This is part three of a five week series on the Affiliate Team project grants. So far, you’ve heard from our affiliates in Africa and the Arab World. Today, we’re showcasing projects in our Asia-Pacific region, including open data workshops from Japan, a media studies textbook from New Zealand, and software tools and guidelines for public domain materials from Taiwan.
Japan: Workshops and Symposium for Open Data in Japan
by Puneet Kishor (project lead: Tomoaki Watanabe)
Last year in June, the CommonSphere, won a grant to hold three workshops and a public symposium on the use of CC tools (licenses and the CC0 Public Domain Dedication) in the context of open data. The aim of the workshops was to respond to informal inputs from government and other stakeholders on their implementation of CC tools in the context of open data, a new frontier of openness in the last few years in Japan. The team was planning to invite involvement from Japanese national and municipal government agencies and Open Knowledge Foundation Japan.
The first event was a workshop at Information Processing Agency, IPA, an independent administrative agency discussing open data licensing. The panel involved a member of Open Knowledge Foundation Japan as well. The whole session was video-recorded by the IPA staff, and it is now available online, along with presentation materials. The attendance was mostly government officials and the agency staff, around 50 people, and an attendant survey indicated a reasonable success.
The second meeting was held among key figures related to open data and other relevant initiatives, as invitation-only discussions on licensing and other legal issues. CCJP provided logistics support and expertise. It was decided by the attendants that the discussion will remain informal and unpublished.
The third was a symposium to discuss implementation issues of open data, including licensing issues organized by the third party, Innovation Nippon, a joint project between Google Japan and GLOCOM. Both CCJP and OKF Japan helped with pre-event publicity and provided expertise. It featured and was attended by local government officials and municipal law makers, along with business people and academics. The event was videocast and the archive is available already, along with the slides.
- Political will, however, key politicians are not necessarily expected to support liberal licensing allowing use that goes against public order.
- Evidence, anecdotal or scientific, showing that more liberal licensing results in better outcomes. However, such evidence is not abundant, and some government agencies have very specific uses in mind that may make them hesitate.
- Evidence showing other governments of developed countries are doing things differently from what Japan is doing or planning to do. UK, FR, US, AU, NZ all are CC-BY compatible or use a CC-BY license. Their licensing all seem to be open in the Open Definition sense. Japan may result a bit differently.
- Prospective users actively asking for a change.
The challenges faced by the team so far have been 1) the above-mentioned development away from CC tools and 2) the lack of availability of licensing and editing talent on a more stable basis.
The team is in talks with a local government to hold at least one more workshop to discuss licensing issues as they relate to local governments. The symposium was originally planned to be at the end, but given the emerging development above, it may be timed differently.
New Zealand: Media Text Hack
by project lead Matt McGregor
In the middle of 2013, a few New Zealand academics and librarians began to toss around an exciting-but-preposterous-sounding idea: what if they could hack a media studies textbook in a weekend, and then release the results to the world under an open Creative Commons license?
The social benefit – the why – was clear. With textbook prices continuing to rise (and rise) well above inflation, and student debt levels ballooning, the Pacific region desperately needs a new model for producing and distributing educational resources. As Dr Erika Pearson, who led the Media Text Hack project, put it, “Textbooks currently available for New Zealand first year students are often produced overseas, usually the US, and can have a cripplingly high price tag.”
The how was a bit more difficult. Academics and librarians are already rather busy people, and the process of building and managing a team of contributors is labor intensive, with plenty of emailing, documenting, cat-herding, and problem-solving. Thankfully, with the help of a $4000 affiliate grant from Creative Commons, the team could hire a project manager — Bernard Madill — to help build the network of contributors, document progress, and make sure the hack weekend progressed smoothly.
Cut to 16-17 November, 2013: the team, largely made up of early career researchers from across New Zealand and Australia, got together and successfully produced the ‘beta’ version of the textbook. For the last few months, they have been progressively editing and re-editing content, to ensure that the textbook is classroom ready in time for the first down-under semester, which starts in late February.
As the book is shared, edited, and reused by students and teachers across the world, the team will incorporate new ideas, explanations, and examples, producing a text that can be hacked and re-hacked over the years ahead.
