Anya Kamenetz and Mozilla have released a great book called Learning, Freedom & the Web. It details many of the activities and ideas generated at Mozilla’s eponymous festival held last year, “a 500 person meta-hackfest that took place in a Barcelona city square,” says Ben Moskowitz from Mozilla. The book features participant interviews, project highlights, photographs and blog posts from the festival, as well as related content from across the Web reflecting on ideas around learning, freedom and the Web. One CC-related project conceptualized at the Festival is OpenAttribute, a browser plugin that makes it simple for anyone to copy and paste the correct attribution for any CC licensed work. Learning, Freedom & the Web is available as PDF download, HTML5 web version, or printed book. The book is available under the Creative Commons Attribution-ShareAlike (CC BY-SA) license.3 Comments »
The Power of Open: Stories of creators sharing knowledge, art, & data using Creative Commons
Released a couple weeks ago, The Power of Open demonstrates the impact of Creative Commons through stories of successful use of our tools by artists, educators, scientists, and institutions of all types. The Power of Open is available for free download at http://thepowerofopen.org under CC BY. It is available in several languages, with more translated versions to come, and you can also order hard copies from Lulu. We hope that it inspires you to examine and embrace the practice of open licensing so that your contributions to the global intellectual commons can provide their greatest benefit to all people. The Power of Open was made possible by our supporters, to whom we are deeply grateful, and the numerous creators featured, initially as part of our Case Studies project. Read more.
Over 400 million CC-licensed works, with increasing freedom
The book also features two pages sketching the socio-economic value and numerical adoption of CC tools. “How has adoption of Creative Commons grown?” is a difficult question given the decentralized nature of the web, but not as difficult as measuring economic value. Since Creative Commons’ first year, we have tracked the number of web links to Creative Commons licenses reported by search engine queries and the number of works licensed at major repositories. Derived from these a very conservative estimate of the approximate minimum number of licensed works at the end of each year is plotted at right – from under 1 million works after the first year, to over 400 million at the end of 2010. Read more.
Global Launch Events for The Power of Open
The Power of Open launched with events from around the world. The official launch occurred June 29 at The New America Foundation in Washington D.C., featuring Global Voices Online and IntraHealth, with CC CEO Cathy Casserly representing for staff. Additional launch events took place from June 16 in Tokyo, Japan, with the last event happening tomorrow, July 8, in Madrid, Spain. For the full list of events that took place in Brussels, Rio de Janeiro, London, and Paris, head on over to http://thepowerofopen.org/events. We will be reporting on outcomes from these events, so be sure to keep up-to-date by subscribing to our blog and using the tag #powerofopen on social media.
In other news:
- We have interns this summer! Casey is researching how Creative Commons has changed the discourse around copyright law. Jorge is researching stuff too, as well as coordinating with our international Affiliate Network. Read more.
- We held our 3rd Arab Regional Meeting in Tunis. We also held a rocking concert and are going to make a CD out of it under CC BY-NC!
- An example of the trend toward use of more open licenses noted above is Free! Music! Contest 2011 which this year is promoting CC BY and BY-SA licensed music. Bands can register through July 31.
- We presented at this year’s Open Knowledge Conference with the Open Knowledge Foundation (OKF) on Open Data Licensing. The OKF is also hosting Open Government Data Camp in October.
- Speaking of open data, participants of the Linked Open Data in Libraries Museums and Archives Summit (LOD-LAM) drafted an Open Ranking System for Library, Archive, and Museum Collection Metadata.
- Speaking of open government, License or Public Domain for Public Sector Information (PSI)?
- In policy news: the Commonwealth of Learning adopted CC BY-SA as part of its new open educational resources (OER) policy, the Open Society Foundations started encouraging its grantees to use CC licenses as part of its new copyright policy, and Brazil introduced OER into federal legislation in addition to adopting it as part of a local government policy.
- The Albanian translation of the CC license suite is open for review.
- Lastly, we are working with the Association of Educational Publishers to establish a common learning resources framework to help unleash the tremendous potential of OER and online learning.
Dan Gillmor talks about the challenges and rewards of publishing “Mediactive” under Creative Commons
Dan Gillmor is a journalist and established author, having previously published We the Media back in 2004 under a CC BY-NC-SA license. His subject is the changing landscape of media, and the focus of his first book was on distributed, grassroots journalism and its effect on the Big Media monopoly of news. Six years later, We the Media is still in print, and Dan talks about how this encouraged him to stick to his principles when publishing his second book, Mediactive, under Creative Commons as well. Dan turned down a publishing deal with a major New York publisher because they would not allow the CC license. In a reflection well worth reading, he writes,
“Almost a decade after Creative Commons was founded, and despite ample evidence that licensing copyrighted works this way doesn’t harm sales, book publishers remain mostly clueless about this option, or hostile to it. As David explained to editors, the main reason I’m still getting royalty checks for We the Media is that the book has been available as a free download since the day it went into bookstores. This is how word about it spread. Had we not published it that way, given the indifference (at best) shown by American newspapers and magazines, the book would have sunk without a trace.”
