also more videos about the communication network in Iraq, and Samarra’s pharmaceutical factories and poultry farms.

    You can also start remixing these videos to tell a compelling story, whether it’s a 30 sec or twenty minute film clip, maybe laid with some CC licensed soundtracks. Be creative. There’s a lot of CC licensed stuff out there. All Al Jazeera CC repository videos are available via CC BY, which means you can edit, adapt, translate, remix or otherwise use them as long as you credit Al Jazeera. Interested persons can add the Al Jazeera repository to their Miro feeds.

    Robin Sloan’s “Annabel Scheme”

    Creative Commons, January 14, 2010 07:03 PM   License: Attribution 3.0 Unported

    Robin Sloan, a San Fransisco-based writer best known for his short stories and writing at culture blog Snarkmarket, recently completed work on his first novella, Annabel Scheme.

    Sloan used Kickstarter, a social fundraising platform, to garner patrons for Annabel Scheme prior to publishing. By offering a number of incentive levels with varying amenities, Sloan was able to raise just shy of $14,000 for the project – over $10,000 more than he had originally asked. Had he not been able to raise the original goal of $3,500, no backers would be required to pay, making the process low risk for those looking to fund, as Kickstarter puts it, “creative ideas and ambitious endeavors.”

    Towards the end of the fundraising round, Sloan decided Annabel Scheme was to be released under a CC Attribution-NonCommercial license – more than that, he chose to devote $1,000 of the excess budget to a remix fund. Sloan put out an open call for pitches on interesting ways to take the book and build something new from it. These pitches are now being voted on by the book’s backers, with an announcement on fund allocation forthcoming.

    A unique project all around, it is no wonder Kickstarter awarded Annabel Scheme best project in their 2009 retrospective. You can download the novella for free at Sloan’s website.

    Premio Remix

    CC Italy, January 14, 2010 05:38 PM   License: Attribuzione-Condividi allo stesso modo 2.5 Italia

    Dopo il film RIP! A remix manifesto prende il via il PREMIO REMIX. Un concorso dedicato all'approccio "open source" al copyright e alla "cultura remix" Premio Remix. Il "Premio Remix" è un premio riservato a studenti e smanettoni di ogni età, a cinefili tecnologici, a video artisti -o aspiranti tali- chiamati a remixare alcuni "materiali" video tratti dal film e dal regista pre-selezionati. Maggiori informazioni disponibli qui.

    leggi tutto

    Der Open Music Contest geht auf Deutschland-Tour

    Markus Beckedahl, January 14, 2010 04:00 PM   License: Namensnennung-Keine kommerzielle Nutzung-Weitergabe unter gleichen Bedingungen 3.0 Deutschland

    Nach einer Auszeit im vergangenen Jahr gibt es große Pläne für den Wettbewerb für CC-lizenzierte Musik. “Kultourhauptstadt Internet” nennen die Veranstalter den Plan, auf Tour durch verschiedene Städte Deutschlands zu gehen.

    Die einzelnen Stationen sollen dabei jeweils vor Ort organisiert werden. Wir laden hiermit die CC-Community und alle Freundinnen & Freunde freier Kultur dazu ein, sich an diesem Projekt zu beteiligen.

    Gesucht werden hierzu Freiwillige, die gerne die Planung für eines der Tourkonzerte in ihrer Stadt übernehmen möchten (das entsprechende Verantwortungsbewußtsein setzen wir voraus). Wir denken dabei zunächst einmal an Clubs und ähnliche Konzertveranstaltungsorte mit einer Kapazität von etwa 250 Personen ab Mitte Juni (man kann sich aber natürlich auch gerne bei uns melden, wenn man etwas anderes vorschlagen möchte). Wir möchten gewissermaßen mit einer handvoll Bands verschiedener Genres vorbeikommen, den Laden rocken, und nach dem Ausschlafen zur nächsten Location weiterfahren. Dabei soll sich jeden Abend das Line-Up etwas ändern, so daß wir einer ganzen Reihe von Bands die Chance geben können, mal für ein paar Tage Tourluft zu schnuppern.

