Cnet News.com

Press Robot, October 2nd, 2004

“UCLA to stop short of P2P snooping” by Stefanie Olsen

Digital Divide Network

Press Robot, October 2nd, 2004

“Tim Berners-Lee: Weaving a Semantic Web” by Andy Carvin

p2p.net

Press Robot, October 2nd, 2004

“Now ‘Uncovered’ goes p2p“

eWeek

Press Robot, October 2nd, 2004

“Creative Licensing Scheme Grabs Artists’ Attention” by Chris Nolan

PC World

Press Robot, October 2nd, 2004

“No-Guilt Downloads: Free Books, Music, and Movies” by Scott Spanbauer

The Ottawa Citizen

Press Robot, October 2nd, 2004

“We Can Copy That” by Peter Hum

The Mac Observer

Press Robot, October 2nd, 2004

“Thoughtful Commentary on Apple vs. Apple” by Bryan Chaffin

Find the Idiophone

Mike Linksvayer, October 1st, 2004

My
favorite
part
of
the
WIRED
concert
and
Creative
Commons
benefit
that
people
are
writing
about: one of Gil’s percussionists had an instrument that perhaps looked and sounded a bit like two small steelpans put together (see brightened area of the photo below). Wonderful sound, little used to great effect.

Detail of photo by Kathryn Yu.

Sorry this has nothing to do with copyright.

Clone Contest

Mike Linksvayer, October 1st, 2004

If you missed out on our moving images contest earlier this year, you have a second chance of sorts.

The Center for the Study of the Public Domain’s Arts Project Contest is based on our moving images contest.

A contest to create a 2-minute moving image that explains to the public some of the tensions between art and intellectual property law, and the intellectual property issues artists face, focusing particularly on either music or documentary film.

Entries, due November 1, must be released under a Creative Commons license.

WIRED CD — going forward

Neeru Paharia, October 1st, 2004

Needless to say, the concert last week was unbelievable, especially after two years in the basement of the Stanford Law School (thank you Stanford), trying to convince people that new copyright licenses are the key to the evolution of culture and intellect in the new millennium — often responded to with a deafening silence, and then: “click.” When we’re not preaching to the choir, we’re often faced with this challenging task: communicating a complicated concept to people who aren’t really sure why they’re talking to you.

Hopefully, not for much longer. What excites me most about this project is that people will get it instantly. Download Gilberto Gil’s song, cut it up in the latest music-editing software, add your own unique flavor, and put it back on the Net (or webcast it, or play it on a loudspeaker from the back of a truck). No problems — it’s all legal.

What I look forward to most is to see what people are going to do with the CD. How many people will sample songs and make something new? Will they be hobbyists, or music professionals? Will we hear these new samples on the radio? Or, will communities on the Net interact with each other, interacting with the CD? Is this my beautiful house? What else is possible? Wait and see, I guess. In the meantime, I’ll keep talking to people about copyright licenses, and how they are the key to cultural evolution.