This is new territory: while there have been a few textbooks hacks in other disciplines – including this inspirational group of Finnish mathematicians – this is of the first (to our knowledge) of this kind of text-hack in the humanities.
For this reason, the team is putting together a parallel ‘cookbook’, to enable other projects to understand what worked – as well as what did not work – about the project. This will be released in the first half of 2014, and will hopefully inspire other projects around the world to attempt open textbook projects of their own.
The team is hopeful that open textbooks will become more prevalent in public higher education. As University of Otago Copyright Officer Richard White, a core member of the text-hack team, puts it, the open textbook marks a return to the “core principles of academia: sharing knowledge, learning from, and building on the work of others.”
Taiwan: Practices and Depositories for The Public Domain
by project lead Tyng-Ruey Chuang
The project “Practices and Depositories for The Public Domain” (PD4PD) aims to develop software tools and practical guidelines to put public domain materials online more easily. This is a joint uptake of the GNU MediaGoblin project , NETivism Ltd. , and Creative Commons Taiwan , with the latter coordinating the team effort. The overall project goal is to firm up access to and reuse of the many digital manifestations of public domain cultural works by means of replicable tools, practices, and communities.
Tools: The plan is to extend the functionality of the GNU MediaGoblin software package so as to make it more suitable for hosting large collections of public domain materials. For this purpose, new features have been suggested to add to GNU MediaGoblin to help users self-hosting their media archives. These features include batch upload of media (with proper metadata annotations), customizable themes and pages, and an “easy install” script (to install GNU Media Goblin itself).
Practices: The plan is to develop guidelines and how-to on self-hosting public domain materials. Two versions are planned: One in English and the other one in the Chinese language used in Taiwan. An educational website on the public domain, and self-hosting, is also planned.
Community: The plan is to outreach to content holders in Taiwan, and to work with them in releasing some of their holdings to the public domain. It will be demonstrated by a website using the tools mentioned above.
This six-month project started in December 2013 and plans to finish in June 2014. The GNU MediaGoblin project has been focusing on tool development while NETivism Ltd. is concentrating on community outreach. Creative Commons Taiwan is working on practical guidelines. Several interns have been recruited to help with this project.Comments Off
We’d like to draw your attention to KA Lite, an offline version of the Khan Academy developed by a team of volunteers from around the world in collaboration with the Foundation for Learning Equality. KA Lite was developed with the aim of furthering universal access to education, especially those without an Internet connection — or those with a very slow Internet connection. This map shows all registered users of KA Lite around the world.
KA Lite is an independent project, not associated with the Khan Academy, though as the KA Lite FAQ states, Khan Academy is unofficially supportive of the project. The great thing is that the folks behind KA Lite didn’t have to ask for permission because permission was already granted thanks to the CC BY-NC-SA license on Khan Academy materials. This allowed KA Lite volunteers to build an open source application that would support and make available Khan Academy’s 4,200+ high quality educational videos and exercises in an offline setting.
Dylan Barth, one of the creators behind KA Lite, says,
“Through KA Lite, we distribute Khan Academy videos and exercises which are licensed under the Creative Commons Attribution-NonCommercial-ShareAlike 3.0 United States License.
The KA Lite sourcecode itself is open-source MIT licensed, and the other included software and content is licensed as described in the LICENSE file (it’s all open-source, it’s just different licenses for different packages we use).
The only potential cost to the end user would be hardware to run KA Lite on (it can run on all types of hardware bundles, from old Windows computers to the $35 Raspberry Pi) and the electricity to run the hardware.”
Check out, download for free, and volunteer for the project at http://kalite.learningequality.org/.3 Comments »
Congratulations to Mozilla on the release of the Mozilla Public License 2.0 after a two year versioning process. As Mozilla chair Mitchell Baker writes “Version 2.0 is similar in spirit to the previous versions, but shorter, better, and more compatible with other Free Software and Open Source Licenses.”
