I’m attending the O’Reilly Open Source Convention this week in Portland, OR. The convention tutorials got started yesterday, and there’s great blog coverage, cataloged here. I’ll be attending tutorials today, and then the conference sessions for the remainder of the week. Track me down, tell me why you love CC and I’ll shower you with schwag. And by shower I mean “give you a button and a bumper sticker.”Comments Off on CC at OSCON
CNN is currently carrying an interesting interview with musician Peter Gabriel. Gabriel always seems to be at the bleeding edge of technology, and he describes two of his net music ventures, On Demand Distribution, a backend company that works on music payment and fulfillment systems, and his pet project with Brian Eno, The Magnificent Union of Digitally Downloading Artists.
When asked why he has embraced the internet while record companies have feared it, Gabriel says:
A new world is being created — one is dying — and if artists don’t get involved, they’re going to get screwed, like they usually do.
At the other end of the musician spectrum, indie rock artists The Mountain Goats recently gave their stamp of approval to the Internet Archive’s hosting of their live shows. Frontman John Darnielle shares why he supports it:
I am totally in favor of tape trading, and file sharing never did anything wrong by me. People got into The Mountain Goats after downloading my stuff.
It’s great to see a superstar like Peter Gabriel continue to embrace and extend technology and it’s also great to see a small artist like The Mountain Goats realize new avenues to gain fans.Comments Off on Musicians large and small on internet downloading
The CC team at OSAF: Nathan Yergler, Francesca Rodriquez, Mike Linksvayer, Neeru Paharia, Glenn Otis Brown, James Grimmelmann, and Matt Haughey.
Last week Creative Commons moved offices from the Stanford campus to San Francisco into the fantastic space shared by the
Open Source Applications Foundation,
Level Playing Field,
and parts of the Mozilla Foundation.
Mitch Kapor blogged a welcome for OSAF’s new roommates yesterday. We’re very fortunate.
That means “very good” in Catalan. I was just browsing through the weblog subscriptions available in NetNewsWire tonight and came across the Catalan blog Sarcophilus.blog and got warm fuzzies: it’s available under a Creative Commons license. Half my family’s Catalan. Anyone know of other cc blogs catalas out there?Comments Off on Molt Be
Slate is running a piece today entitled “Art Mobs” that takes a look at how collaboration between artists has changed as things move online. It covers graphical, film, and text pieces, but the best example is a song.
We’ve profiled MacJams before, the site built around sharing tracks for Apple’s Garageband users. They’ve got Creative Commons licenses built in and this slate article highlights the final track “Please Eat.” It is the fourth version of an earlier cut, and in the end four different musicians contributed 36 separate tracks to the final song.
I did some digging around and here is the original track, which is licensed under an Attribution license. If you’d like to further mash the track, the final track mentioned is under an Attribution-Noncommercial license.Comments Off on Art Mobs in Slate
This month’s featured commoner interview is up, which covers our interview with Flickr founder Stewart Butterfield. In it, he talks about Flickr’s unique features, their history, and why they’re using Creative Commons licenses.Comments Off on Flickr Featured Commoner
In honor of the 150th anniversary for Thoreau’s Walden, Creative Commons co-founder Eric Eldred decided to share and print free public domain copies of Walden (here’s the Word doc version at Eldred’s own site) at Walden Pond, but was asked to leave.Comments Off on Eric Eldred in the Boston Globe
Today while I was at a web conference, a speaker used an incredible MIT Media Lab project as a demo during a talk. Check out the I/O brush project. The project appears to be a camera that can take a photo still or video of anything you point it at, then the captured images can be “painted” on a virtual canvas. It’s essentially one giant derivative work creator.
After you see it, you can see how incredible this technology is. I can’t imagine when something like this would be a cheap, easily available tool, but I can imagine that parts of the technology may eventually show up in something. It takes the concept of rip, mix, and burn to whole new levels, creating new art works from anything else (including copyrighted art, text, and trademarked logos) and I wonder what the legal landscape will be like when this technology is readily available. Can you imagine the scorn this product will get from publishing companies, movie studios, and the like?Comments Off on Make anything on earth a derivative work
One of the larger and more interesting questions arising in connection with Creative Commons’s global expansion is the question of whether the various iCommons licences are internationally compatible.
The question arises because porting / transposing the CC licenses into diffferent jurisdictions involves a process of both translation and legal adapation. The latter is made necessary by the specific requirements of the respective national legal orders, e.g. with regard to language used or with regard to the particular limitations created by droit d’auteur copyright regimes.
In this context, how can we best make sure international versions of the CC licenses are compatible with each other?
Part of our discussion at the Wissenschaftskolleg conference, held on 17 June in Berlin, focussed precisely on this question.
Here you’ll find a talk given by Dr A. Metzger for more thoughts on this.Comments Off on International Private Law
We’re moving our offices to San Francisco tomorrow. I’m packing boxes. Just noticed that our Fellowes brand cardboard file boxes carry a copyright notice: (c) Copyright 2001 Fellowes, Inc. Sure am glad they included that. Was about to pirate.Comments Off on Moving and Copyright
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