ccLearn, the education division of Creative Commons, is looking to fill a new internship position. This position will focus on the interface of digital educational resources and search technology. We are collaborating with Google, among other organizations, to build a functional search engine that will find and highlight open educational resources, as well as any other high-quality educational resources that are available online. The position requires a comfort with technology, knowledge of basic web research skills, and ability to stay on task and get the work done, and the capacity to understand and evaluate diverse types of educational materials. Ideally, the intern will be based at the San Francisco office, but outstanding applicants in the greater Bay Area or beyond who want to work remotely will be considered.
CC is also searching for a full time accountant!
If you are interested in applying, please follow the instructions below these job descriptions on our Opportunities page. Also, feel free to forward these opportunities to anyone who may fit either of the description.Comments Off on Opportunies to work at Creative Commons’ San Francisco office
Bloodspell, the machinima film project we mentioned last November, has been released as an 84 minute feature. This is a first feature length machinima production, and it’s released under a CC Attribution-NonCommercial-ShareAlike license:
We`re fairly sure BloodSpell is the largest Machinima film ever created. It`s an independent film that, because it is using Machinima technology, isn`t subject to the usual limitations of smaller films. But, at the same time, we don`t have the politics, money and producers of a Hollywood production involved, so we can experiment with ideas, styles and attitudes that wouldn`t be possible in a more top-heavy Hollywood production.
Of course, we still have some limitations, and BloodSpell won`t be beating out `Lord of the Rings` for visual effects. But we hope that what we lack in slick polish, we can make up for in originality and passion.
The other unique thing about BloodSpell is the way it`s being released. We will be releasing BloodSpell under a Creative Commons license, meaning that it will be free both to download and to modify: in other words, where even many indie filmmakers might get upset if you put their work up on Bittorrent or translate it into a new language, we`ll be encouraging work like that, and supporting it as much as possible.
Via Boing Boing, which calls BloodSpell “a pioneering and important start for a new industry.”Comments Off on BloodSpell: first full length machinima feature released
Artabase is a beta social networking site for the arts community that “aims to become the world’s best online database of art history” by turning contemporary event listings into a growing database of artistic happenings. Artabase’s concept is based around a collective definition of history, and as such, they recently adopted CC-licences in their uploading process for images – keeping their imagery as open as their text. Artabase joins Rhizome.org, amongst others in the online art world, in embracing CC-licensing.Comments Off on Artabase
BeatPick is a record label started in London that bills itself as a “FairPlay” music label. From the BeatPick website, users can enjoy a range of different styles of music from all over the world, from pop to electronic to hip-hop to rock; all licensed to the public under a Creative Commons Attribution-NonCommercial-ShareAlike license. The website is available in English, Italian, and Chinese (with Spanish coming soon).
The idea for BeatPick came from founder David d’Atri’s Masters in Business Economics thesis. BeatPick made its public debut in February of 2006. As of October 2007, BeatPick represents around 120 artists with over 3,000 music tracks. In addition to BeatPick’s London base, the company has recently opened an office in Rome, Italy as a result of being partially acquired by an Italian software company.
Creative Commons’s former general counsel Mia Garlick caught up with BeatPick.com founder David d’Atri earlier this year to learn more about the company, its artists, its business model, and how it uses Creative Commons licenses to achieve its goals.
It requires quite some determination to take something from a Masters project to a real live business; what was the driving force that lead you to turn BeatPick into a reality?
As a young adult, I was involved in setting up a small label: we specifically did not put a copyright warning on our vinyl and did not pay the collecting societies which we were not members of anyhow. Later on, we began to encourage people to download our music for free from our website. We felt that this was an acceptable way of getting known and making money.
During my studies, I began investigating if whether or not by relaxing the rigid existing copyright laws and decriminalizing file sharing, the music market could become truly competitive. I was also increasingly interested in finding out if it was possible to devise new business strategies that were radically different from traditional ones.
