“How to use open source as a power marketing tool” by John KoeningNo Comments »
Independent childrens recording artist Zak Morgan‘s second album was nominated for Grammy this year. The amazing part is that he is without any label backing: he produces his own albums, coordinates his own tours, and sells his CDs along the way. In this posting to CDBaby’s site, he tells the story of how he went from struggling musician to successful musician to Grammy-nominated musician. Long story short: it involves a lot of hard work and planning to get gigs and takes a lot of savings to pay for a professional production. [via Scott Andrew]No Comments »
The photos of “underbunny” show an artful, somber view of the world and offer a glimpse into what it’s like to work at a mortuary. This photo in particular is quite powerful, telling the story of a life lived for 102 years. All the photos are available under a Creative Commons license, to boot.No Comments »
Music Professor Chris Chafe played his celleto with Berkeley musician Roberto Morales, left, in Wallenberg Hall during an intercontinental jam session June 18 that took advantage of sophisticated teleconference technology. Projected on the screen are Hogne Moe, left, and Oyvind Berg, who “virtually” joined the concert from the Royal Academy of Technolgy in Stockholm. The quartet played three improvisational concerts as part of the “Point 25″ project (the title refers to the one-quarter-second delay of the Internet broadcast) sponsored, in part, by the Wallenberg Global Learning Network. Audience members in Stanford and Stockholm also were able to watch each other.
Does anyone know if the event was recorded?No Comments »
mozCC 0.8.0 was an attempt to fix performance problems with many sites, and it succeeded. For the most part. Shortly after it’s release, users brought to my attention the fact that when browsing Wikipedia with mozCC, the browser ground to a halt while mozCC retrieved the CC license information from the web server. This problem actually effected any page using
<link ...>‘d metadata. Wikipedia was the most obvious case due to the size of their metadata file (it’s comparatively large).
mozCC 0.8.1, released this morning, fixes these problems. The browser remains responsive while the metadata is downloaded in the background.No Comments »
- Creative Commons board member Joi Ito will address the Flash Forward 2004 conference at the New Yorker Hotel in New York City — tomorrow, Friday July 9th, at 9:00am.
- Assistant director Neeru Paharia will appear on a panel, “Open Source and Social Action,” at the Awe to Action conference — this Saturday, July 10th, at 4:15pm at the First Unitarian Universalist Church, 1187 Franklin Street @ Geary, in San Francisco.
- I’m looking forward to being in Boston this weekend, where I’ll be doing a presentation on Creative Commons at the American Association of Law Libraries — Sunday, July 11, at 1:30pm at the Hynes Convention Center.
ActBlue is a web site that bills itself as an “online clearinghouse for grassroots action.” As the name suggests, it’s a site designed to help Democratic partisans find candidates to support, both with money and with time. But it also supplies tools to help users band together with like-minded souls — creating customized lists of important races and spreading them around.
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What makes the site so cool is that it — and all of the lists and other content users upload — is available under the Creative Commons Attribution-NonCommercial 2.0 license. That means that other organizations can pick up and work off the grassroots energy of ActBlue, whether those other groups are the Democrats for a Democratic Midwest or the Red State Republicans. ActBlue may be Democrat-themed, but as online grassroots organizing and Internet-sparked individual involvement in politics spreads across the political spectrum — from ActGreen to ActRed — everyone wins, and so does democracy itself. Kudos to ActBlue for sharing the love.
A couple weeks ago, we mentioned Flickr added support for Creative Commons licenses to their photo uploading and hosting service. This week, they’ve announced a pretty amibitious new feature: mobile phone blogging for almost any blog service.
It works like this: you setup an account at Flickr, enable moble blogging features by inputing details about your blog, choose a CC license, and you’ll be able to post photos from your phone to any Blogger, LiveJournal, Movable Type, and/or Typepad powered weblog. Here’s a great example blog of CC-licensed photos being posted through Flickr.
I’m really impressed with this new feature. I’ve built my own similar system and it required a weekend of hacking and data spread across three servers. Now anyone can have a similar setup by simply using the free Flickr service in just a few minutes.No Comments »
As a tie-in to Spider-Man 2, Spite Your Face created a short movie of Spidey battling Doc Ock, done entirely with Legos. It’s a cracking good little romp, and it made me think of some of the other great Lego remixes I’ve seen, such as 2001: A Lego Odyssey and Monty Python Lego. Legos have become one of the great physical media for animation, from Michel Gonrdy’s innovative music video for the White Stripes’ “Fell in Love with a Girl” to entire communities of Lego animators.
Why is that? Perhaps because Lego is the original remix toy. A Lego set isn’t some finished plaything: it comes in pieces, and you get to build it yourself. And then, once you’ve built the model, you can unbuild it and put it back together in your own way. You can make mash-ups in which Harry Potter Lego characters meet Star Wars Lego characters at a car wash.
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Think of Creative Commons as Lego for culture, helping the building blocks of creativity snap together in neat new ways.
Annalee Newitz has a great article in Alternet about Mash-ups, going over the copyright laws involved and how the laws are viewed in the mash-up scene. It’s an interested clash, where restrictive laws loom over digital musicians armed with low-cost computers and software that makes mixing easy. In this realm, Newitz sees mash-ups as a form of protest, where DJs knowingly violate laws in order to spread their art in the world.
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As a masher on [Get Your Bootleg On] recently posted, “Everything is illegal.” Under an I.P. regime where artists feel like nothing goes, it seems that everything could. The infringement generation aims to mash up copyright law in pursuit of better music. But it also has a chance to challenge social divisions more profound than the distinctions between hip-hop, rock and electroclash.