    Auch könnten neben den bisherigen Jury-Entscheidungen in Zukunft Publikums-Abstimmungen über die Sieger stattfinden. Nach der Trennung vom AStA der Uni Marburg als Organisator steht in der nächsten Zeit zudem die Gründung eines eigenen Trägervereins für den Open Music Contest an. Die nächste Bewerbungsphase für den OMC beginnt voraussichtlich im April.

    (via)

    The White Cube Remix

    Creative Commons, January 14, 2010 02:08 AM   License: Attribution 3.0 Unported

    In celebration of its 20th anniversary, Oslo’s RAM Galleri is currently showing The White Cube Remix, a “sonic art” exhibition that features a collaborative soundtrack created by 68 ccMixter community members.

    The project began in November 2009 when Rolf Gerstlauer, exhibit curator at RAM, approached ccMixter users Sackjo22 and Gurdonark about creating a collaborative soundtrack for the exhibit. The pair released two tracks – The White Cube (accapella) and Winter Lights (ambient) – and asked the ccMixter community to build from there. From ArtistTechMedia:

    Gurdonark and SackJo22 first composed and recorded ambient samples and spoken word source material, reflecting the central themes of this exhibition — light and winter in the north, which were then contributed to the ccMixter community for remix under a Creative Commons license. In less than one month, more than 94 original compositions, from ambient music to chill beats, were created by international music makers at ccMixter specifically for the White Cube exhibit.

    SackJo22 and Gurdonark compiled a playlist of these 94 original compositions onto an mp3 player that [is] installed in the RAM Galleri, thus providing more than six hours of original music as a soundtrack for the White Cube exhibition.

    All of the tracks created for the project are released under a CC Attribution license, allowing them to be freely shared and reused as long as the original creators are attributed.

    RAM will be hosting a symposium tomorrow (January 14th) between 7-9PM CET to discuss the project generally, how the soundtrack was created, and its relation to participatory culture in a broader sense. For those not based in Oslo, you can watch the symposium online via a dedicated video feed (browser plug-in instillation required) – the required meeting ID number is 64858:

    Contained In: The Continuous Production of the Ultimate White Cube?
    Moderator: Carl Mattias Ekman (architect, scholar PHD AHO)

    Participants:
    Susan Joseph (ccMixter – initiator of the white cube remix project)
    Robert Nunnally (ccMixter – initiator of the white cube remix project)
    Emily Richards (ccMixter and ArtisTech Media)
    Gisle Hannemyr (CreativeCommons.no)
    Frode Gether-Rønning (IT-director, AHO)
    Rolf Gerstlauer (architect, curator of the exhibition, professor AHO)

    Search and Discovery for OER

    CC Techblog, January 14, 2010 12:46 AM   License: Attribution 3.0 Unported

    Last summer the Open Society Institute generously provided funding for CC to host a meeting about search and discovery for OER. The goal was to bring together people with experience and expertise in different areas of OER discovery and see if there was common ground: pragmatic recommendations publishers could follow to achieve increased visibility right now.

    After many months of inactivity, I’m happy to announce that we’ve published a draft of an initial document, a basic publishing guide for OER. “Towards a Global Infrastructure For Sharing Learning Resources” describes steps creators and publishers of OER can take today to make sure their work spreads as widely as possible. This draft was developed by attendees of the meeting, and is currently being reviewed; as such it may (and probably will) change.

    As you can see from the meeting notes, this isn’t the last thing we hope to get from this meeting. The next steps involve getting our hands a little dirtier — figuring out how we link registries of OER repositories and implementing code to do so. It should be interesting to see how this work develops, and how it influences our prototype, DiscoverEd.

    cc.engine and web non-frameworks

    CC Techblog, January 13, 2010 10:04 PM   License: Attribution 3.0 Unported

    The sanity overhaul has included a number of reworkings, one of them being a rewrite of cc.engine, which in its previous form was a Zope 3 application. Zope is a full featured framework and we already knew we weren’t using many of its features (most notably the ZODB); we suspected that something simpler would serve us better, but weren’t certain what. Nathan suggested one of two directions: either we go with Django (although it wasn’t clear this was “simpler”, it did seem to be where a large portion of the python knowledge and effort in the web world is pooling), or we go with repoze.bfg, a minimalist WSGI framework that pulls in some Zope components. After some discussion we both agreed: repoze.bfg seemed like the better choice for a couple of reasons: for one, Django seemed like it would be providing quite a bit more than necessary… in cc.engine we don’t have a traditional database (we do have an RDF store that we query, but no SQL), we don’t have a need for a user model, etc… the application is simple: show some pages and apply some specialized logic. Second, repoze.bfg built upon and reworked Zope infrastructure and paradigms, and so in that sense it looked like an easier transition. So we went forward with that.