MPL 1.1 is one of the more popular free and open source software licenses, most famously used for Mozilla’s own Firefox browser. That MPL 2.0 is now compatible with the GPL, the most popular free and open source software license, is a big step forward for software. Why? Read Make Your Open Source Software GPL-Compatible. Or Else. which we link to in our FAQ explaining why CC licenses shouldn’t be used for software (except CC0). But the principle of lessening incompatibility among licenses is a general one, and applies to licenses used for cultural and scientific works, public sector information, databases, and more, as well as software. Thus one of our highlighted goals for version 4.0 of the CC license suite:
Interoperability – maximize interoperability between CC licenses and other licenses to reduce friction within the commons, promote standards and stem license proliferation;
This is a difficult goal, requiring long-term thinking and collaboration with other license stewards. We have a number of other goals for version 4.0 of the CC license suite as all; we hope the cumulative effect will make for a much better license suite than 3.0. Of course each license (e.g., BY-SA) will also remain similar in spirit. Shorter? We’ll see, balanced with everything else.
As the MPL 2.0 announcement notes, numerous people made valuable contributions to the development of that license. Possibly a first for a software license, even making the license look nice was addressed — something CC thinks is important, and another opportunity for people with different skills to help make licenses more useful. With a far greater diversity of projects using CC licenses, our need for community-wide feedback is even greater. We urge you to get involved in the CC 4.0 process.2 Comments »
You are invited to attend a workshop titled Open Government: Open Data, Open Source and Open Standards, organized jointly by Dr. Hanif Rahemtulla, Horizon Digital Economy Research and Puneet Kishor, Creative Commons. The workshop will be held in conjunction with the annual Open Source GIS (OSGIS) Conference on June 21, 2011 in Nottingham, United Kingdom, and will take place at the School of Geography/Centre for Geospatial Science at the University of Nottingham.
This workshop builds on the Law and the GeoWeb workshop held recently at Microsoft Research, Redmond, WA, and will bring together speakers from across industry, research and academia to contribute toward some of the fundamental theoretical and technical questions emerging in the Open Data space (i.e., how to mark up and release open data; licensing models for governments and how to interface them to other open source and commercial licensing regimes; conflicts between data protection and transparency and structuring access to data by different groups).
The following speakers and topics have been confirmed:
- Dr. Peter Mooney, Geotechnologies Research Group, Department of Computer Science, NUI Maynooth (NUIM), Co. Kildare. Ireland. Producing and consuming open data
- Professor David Martin, School of Geography, University of Southampton, Southampton. Mapping the UK population over time: a universe of new possibilities
- Zach Beauvais, Talis. Linked data
- Dr. Chris Parker (GeoVation and Community Propositions) and Ian Holt (Web Services), Ordnance Survey, Southampton. Tackling global challenges through open innovation and geographic information
- Dr. Catherine Souch, Royal Geographical Society. The Open Data revolution and data literacy in higher education
- Dr. Katleen Janssen, Interdisciplinary Centre for Law and ICT (ICRI), Katholieke Universiteit, Leuven, Belgium. Privacy and legal implications of open data
- Professor Derek McAuley, Horizon Digital Economy Research Institute, University of Nottingham. Exercising our rights over information about us
Proceedings of the Redmond and Nottingham workshops along with selected longer papers will be published in a special issue of the open access International Journal of Spatial Data Infrastructure Research published by the Joint Research Centre of the European Commission.
For more on Creative Commons and open data, see our wiki.3 Comments »
Sintel poster by Blender Institute / CC BY
Sintel is the Blender Institute’s third “open movie”. Could you describe what “open movie” means to the Blender Institute?
Oh… many things. First, I love to work with artists, which goes much easier than working with developers! And making short animation films with teams is an amazing and very rewarding activity. With this large creative community of Blender artists, the financial model enables it even; not many short film makers have this opportunity.
But the practical incentive to do this is because it’s a great development model for Blender. Putting artists together on a major challenge is the ultimate way to drive software like Blender forward. That way we can also ensure it fits ambitious targets weeding out the ‘would be cool features’ for the ‘must need’ ones. And it’s quite easier to design usability with small diverse teams, than have it done online via feedback mechanisms, which easily becomes confusing with the noise of hundreds of different opinions.
