Creative Commons

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クリエイティブ・コモンズ・ジャパン（CCJP）による、オープンカルチャーに関する新しい対話の場／学びの場である「ＣＣサロン」第5回「建築・都市におけるソーシャルデザインの可能性」を開催いたします。

【開催概要】

日時：2013年2月3日（日）16:00～18:00

場所：loftwork Lab

東京都渋谷区道玄坂1－22－7　道玄坂ピア10F

地図： http://www.loftwork.jp/profile/access.html

ゲスト：藤村龍至（建築家）、生貝直人（博士（社会情報学）、慶応義塾大学大学院政策・メディア研究科特任助教）

モデレーター：ドミニク・チェン（CCJP理事）

【入場料・申込方法】

入場料：1,500円（including 1 drink）

申込み：こちらに入力お願いいたします。

【プロフィール】

■藤村龍至（建築家）　1976年東京生まれ。2008年東京工業大学大学院博士課程単位取得退学。2005年より藤村龍至建築設計事務所主宰。2010年より東洋大学専任講師。2007年よりフリーペーパー『ROUNDABOUT JOURNAL』企画・制作・発行。2010年よりウェブマガジン『ART and ARCHITECTURE REVIEW』企画・制作。

建築家として住宅、集合住宅、オフィスビルなどの設計を手がけるほか、現代の建築、都市に関わる理論を発表し、建築系、思想系の専門誌などに寄稿を行う。建築や都市に関わるテーマでフリーペーパーや書籍、シンポジウム、トークイベント、ウェブマガジンの企画・制作・編集、展覧会のキュレーション等、メディア関連のプロジェクトを数多く手がける。近年は、公共施設の老朽化と財政問題を背景とした住民参加型のシティマネジメントや、日本列島の将来像の提言など、広く社会に開かれたプロジェクトも展開している。

主な建築作品に「BUILDING K」(2008)「東京郊外の家」(2009)「倉庫の家」(2011)「小屋の家」(2011)「家の家」(2012)。主な編著書に『1995年以後』(2009)『アーキテクト2.0』(2011)『3・11後の建築と社会デザイン』(2011)『コミュニケーションのアーキテクチャを設計する』(2012)。主なキュレーションに「超都市からの建築家たち」(hiromiyoshii, 2010)「CITY2.0」(EYE OF GYRE, 2010)「超群島 -ライト・オブ・サイレンス」(青森県立美術館, 2012)

■生貝直人（博士（社会情報学）、慶応義塾大学大学院政策・メディア研究科特任助教　1982年埼玉県生まれ。博士（社会情報学、東京大学）。2005年慶應義塾大学総合政策学部卒業、2012年東京大学大学院学際情報学府博士課程修了。情報・システム研究機構融合プロジェクト特任研究員、慶應義塾大学大学院政策・メディア研究科特任助教、東京藝術大学総合芸術アーカイブセンター特別研究員、特定非営利活動法人クリエイティブ・コモンズ・ジャパン理事、総務省情報通信政策研究所特別フェロー等を兼任。

専門分野は日米欧の情報政策（知的財産、プライバシー、セキュリティ、表現の自由）、文化芸術政策。『情報社会と共同規制』により第27回テレコム社会科学賞奨励賞受賞。

The Queensland Government has implemented its ’open data revolution’ by launching the Queensland Government Data website – data.qld.gov.au.

The initiative was first announced by Premier Campbell Newman in a press release ‘Queensland Government’s ‘open data’ revolution begins‘ in October 2012. The Premier’s press release ‘New portal revolutionises open data‘ (14 December 2012) heralded the launch of the beta site in December 2012.

Further details have been provided in the Premier’s message published on the Queensland Government Data website in January 2013. The Premier’s message outlines the rationale behind Queensland’s ‘open data revolution’, explains the meaning of open data, and lists a timetable for delivery of outcomes.

In defining open data, Premier Newman states that agencies must provide open data in a standard way, so that it can be used by Queenslanders effectively.  Importantly, agencies are to “apply clear licences (preferably open licences such as Creative Commons)”.

