The International Herald Tribune has a nice story on the explosive growth of iCommons, with a focus on the recent launch in Germany. The Register UK also has a nice piece. Hats off to Christiane Asschenfeldt, Roland Honekamp, and the many iCommons project leads for the recent boom. More to come.Comments Off on iCommons & iPress
The New York Times has a great story about the painful process a college professor went through to clear the rights for a short, informative video to be given to incoming students:
“It’s crazy,” Professor Turow said of the labyrinth of permissions, waivers and fees he navigated to get the roughly three minutes of video clips included on the CD, which was paid for by a grant from the Robert Wood Johnson Foundation. The process took months, Professor Turow said, and cost about $17,000 in fees and royalties paid to the various studios and guilds for the use of clips. The film used ranged from, for example, a 1961 episode of “Ben Casey” to a more-recent scene from “ER.”
As a result of the project, this Friday the Annenberg School for Communication at University of Pennsylvania will be holding a conference called Knowledge Held Hostage that will explore issues of Fair Use in education. The full program features Creative Commons co-founder and board member Hal Abelson. [via furdlog]Comments Off on Upcoming conference on Fair Use
The goal is to encourage people to make short movies and animations about the music industry, filesharing, and the potential we have to change the system. The right video can be the best way to explain these issues and get someone involved, and as always we like to hit from every direction we can. Please tell all your video artist friends!Comments Off on Movies for Music Contest
Several months ago, Apple released the music software Garageband, allowing anyone with a mac to make some music. Soon after the release, community websites sprang up to allow Garageband users to share music with each other, and build songs together. This is a perfect use for Creative Commons licenses, and earlier we noted that the site Macband added our licenses to their site. We were delighted to hear that MacJams has also incorporated Creative Commons licenses into their song uploading process.Comments Off on MacJams adds Creative Commons
“New copyright grants artists greater license” by Jennifer L. SchenkerComments Off on International Herald Tribune
The writings of William S. Burroughs and Allen Ginsberg may be amongst the most important in the 20th Century but it’s the sound of Burroughs’ growl and the haunting lilt in Ginsberg’s recitals that have compelled turntablists to use samples of their speaking voices. Sampling pioneers and Ninjatune entrepreneurs Jonathan More and Matt Black (a.k.a. Coldcut) have used Burroughs and Ginsberg for a while and continue to do so.
Thanks to the Jack Kerouac School of Disembodied Poetics from Naropa University, you can hear hundreds of hours of lectures and readings by Burroughs, Ginsberg, Anne Waldman, Amiri Baraka and others all of which have been posted to the Archive as part of the Naropa Collection. As of this writing there are 147 (!) uploads to the stunning collection.
Burroughs is of special interest due to his exploration of assembling fragments of writings and audio tape (what he called “cut-ups”) in the 1960’s and 70’s that lead directly to follow-up projects by Brian Eno, David Bowie, Plunderphonics and hence the mainstreaming of tape sampling as a music genre. His 1976 lecture at the Kerouac School should be required listening as a background on cut-ups.
Of course the lectures are of invaluable literary value. Burroughs and others delve deep into their personal relationships with various works of literature ranging from Conrad to Fitzgerald, Wordsworth to Whitman.
And finally there is the sheer entertainment value of many of these uploads. For example, you don’t want to miss Ginsberg reading the complete “Howl.”.
The entire Naropa Collection is licensed under a Attribution-NonDerivs-NonCommerical license.Comments Off on Naropa Collection
We’ve recently flipped the switch on German Creative Commons licenses. Like the recent Brazil, Finland, and Japan licenses, in addition to the rewritten legal code that is now based on German law, the license interface is now available in German, as well as the licenses themselves.
Thanks goes out to the folks at both The Insitute for Information Law at the University of Karlsruhe and Institut für Rechtsfragen der Freien und Open Source Software
(ifrOSS) for all their help along the way. This press release has more details about the launch.
Following many requests on cc-licenses for a list with a more general charter, we’ve created
cc-community. If you have a burning question or discussion point related to Creative Commons that doesn’t seem to fit the specific description of any of our many discussion lists, hold back no longer.
One of the kings of scientific publishing, the journal Nature, has recently launched a forum to bring together articles and information about open access publishing. They’ve even got an RSS feed for updates to the forum.
It’s great to see a top journal open a dialogue about a somewhat controversial issue in the scientific publishing industry. In an age of ever increasing journal subscription costs and shrinking library budgets, many smaller journals have embraced the concept of open access publishing and a prominent journal started with the issue at heart, but many larger publishers have distanced themselves from the topic. [via furdlog]Comments Off on Nature on open access publishing
Cabinet minister by day, mover of souls by night. At total ease bouncing from baritone to falsetto and back again. As nimble on stage as those half his age. Master of a crowd and, in person, friendly as can be. Gold-selling and Creative Commons-adopting. Is Gilberto Gil the world’s coolest man?
Minister Gil with assistant director Neeru Paharia, CC video director Danny Passman, cinematographer Andrew Sachs, and me.Comments Off on World’s Coolest Man?
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