Dabble has launched a free version of its innovative web database application. All content created with the free version, Dabble DB Commons, is licensed under the Creative Commons Attribution license (the same as Swivel, mentioned last month).
For license nerds, this is a good time to link to the Science Commons Databases and Creative Commons FAQ again.Comments Off on Dabble DB Commons
Ottmar Liebert (you can read his Featured Commoner interview here) pondered that he would like someone to remix his his guitar solo recordings. Ottmar’s music is Nouveau Flamenco style, which mixes elements of flamenco with jazz, bossa nova, and other genres and is released online under the Creative Commons Sampling Plus license (for remixing pleasure), is also available for sale — and its award-winningly good!!
Andrew Gaskins decided to exercise his right to remix using three tracks from Ottmar’s “One Guitar” album to create “Out of the Blue – Big Blue Room Mix,” “Along This Road – Infinite Sky Mix” and “Letting Go – Isolation Mix.” Ottmar’s blog has the original and remixes in a Last.fm radio player. Enjoy them!Comments Off on One Guitar Remixed
The latest version of the Creative Commons licenses — Version 3.0 — are now available. To briefly recap what is different in this version of the licenses:
Separating the “generic” from the US license
As part of Version 3.0, we have spun off the “generic” license to be the CC US license and created a new generic license, now known as the “unported” license. For more information about this change, see this more detailed explanation.
Harmonizing the treatment of moral rights & collecting society royalties
In Version 3.0, we are ensuring that all CC jurisdiction licenses and the CC unported license have consistent, express treatment of the issues of moral rights and collecting society royalties (subject to national differences). For more information about these changes, see this explanation of the moral rights harmonization and this explanation of the collecting society harmonization.
No Endorsement Language
That a person may not misuse the attribution requirement of a CC license to improperly assert or imply an association or relationship with the licensor or author, has been implicit in our licenses from the start. We have now decided to make this explicit in both the Legal Code and the Commons Deed to ensure that — as our licenses continue to grow and attract a large number of more prominent artists and companies — there will be no confusion for either the licensor or licensee about this issue. For a more detailed explanation, see here.
BY-SA — Compatibility Structure Now Included
The CC BY-SA 3.0 licenses will now include the ability for derivatives to be relicensed under a “Creative Commons Compatible License,” which will be listed here. This structure realizes CC’s long-held objective of ensuring that there are no legal barriers to people being able to remix creativity in the way that flexible licenses are intended to enable. More information about this is provided here.
Clarifications Negotiated With Debian & MIT
As part of discussions with Debian, it was proposed to allow the release of CC-licensed works under DRM by licensees on certain conditions — what was known as the “parallel distribution language” but this has not been included as part of Version 3.0 of the CC licenses.
Below is a list of CC blog posts about Version 3.0:3 Comments »
The open source remix community project ccHost is proving to be more than an incubator for CC technologies; if you monitor the developer’s list you can’t help noticing the regularity of postings for job opportunities. The latest comes from Brett at Open Source Cinema…
We’re looking for a PHP programmer to help with our CChost install at OpenSourceCinema.org… What we are in need of is some customization of our templates, and a bit of work on a custom module we wrote to take advantage of the blip.tv API…We have a budget to spend on some development, if anyone is interested or knows of some good folks through their respective projects…we’re trying to present our site at SXSW in about 2 weeks. :)
You can contact Brett directly at brett at eyesteelfilm dot com and make sure to let us know how it goes.Comments Off on ccHost Opportunities
* John Wilbanks, Executive Director, Science Commons
* Joi Ito, Web Entrepreneur, Chairman of Creative Commons Board
* Heather Ford, Executive Director, iCommons
* Jim Sowers, Calabash Music and National Geographic, Musical Guest, Discussion of Digital Music
See who’s going to be there on Upcoming.org.Comments Off on Reminder: CC Salon SF is tonight!
About a year after Free Culture @ NYU’s Creative Commons Art Show 2006, Free Culture Florida is putting on Open Art, a Creative Commons art show in the University of Florida’s Reitz Union Gallery.
The show will feature mixed media and prints. Digital versions of the latter may be viewed at the Open Art 2007 Flickr Pool.
Two images to whet your appetite, each licensed under Attribution-ShareAlike. The cognitive dissonance inducing “ccPirate” by Karen Rustad + Nelson Pavlosky:
Pretty “Azaleas” by Colleen Krichharr:Comments Off on “Open Art” show presented by Florida Free Culture
Doc Searls and others have been writing about Vendor Relationship Management — infrastructure facilitating relationships where the customer is the vendor’s equal, contra Customer Relationship Management.
Searls’ most recent essay on VRM, Building an Relationship Economy, says that Creative Commons licenses have a role to play:
Let’s ignore the record companies for a minute. Instead, lets look behind them, back up the supply chain, to the first sources of music: the artists. Part of the system we need is already built for these sources, through Creative Commons. By this system, creative sources can choose licenses that specify the freedoms carried by their work, and also specify what can and cannot be done with that work. These licenses are readable by machines as well as by lawyers. That’s a great start on the supply side.
