As a tie-in to Spider-Man 2, Spite Your Face created a short movie of Spidey battling Doc Ock, done entirely with Legos. It’s a cracking good little romp, and it made me think of some of the other great Lego remixes I’ve seen, such as 2001: A Lego Odyssey and Monty Python Lego. Legos have become one of the great physical media for animation, from Michel Gonrdy’s innovative music video for the White Stripes’ “Fell in Love with a Girl” to entire communities of Lego animators.
Why is that? Perhaps because Lego is the original remix toy. A Lego set isn’t some finished plaything: it comes in pieces, and you get to build it yourself. And then, once you’ve built the model, you can unbuild it and put it back together in your own way. You can make mash-ups in which Harry Potter Lego characters meet Star Wars Lego characters at a car wash.
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Think of Creative Commons as Lego for culture, helping the building blocks of creativity snap together in neat new ways.
Annalee Newitz has a great article in Alternet about Mash-ups, going over the copyright laws involved and how the laws are viewed in the mash-up scene. It’s an interested clash, where restrictive laws loom over digital musicians armed with low-cost computers and software that makes mixing easy. In this realm, Newitz sees mash-ups as a form of protest, where DJs knowingly violate laws in order to spread their art in the world.
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As a masher on [Get Your Bootleg On] recently posted, “Everything is illegal.” Under an I.P. regime where artists feel like nothing goes, it seems that everything could. The infringement generation aims to mash up copyright law in pursuit of better music. But it also has a chance to challenge social divisions more profound than the distinctions between hip-hop, rock and electroclash.
The German Heise-Verlag, a publishing house specializing in books and magazines on the IT industry, has adopted the CC licensing model. Two books are currently being offered as free downloads under the CC licenses. The first book, Mix, Burn & RIP by Janko Roettgers, looks into the future of the recording industry. The second book, Freie Netze: Geschichte, Politik und Kultur offener WLAN-Netze by Armin Medosch, deals with the rise of free community wifi networks in Europe and elsewhere.
The two books serve as a good example of how the Creative Commons model is gradually conquering non-English speaking countries. The German licenses were launched on June 10 and have since been extensively discussed in a variety of different forums, the most important of which was an academic workshop at the Wissenschaftskolleg in Berlin on June 24 (a summary of the workshop’s discussion with future lines of research will be posted soon).Comments Off on New books under CC licenses
J. LeRoy noticed two hours of audio arguments from Loving v. Virginia (a 1967 U.S. Supreme Court case that overturned an anti-interracial marriage law in Virginia) at Oyez, available under a CC license.Comments Off on Miscegenation Remixed
Ronaldo Lemos, project lead extraordinaire of Creative Commons Brazil, reports:
Mombojó is one of the most interesting new bands in Brazil. They mix traditional Brazilian music like samba and bossa nova with electronic beats and rock. Their album, “Nadadenovo” (meaning: “nothing new”), is available online at www.mombojo.com.br. Even if they say there is “nothing new” about their music, that is not true. They are responsible for indicating new bold directions to Brazilian music.
Mombojó is an enthusiast of the Creative Commons. They have just announced that one of their tracks, “Nem Parece,” is now under the Recombo Plus license. They will be releasing three other tracks under the Recombo Plus, one each month. They have also licensed their first video, “Cabidela,” under Recombo. And everything can be found online.
Last, but not least, Mombojó works closely with Re:Combo, the pioneer Brazilian collective that inspired Creative Commons to rename its “sampling” license “Recombo.”
Radical. Now everyone get out there and do the Recombo.Comments Off on Do the Recombo. In Brazil. Now.
Documentary filmmaker Michael Moore has recently gone on record stating that downloading and watching his films was fine as long as people didn’t try to make money off them. In a way, it’s a classic struggle between a filmmaker creating works he wants the world to see, while the studio that produced it would rather everyone pay to see it instead of downloading. Other directors have backed up his position and the current distributor is allowing the downloading to take place.
Here are Moore’s full quotes on the subject of 9/11 downloads:
I don’t agree with the copyright laws and I don’t have a problem with people downloading the movie and sharing it with people as long as they’re not trying to make a profit off my labour. I would oppose that. I do well enough already and I made this film because I want the world, to change. The more people who see it the better, so I’m happy this is happening. Is it wrong for someone who’s bought a film on DVD to let a friend watch it for free? Of course it’s not. It never has been and never will be. I think information, art and ideas should be shared.
Is this guy a movie director or one of our board members?
The increased exposure to his films, protection from commercial exploits, and general disagreement with current copyright sounds a lot like the reasons why Creative Commons was formed and why we have our licenses in the first place. Perhaps the next Moore film will be licensed, making the downloading legal from the start.Comments Off on Michael Moore: pirate my film, please
Q: How to plan a wiki?
A: Hash out ideas on a wiki.
Our objective is to plan a “Get Content” wiki, a scalable catalog of “some rights reserved” and “no rights reserved” works.
A truly international catalog of CC and PD works. A Wikipedia of Free Culture, democratically maintained and curated.
Can this work? We have a hunch that it can, but we’ve doubtless missed many solutions and innumerable problems.
Note for anyone excited about the idea: we’re planning at this stage. The wiki we’re using for the planning may not be the one we use to implement the “Get Content” wiki (do help us figure that one out) — so you may wish to curb your enthusiasm for raw cataloging just right now.
Now dive in!Comments Off on A Wikipedia of Free Culture?
Australia Creative Resource Online, a project funded by the Australian government, has launched its pilot site. Their aim is to create a digital junkyard, and have articulated a very compelling economic argument as to why this should exist. Currently, they are taking submissions for content, and are even willing to (selectively) digitize your content for free. They plan to go live in September, and will use Creative Commons Australia licenses.Comments Off on Australia Creative Resource Online
DJ Spooky (aka Paul Miller), early supporter of Creative Commons, has recently released his new book, Rhythm Science. The subject matter is very Creative Commons in philosphy as he explores ways to think about rebuilding culture. Here’s an excerpt from the site:
“Taking the Dj’s mix as template, he describes how the artist, navigating the innumerable ways to arrange the mix of cultural ideas and objects that bombard us, uses technology and art to create something new and expressive and endlessly variable.”
He’s also in the process of releasing Rebirth of a Nation, a remix of D.W. Griffith’s 1915 Birth of a Nation. Since the original film is from 1915, it is now in the public domain. More to come on this soon.Comments Off on DJ Spooky’s new book Rhythm Science
Early last October we launched a revamp of the Creative Commons website, including the addition of a new technology challenges section. A few days later someone called Nathan Yergler wrote with questions concerning two of the challenges. A week later Nathan announced that ccValidator was ready for testing.
The last couple months Nathan has been working on ccTag for Creative Commons. Now we’re very pleased to announce that he has joined the Creative Commons staff as a software engineer. He’ll continue to create more and better CC tools, as well as help us with internal and external web projects.Comments Off on Welcome Nathan Yergler