    As I went on developing it, I started to feel more and more like, while repoze.bfg certainly had some good ideas, I was having to create a lot of workarounds to support what I needed. For one thing, the URL routing is unordered and based off a ZCML config file. It was at the point where, for resolving the license views, I had to route to a view method that then called other view methods. We also needed a type of functionality as Django provides with its “APPEND_SLASH=True” feature. I discussed with the repoze.bfg people, and they were accommodating to this idea and actually applied it to their codebase for the next release. There were some other components they provided that were well developed but were not what we really needed (and were besides technically decoupled from repoze.bfg the core framework). As an example, the chameleon zpt engine is very good, but it was easier to just pull Zope’s template functionality into our system than make the minor conversions necessary to go with chameleon’s zpt.

    Repoze was also affecting the Zope queryutility functionality in a way that made internationalization difficult. Once again, this was done for reasons that make sense and are good within a certain context, but make did not seem to mesh well with our existing needs. I was looking for a solution and reading over the repoze.bfg documentation when I came across these lines:

    repoze.bfg provides only the very basics: URL to code mapping, templating, security, and resources. There is not much more to the framework than these pieces: you are expected to provide the rest.

    But if we weren’t using the templating, we weren’t using the security model, and we weren’t using the resources, the URL mapping was making things difficult, and those were the things that repoze.bfg was providing on top of what was otherwise just WSGI + WebOb, how hard would it be to just strip things down to just the WSGI + WebOb layer? It turns out, not too difficult, and with an end result of significantly cleaner code.

    I went through Ian Bicking’s excellent tutorial Another Do-It-Yourself Framework and applied those ideas to what we already had in cc.engine. Within a night I had the entire framework replaced with a single module, cc/engine/app.py, which contained these few lines:

    import sys
    import urllib
    
    from webob import Request, exc
    
    from cc.engine import routing
    
    def load_controller(string):
        module_name, func_name = string.split(':', 1)
        __import__(module_name)
        module = sys.modules[module_name]
        func = getattr(module, func_name)
        return func
    
    def ccengine_app(environ, start_response):
        """
        Really basic wsgi app using routes and WebOb.
        """
        request = Request(environ)
        path_info = request.path_info
        route_match = routing.mapping.match(path_info)
        if route_match is None:
            if not path_info.endswith('/') \
                    and request.method == 'GET' \
                    and routing.mapping.match(path_info + '/'):
                new_path_info = path_info + '/'
                if request.GET:
                    new_path_info = '%s?%s' % (
                        new_path_info, urllib.urlencode(request.GET))
                redirect = exc.HTTPTemporaryRedirect(location=new_path_info)
                return request.get_response(redirect)(environ, start_response)
            return exc.HTTPNotFound()(environ, start_response)
        controller = load_controller(route_match['controller'])
        request.start_response = start_response
        request.matchdict = route_match
        return controller(request)(environ, start_response)
    
    def ccengine_app_factory(global_config, **kw):
        return ccengine_app

    The main method of importance in this module is ccengine_app. This is a really simple WSGI application: it takes routes as defined in cc.engine.routes (which uses the very enjoyable Routes package) and sees if the current URL (or, the path_info portion of it) matches that URL. If it finds a result, it loads that controller and passes a WebOb-wrapped request into it, with any special URL matching data tacked into the matchdict attribute. And actually, the only reason that this method is even so long at all is because of the “if route_match is None” block in the middle: that whole part is providing APPEND_SLASH=True type functionality, as one would find in Django. (Ie, if you’re visiting the url “/licenses”, and that doesn’t resolve to anything, but the URL “/licenses/” does, redirect to /licenses/.) The portions before and after are just getting the controller for a url and passing the request into it. That’s all! (The current app.py is a few lines longer than this, utilizing a callable class rather than a method in place of ccengine_app for the sake of configurability and attaching a few more things onto the request object, but not longer or complicated by much. The functionality otherwise is pretty much the same.)