It’s also a fact that the Blender Institute was established for open movie projects, so for me (and the Blender Institute) it means our core business.
Blender Institute projects have a rare but heavily developed intersection between free and open source software (Blender the software and its developer community) and free culture (the films the Blender Institute produces). How related and similar are these worlds?
I don’t consider myself much related to “free culture” really, and certainly not in the political sense. For Blender projects it’s just a natural way to deliver it in open license like with [the licenses provided by] CC. We want our users to learn from them, to dissect our tricks and technology, or use them for other works. And not least: to allow everyone who works on a project to freely take it with them; as a portfolio, or companies who sponsor us who need demos or research material. So in that sense we are free culture!
But each time I meet people who work in this field, it’s mostly theorists, not practicists. so I’m a bit biased […] people who talk about free culture don’t seem to make it (at least here in the Netherlands, at conferences or meetings). I get regular invitations to talk on this topic. I do it sometimes, but the blah-blah level disturbs me a bit. Free culture is about doing it.
So at the Blender Institute, you have artists working on these works, and you have programmers working on this code. How similar are those worlds?
For Blender, I think we have a great mix, with a lot of cross-overs. Several of our coders started as users, and we involve artists closely in design for tools or features.
This doesn’t always go perfectly, especially when it’s highly technical, like simulation code. But if you visit our IRC channel, or mailing list, or conferences… it’s always a great mix. Maybe this is because 3d art creation is quite technical too? I dunno… not many users will understand how to construct bsp trees, yet they use it all the time.
In general compared to other open source projects, I think we’re quite un-technical and accessible. A big reason for that is because I’m not even a trained programmer. I did art and industrial design. When coders go too deep in abstract constructions I can’t follow it either and can simply counter it with an “Okay, but what’s the benefit for using this?” And when the answer is “It makes coders’ lives easier” I usually ignore it. In my simple world, coders suffer and artists benefit! But one coder can also do some stuff — taking a few hours — that saves hundreds of thousands of people a few seconds in a day. And that’s always good.
What’s the development of a film like Sintel like as in terms of internal development vs community involvement in production? Has that dynamic changed at all from work to work? I partly ask this because some people think “Oh, open movie, they must have their SVN repository open the whole time and just get random contributions from everywhere,” but Blender Institute films don’t tend to work that way.
Right, we keep most of our content closed until release. I’m a firm believer in establishing protective creative processes. In contrast to developers — who can function well individually online — an artist really needs daily and in-person feedback and stimulation.
We’ve done this now four times (three films and one game) and it’s amazing how teams grow in due time. But during this process they’re very vulnerable too. If you followed the blog you may have seen that we had quite harsh criticism on posting our progress work. If you’re in the middle of a process, you see the improvements. Online you only see the failures.
The cool thing is that a lot of tests and progress can be followed now perfectly and it suddenly makes more sense I think. Another complex factor for opening up a creative process is that people are also quite inexperienced when they join a project. You want to give them a learning curve and not hear all the time from our audience that it sucks. Not that it was that bad! But one bad criticism can ruin a day.
One last thing on the “open svn” point: in theory it could work, if we would open up everything 100% from scratch. That then will give an audience a better picture of progress and growth. We did that for our game project and it was suited quite well for it. For film… most of our audience wants to get surprised more, not know the script, the dialogs, the twists. Film is more ‘art’ than games, in that respect.
You also did the sprints this time, which pulled in some more community involvement than in previous projects. Do you think that model went well? Would you do it again?
The modeling sprint was great! We needed a lot of props, and for that an online project works perfectly. The animation sprint (for animated characters) was less of a success. Character animation doesn’t lend itself well for it, I think. There’s no history for it… ehh. Like, for design and modeling, we have a vocabulary. Most people understand when you explain visual design, style, proportions. But for animation… only a few (trained) animators know how to discuss this. It’s more specialist too.
How has the choice of the Creative Commons Attribution license affected your works?
How would it affect our works? Do you mean, why not choose ND (no-derivatives) or NC (noncommercial)? Both restrictions won’t suit well for our work. And without attribution it’s not a CC license.