After having completed my MSC, I was hired at a small record label in London where I acquired some practical experience in music licensing. I soon realized that I wanted to replicate the model I had previously used with my old label but on a larger scale. I was curious if I could come up with my own system, something that would provide me with a secure legal framework; that’s when I found out about Creative Commons. I suppose it was discovering the much-debated issues with Creative Commons that really encouraged me to embark on a project like BeatPick.Comments Off on Beatpick
Comments Off on Science Commons News: Nguyen on our Materials Transfer work
The latest edition of Innovations features an in-depth analysis of our Materials Transfer work, one of our three main areas of focus at Science Commons. The analysis was written by Science Commons counsel Thinh Nguyen, who also leads our efforts in this area.
In the article, Nguyen provides the necessary background information about the current system of transferring biological materials between research institutions, and the contractual framework associated.
From the article:
“Access to unique research resources, such as biological materials and reagents, is vital to the success and advancement of science. Many research protocols require assembling a large and diverse set of materials from many sources. Yet, often the process of finding and negotiating the transfer of such materials can be difficult and time- consuming. […]
[…] Science Commons’s Material Transfer Agreement (MTA) Project seeks to reduce unnecessary barriers to the transfer and reuse of basic research materials and reagents, for both United States and international scientific collaboration, by proposing a scalable and flexible infrastructure for searching, negotiation and tracking.”
The netlabel music scene is booming. These ultra-wired record labels focus on the online distribution of digital audio files, which in most cases, are released under Creative Commons licenses. This means that, in the netaudio world, artists often retain their copyright, producers can offer free downloads for promotion, and fans can hear the music when and how they want — for free.
To raise awareness of the burgeoning netlabel scene, harddisk-jockeys and audiophiles from around Europe gathered this October at the netaudio.festival.berlin.2007 in RAW-tempel, where they packed the weekend with workshops on licensing models, collecting societies, audio techniques, music production, and Creative Commons. Evenings were filled with GEMA-free tracks played by netaudio greats such as J-Lab from London’s netlabel after-dinner , Disrupt and Monomatik from ID.EOLOGY, Berlin’s Q-Man from mixotic, and teamore, aka Timor Kodal, the event’s organizer and representative of his own netlabel Pulsar Records.
The festival succeeded in demonstrating to party-goers the variety and sound quality of netaudio. It was a perfect platform to encourage alternative licensing, get feedback from the community, and just listen to some great music!2 Comments »
Freedom of Expression®, the movie (we’ve written about the book previously) has its world premier tonight in San Francisco at the CounterCorp Film Festival. CC’s Jennifer Yip will be on hand for an after-film discussion.
Thanks to CounterCorp for keeping copyright issues in the fore. I participated in last year’s discussion following a showing of Alternative Freedom. That was good, this (year’s) should be even better!Comments Off on Freedom of Expression®, the World Premier
We’re incredibly honored that PLoS was a very early adopter of Creative Commons — we’ll only turn five in two months. See then CC Executive Director Glenn Otis Brown’s editorial in PLoS Biology‘s first issue: Out of the Way: How the next copyright revolution can launch the next scientific revolution.
PLoS (and CC) have made good of these promising beginnings, but expect much greater things in the next half decade. This movement, or rather these intertwined movements, are just getting rolling.
On this note, pay close attention to Science Commons and PLoS ONE. The latter recently published its 1000th research article. I’m particularly fond of #994, Ant Species Differences Determined by Epistasis between Brood and Worker Genomes (disclaimer: the author is my brother).Comments Off on Happy birthday Public Library of Science
Congratulations to the 40th jurisdiction to launch ported CC licenses!
Also congratulations to Jamendo, the CC music site headquartered in Luxembourg, for reaching 5000 albums on the same day. As John Buckman of Magnatune also presented at the launch, Luxembourg was indisputably the capital of CC music entrepreneurialism, for at least that day.Comments Off on Luxembourg launch presentations