    Most interesting is that I swapped in this code, changed over the routing, fired up the server and.. it pretty much just worked. I swapped out a framework for about a 50 line module and everything was just as nice and functioning as it was. In fact, with the improved routing provided by Routes, I was able to cut out the fake routing view, and thus the amount of code was actually *less* than what it was before I stripped out the framework. Structurally there was no real loss either; the application still looks familiar to that you’d see in a pylons/django/whatever application.

    I’m still a fan of frameworks, and I think we are very fortunate to *have* Zope, Pylons, Django, Repoze.bfg, and et cetera. But in the case of cc.engine I do believe that the position we are at is the right one for us; our needs are both minimal and special case, and the number of components out there for python are quite rich and easily tied together. So it seems the best framework for cc.engine turned out to be no framework at all, and in the end I am quite happy with it.

    Internet voor iedereen

    CC Netherlands, January 13, 2010 12:14 PM   License: Naamsvermelding 3.0 Nederland

    Internet provider XS4ALL heeft een publicatie uitgegeven getiteld: Internet voor iedereen, 32 visies op internet, technologie en maatschappij. Namens Waag Society leveren Lucas Evers en Bas van Abel een bijdrage over Open Design. Laurine van der Wiel en Edith Schreurs van het Van Goghmuseum vertellen over hun deelname aan het project Wiki loves Art/NL. Dit project is georganiseerd door Creative Commons Nederland en Wikimedia Nederland.

    De uitgave is verschenen onder een Creative Commons licentie (Naamsvermelding-Niet-Commercieel-GelijkDelen), al het beeldmateriaal is afkomstig van Flickr. Jullie kunnen het boekje hier downloaden:

    Internet voor iedereen

    FMA Guest Curator: Catching The Waves

    Creative Commons, January 12, 2010 06:16 PM   License: Attribution 3.0 Unported

    Late last year we began reaching out to those working to expose and support CC-licensed music for help with our curator portal at the Free Music Archive. Our first guest curator was ccMixter admin Victor Stone, whose mix highlighted the talent of the ccMixter community. Now, we are happy to present the second mix in the series, featuring some incredible tracks selected by CC/netlabel music blog Catching The Waves:

    I am deeply honoured to join in the fun at the FMA. My mix consists of some of the best tracks from some of the best albums that have been lassooed (SP) at CTW. It features lots of different genres, tempi and moods (rock, IDM, trip-hop, minimal, folk, ambient, etc.,) from as far afield as Germany, Japan, Colombia, the United States, France, Canada, Italy and the U.K. It was murderously difficult to whittle the mix down to a still unwieldy twenty tracks. It would be wonderful if people who were new to netlabels, and CC music in general, stumbled upon these songs and realised, as I did, that there’s a whole world of wonderful music just waiting to be discovered – and that it’s all free, legal and made by artists who want their music to be downloaded, copied and shared. Catching the waves can be fun…

    You can listen to the whole mix at our FMA Curator Portal. Big thanks to Catching The Waves for the excellent selection!

    Removing duplicate rows in MySQL

    CC Techblog, January 12, 2010 06:06 PM   License: Attribution 3.0 Unported

    There are thousands of articles out there on removing duplicate rows from a SQL database. However, almost all of the first-page results of a search at Google for something like “mysql remove duplicates” involved creating temporary tables and other convoluted ways of solving the problem. I’m posting this simple method here in the hope that it could simplify this process for someone else. This is likely old news for people highly experienced with MySQL and SQL databases in general, but it’s not that frequent that I have to tackle the duplicate row issue, so I post here for my own reference and that of others. The idea is that you create a unique index on the table based on the columns that should not be duplicated. MySQL will delete the duplicates in order to comply with the uniqueness of the index created. You then simply remove the temporary index.