I did get some complaints why not choose a FSF compatible license, but the Free Software Foundation has no license for content like ours either.
What kinds of things have you seen / do you expect to see post-release of a project such as Sintel?
A lot of things happened with previous films, Elephants Dream and Big Buck Bunny, ranging from codec research in companies, showcases on tradeshows, to student composers using it to graduate. Even wallpaper!
We are working now on a 4k resolution of the film (4096 x 2160). The 4k market is small, but very active and visible in many places. They’re dying for good content. I’m also very interested in doing a stereoscopic ‘3d’ version. As for people making alternative endings or shots; that hasn’t happened a lot, to my knowledge. Our quality standard is too high as well, so it’s not a simple job.
But further, the very cool thing of open content is that you’re done when you’re done! A commercial product’s work stress only starts when the product is done. That’s what I learned with our first film. Just let it go, and move on to next.
And at least one “free culture” aspect then: it’s quite amazing how our films have become some kind of cultural heritage already. People have grown fond of them, or at least to the memory of them. It’s part of our culture in a way, and without a free license that would have been a really tough job.
Might there be a Sintel game (Project Jackfruit?) using the Blender Game Engine like there was a game following Big Buck Bunny (Yo Frankie)?
Not here in the Blender Institute. But there’s already a quite promising online project for it.
You can watch Sintel online and support the project (and get all the data files used to produce the film, tutorials, and many other goodies) by purchasing a DVD set. You may also wish to consider supporting Creative Commons in our current superhero campaign.4 Comments »
Three stories from the Creative Commons music world came across our radar recently, each showcasing a different facet of how our licenses are used to expose artists, encourage collaboration, and promote commercial avenues for freely-licensed works.
First comes news today that The Everybody, a new project from Joey Santiago and David Lovering (guitarist and drummer of the Pixies, respectively), have released their latest album Avatar with a CC-licensed twist. Available in both MP3 and lossless formats, a deluxe version of the album can be purchased ($40) that includes CC
BY BY-SA licensed stems for each track. Beyond the legal freedoms this choice allows, The Everybody are asking for submissions of re-worked tacks to include in a forthcoming release which will be submitted the band through CC-friendly music community Soundcloud:
Once David and Joey have had a chance to check out all of the tracks they’re going to choose the best of the best of these new creations and turn them into an album called The Everybody Else and release it as a limited-edition gatefold vinyl alongside the originals in Spring 2010.
Phlow Magazine is currently running a month-long feature called The Best Creative Commons Music Moments in 2009. Every day until Christmas, a new post goes live from one of “the worlds most active Creative Commons music freaks,” featuring their favorite songs, netlabels, and albums from the open music universe. The series gives a great overview of how diverse and expansive CC-licensed music has become, unearthing a bevy of musical gems in the process.
The Monome Community Remix Project is a collaborative project in which contributors create samples, upload them to a community pool, and make remixes from the community collection. In keeping with its namesake, all remixes must utilize the monome, an open-source hardware controller, as a compositional tool. The first round of the project is now complete, with a CC BY-NC-SA licensed compilation of the final remixes available for download and stream at the MCRP website. The second iteration is currently underway, although the initial deadline for contributions has passed. Thankfully, a third round is planned for January.2 Comments »
I blogged about the Digital Open in April, a new online community and competition that was accepting free and open technology projects from anyone 17 or younger through August. The competition was aimed at fostering an online and open community of youth by encouraging them to see the benefits of open source and open licensing.
Since then the jury has come in to announce eight grand prize winners. The first video profile is the Centralized Student Website from Fremont, California, by Raymond Zhong and Aatash Parikh. They’ve gone ahead and built a student portal for their high school, where virtually any school activity, especially student clubs, are accessed. Other winners include a Casa Ecologica in Spain and a Hybrid Airship. Be sure to check back for more videos.
Except where otherwise noted, all content on the Digital Open is available via CC BY. The Digital Open is the result of a joint partnership between the Institute for the Future, BoingBoing, and Sun Microsystems.1 Comment »
As students around the world return to school, ccLearn blogs about the evolving education landscape, ongoing projects to improve educational resources, education technology, and the future of education. Browse the “Back to School” tag for more posts in this series.
