In the next two weeks, the U.S. Congress will take up deliberations on SOPA/PIPA, the Internet censorship bills. We’ve written about it here and here, and we’re writing again to help stop U.S. American Censorship of the Internet.
On a related note, Vice.com notes that the website of the author of SOPA, U.S. Representative Lamar Smith, did not properly attribute its use of a CC BY-NC-SA licensed photo (Mist Lifting off Cedars) by Flickr user dj @ oxherder arts, aka DJ Schulte.
Here’s the photo, with attribution (aka how we normally attribute photos on this blog):
As anyone who has read the CC license deeds know, all CC licenses require attribution, which is clearly summarized at http://creativecommons.org/licenses/by-nc-sa/2.0 (and all CC license summaries):
Attribution — You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work.
Additionally, the complete license (aka legal code) is linked at the top of all deed summaries. We’re continually trying to help users understand how to properly mark CC-licensed works; to avoid mis- or non-attribution situations like the above, or for more info, see our FAQ and Marking best practices for users of CC-licensed content.1 Comment »
Today, marks the premiere of the first Spanish movie under a CC license (CC BY-NC-SA) in a Spanish cinema. Interferències, “an audiovisual and educational project launched from the Debt Observatory (ODG) and Quepo,” premieres in Barcelona at both the Alexandra and Girona cinemas. Interferències aims to educate and mobilize citizens, creating awareness of the world’s current financial and social situation. CC Spain has also covered the event, but here is the press release in English:
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“The project includes a film and website regarding the causes and alternatives of the global crisis, putting names to those responsible and addressing issues of today’s debt crisis. The film comes from the need to disseminate the results of the research of a social entity; a task of dissemination that aims to create awareness of the existence of mechanisms and institutions inherent in the economic and political system in which we live, that impacts negatively on the life of billions of people. Interferències is the result of this anger and wishes to make accessible to the general public a new vision for understanding the reality around us.
Interferències arises as an open and shared project from its begining: through the participation and collaboration of more than 150 film professionals, audiovisual companies, social organizations and public institutions who contributed altruistically to make it grow, to the dissemination and distribution under a Creative Commons BY-NC-SA license.
The film is just the tip of an iceberg of a 2.0 comprehensive project which includes training and formal complaint dimensions, with a huge social transformation vocation. The project’s website provides educational materials, topics, chapters and teaching proposals for individual and collective action. The aim is not leaving the users by themselves with their own reflections on the film, but giving them the opportunity to enhance and participate in campaigns and alternatives for each of the issues proposed, becoming participants of the project. The internet premiere will start with the first chapter on November, 18th, the same day it premieres in cinemas. Coinciding with its period in Verkami’s crowdfounding platform, Interferències will be debuting weekly with a new chapter until the entire movie can be viewed online on December 20.”
Two of the main Polish acts for the Global Summit CC Salon (a musical concert) are encouraging remixes of their tracks under CC BY-NC-SA. A couple sample tracks have been uploaded to ccMixter.org, under users “masala” and “axmusique.”
Masala is a music fusion collective whose genre can only be determined as ethno-electro-ragga-punk-hip-hop, which is famous for combining Asian music with electronics. Masala wants you to remix Rewolucja w nas at ccMixter.
AXMusique is an unusual producer duo who earned the affection of fans and publishers with powerful concerts mixing electronic and rock-and-roll music. AXMusique wants you to remix Hardline at ccMixter.
Both musical groups will choose their favorite remixes, which will be played at the CC Salon with names of the remixers projected by VJs. For more info on the CC Salon and other cultural events at the Global Summit, see the Global Summit Cultural Events program.2 Comments »
by Antje Taiga Jandrig / CC BY-NC-SA
When Vincent Moon and Efterklang completed “An Island” earlier this year, they launched public-private screenings of the film, encouraging the public to host free screenings under the CC BY-NC-SA license. Over the next two months, 1,200 screenings took place at various locations around the world; this Google map and Flickr stream demonstrate the reach and scope of the film.
To follow the success of their initial distribution, Vincent Moon and Efterklang have announced a limited edition DVD package of “An Island” and a digital download that follows the Pay What You Can model used successfully in the past by bands such as Radiohead. You can pay what you can for the documentary and download it under CC BY-NC-SA at the website, where you can also order one of the limited edition DVD packages with a run of 5,000.1 Comment »
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:
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“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.”