    There was a bug in CiviCRM which was causing duplicate records in a particular table. Find the duplicates:

    mysql> SELECT contact_id, contribution_id, receive_date, product_id, count(*) FROM civicrm_contribution_product JOIN civicrm_contribution ON civicrm_contribution_product.contribution_id = civicrm_contribution.id GROUP BY contribution_id, product_id having count(*) > 1 ORDER BY receive_date;

    Removing most of the duplicates:

    mysql> ALTER IGNORE TABLE civicrm_contribution_product ADD UNIQUE INDEX `tmp_index` (contribution_id, product_id);

    Removing the temporary index:

    mysql> ALTER TABLE civicrm_contribution_product DROP INDEX tmp_index;

    Thanks to Paul Swarthout’s comments on a thread at databasejournal.com for this simple solution.

    01/13: iPhoneセミナーにCCJP参加します

    CC Japan, January 12, 2010 07:01 AM   License: 表示 2.1 日本

    下記のセミナーにCCJP理事のドミニクが参加します。

    IntoInfinityのiPhoneアプリを共同製作したAPPLIYA主催で、iPhoneジャーナリストの林氏、Wired Japan誌を立ち上げた小林氏らと共に、ウェブの新しい経済潮流について語り合います。

    『iPhoneで自分のコンテンツを世界にタダで売り込む方法』
     フリーミアムとクリエイティブ・コモンズによる新しいクリエイターサービス

    日時: 2010年1月13日 15:30〜17:00

    場所: AppleStore銀座 3Fシアター

    料金: 無料

    内容:
     ・フリーミアムとは何か?
     ・クリエイティブコモンズとは何か?
     ・iPhoneアプリの無料制作サービスがもたらすものは?
     ・iPhoneAppBuilderによるiPhoneアプリ制作の実演
     ・パネルディスカッション

    登壇者:
     ・林 信行  ジャーナリスト&コンサルタント スマートフォンジャーナリズムの第一人者
     ・小林 弘人  編集者 書籍『フリーミアム』の監修・解説
     ・Dominick Chen  NPO法人クリエイティブ・コモンズ・ジャパン 理事
     ・椎谷 ハレオ  APPLIYA株式会社 代表取締役

    司会:
     ・新城 健一 APPLIYA株式会社

    Public Domain Day 2010 in Poland

    COMMUNIA, January 12, 2010 04:21 AM   License: Attribution-Share Alike 3.0 Unported

    The second edition of the Public Domain Day celebration was organized at Warsaw's National Library by the Coalition for Open Education, a group of non-governmental organizations and institutions working in the fields of education, science and culture and promote open access to knowledge. Attended by representatives of NGOs, libraries, cultural institutions and lawyers, the debate focused on the current state of the resource-sharing culture in Poland.

    During the event, members of the Coalition also hosted a multimedia presentation on the public domain, held a workshop on cultural resource sharing led by Dr. Alek Tarkowski (Creative Commons) and Jaroslaw Lipszyc (Modern Poland Foundation). Piotr Waglowski introduced a legal analysis of problems related to the public domain.

    The most important concern emerging seems to be the lack of public domain protection, thus creating a ripple effect with difficulties and problems at each step. In Poland the whole issue is poorly understood and supported, starting with its very legislation: the translator of the Berne Convention (to which Poland is a signatory) used the official term of ‘nation public ownership’. [11jan10]

    read more

    Be The Media: Independent Media Handbook Featuring CC Chapter

    Creative Commons, January 11, 2010 07:13 PM   License: Attribution 3.0 Unported

    BeTheMedia2008webBe The Media is a book for anyone looking to create, distribute, and engage with digital media. Compiled by David Mathison, the book features articles on how individuals are taking control of their own media production and distribution (Part One: The Personal Media Renaissance) and how communities are developing around these producers to showcase their work (Part Two: The Community Media Renaissance).

    The book features a chapter on Creative Commons and the Open Source movement, with essays from former CC General Counsel Mia Garlick and Free Software Foundation President Richard Stallman. This chapter, along with nine others, is released under a Creative Commons Attribution-NonCommercial-Share Alike license.

    You can download the chapter on CC for free (registration required) and purchase the entire book at Be The Media’s website – a recommended read for those invested in new methods of online creation and distribution.