Today’s predictions about the future of learning might eventually seem as preposterous as early 20th century predictions of flying cars and robot butlers. But what we sometimes forget is that our vision for the future today will ultimately shape the outcomes of tomorrow–not in a causal, deterministic way, but in an enabling way. By sharing our hopes and dreams for an open future for learning, we foster an environment in which it can happen.
At ccLearn, we strongly believe that the future for education and learning is one that includes technical, legal, and social openness.
The spaces in which teaching and learning occur are increasingly moving towards technical openness by running open source software, integrating machine readable metadata, and adopting open formats. Schools, colleges, and universities involved in open courseware, wikis, and other organizations engaged in online knowledge delivery are beginning to embrace RDFa and metadata standards like ccREL, open video codecs, open document formats, and open software solutions. More open technology continues to be developed, and there is no indication that this will stop or slow down.
Members of the global education community have been moving towards legal openness by converging on Creative Commons licenses that allow sustainable redistribution and remixing as the de facto licensing standard. This phenomenon is international- Creative Commons has been ported to 51 countries (7 in progress), with CC licensed educational resources being used all over the world. Although ccLearn found in our recent report “What status for ‘open’?” that some institutions have some homework to do on what it means to be open, we are well on the road towards a robust and scalable legal standard for open educational resources.
Perhaps most powerfully, we are beginning to see a move towards social openness in educational institutions in the prototyping of new models for learning involvement, organization, and assessment that maximizes the availability of learning to all people, everywhere. By leveraging the power of online organization and open content, often times coupled with a willingness to re-conceptualize what it means to be an educator, new possibilities for learning will emerge, leading to a more educated world.
We can’t fully predict today what kinds of practices, pedagogies, and technologies open education will enable tomorrow. But we are in a position to claim that our goal for an open future enables the creation of these new and better practices, technologies, and social structures.
ccLearn would like to thank The William and Flora Hewlett Foundation for their continued support of open education, the Creative Commons staff who make our work possible, and all of you for your continued support of a truly global commons. We hope that you all continue to contribute to open source learning software, embrace open formats, license your educational works with Creative Commons licenses, and get engaged in the world movement towards an open future for learning.
En Estados Unidos están de regreso al colegio este mes y con este contexto en ccLearn, han venido publicando una serie de entradas algunas de ellas ya quedaron comentadas en español, creo que justifica comentar y traducir lo pertinente:
De regreso al colegio, conclusiones: El camino abierto para el aprendizaje
La entrada de cierre para el ciclo de ccLearn sobre el regreso al colegio esta nuevamente a cargo de Alex Kozak quien indica como desde ccLearn, se cree firmemente en un futuro del proceso de educación y aprendizaje atravesado por la idea de apertura en lo técnico, lo legal y lo social.
Los espacios en los que la docencia y el aprendizaje se dan para Kozak están migrando a estándares abiertos en con el uso de software open source, integrando metadatos que pueden ser leídos por las máquinas y adoptando formatos abiertos. Escuelas, Universidades y en general instituciones de educación superior que desarrollan courseware abiertos, wikis y otras organizaciones involucradas en los procesos de disponer del conocimiento a través de la red están empezando a adoptar RDFa y estandares de metadatos como ccREL, codecs para video abierto, formatos abiertos de editores de textos, y soluciones de software abierto o libre.
De otro lado la comunidad global del sector educativo se esta moviendo hacia la apertura legal, sus decisiones de adopción de licencias Creative Commons como un estándar converge para permitir la redistribución y mezcla de los recursos . Este es un fenómeno internacional- Creative Commons se ha adaptado al sistema legal de 51 países (7 mas lo están haciendo), los recursos educativos licenciados con CC se usan por todo el mundo. En todo caso se debe considerar que ccLearn encontró en su informe “What status for ‘open’?” que algunas instituciones todavía tienen que revisar lo que significa abierto, pero que el camino hacia estándares de apertura en los recursos educativos esta en marcha.
