Since then, the OITP at ALA (Office for Information Technology Policy of the American Library Association) has developed and published two new tools: the Fair Use Evaluator and the Exceptions for Instructors eTool. From the announcement,
“The Fair Use Evaluator is an online tool that can help users understand how to determine if the use of a protected work is a “fair use.” It helps users collect, organize, and document the information they may need to support a fair use claim, and provides a time-stamped PDF document for the users’ records.”
“The Exceptions for Instructors eTool guides users through the educational exceptions in U.S. copyright law, helping to explain and clarify rights and responsibilities for the performance and display of copyrighted content in traditional, distance and blended educational models.”
In addition to these two new tools, check out the existing Section 108 Spinner, which “help[s] you determine whether or not a particular reproduction is covered by [Section 108] exemption” that “allows libraries & archives, under certain circumstances, to make reproductions of copyrighted materials without the permission of the copyright holder.”
All three tools are licensed CC BY NC-SA.Comments Off
ccLearn has published the first data supplement to our report “What status for ‘open’? An examination of the licensing policies of open educational organizations and projects,” entitled “Data Supplement to ‘What status for ‘open’?’ A graphical view of the licensing policies of open educational organizations and projects.” (PDF warning)
This supplement provides a graphical view of the licensing landscape within online education, drawing data from ODEPO, a database on our recently launched OpenEd. We find that a large proportion of educational sites are protected by “All Rights Reserved” copyright, including many sites that self-describe as “open,” which indicates a misconception of what it means to be an open resource.
ODEPO was compiled in MediaWiki, the platform that powers Wikipedia. And just like Wikipedia, anyone with an account on OpenEd can contribute to the database by adding organizations or editing current data. Future data supplements will include the most up-to-date data from ODEPO, so the more you contribute, the more research opportunities there are!Comments Off
Some of you may already be familiar with the term open ed, short for open education—which represents the fantastic movement around opening up educational resources so that anyone, anywhere, can access, use, and derive existing educational materials in new, creative ways or to simply adapt them to their unique individual needs and local contexts. There are so many great educational materials out there—some already openly licensed and a great deal more in the public domain—and the problem is that a lot of people still don’t know about them or how to use them. Similarly, the open education movement has produced some really exciting projects and programs in recent years, but there is no global landing space for these inspiring movers and shakers to really connect as a coherent community.
Open Ed, the new Open Education Community site, is the result of brainstorming with other initiatives in the movement on how to provide such a space. We designed the site for open education community members, but also for teachers, learners, and those who just want to get involved. We were able to build it thanks to the strong support of the William and Flora Hewlett Foundation.
Open Ed is hosted by ccLearn, but we are merely providing the web space. We’ve done some initial work on it, but the site is yours—be you an OER advocate, a teacher wanting to connect with other teachers, or a learner who would love to do the same. And you can contribute in any way you like, because Open Ed runs on MediaWiki, the same software that powers Wikipedia. Additionally, Open Ed utilizes the Semantic MediaWiki extension to enable data querying and analysis. For added functionality, we have installed various other useful extensions.
Wait… hasn’t this site been up for a while?
You’re right; it’s been public on the web for a couple of months now. Some of you may already have accounts. Others have even blogged about it previously. But we haven’t made the official announcement launch until now because we wanted to get some initial feedback from existing community members. So we need your help! Please spread the word, via your personal and professional channels—and most of all, use the space for what you need to do! It’s a wiki. That means you can create a page for your own project, add your project to ODEPO (the Open Database of Educational Projects and Organizations) for others to find, run your own data query for research purposes, or do virtually anything else you deem necessary to strengthen and promote open education, including translating the entire site into other languages. Not to mention that content is a little lacking right now, and it’s up to us to make it a great landing place for newbies to open education.
Give us feedback!
Please let us know what you think. Anyone can add to or improve the space by simply clicking “edit”, but as the hosts of this space, we would love to help with the process. You can also share your thoughts on Twitter with an #opened hashtag.
Lastly, thanks to White Whale, an Oakland-based consulting, design, and development company, who designed Open Ed and helped us with some of our messaging points.
Happy exploring!Comments Off
From the Science Commons blog …
Commoners and digerati alike will come together tonight at the Commonwealth Club in San Francisco for a vibrant discussion on the intersection of science and the Web. The event, “Making the Web Work for Science”, will be moderated by Tim O’Reilly, founder of O’Reilly Media, joined by panelists Stephen Friend (Sage), Jimmy Wales (Wikipedia), and our own John Wilbanks (Science Commons).
The night will be dedicated to the idea of bringing Web efficiencies to scientific research – a core theme seen in our work and thinking here at Science Commons. We now have the tools and understanding to bring together open research and data on a global scale, embedded with the freedoms necessary to be able to fully utilize it. Come help us further discuss this concept with some of the top names in the Bay area tech community as well as open science advocates.
