iCommons has published a short academic article – in German – on open access policy and scientific research. Our contribution can be read online (login required).No Comments »
If you missed the Creative Remix radio show this Sunday in San Francisco, you can still catch it online.
Wow your friends with insight gleaned from Ben Walker’s look at the
artistic remix through the ages — from ancient Greek poetry to modern
historial fiction to aesthetic Nintendo hacks.
Such insight might come in particularly handy these days, when
sampling and creative recombination are hot topics, thanks to the
release of a certain CD this week by a certain familiar mag. In fact, consider this a homework assignment: in order to best enjoy the WIRED CD, you should listen to this show first.
Here’s a review of the show by a listener on Public Radio Exchange:
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This is one of those perfect public radio programs
that succeeds on different levels. First, of course, is the important
concept of keeping creativity and art out of the hands of the lawyers.
But while listening, I also started thinking about how the idea of the
“remix” could be applied to just about anything, including one of my
favorite topics (cooking) and one of my least favorite (politics). To
me, this is one of the hallmarks of a great “concept” show – you can
envision it extended it beyond the boundries it’s placed on itself (58
minutes). –John Dankosky
You can now get your copy of the WIRED CD, free with the November issue of WIRED, at your newstand. Get yourself two copies: one for you and your friends, and one to save, in plastic, for your grandchildren.
See the full track list.No Comments »
At 2pm this Sunday on the Bay Area’s KALW (91.7), Benjamen Walker’s “The Creative Remix” will debut on the airwaves. The main point of the show: “If remixing is an art form why are the lawyers running the conversation?” Follow Ben, whose insight and sense of humor have drawn him a cult radio following, as he speaks with artists about traditional kinds of collage — like DJ Dangermouse’s Grey Album — but also art you might not have considered “remixing” — historical fiction, for example, or an ancient poetic form called the Cento. Read more about the show. And Bay Area people, mark your calendar: 2pm, this Sunday, KALW (91.7).No Comments »
There’s a great (long) interview with sci-fi novelist Neal Stephenson on Slashdot today, and the last question asks directly about the use of Creative Commons Licenses by novelists:
12) Do new publishing models make sense? – by Infonaut
Have you contemplated using any sort of alternative to traditional copyright for your works of fiction, such as a flavor of Creative Commons [creativecommons.org] license? Do you feel that making money as a writer and more open copyright are compatible in the long term, or do you think that writers like Lessig who distribute electronically via CC are merely indulging in a short-lived fad?
Publishing is a very ancient and crafty industry that existed and flourished before the idea of copyright even existed. When copyright came into existence, the publishing industry dealt with it and moved on. My suspicion is that everything that’s been going on lately will amount to a sort of fire drill that will force publishing to scurry around and make some new arrangements so that they can get back to making money for themselves and for authors.
You can use the brick-and-mortar bookstore as a way to think about this. There was a time maybe five years ago when many people were questioning whether brick-and-mortar bookstores were going to survive the onslaught of online retailers. Now, if you take the narrow view that a bookstore is nothing more than a machine that swaps money for books, then it follows that there’s no need for a physical store. But here we are five years later. Some bookstores have gone out of business, it’s true. But there are big, beautiful bookstores all over the place, with sofas and coffee bars and author appearances and so on. Why? Because it turns out that a bookstore is a lot more than a machine that swaps money for books.
Likewise, if you think of a publisher as a machine that makes copies of bits and sells them, then you’re going to predict the elimination of publishers. But that’s only the smallest part of what publishers actually do. This is not to say that electronic distribution via CC is just a fad, any more than online bookstores are a fad. They will keep on going in parallel, and all of this will get sorted out in time.
Sounds like he’s not quite ready to give Creative Commons a try yet, but it’s good to hear a popular, successful author’s thoughts on the idea of our licenses.No Comments »
Signal vs. Noise is a blog run by the design gurus at 37 Signals, who strive for attractiveness and simplicity in all their designs. They have a regular feature where they ask their audience of designers to come up with ways to describe difficult concepts in 10 words or less. Today they decided to take a crack at helping come up with a simple, concise way to describe the Creative Commons.
So far, they’ve already come up with a few good slogans, but if you can think of a way to describe Creative Commons to folks that have never heard of it, in just a few words, be sure and post your ideas on the thread.No Comments »
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Back cover of the inaugural issue of PLoS Medicine.
We just learned that the WIRED CD has been chosen as a finalist for “Best Use of Technology: Music Label” by the Billboard Digital Entertainment Awards. Hats off to WIRED for producing a hit before it’s even been released!No Comments »
I forgot to blog this last week when a friend pointed me to it: online music mag Earplug’s current issue blurbs the forthcoming WIRED CD and November issue. A taste of the punchy and deliciously accurate write-up:
The Creative Commons license is not a free-for-all: some of the artists permit only non-commercial sampling and sharing while others are open to all potential uses (with the exception of advertising placement). But the point Creative Commons makes is that there’s a difference between “all rights reserved” and “some rights reserved” — especially in the digital age — and artists should be free to make these decisions about their work for themselves.No Comments »
We’re happy to have launched our completely revamped and retooled website, at creativecommons.org. It’s a new direction towards simplicity and promoting the millions of license works found online today. We worked with Adaptive Path on tailoring the site along two major themes: Find to help you find works to listen to, look at, remix, and redistribute, and Publish to help publishing your photos, movies, and music with a license. We also introduced a bunch of pages around each type of major category, each with a customized search engine, links to archives and featured works, interviews, and help on publishing just that kind of content online. We’re launching with five of these areas, but more to come.
I’ll make a more in-depth post later this week explaining our results from user testing, how the new site is organized and why, and all the great people that helped out on it. For now, I’m happy to see the new site up after months of hard work by the entire team. The site has been up for just a few minutes and we’re still squashing bugs galore, so if you find any errors, or have any comments, feel free to comment here.No Comments »