Para Kozak incluso lo llamativo es que se esta empezando a ver una mayor apertura en lo social en relación con los pilotos educativos en los nuevos modelos que las instituciones ensayan. A la hora de abordar el proceso de aprendizaje, la organizacion, y valoracion de estos pilotos están maximizando la idea de hacerlo accesible a cualquiera en cualquier lugar. Kozak cree que apalancando la capacidad de las organizaciones en linea y del contenido abierto, junto con el cada vez mas frecuente deseo de re-conceptualizar lo que significa ser docente, nuevas posibilidades para el aprendizaje surgirán para llevarnos a un mundo mas educado.
Para Kozak aunque no podamos predecir las practicas, pedagogías y tecnologías que favorecerá una educación abierta mañana si podemos decir que la meta de un futuro abierto permitirá la creación de esas nuevas practicas, tecnologías y estructuras sociales.
Breve comentario desde mi propia óptica
Aunque en regiones como América Latina nos hacen falta datos para asumir como ciertas muchas de las afirmaciones de Kozak para el mundo anglosajón lo cierto es que la sensación que hay en el ambiente es que muchas de sus conclusiones pueden ser extensibles a nuestra realidad,
De hecho algunos otras de las entradas de este ciclo de regreso al colegio que hizo ccLearn se referían a proyectos concretos que mostraban proyectos y practicas abiertas (Vital signs y el caso de los libros de texto). Creo que deberíamos visibilizar algunas de las muchas iniciativas que están ocurriendo en nuestra región para conocerlas y aprender de ellas… espero poder hacerlo muy pronto! (si tienen ideas dejen su comentario y hagamos seguimiento de ellas juntos)3 Comments »
Techdirt’s Mike Masnick is perhaps the most prolific blogger on the ill impact of overly restrictive legal regimes, including of course copyright and patents, but also trademark and even employment law (see Noncompete Agreements Are The DRM Of Human Capital) and often on people delivering real value to customers (sad that these are considered “alternative” business models) instead of replying on protectionist legal measures — as blogged here, Masnick’s case study on NIN is an absolute must read/watch — and he hosts awesome guest authors.
So it’s a little disappointing to read Masnick write:
I don’t use any of their licenses, because I don’t necessarily see the point. We’ve declared in the past that the content here is free for anyone to do what they want with it, and thus I feel no need for a Creative Commons license.
The need arises from the reality that sharing without standardized legal tools doesn’t scale. It doesn’t scale socially — if I wasn’t a regular Techdirt reader I wouldn’t know that Masnick had declared Techdirt content is free for anyone and for any purpose (and even now I could only find one such declaration because I remembered that Masnick had written about it in a post that mentioned CC!), nor depending on wording would I know what that meant. It doesn’t scale technically — there’s no way for software such as search engines to recognize ad hoc declarations. It doesn’t scale legally — any community or institution that requires legal certainty (eg due to risk that the community’s work will be suppressed or that the institution will be financially liable) will avoid ad hoc declarations.
It’s no surprise that in the more developed field of free and open source software (which has a 10+ year head start on free culture/open content) anyone who claims that making an ad hoc declaration is good enough and did not release their code under an established license would be laughed at and their code not allowed in other projects, distributions, and repositories, not to mention getting no attention from IBM, Google, Red Hat and thousands of other corporate contributors to and adopters of open source software.
Communities and institutions outside software also require works under established licenses (ie those provided by CC) to scale, e.g., Wikipedia, OpenCourseWare, the Public Library of Science and many, many others. What about individuals and small group efforts? Of course they don’t have to use real legal tools for their content any more than an individual programmer has to share code under an established open source license — that is if they don’t actually want others to “do what they want” with their content or code — because no license means no-understand, no-find, and no-go.
One of Masnick’s best turns is his stylized formula
Connect With Fans (CwF) + Reason To Buy (RtB) = The Business Model ($$$$). As he explains, each part of the formula has many facets — reasonable copyright terms are just one — and as he points out, in a sense copyright is irrelevant, as CwF+RtB would work in the complete absence of copyright. However, as Techdirt points out every day, copyright is in more than full effect, producing all kinds of anti-creative and anti-innovation effects, from labels suing fans, bloggers, startups and anyone else available to heirs suppressing the use of work by long-dead authors. In this environment it seems rather necessary to offer fans the legal certainty of an established public license that grants at least the right to non-commercially share. Anything less seems to betray a lack of respect for fans or, if done unknowingly, is an instance of failed sharing.
