Al Jazeera is releasing 12 broadcast quality videos today shot in Gaza under Creative Commons’ least restrictive Attribution license. Each professionally recorded video has a detailed information page and is hosted on blip.tv allowing for easy downloads of the original files and integration into Miro. The value of this footage is best described by an International Herald Tribune/New York Times article describing the release:
In a conflict where the Western news media have been largely prevented from reporting from Gaza because of restrictions imposed by the Israeli military, Al Jazeera has had a distinct advantage. It was already there.
More importantly, the permissive CC-BY license means that the footage can be used by anyone including, rival broadcasters, documentary makers, and bloggers, so long as Al Jazeera is credited.7 Comments »
1. Figure out what you want and ask for it
Every contract is negotiable. Choose what you want and ask for it. Do not be afraid to ask for it. In our case, we focused on getting Creative Commons licensing into the contract, but we also asked for and received other modifications, including a higher percentage of royalties after a certain number of books sold, a stipend to design the book and ownership of the book layout and design (which we licensed CC).
This is essential reading if you’re talking with your publisher about using CC, so don’t miss the 9 other suggestions.No Comments »
A couple interviews with CC board and staff have surfaced in the last week or two. BBC Radio 4 interviewed Creative Commons Board Chair James Boyle about the public domain and how Creative Commons helps enrich the environment of the mind. Before Jamie’s interview, the Beeb chats with Chris Anderson talks about his new book FREE and the business models he’s been researching.
In December, our Creative Director, Eric Steuer talked with Dog and Pony of The BNET Business Network. The Knight Foundation’s Knight Pulse also interviewed Eric about how grantees can use our licenses in their projects.
I also answered some questions from Journalism.co.uk regarding how journalists can use CC licenses in their work. Finally, I chatted with Federal News Radio on Friday about Obama’s choice to use CC on Change.gov, the recording of which you can download there.No Comments »
After hearing his massively successful Obama Mix, MoveOn.org contacted DJ Z-trip to create a new “Victory Lap” mix celebrating Barack Obama’s election for the inauguration. Just as he did with his original mix, Z-trip has licensed his new mix one under our Attribution license, allowing anyone to reuse, remix and share it, even commercially.No Comments »
Make: television is a new TV program from the wonderful crew behind MAKE Magazine that focuses on DIY culture and “celebrates “Makers” – the inventors, artists, geeks and just plain everyday folks who mix new and old technology to create new-fangled marvels.”
The show began airing on public television (broadcast/cable tv) a little over a week ago and is also available on Legal Torrents, blip.tv, Vimeo, YouTube, and iTunes. The show is released under a CC BY-NC-SA license and available for download in HD, allowing all those inventive DIY-ers watching the show the ability to remix and reuse the content under the terms specified.1 Comment »
Deproduction is a Denver-based video production company that has a variety of media incarnations, from Public Access TV aggregate Denver Open Media to civic pixel, an open-source web development group. All the material produced for DOM is released under a CC BY-NC-SA license, making it freely sharable and remixable as long as the creators are properly attributed, reproductions are noncommercial in intent, and any derivative works are shared under the same license. The project has been so successful that the team behind it recently received a Knight NewsChallenge Grant to reproduce their system at Public Access TV stations around the U.S. We caught up with Tony Shawcross, Executive Director at Deproduction, to learn more about their operation, how they are using CC licenses at DOM, and why Public Access TV is important.
Can you give our readers some background on Deproduction? How did you get started, who is involved, and what do you do?
The early history is summarized in a great Apogee Magazine Article from 2004, back when we were still a 2-person organization. In the 5 years since, the organization grew from collaborations with a handful of local nonprofits, including Free Speech TV, Little Voice Productions, Just Media, and the Pan African Arts Society. We had been producing videos for nonprofit partners, and began expanding our media education programs through work with local schools and an office in the PS1 Charter School. In 2005, Denver’s City Council shut down the City’s Public Access TV Station and issued an RFP from organizations who had a plan for making Public Access TV work with no operating support from the city or Comcast.
We responded, borrowing from the models of Wikipedia, Current TV, and others to develop online systems that could enable our community members to manage the station. Where most Public Access TV stations have staff devoted to content ingest, metadata entry, quality-control, equipment reservations, class registrations, broadcast scheduling and so-on, our tools enable the community to complete all those tasks with minimal staff involvement. Furthermore, our approach to studio productions, editing and even training work to reduce the workload on our staff and maximize the cooperation and support of our members.
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This “Digital Engagement Commission” will question the role of digital arts and its meaning and benefits for audiences in Lancashire – people who live or work in the county, visitors and those who have an interest in engaging with it virtually.
… The artist will make the consultation process publicly visible in an engaging and creative online platform. The participatory consultation activities should take the form of both unique and engaging physical sessions and virtual engagement via the publicly accessible online platform. This platform could be developed especially by the artist or could make use of existing social networks. Any software developed for the project would be licensed under the latest general public license and any other works developed as part of the project would be licensed under creative commons attributions share alike. (emphasis added)
The aptly named Funny or Die comedy community has launched a competition with the free on-line screen writing software site Zhura. All contributions must be licensed under our copyleft license, Attribution-ShareAlike (BY-SA) so that Funny or Die’s producers can create the shows freely. Consequently, Funny or Die episodes based on submissions to the competition will be reciprocally licensed under BY-SA as well:
Q. What if I don’t want anyone to touch my script?
A. In order to be considered by the head writers for production, your script MUST carry the BY-SA Creative Commons License. This does two things: It lets Funny Or Die UK produce your sketch and it allows Zhura members (and Funny or Die UK head writers) edit your script as necessary to make it better (sorry).
If you’ve been itching to show the web how funny you are, now’s your chance. Read more about the competition over at Zhura’s site.No Comments »
CC founder Lawrence Lessig appeared on the Colbert Report last Thursday talking about his latest book, REMIX. The segment was great, and hilarious, as is typical for Colbert — and double plus fun for copyright geeks and activists, as Colbert challenged the audience to not remix the interview “with some great dance beat, and then it starts showing up in clubs across America.”
Lessig pointed out on air that because he didn’t waive his joint copyrights to the segment, he and Colbert are joint owners, and either can exploit the work freely. In this case Lessig has published the interview under CC BY, allowing anyone to remix or even commercially exploit the work for free.1 Comment »
Hype Machine, Blog Fresh Radio, Musebin, and imeem have teamed up to deliver the Music Blog Zeitgeist 2008, an assessment of the years best albums, artists, and songs as decided by music bloggers. The Zeitgeist didn’t poll bloggers directly but rather looked at the huge amount of data Hype Machine gathered over 2008 in regards to posting trends in the music blogosphere.
The Top 50 Artists of the year were decided “according to how frequently the blogs listed on The Hype Machine posted their songs”. The Top 50 Songs were decided “according to each month’s most loved songs by registered users”. The Top 50 Albums were decided by a combination therein.
The data used to make the lists is released under a CC BY-NC-SA license, allowing anyone to take the data and re-use it in any way they see fit as long as it is noncommercial in intent, shared under the same license, and properly attributed. The data set is huge and can be downloaded here. The Zeitgeist also features CC-licensed flickr photos through out the Top 50 Album list.No Comments »