Renaldo “Recombo” Lemos of Creative Commons Brazil reports more good news:
“Following the same steps of Gilberto Gil and Mombojo, the Brazilian electronic group Gerador Zero has decided to go Recombo. Gerador Zero is one of the most inventive music projects in Brazil. Fabio FZero, their mastermind, has managed to create music that is hard to define. They combine elements of rock, pop and electronica in a smart way, without pre-conceived ideas or formulas. Everything very Brazilian, but universal at the same time. They have just release a new EP, called #!/bin/bash, which is now available online. Everyone is now welcome to do the Recombo with their music.”
Who will be the first, or the best, or both, to do the Recombo with Gerador Zero and Mombojo? Voce, talvez?
Mash them up, sample them, take another little piece of their art.
Whoa, dude. It’s like I can hear the colors . . . on, like, my skin!Comments Off on Do the Recombo. In Brazil. Now. Again.
“I’ve been getting all these great mixes sent to me out of the U.K. for years and years,” he told Attitude magazine, “and I just started saying to the record company, ‘Look, I really, really love what they are doing.’ I think that my record company was a little taken aback but, genuinely, if I could make that type of music then I would. If I could master the equipment then I would love to.
[via Furdlog]Comments Off on Lou Reed loves remixes
People who study race, gender, and anthropology sometimes talk about “code-switching“: the way a person who straddles different cultures (poor and rich, minority and majority, north and south) learns to toggle between the lingo and mannerisms of each to survive, or in some cases, thrive.
One of the several “ah ha!” moments of Siva Vaidhyanathan‘s amazing keynote at the American Association of Law Libraries conference was Siva’s celebration of the fact that us “information warriors” (his term, borrowed from the Pentagon) — librarians, teachers, lawyers, programmers, musicians, filmmakers, preachers, propagandists, bloggers — are learning to code-switch across our respective disciplines as never before. And that it’s precisely this vocational Spanglish that will help us build, one day, a coherent information policy.
That insight alone was enough to make Siva’s talk more than worthwhile. But better still was Siva’s implication that each audience member had to ask ourselves how we should code-switch in our everyday info lives. Which instantly made me think of the tricorne hat all Creative Commoners don when they publish their work with our copyright licenses: lawyer-, human-, and machine-readable . . . code.
I wish I could take credit for Creative Commons’ built-in code-switching. But like most things it was Lessig‘s idea. Which makes me wonder: Just how many meanings will the title of his first book turn out to have?
My humble little epiphany is probably obvious to most of you. Which is just that much cooler, isn’t it? That’s hope right there.
(Here’s some related reading, from the days when, I now realize, I first began to code-switch. However awkwardly.)
UPDATE: I just spoke to an anthropologist friend who feared that I’d mistakenly thought that “code” in the phrases human-, lawyer-, and machine-readable “code” meant the same thing as it does in the context of regular old code-switching. Yikes; I didn’t mean that. I meant it as a metaphor, based on a verbal coincidence, and I guess I didn’t explain it well. My point, if I had one, was that in the very act of marking a work with the three layers of literal code, a Commoner encourages the more figurative kind of code-switching between lawyers, coders, and artists. Anyway . . . this horse is now well-flogged.Comments Off on Do You Code-Switch? Yet Another Reason to Go Some Rights Reserved
Since I first implemented ccValidator late last year, I’ve been encouraged by the amount of feedback and suggestions I’ve received. Common-ers everywhere have pointed out bugs, suggested improvements and encouraged it’s development into a useful tool.
Today, ccValidator has a new home: validator.creativecommons.org and a handful of new features. The validator now supports metadata specified as a seperate file with a
<link ...> tag, and hopefully provides some improved error messages when it runs into problems. If you have any validation links, don’t worry: we’re redirecting calls to the validator at yergler.net to it’s new home.
Go ahead, kick the tires, and drop me a line if you have a suggestion or bug report.Comments Off on A New Source for Your Validation
The Washington Post has a nice article about the innovative and all-around-fantastic Public Radio Exchange today. PRX bills itself as “an online service for peer-review and digital distribution of public radio programming”: it’s a low-friction clearinghouse for great radio. In the words of the article:
Every minute of every hour, great gobs of fantastic, imaginative and compelling programs are being produced. Unfortunately, listeners rarely hear or learn of them.
Producing radio programming is easier than ever before, thanks to digital technology. Still, independent producers face the perennial problem of how to distribute their creations, catch the attention of network and station programmers and, most important, get paid for their work.
Enter PRX — the Public Radio Exchange, a fledgling nonprofit Web site based in Cambridge, Mass.
Check out PRX for a glimpse of the future of radio, and watch for more interesting things from them very soon.Comments Off on Public Radio Exchange
“Flashline aims to ease open-source transition” by John K. WatersComments Off on ADT Magazine
“‘Exploiting’ a DRM speech” by Todd BishopComments Off on Seattle Post Intelligencer
“Public Interest Groups make Internet an Election Issue” by Russell McOrmondComments Off on Centre des medias alternatifs du Quebec
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