According to the timetable for delivery, each core departmental agency is to publish an open data strategy, including a roadmap to release datasets, by April 2013. Departments such as Transport and Main Roads, Natural Resources and Mines and Queensland Police and are already on the front foot, releasing datasets under the Creative Commons Attribution (CC BY) 3.0 Australia licence.  Statutory bodies are expected to publish their open data strategy and dataset release roadmap by October 2013.

This year Open Education Week takes places on March 11-15 and features a series of events, workshops, project showcases, and webinars from around the world. If you care about sharing knowledge, reducing barriers to educational access, and helping to grow the amount of free and open educational resources (OER) available on the web — join Creative Commons and many other organizations and institutions by answering the Call for Participation.

Simply submit your proposed activity by January 18. Activities may include, but are not limited to, the following:

• Provide a Project Showcase highlighting some aspect of open education in your project, organization, region or country
• Offer a webinar or virtual Question and Answer session on a topic of interest
• Create or share basic resources about the open education movement
• Host a local event during Open Education Week
• Form a Working Group to address a common problem or opportunity
• Propose another activity—we invite you to be creative!
• Contribute your skills to creating, organizing, coordinating or spreading the word about Open Education Week

As part of Open Education Week, Creative Commons and its affiliates are hosting and participating in local events and webinars on OER, Version 4.0 of the CC licenses, the Open Policy Network, School of Open, and more. In addition, the School of Open will officially launch its first set of courses that week, including courses on copyright and Creative Commons for educators. Courses will be free to take and free to reuse and remix under P2PU’s default CC BY-SA licensing policy.

To participate in Open Education Week, visit http://www.openeducationweek.org.

To be notified when School of Open courses start, sign up for the School of Open announce list. If you’d like to get involved in building courses for launch, visit http://schoolofopen.org.

A new fab lab has been launched in Belval, Luxembourg, with the support of Technoport, the national incubator.

The lab is run by Rodolfo Baïz who is busy buying equipment to get the lab up and running. We are looking forward to the grand opening!

Internet : fablablux.org
Twitter : @fablablux

 

Attribution is a core condition in all six Creative Commons licences.  A question which we are commonly asked is “How can I properly attribute a CC-licensed work when I use it?”

ImageCodr then generates the Flickr image with the relevant information attached. Copying the HTML code generated by ImageCodr into a website will provide a succinct Attribution statement:  the CC licence icon and the Flickr username appear below the image.

For example, the image at the beginning of this post and the attribution below it were generated using ImageCodr. 

Users of ImageCodr are also provided with a brief outline of the CC licence conditions applicable to the image.

To find CC-licensed Flickr images, you can browse the images on Flickr’s dedicated CC page, search for images via Flickr’s advanced search page, or use other web tools such as Flickr Storm (using the advanced search) and TinEye’s Multicolr Search Lab.

Bassel / joi / CC BY

Today in the Wall Street Journal, Creative Commons co-founder Lawrence Lessig has a thoughtful piece about Bassel Khartabil, the longtime CC volunteer who has been detained by Syrian authorities since March.

In late 2012, Foreign Policy named Mr. Khartabil one of this year’s top 100 thinkers. The magazine singled him out for “fostering an open-source community in a country long on the margins of the Internet’s youth culture.”

But Mr. Khartabil wasn’t able to accept that honor. He was arrested in March by Syrian authorities because of his work and has been held — at times in utter isolation — ever since. His family fears the very worst.

Mr. Khartabil isn’t a partisan, aligned with one Syrian faction against another. He represents a future, aligned against a totalitarian past. The Syrian government is fearful of the potential threat to the totalizing control that defines the modern Syrian state. The government thus wants to shut the free-software, free-culture movement down, in a way that only a totalitarian regime can.

Please join us in urging Syrian authorities to release Bassel. Sign the letter of support and follow the most recent updates at freebassel.org.

Related

• Call for the Release of Bassel Khartabil
• Please help us Free Bassel, open source developer and CC volunteer

Segnaliamo "Etor e il viaggio del cubo", corto di animazione di Totore Nilo con musica inedita di K-Conjog.