Last week, Shareable—the online magazine about sharing culture—launched a survey asking you how much you share. The survey contributed to CC’s Catalyst Campaign, which is continuing through the month of June. This week, CC talks with Shareable co-founder and publisher, Neal Gorenflo.
The caption for Shareable is “Design for a shareable world.” “Design” is a huge buzz word nowadays — what do you mean by “design”? What is the purpose or mission of the magazine and how does it relate to openness?
The word “design” signals intent. We write about those who intentionally design for shareability, whether they be an entrepreneur creating a product service system like carsharing or a parent creating a babysitting co-op in their neighborhood. And we host discussion about how to make different facets of the world more shareable.
Like Creative Commons, Shareable acts on the idea that sharing is not merely nice, but essential to our ability to create, thus survive as a species. As in the digital world, so is it in the material world—our ability to change depends on sharing and openness.
Our mission at Shareable is to help people share. We write about the sharing lifestyle with lots of How-to’s. And we report on the emergence of a new society based on the logic of sharing to inspire action. We think sharing is one of the best ways to cope with the social, economic and environmental crises we face.
What led you to start Shareable? As the publisher, what exactly do you do?
I didn’t have a choice. I saw from the inside how the global economy worked. And how it felt to live out its value system. From these experiences, I saw that it was moving us toward collapse. I also wanted a better life for myself. I found the earn-and-spend-life meaningless, not to mention incredibly boring. I took a year off in 2004 to find a purpose for my life. That eventually lead to the founding of Shareable.
Wow, the title ‘publisher’ sounds old fashioned. Maybe I should change my title. Any suggestions? Whatever the title, my job is to attract talented people to the project and help them succeed. A lot of the time that means staying out of the way. But it also means raising money and helping our stakeholders reach consensus on important decisions.
Can you give us an example of a story that would be Shareable (aka particularly compelling for your magazine)?
Dude, Where’s Our Car? is the Hightower family’s struggle to survive the Great Recession, how they use sharing, not always enthusiastically at first, to create a new life, one with less stuff and more satisfaction. It talks about the surprising results of giving up the prized family car, the last vestige of their identity as high-powered consumers. It’s a Shareable classic because it’s a poignant story of transformation with practical how-to advice.
Shareable readers also value our social enterprise pieces like Would You Share Your Car With A Stranger?, which is about the rise of peer-to-peer car sharing. And our Shareable Cities series epitomized by Can Cities Be Designed for Happiness?.
Shareable is licensed under CC BY-NC-SA. Why did you guys go with this particular license? What does the CC license enable that traditional copyright cannot? How has CC changed or contributed to the sharing landscape?
We went with the CC BY-NC-SA license because not all of Shareable contributors are OK with commercial use of their work. Our CC license is incredibly useful. It gives anyone permission to share our work without needing to ask, which is exactly what we as a mission-driven nonprofit want our readers to do. So please dear readers, republish our stories!
Creative Commons has had a huge impact on sharing by making it cool, and for telling the sometimes scary truth in a capitalist society—that we need sharing to survive.
What’s this I hear about Shareable paying people $10 to take a survey, and that the money may be donated to Creative Commons or the Project for Public Spaces?
Yes, guilty as charged. Shareable and Latitude Research are doing what might be the first ever sharing industry survey. The point of the survey is to uncover actionable insight that can help accelerate the growth of the sharing industry.
Want to help? Then please take the survey. At the end of the survey, you can chose to donate your $10 incentive to Creative Commons.*
Are there any last thoughts you’d like to share with the CC community, or the world?
Sharing is the killer app. We live in a time of interrelated social, economic, and environmental crisis. We can not treat these crises separately. We need systemic interventions like sharing. Sharing is arguably the most effective form of resource use reduction, not to mention it can build social solidarity, alleviate poverty by increasing access to resources, and grow service jobs at home.No Comments »
Longtime supporter of CC and NYTimes best selling author Cory Doctorow has released his latest work of fiction, For The Win, under a CC BY-NC-SA license. For The Win is about a virtual future of gamers, Big Sister, and shadow economies. Cory encourages you to remix the work and also to convert it to your favorite format. You can download the book for free, donate, or buy the book at his site.
