I am moving on, so Creative Commons needs a new General Counsel. The description of the job and its requirements is here. If you are experienced in intellectual property law (with a liking for copyright issues) and want to be involved in an organization that will give you unique opportunities and a chance to be part of trying (and succeeding) to change the debate about copyright law and digital technologies, then this is the job for you. Or maybe you know someone who meets this description, in which case please pass on the details.No Comments »
The competition invites short video submissions mixing and mashing digital content that are less than 3 minutes in length. You can only use content that you can license to the public under the terms of a Creative Commons Attribution-NonCommercial 2.5 license.
Submissions can be made from the 8th of February to the 10th of March. The winners will be notified by the 12th of March. The best entries will be screened at the National Film Theatre on 16 March as part of the Optronica Festival. The winner will also receive Avid Xpress Pro film editing software and have their entry featured by Google Video UK and on the Creative Commons UK site.No Comments »
ccHost 4.0, the GPL remix management system that runs ccMixter, will be released soon.No Comments »
So it’s been a while since we discussed Version 3.0 but it is still happening. We’re putting the finishing touches on the new license drafts for the new US and new generic/unported licenses and working to make them public within the next 10 days.
As you know, Creative Commons has long been hopeful of enabling interoperability between licenses that guarantee the same frictions. Back in November 2005, Larry described his vision of building an ecology of free licenses.
Although it has not been possible to date to agree with other license stewards on the exact details necessary to make licenses that are equivalent to a specific CC license compatible yet, Creative Commons remains hopeful that it will be possible at a date in the future to secure the necessary agreement with license stewards for equivalent licenses. Because we would have to change our licenses to effect this and because we are reticient to version too often (not just because it requires a lot of work for all concerned but also because it adds complexity to a system designed to be simple), we propose to include the structure of compatibility as part of the Version 3.0 changes.
Given it is the Creative Commons Attribution-ShareAlike license that is most likely to be capable of compatibility with other existing flexible licenses, we are proposing to add new language to the “ShareAlike clause” of the BY-SA to establish the structure of compatibility.
Because we are anticipating that this will not be controversial or provoke much comment, we are hoping to roll out the Version 3.0 licenses by the end of next week with the BY-SA compatibility language included. So if you have comments or suggestions for improvement, please make them to the cc-licenses (subscription required) list as soon as possible.No Comments »
The audio source files for the Vieux Farka Toure remix contest at ccMixter have been online for two weeks now, and today’s the day the competition begins accepting entries. There are already a bunch of great submissions online — check them out here. You have until March 7 to upload your remix — what are you waiting for?No Comments »
Vocoid is a local San Francisco net label/collective dedicated to supporting musicians by providing space and shared promotion. Last week they announced the first ever Vocoid Remix Contest. The contest utilizes ccMixter as the platform and the raw audio from their album Medly for your mixing and mashing pleasure. Check out their website for contest rules, information and other cool events.No Comments »
At the end of last year, we blogged about a second decision that had been handed down in Spain regarding the use of CC-licensed music. Thanks to the efforts of Thomas Margoni who works with the CC Italy team but currently has the pleasure of living in the beautiful city of Barcelona, we now have an English translation of the original decision (Luis CC Spanish Decision (final). A Spanish version of the original decision is here.
As explained when the first decision was handed down earlier in 2006, both cases arise from the fact that members of collecting societies in Spain (and in much of the rest of the world) cannot legally apply a CC license to their work (or even release it online) without the consent of their collecting society. This is because the membership terms of a collecting society require an exclusive license and sometimes a transfer of ownership of the rights of public performance/communication (that are essential to the act of making content available online) from the musician to the collecting society.
Both cases turn on evidentiary issues and have less to do with the enforceability of CC licenses — in the first case, the court held that the Spanish collecting society, the Sociedad General de Autores y Editores (“SGAE”) had proven only that music was played in the defendant’s bar; it had not gone the extra step of proving that it represented the musicians whose music was played in the bar. Consequently, the bar owner did not have to pay the SGAE fees.
In this second case, the SGAE put on evidence that satisfied the court that international music, pop music and regular radio broadcasts (that included Gloria Estefan) were being played in the bar. As a result, the bar owner in this second case was ordered to pay the SGAE fees.No Comments »
Moore’s use of the term “open radio” caught my attention. What, I wondered, did he mean?
Amongst other things, it seems, he meant that KRUU has made a commitment to use only Open Source software. As KRUU founder Roland Wells explained on Open Views, all KRUU’s PCs run on the GNU/Linux operating system, and the audio editing tools (Ardour and Audacity) used by DJs at the station are also Open Source. Likewise, the office suite used by Moore to administer the station (OpenOffice) is Open Source, and the station’s web site was built using Free BSD UNIX, and is hosted on the Open Source web server Apache.
By using Open Source solutions rather than proprietary software, Wells told KRUU listeners, the station has saved “tens of thousands of dollars”.
KRUU’s software philosophy seems to come from Open Views producer Sundar Raman and founder Roland Wells, as explained in the first broadcast of Open Views (which also features a short interview with me on Creative Commons; the program’s third broadcast features an hour on Creative Commons).
Sundar Raman has since interviewed a number of people involved in Open Source, Open Culture, and Open Science, including most recently John Wilbanks of Science Commons (not yet archived). You can also see Raman’s influence showing up in music programming, e.g., Dance Show Friday Night playing CC-licensed music from Jamendo.
Station manager James Moore adds:
Just thought you might like to know that since we began broadcasting last September, KRUU has offered a one-hour program seven days a week called The Open Source Radio Hour (5am-6am) featuring Creative Commons licensed material, primarily from jamendo.com or magnatune.com. so far.No Comments »
Netwaves is an awesome Creative Commons music program broadcast on Radio Scorpio 106FM, Belgium’s oldest independent radio station. Announcements in Dutch, interviews conducted in English, music CC-licensed, drawn from the best of the netlabel scene. Every episode is downloadable from archive.org.
Netwaves 13 features an interview with Lawrence Lessig.
I learned of Netwaves bia Black Sweater White Cat, which has added a pick of the day to their weekly CC music program broadcast on WBCR-LP in Massachusetts, which now follows BSWC with a Netwaves rebroadcast.No Comments »