Also Mediactive “isn’t just a book; at least, not in the way most publishers understand books, even as they dabble online. And if a principle means anything to you, you stick by it when doing so is inconvenient, not just when it’s easy.”
Sticking by his principles seems to have paid off, as just three days after publishing Mediactive under CC BY-NC-SA online, 1,500 visitors to his site downloaded the book, and more viewed pieces of it online. At this point, Dan notes that “Far few have purchased the book, of course, but it’s selling — and I’ve barely begun the real marketing process, which will take place in the new year.”
Without Creative Commons and the internet, Mediactive would still be on the publishing floor somewhere:
“Incidentally, had I signed with a traditional publisher, the book would not have reached the marketplace for a year or more from the date when I signed. With a company like Lulu, you wrap up the project and you’re off to the races. In a fast-moving area like media, that’s a huge benefit to foregoing the standard route.”
It’s happened before with music albums, where releasing work openly online did not hurt actual sales of the product. The authors of Machine of Death clearly get this. They explain why the science fiction anthology of stories about people who know the manner by which they die (but have no idea when), has been made available online under CC BY-NC-ND:
Why are we doing this? Aren’t we worried about hurting our book sales?
In a word: no. You have proven time and again that you are willing to pay for content that you find valuable. You have shown that you are driven to share material that you fall in love with. And we are committed to ensuring that you can experience our work whether you can afford to buy a book or not; whether you live in a country that Amazon ships to or not; whether you have space in your life for a stack of paper or not.
Please, download, read, share and enjoy!
In addition, some of the individual stories are released under the CC BY-NC-SA license, which allows you to translate and adapt the work as long as you abide by the noncommercial condition and release the derivative under the same license. Podcasts are also being created for all the stories, with three stories up so far.
As of right now, Machine of Death is the #1 bestselling science fiction anthology on Amazon, and has also made their Best Books of 2010 list. For more information, see Boing Boing and the Machine of Death website.3 Comments »
FLOSS Manuals, true to its name, produces manuals for free software applications. The manuals themselves are freely licensed and often written in book sprints. This January, as part of the Transmediale festival in Berlin, FLOSS Manuals attempted its first non-manual booksprint — a considerably harder task, as no structure is implied. Only the book title, Collaborative Futures, was given — a collaborative experiment about the future of collaboration.
The initial collaborators each had considerable experience with free software or free culture collaborations — Michael Mandiberg, Marta Peirano, Alan Toner, Mushon Zer-Aviv, me, and FLOSS Manuals’ honcho Adam Hyde and programmer Aleksandar Erkalovic.
Initially we thought we’d write much about licenses and other topics much debated by those in the free software and free culture community. After a day of intense discussion of book content and structure, those debates were left in the background as we tackled explaining what kinds of collaboration we intended to write about and speculating about what the future of collaboration holds. As appropriate, we did use licenses — the book is released under the CC Attribution-ShareAlike license and incorporates a fair amount of previously existing material under the same or compatible licenses (surprisingly enough, none from Wikipedia).
There’s also a licensing (and collaboration?) story behind the video. Producer Bennett Williamson wanted to use “Rolands Vegners” by Ergo Phizmiz & Margita Zalite as the soundtrack. Bennett writes on his Free Music Archive blog:
This was a problem, because Collaborative Futures (and all its related materials) already had a different type of CC license than Ergo’s track; Attribution-ShareAlike and Attribution-NonCommercial-ShareAlike respectively.
I really liked the song and wanted to keep it in the video, so I contacted Ergo and asked him if he’d be willing to change the license type of his track… and he agreed! Score one for copyright alternatives!
So remember kids, when syncing up these jams to your sweet vids, make sure that your derivitive has a license that jives with that of the original work. And sometimes all you have to do is ask.
With that, here’s ten more instrumentals from the Archives ready for you to slap into your timeline. Thanks to those of you who made suggestions of tracks to include; please keep them coming!
All well worth keeping in mind for future collaborations. Check out the book, and more importantly, FLOSS Manuals and the Free Music Archive, excellent free culture projects covering a broad range of tastes.Comments Off
is the new publication by the Carnegie Foundation for the Advancement of Teaching and MIT Press exploring “the potential of open education to transform the economics and ecology of education.” Opening Up Education: The Collective Advancement of Education through Open Technology, Open Content, and Open Knowledge is a collection of thirty essays written by leaders in the open education movement. From the press release:
“[They] reflect on current and past open education initiatives, offer critical analyses, share the strategic underpinnings of their own work, and delve into open education’s implications in three areas: technology, content, and knowledge. Together, they address the central question of how open education can improve the quality of education.”
Co-editor M. S. Vijay Kumar is also quoted:
“A look at the landscape tells us that efforts with open education so far have been largely confined to attempts at improving what we already do. While this is certainly valid, we encourage consideration of approaches that transcend traditional practices, organizations, disciplines and audiences.”
John Seely Brown agrees in his Foreword, “We need to reconceptualize twentieth-century education models, and at the same time reinforce learning outside of formal schooling. This book provides real leverage for open education, and is a major step toward creating a culture of learning for this century.”
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