His last book, Little Brother, was available for download under the same license and spent four weeks on the New York Times bestseller list. For more on why Cory uses CC for his works, see his posts for Locus Magazine on Creative Commons and Why I Copyfight.4 Comments »
On April 1, Flat World Knowledge announced its partnerships with Barnes & Noble and NACS Media Solutions (an independent business subsidiary of the National Association of College Stores). The partnerships enable FWK’s open textbooks to be distributed in low-cost print form at up to 3,000 college bookstores across the U.S. for the 2010 fall semester. To make sure this wasn’t an April Fool’s joke, I followed up with some of the folks at FWK about this and other plans.
Basically, all FWK’s textbooks are open under the CC BY-NC-SA license. The web version is accessible by anyone—which means you can copy, adapt, and reproduce the content for free (as long as you do so non-commercially and share alike). If you want to adapt it via FWK’s platform and easily produce and obtain hard copies of professor or student-customized chapters, then you pay a low-cost fee to download the customized PDF or have the professionally bound textbook mailed to you (about $1.99 per chapter download or $29.99 for the hard textbook). You can also access the physical textbooks at some college bookstores.
This new agreement with B&N and NACS expands the number where the physical texts are available, up to 3,000—wherever local professors have decided to participate. (This includes 639 Barnes & Noble college bookstores.) In addition, a print-on-demand (POD) model is being piloted at a few bookstores in August, with the long term goal to have POD in all. From the press release,
“Flat World Knowledge will provide bookstores with digital files of its growing catalog of professionally-developed, peer-reviewed college textbooks. Since Flat World textbooks are openly-licensed, instructors can remix, reorder, add and remove content, and then the bookstore can print and bind high-quality paperback books, often within minutes or hours.
University Book Store, Inc. at the University of Washington in Seattle, and the San Diego State University Bookstore, among others, will be the first to pilot this new process. Students will have the convenience of same-day pick up. POD technology also allows professors to continue to customize and update a Flat World textbook within days instead of weeks of the fall semester starting.”
The license (CC BY-NC-SA) applies to their print textbooks as well as the print-on-demand versions. In addition, FWK’s platform is built on open source software and they have plans to eventually make their XML exportable at no cost, which would allow a user to remix FWK content on their own site.
For more information, see the full press release. You can also learn more about their open business model by watching this talk given by Eric Frank (Chief Marketing Officer) from the latest CC Salon NYC.No Comments »
HASTAC’s third annual Digital Media and Learning Competition launched yesterday, an initiative supported by the MacArthur Foundation. Last year‘s theme was participatory learning, and CC Learn was awarded a grant for Student Journalism 2.0—a pilot initiative “engaging high school students in understanding the legal and technical issues intrinsic to new and evolving journalistic practices.” The pilot, by the way, is in full swing, and we are entering our second semester after the holidays. Check out sj.creativecommons.org for updates.
This year’s DMLC theme is “Competition is Reimagining Learning and there are two types of awards: 21st Century Learning Lab Designers and Game Changers.” From the announcement,
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“Aligned with National Lab Day as part of the White House’s Educate to Innovate Initiative, the 21st Century Learning Lab Designer awards will range from $30,000-$200,000. Awards will be made for learning environments and digital media-based experiences that allow young people to grapple with social challenges through activities based on the social nature, contexts, and ideas of science, technology, engineering and math.”
When we blogged about Radiohead releasing the data from their video for “House of Cards” last year, we weren’t really sure what fans were going to do with the 400 megabytes representing the visual data from the video. But now, thanks to Thinigiverse, we have an awesome example of what’s possible when CC licenses encourage people to share and build upon each others work.
User Serratiago has used Blender to convert the original data from the Radiohead video into a set of coordinates that can be printed into a real-life 3D sculpture of Thom Yorke’s head. Since the original data is licensed under a Creative Commons BY-NC-SA license, that means Serriago’s derivative is as well. What’s great about this story is that Serratiago didn’t need to ask Thom Yorke, Radiohead, or anyone for permission to make and distribute his work, as the Creative Commons license had already established it!1 Comment »