Il cortometraggio è presentato dalla Subcava Sonora, etichetta specializzata nella gestione della musica in Copyleft, in collaborazione con il MEI-Meeting Etichette Indipendenti. L'opera, come tutte le produzioni della Subcava Sonora, è rilasciata con licenza Creative Commons; precisamente con licenza CC Attribuzione-Non commerciale-Condividi allo stesso modo.

leggi tutto

Today the COMMUNIA International Association presents its fifth policy paper. The paper is a reaction to the European Commission’s proposal for a directive on collective management of copyright and related rights and multi-territorial licensing of rights in musical works for online uses in the internal market.

The COMMUNIA Association welcomes the European Commission’s efforts to modernise collective management in Europe by providing rules for multi-territorial licensing of rights in musical works for online uses, and more generally by increasing the standards for transparency and accountability of Collective Rights Management Organizations (CMOs) operating in Europe.

Copyright management plays a central role in determining legal certainty for the digitisation of the European cultural heritage and for enabling an accessible and reusable digital Public Domain. This proposed directive intervenes at a crucial moment in the evolution of the information society and in the history of the European copyright system, where innovation and public access to knowledge should be a priority of policy-making.

The policy paper draws attention to two issues where the proposal should be improved. The first one concerns the transparency of repertoire information. We consider the proposed measures not sufficient and suggest an amendment to require that CMOs must provide this information more widely. The second issue concerns the relation between collective management and open content licenses. In our opinion, the proposed directive fails to address the existing incompatibilities between the collective management of rights and open content licensing.

The full COMMUNIA Association reaction on the Directive proposal on Collective Management of Copyright can be downloaded here. For further information about the paper please contact the COMMUNIA Association at communia DOT association AT gmail DOT com.

1. 4 stycznia odbyły się obchody Dnia Domeny Publicznej, amerykańskie CC przygotowało ciekawe podsumowanie roku i wydarzeń związanych z Domeną Publiczną. 2.  Projekt OERTest  wydał wynik dwóch lat badań realizowanych przez 8 partnerów europejskich na temat otwartej edukacji i możliwości wykorzystywania Otwartych Zasobów Edukacyjnych, związanych z nimi metod nauczania, zarządzania jakością, możliwych wpływów na sposób oceniania. Publikacja zawiera również [...]

Dirk Herzog hat für eNtR berlin ein Video über den zehnten Geburtstag von Creative Commons in Berlin gemacht, wofür er Constanze Kurz, Leonhard Dobusch und mich interviewte:

Die Videos der Kurzvorträge am zehnten Geburtstag von Creative Commons finden sich hier.

A meeting by K.Alexanderson CC (by)

Så här i början av året så är det massor med årskrönikor och sammanfattningar. Vad hände under 2012? Vad gjorde vi? Vi sammanfattar för att sedan ta oss an ett nytt år med nya utmaningar och möjligheter. Vi på Creative Commons Sverige gör i mångt och mycket samma sak. Men innan vi ger oss på nya utmaningar så tänkte jag kort sammanfatta det som vi gjort under 2012.

2012 har varit ett hektiskt år i synnerhet när vi ser på det intensiva tio års jubileum som vi precis har lagt bakom oss. Jag vill återigen säga: Tack till alla ni som deltog i firandet och skrev om vad Creative Commons innebär för er och varför ni använder licenserna.

Under 2012 har vi haft ett samarbetat med .SE och tillsammans med Webbstjärnan har vi gjort två enkla filmer som förklarar vad Creative Commons är och hur du gör när du vill använda Creative Commons licensierat material. Vi har också tillsammans med Internetguiderna tagit fram en kort introduktion- infografik som beskriver: Vad Creative Commons är. Den kan du fritt kan ladda ner, bearbeta och vår infografik har till och med har översatts till polska. Creative Commons -ftw

Vi har även samarbetat med Wikimedia Sverige och Digisam i arbetet med att nå fler och öka kännedomen om Creative Commons. I juni arrangerade vi ett gemensamt seminarium kring Creative Commons betydelse för ABM-sektorn i Stockholm i juni. Vårt samarbetet med Digisam har fortsatt under hösten och kommer att följas upp med två seminarier i vår i Stockholm, ett den 22 jan (det är möjligt att anmäla sig ännu) och ett den 27 februari om att använda, återanvända bilder, musik och filmer på nätet en eftermiddag för att visa på möjligheterna med att bruka och återbruka Creative Commons licensierat material.