The event (currently sold out, but stay tuned) kicks off at 6 p.m. with a networking reception; the main event beginning at 6:30. A private reception will follow. Tickets are $8 for Commonwealth Club members, $15 for non-members, and $7 for students with valid ID.Comments Off
We are thrilled to announce that Glenn Otis Brown has joined the Creative Commons board of directors.
Brown was CC’s executive director from 2002-2005; as one of the core members of the CC team in our early days, he was critical in developing projects that provide the groundwork for the work we do today. Brown is currently YouTube’s music business development manager and works with major and independent labels, publishers, and artists to build new business opportunities. In the press release we issued today to publicize this news, Creative Commons CEO Joi Ito says this of Brown:
4 Comments »
“We couldn’t be more thrilled to have Glenn join the board. As Executive Director of the organization in its early days, Glenn established many of the critical ideas and relationships that CC is built upon today. That background, combined with his experience in developing creative projects and partnerships at YouTube, gives him particularly valuable insight into the opportunities for Creative Commons in the worlds of business, media, and culture at large.”
If you’re curious about how this works, try selecting some text from anywhere on our blog and pasting it somewhere. Rich text editors (such as most WYSIWYG HTML editors, or Gmail) will preserve the hyperlink but the text will also show up in standard plain text editors as well.
As a creator and contributor to the commons, you have the right to attribution (all six of our licenses require it), so why not make it easy for your audience to automatically provide it?
And don’t worry, the extra markup is just text. Nothing about Tynt’s tool forces reusers to do anything, its merely useful additional information providing proper attribution and license notification.19 Comments »
Noam Cohen’s piece in the New York Times over the weekend highlighted some of the issues surrounding photography on Wikipedia:
At a time when celebrities typically employ a team of professionals to control their images, Wikipedia is a place where chaos rules. Few high-quality photographs, particularly of celebrities, make it onto this site. This is because the site runs only pictures with the most permissive Creative Commons license, which allows anyone to use an image, for commercial purposes or not, as long as the photographer is credited.
But what Cohen somehow misses is the staggering amount of high quality professional photography (of celebrities and otherwise) that does make it on to Wikipedia. Take for example, the Davos World Economic Forum’s choice to release its entire Flickr stream, over 2,600 professional shot photos, under our Attribution-ShareAlike license. The result is a professional, high quality, and informative entry on the conference and organization filled with photos of celebrities that was entirely curated by volunteers. WEF didn’t even have to upload the photos themselves, they just made them available under the right license:
Obviously, the WEF is in the business of running a meeting and not licensing celebrity photos, but there is no doubt about the value in the works they’ve contributed to the commons; value that could have been, but wasn’t, exploited using standard all-rights-reserved copyright licenses and stock photo agencies.
In other words, the WEF realized the obvious advantages of being the provider of a certain set of free photos that would otherwise be difficult to capture professionally. As Wikipedia continues its ascent toward being a cultural necessity (if not the nth wonder of the world), these advantages will only accumulate, thus further cementing the argument for free culture.7 Comments »
Internationalization is an essential aspect and major strength of Creative Commons. Our global efforts focus not only on establishing new jurisdiction projects, but also on working closely with long-standing national projects to upgrade localized licenses and to strengthen the commons worldwide. CC Poland, one of the earliest jurisdictions to found a national Creative Commons project, releases today its set of Poland-specific CC licenses at Version 3.0, Creative Commons’ most current license version.
The upgrade is significant for several reasons, one being that Version 3.0 encompasses our long-held vision of establishing a compatibility structure to allow interoperability between different flexible content copyright licenses. This structure has opened doors for important adopters, such as the Wikipedia community and Wikimedia Foundation, who recently approved the adoption the Creative Commons Attribution-ShareAlike 3.0 (CC BY-SA) license as the main content license for Wikipedia and other Wikimedia sites.
The Polish upgrade to Version 3.0 was led by Alek Tarkowski, Justyna Hofmokl, and Krzysztof Siewicz and hosted at the Interdisciplinary Centre for Mathematical and Computational Modelling at Warsaw University (ICM UW) and the Grynhoff, Woźny and Maliński Law Firm. Through these efforts and more, CC Poland continues to build the local Creative Commons community and promote free culture.
An enormous thank you to CC Poland, to Alek, Justyna, and Krzysztof, for their invaluable efforts to support Polish creators and to improve Creative Commons’ ever-growing international pool of free legal tools.Comments Off
If you’ll be in the San Francisco Bay Area tomorrow night (Thursday, July 23), please join us for a screening of RiP: A Remix Manifesto, the acclaimed new documentary about remix culture, copyright, Girl Talk, Lawrence Lessig, Gilberto Gil, Cory Doctorow, and others. The film (released under a Creative Commons BY-NC license) is being presented by the San Francisco Film Society at Mezzanine (444 Jessie St.); doors open at 7pm and the screening begins at 7:30. RiP‘s director, Brett Gaylor, will be in attendance to discuss the film and take questions. Members of the CC staff will be there too – please come by and say hi.
