2003 January

State of the Union

Glenn Otis Brown, January 22nd, 2003

Public Campaign, a campaign-finance reform advocacy group, made its “State of the Union” poster available under a Creative Commons license on its website today.

The image features the president of the United States making a State of the Union address — not to the houses of Congress, but to the trading floors of a stock exchange. It’s a great example of the ever-growing importance of our rip-mix-burn culture to politics and art.

The president will give this year’s address next week.

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Getting started creating your own CC content: part 1

Matt Haughey, January 21st, 2003

Creative Commons licenses are designed so that creators can share their works with others easily. You might ask “What can I create if I am not an artist, writer, or musican?” but there many options when it comes to personal publishing online.

The first such example is a weblog. Many weblog authors have applied licenses to their daily writings, and you can too. If you’re new to weblogs and want to know how to get started, O’Reilly offers a good introduction to weblogs and walks the reader through using Radio Userland for the first time. Blogroots offers a brief introduction that steers readers to using Blogger.com‘s site to create and manage their weblog.

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A gallery of CC works: the first of many?

Matt Haughey, January 21st, 2003

The folks over at eastwest.nu have setup a small gallery of images that use Creative Commons licenses. This is a great example of how others can use CC licensed works that matches much of the intention behind the licenses. My own images are featured which I was surprised but pleased to see, and others featured have expressed similar satisfaction with it. In the future I could imagine seeing other, larger-scale galleries of licensed works, I could see new stock photo sites created featuring CC licensed works, and I could even envision books of CC licensed photographs that work within the licenses. Anyone can be an editor, and compile sets of their favorite works for redisplay on their own site (paying attention of course to license terms like proper attribution and non-commercial uses).

Matt Haughey

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Seattle Times

Press Robot, January 20th, 2003

Digital art forming new battleground over royalties, by Sarah Lai Stirland

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A Metamorphosis?

Glenn Otis Brown, January 20th, 2003

“A Kafkaesque state of affairs has effectively closed off access to thousands of old movies, books and pieces of music because the copyright owners can’t be located.”

From a nice article about Creative Commons and content licensing by Sarah Lai Stirland in the Seattle Times.

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Signs of the Times

Glenn Otis Brown, January 16th, 2003

The New York Times profiles our very own Matt Haughey’s Ticketstubs project today, and the Times’s Amy Harmon has a nice piece about the potential for positive developments in the wake of Eldred.

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After Eldred

Glenn Otis Brown, January 15th, 2003

The Supreme Court has ruled 7-2 against the petitioners in Eldred v. Ashcroft. (See Lessig’s blog and the Eldred site for official news and responses.)

What now? Creative Commons marches on as before, but with a pronounced sensitivity to the need to offer copyright holders who want to forgo long or broad copyright protections a simple way of doing so — whether by dedicating works to the public domain, or allowing the creative re-use of copyrighted works with our licenses.

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Take This Piece . . .

Glenn Otis Brown, January 15th, 2003

Arnold Kling of Tech Central Station meditates upon the scatology of the commons in “Content is Crap”. Dan Gillmor, Siva Vaidhyanathan, and folks on Slashdot respond.

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Down and Out Up and Away

Glenn Otis Brown, January 11th, 2003

Wired News says Cory Doctorow “walks the walk” with the Creative Commons licensing of his Down and Out in the Magic Kingdom. An excerpt from the story:

“I don’t believe that I am giving up book royalties,” Doctorow said about persuading his publisher, Tor Books, to make Down and Out available digitally for free under the new Creative Commons licensing system.

“(Downloads) crossed the 10,000-download threshold at 8 a.m. this morning,” Doctorow said Thursday, “which exceeds the initial print run for the book.”

Doctorow said he thinks the marketing buzz from those downloads will be worth more than any lost book sales. “I think that the Internet’s marvelous ability to spread information to places where it finds a receptive home is the best thing that could happen to a new writer like me.”

Down and Out may be watched closely as a test of whether the Creative Commons license actually helps or hurts writers, but Tor senior editor Patrick Nielsen Hayden said the value of free online publishing has already been demonstrated.

As test balloons go, we could do much worse than Down and Out. And anyone who reads it will be equally confident of its trajectory.

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Come Together

Glenn Otis Brown, January 10th, 2003

Richard Koman has a nice first-hand account of our license release party on the O’Reilly Network. (This slipped past our radar last week.) Koman describes the event as an Eldred v. Ashcroft “reunion night,” which is somewhat accurate, though we’ll take the opportunity to remind folks that Creative Commons has no official ties to the Supreme Court case.

Oh, and — another fine distinction — this time Jack Valenti is on the same side as Lessig. Read Koman for the details.

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