Vid sidan av allt detta så kom en ny version av Creative Commons licensväljare som finns översatt till svenska. Sedan har vi översatt Public Domain-mark till svenska så att det finns en förklaring att tillgå för de som tycker att det är lite svårt med engelskan.

Sedan har vi pratat om Creative Commons lite här och var.

Vi på Creative Commons Sverige önskar alla er ett gott nytt 2013 och vi hoppas att det året kommer att innehålla lika många spännande CC-initiativ.

Κάθε χρόνο την 1η Ιανουαρίου, λήγουν τα δικαιώματα copyright για εκατομμύρια έργα τα οποία με τη σειρά τους καταχωρούνται στον Δημόσιο Τομέα με αποτέλεσμα να μπορεί o οποιοσδήποτε να τα χρησιμοποιήσει χωρίς άδεια. Έτσι η 1η Ιανουρίου θεωρείται η Παγκόσμια Μέρα Δημόσιου Τομέα (Public Domain Day) και γιορτάζουμε την απελευθέρωση της δημιουργίας στην παγκόσμια πολιτιστική κληρονομιά. Παράλληλα όμως πολλά έργα εξαιτίας γραφειοκρατικών και παλαιωμένων νόμων πνευματικής ιδιοκτησίας μένουν κλειστά προς το κοινό. Σας καλούμε να επισκεφτείτε το Public Domain Review στο οποίο μπορεί να βρει κανείς καταχωρημένους και οργανωμένους τους θησαυρούς του Δημόσιου Τομέα και μια ξεχωριστή παρουσίαση των αρχείων που ελευθερώνονται το 2013 (Class of 2013)

Παρόλο που σε πολλές χώρες γίνονται αλλαγές για παράταση του ορίου του copyright, γεγονός που εμποδίζει την απελευθέρωση πολλών έργων, γίνονται ταυτόχρονα πολλά βήματα από Ιδιωτικούς και Δημόσιους Φορείς για την ενίσχυση και διεύρυνση του Δημόσιου Τομέα! Μερικά παραδείγματα στα οποία αναφερθήκαμε εδώ και μέσα στη χρονιά είναι: η ελεύθερη διάθεση περιεχομένου με πάνω από 1.000.000 αρχεία από το Internet Archive, η διάθεση περιεχομένου σε video απο τον Rick Prelinger, η συνεχής λειτουργία του Musopen, όπου βρίσκει κανείς μουσική χωρίς copyright, οι συνεχείς προσπάθειες σε διεθνές πολιτικό επίπεδο με το θέμα της ενίσχυσης του Δημόσιου Τομέα να είναι πρώτο στην Ατζέντα της WIPO και τις ταυτόχρονες δράσεις του Communia Association προς τον ίδιο σκοπό, η έκδοση της αναφοράς του Communia με τίτλο “The Digital Public Domain: Foundations for an Open Culture” που περιγράφει αναλυτικά τις προσπάθεις της ομάδας για την στήριξη και συνεχής διεύρυνση του παγκόσμιου πολιτιστικού πλούτου και φυσικά τέλος, τα εργαλεία του προσφέρουν τα Creative Commons όπως το CC0 Public Domain Dedication! Η συγκεκριμένη σφραγίδα επιτρέπει στο δημιουργό να ξεχωρίσει ο ίδιος το έργο του και να το ταυτοποιήσει ως έργο του Δημόσιου Τομέα ακόμα και πριν λήξει επίσημα το δικαίωμα copyright. To Σεπτέμβριο που μας πέρασε η EUROPEANA δημοσίευσε πάνω από 20 εκατομμύρια έργα με αυτή τη σφραγίδα CC0, έκδοση που θεωρείται η μεγαλύτερη μέχρι σήμερα!