After the screening, DJs Adrian and the Mysterious D from Bootie SF will get the second part of the night – a dance party! – started with a live set of their awesome remixes and mash-ups. They’ll be followed by the incredible VJ crew Eclectic Method, who will rock the house with a live video remix set incorporating samples from movies, television, video games, found footage, and all kinds of visual randomness.
The event is open to people 21 years of age and older. Tickets (available here) are $12 for SFFS members and $17 for non-members. More information is available on the San Francisco Film Society’s website.1 Comment »
Kenzo Digital is New York-based multi-talented creator that works in video, audio, and mixed media to create both artistic works and commercial products. Aesthetically informed by early 90s hip-hop, his latest and most well-publicized work, City of God’s Son, is a CC-licensed “opera for the blind.” The project finds Kenzo sampling and remixing numerous sources to create a vivid sound-scape that invokes imagery and a cinematic narrative through audio.
Today, in conjunction with our interview, Kenzo is releasing the most recent addition to COGS titled City of God’s Son: Cinema for the Blind. The piece features interviews with blind musicians on “sight through sound, synesthesia” and the film itself, crafting a fascinating perspective on how our senses work in conjunction with (or without) one another. You can watch the piece, which is released under a CC Attribution-NonCommercial license, in HD at YouTube – check out a still of the video below:
We caught up with Kenzo recently to pick his brain in regards to the project generally, his approach to creation through sampling and reuse, why he chose to CC-licence this project, and much more. Read on to find out what he had to say.
photo by Tommy Agriodimas | CC BY
Can you give our readers some background on yourself and the project? What inspired you to create City of God’s Son? You call it a hip-hop opera and a ﬁlm for the blind – what do you mean by these descriptions?
I am a digital artist, video artist, director and music producer based in NY. Early 90ʼs hip hop was always a big inspiration to me growing up, it served as the soundtrack to a lot of my childhood and adventures growing up. I was really into grafﬁti as a kid, and used to sneak out of the house all the time and run around with my friends or sometimes by myself and go bombing. I considered the city at night to be kind of an altered reality. No one was around except for the junkies, prostitutes, and gangsters who occupied the same streets that by day would be bustling with business men, school kids like myself, and delivery men. I loved the fact that in my mind only a few people were privy to seeing these same streets during the day while I was entrenched in my civilian life (school and family), and at these late hours were things were pretty wild, and as a kid of course I was very excited by that. What really inspired me as a kid was also the fact that the only traces of my existence in this alternate reality were the tags and grafﬁti art left behind. Music played a huge role in this. My walkman was probably one of the most essential things going out at night, as the music was a key component to setting the mood and getting myself in the proper frame of mind to create. By experiencing the city this way, and listening to the music, everything through the night played out cinematically. So much so that it would leave these super visual impressions in my imagination that I could recall and trigger through the music.
Musicʼs relationship to time, both as a medium and a device to manipulate time, in addition to a listenerʼs historical relationship to a song is what “City of Godʼs Son” seeks to expand and explore. “City of Godʼs Son” is a hip hop opera in that it is an epic, a greek tragedy, and like opera, understanding the actual lyrics and slang is not necessary to understanding the story and experiencing the drama of the story. Understanding the slang and verses deﬁnitely adds another level of meaning and depth to the story, as well as a knowledge of hip hop music history. “City of Godʼs Son” while seemingly a strictly music focused project, is equally about gangster cinema culture as well, as references to everything from pre-code Edward G. Robinson gangster ﬂicks, to 70ʻs Japanese gangster ﬂicks like “Branded to Kill”, to “Le Cercle Rouge”, “Clockers”, “Goodfellas” and of course “City of God” litter the story and soundscape, as some of hip-hopʼs most inﬂuential artists of this generation collide with the gangster ﬁlm icons that helped deﬁne their genre. It is about weaving the various mythologies from each medium and creating a new language called “Beat Cinematic”. It is a ﬁlm for the blind in that it exists in the listenerʼs imagination and recalling of their own psychological associations to music, ﬁlm, and sound. I speciﬁcally wanted to play this for blind people because I wanted to see how blind people reacted to a ﬁlm made to be experienced sonically. I am interested in how a blind personʼs mind works like a visual sampler depending on whether the person was born blind or lost their vision along the way, and what those visual impressions mean to them now. It is also a ﬁlm for the blind in that my own artistic journey into music production was inspired to make this project. As a completely self-taught disgustingly bad keyboard player, creating the music for this project was in and of itself a very blind process in that I had to really feel out my entire way through this new world of sound.