Now let’s look at the same work from the demand side. What can we do — as music lovers, or as customers — to find, use, and even pay for, licensed work? Some mechanisms are there, but nothing yet that is entirely in our control — that reciprocates and engages on the demand side what Creative Commons provides on the supply side.
Yes, we can go to websites, subscribe to music services, use iTunes or other supply-controlled intermediating systems and deal with artists inside those systems. But there still isn’t anything that allows us to deal directly, on our own terms, with artists and their intermediaries. Put another way, we don’t yet have the personal means for establishing relationships with artists.
Although Creative Commons licenses by themselves don’t by themselves enable relationships, we’re very interested in helping to create infrastructure that complements CC licensing and does facilitate relationships between artists and consumers — often one entity is both — and other roles, e.g., commercial user, patron, remixer, tastemaker — the same.
On the technology side we’re exploring protocols and applications that could be among the building blocks for media-oriented VRM. Machine readable licenses have been a hallmark of CC from the beginning. Things we’ve done to build on this vision have included creating tools to visualize and search licensend content, a remix management system that includes a “trackback for remix” API, a protocol for embedding metadata such that the creator can be found even when media files are shared via P2P, CC Labs projects for machine readable attribution and complementary commerce metadata, and specifications for including licensing information in feeds.
How can Creative Commons help fulfill the VRM vision and vice versa? OpenID enabling ccHost and encouraging the many curators and repositories of CC licensed media to adopt advanced metadata and OpenID are no-brainers. (User-controlled identity plays a big role in VRM, and one can easily see it playing a big role in helping creators manage creative assets and creative relationships across many sites, rather than only within individual silos.)
Next week as we refresh our developer challenges leading into the Google Summer of Code 2007 application process, we’ll be keeping these opportunities in mind. VRM thinkers, keep in mind the role CC licenses and technologies can play in VRM and give us feedback.Comments Off on VRM
Are you thinking about hosting a web site dedicated to the CC remix culture? How about in the next few day?
The official Release Candidate for the award winning ccHost 4.0 is now available (update: RC period is over, thanks to everybody who participated). The code has been running for a few weeks on ccMixter so we are confident of its stability, we just want to make sure we’ve got all the kinks out.
This release marks a major step forward for ccHost with many features you’ve been seeing appear on ccMixter over the last few months: playlists (more), remix radio and publicize all enabled by the query/formatting engine which is now used for feeds, streaming and our sample pool api. Our own embedded MP3 player, a 2-4x performance boost, AJAX Everywhere and dozens more enhancements are hopefully enough to encourage folks into to giving it a try in the next few days and letting us know if you run into problems.Comments Off on ccHost 4.0 RC
I’m a bit late, so not-quite-in-time for Valentine’s Day, I’m happy to announce a proverbial match made in heaven: MozCC and Songbird.
You might recall Songbird, the previously mentioned wicked-cool music player built on Mozilla. They’re busy readying their next milestone release, 0.2.5. In anticipation of that release, I’ve just shipped MozCC 2.4.2. MozCC
220.127.116.11.3 is the first release to officially support both Songbird and Firefox 2.
UPDATE: Oops! Love is blind. MozCC 2.4.2 had a regression in Firefox support. Check out 2.4.3 instead.Comments Off on MozCC ♥ Songbird
Please join us for the first CC Salon of 2007 at ShineSF.com on Wednesday, February 21, from 7-9 PM in San Francisco. It will be major! And, yes, please note, we are not doing this event monthly now, but every other month to maximize the impact in SF!
The line-up for the evening:
- John Wilbanks, Executive Director, Science Commons
- Joi Ito, Web Entrepreneur, Chairman of Creative Commons Board
- Heather Ford, Executive Director, iCommons
- Jim Sowers, Calabash Music and National Geographic, Musical Guest, Discussing state of Digital Music and DJ’ing
The event is free and open to the public. Quick presentations begin at 7 PM and go until 9 PM, but if you’d like to have an informal meeting or get a good seat, get there a bit early (We open the doors at 6 PM). So don’t worry if you’re late; there will be stuff happening all night at Shine, 1337 Mission Street between 9th and 10th Streets. Shine has free wi-fi and a super cool Flickr photo booth. Note: Since Shine is a bar, CC Salon is only open to people who are 21 and older.
Also, plug this event into your digital life on our upcoming.org posting.
CC Salon is a free, casual monthly get-together focused on conversation, presentations, and performances from people or groups who are developing projects that relate to open content and/or software. Please invite your friends, colleagues, and anyone you know who might be interested in drinks and discussion. There are now CC Salons happening in San Francisco, Toronto, Berlin, Beijing, Warsaw, Seoul, Brisbane, and Johannesburg. Read about the first Jo’burg salon on iCommons.org.Comments Off on Creative Commons Salon SF Next Wednesday: Joi, John, Heather and Jim