Of course one might want to go beyond offering a relatively restrictive license and not rely on copyright at all, giving fans complete freedom with respect to one’s works. As Masnick has noted, CC has developed a legally rigorous tool to do just that, worldwide — CC0 — we hope that he is still considering it.☺
The Techdirt post quoted above is primarily a solid response to another blogger’s post on whether CC is good or bad for copyright policy — a very worthy question. Masnick’s conclusion is good:
Many of the people behind it went through (and are still going through) numerous battles to push back on the excesses of copyright. Creative Commons wasn’t the solution — it was a helpful (and hopefully temporary) oasis in a bleak desert, following numerous well-reasoned, but ultimately futile attempts to push back corporate expansion of copyright. And while I agree that there are problems with shifting the issue to a contractual agreement (and the post highlights some of the many legal problems CC licenses may cause), I think that CC, as a whole, did turn a lot more people onto the some of the problems with copyright law as it stands today. In many ways, CC is an easy way for people to first start to understand the problems of copyright law, in understanding why CC is needed.
From there, many who do understand this have started questioning the larger issues around copyright — and many of those involved with CC have continued to fight that good fight, rather than just assuming that CC is “the answer.” So, in the end, I agree that we should be clear to recognize that Creative Commons and efforts to really rethink copyright are two separate things, but that doesn’t mean that Creative Commons is necessarily bad for copyright policy issues. It has been, and hopefully will continue to be, a real stepping stone to getting more people to recognize these bigger issues. In fact, I’d argue that many of the folks now leading the debate for more reasoned copyright policy in Canada first came to understand these issues via their exposure to Creative Commons’ licenses.
While CC and other voluntary efforts (such as free software and open access) aren’t the solution (if there is such a thing), their contribution goes well beyond serving as stepping stones for thinking about how messed up the copyright environment is. They are simultaneously tools for enabling billions of dollars of collaboration across organization boundaries and unlocking untold social value now and in proving out models that don’t rely on excessive enforcement, changing the facts on the ground in a systemic way that arguably should increase the probability of good outcomes relative to those likely to result from a single-track strategy of merely complaining about the current regime as it worsens.
Copycense, the blogger that Techdirt responds to above, has unrealistic assessments of CC’s ability to “muzzle” the conversation about copyright reform and of the ability of such a conversation to obtain the “best case scenario, with a balanced and effective law that serves citizens and corporate owners equally well”. Copycense is enamored with the current Canadian copyright consultation — it’s worth noting that CC Canada has been around since 2004, that Michael Geist, the most prominent voice for positive reform, is a long time CC user and advocate — one can hardly say CC has muzzled the conversation — and furthermore it isn’t clear the consultation will lead to any good progress. Hopefully good reform will result, and many involved in CC in Canada and elsewhere are also involved in reform efforts (if you read French see the consultation of Olivier Charbonneau, one of the project leads of CC Canada) — but to denigrate voluntary efforts, at least while some rather intractable problems with the ability of concentrated interests to hijack politics remain, is a gigantic missed opportunity at best, and possibly flirting with very bad outcomes.2 Comments »
The August issue of the Open Source Business Resource (OSBR) is dedicated to education. It is now available online, including two articles specifically devoted to open education: “A Flat Network for the Unflat World: Open Educational Resources in Developing Countries” (Steven Muegge, Monica Mora, Kamal Hassin, Andrew Pullin) and “Why Give Knowledge Away for Free? The Case for Open Educational Resources” (Jan Hylén).
The Open Source Business Resource (OSBR) is an online publication devoted to open source, targeting a broad audience of “Canadian business owners, company executives and employees, directors of open source foundations, leaders of open source projects, open source groups, individuals and organizations that contribute to open source projects, academics and students interested in open source, technology transfer professionals, and government employees who promote wealth creation through innovation.”
All issues of OSBR are licensed CC BY.Comments Off