Zadi Diaz、Steve Woolf / 洛杉磯（更多資訊：http://epicfu.com）

從 2006 年開始，「Epic Fu」開始在網路上廣播滿是有趣音樂、藝術與文化新聞的節目。創用 CC 從一開始就在這個熱門網路節目計劃中扮演重要角色。製片人 Zadi Diaz 與 Steve Woolf 經常在節目中使用以創用 CC 授權的音樂和影片內容，這些節目也透過創用 CC 姓名標示-非商業性-相同方式分享授權釋出。

Woolf 說，「我個人最愛的節目叫做‘Your Copyright Can Kiss My Ass’，節目談到傳統媒體對於現代媒體傳播方式的適應緩慢。我們在盡可能延伸著作權上，採取了非常強硬的觀點。」

這個節目的創用 CC 授權讓粉絲們可以將節目上傳並分享給朋友，Diaz 與 Woolf 會用粉絲製作出的混搭來宣傳節目。Woolf 說，「這些可以用上好幾個月的混搭內容，讓我們省去自行製作宣傳短片的時間。這是吸引聽眾支持的絕佳方式。」

本文出自 The Power of Open P19

Grace Choi，HUMAN RIGHTS WATCH / 全球（更多資訊：http://www.hrw.org）

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1.  4 stycznia w Warszawie w lokalu państwomiasto odbędą się obchody Dnia Domeny Publicznej organizowane przez KOED, tymczasem wczoraj o północy przeszły do Domeny Publicznej dzieła Kolejnych twórców, listę autorów można znaleźć tutaj. 2. Saylor.org prowadzący projekt kompletu otwartych podręczników do najważniejszych przedmiotów akademickich przed końcem roku zarchiwizował i opublikował ponownie wszystkie podręczniki Flat World Knowledge które od nowego [...]

Points 1-4 of my year-ago post, Which counterfactual public domain day? hold up well, but number 5 could be improved: it concerns optimal copyright term, which is a rather narrow issue, and viewed from an unhealthy side.

Instead, consider that in common language, and presumably to most people, “in the public domain” means something like “revealed to the public” or “not secret”, as the first definition currently presented by Google reflects:

pub·lic do·main
noun
public domains, plural

1. The state of belonging or being available to the public as a whole
2. Not subject to copyright

   the photograph had been in the public domain for 15 years

   public-domain software

3. Public land

   a grazing permit on public domain

It’s not clear how Google’s computers selected those definitions, but they did a good job: “intellectual property” focused definitions seem to have largely crowded out the common usage in written down definitions.

The common “available to the public as a whole” understanding reflects why I have been more recently careful to stress that copyright policy is a small part of information policy and that reducing copyright restrictions (anti-sharing regulation), all the way to abolition, are in this broader context moderate reforms — more thoroughgoing reform would have to consider pro-sharing regulation (as I’ve said many times, broadly construed; choose the mechanisms that fit your ideological commitments) — requiring information revelation, eg of computer program source code.

People curating and promoting works not subject to copyrestriction, information preservationists, leakers, transparency activists, and many others provide various sorts of pro-public-domain regulation. But I especially want to recognize enforcers of copyleft regulation as benefiting (though problematically) the commonly understood public domain, and in the most important field (computation is suffusing everything, security through obscurity isn’t, etc).

…

Happy Public Domains Day. I offer a cornucopia of vague jokes, indeed.

On this day, 1st of January 2013, we do not only celebrate the beginning of a new year, but we also celebrate the whole variety of works, knowledge and information that, by entering the public domain, have become freely available to the world.

Given the limited term of protection granted by copyright law, a large number of works – whose authors died several decades ago – can no longer be owned by anyone and their use can no longer be constrained. They have become part of the common pool of knowledge that constitutes our cultural heritage and that can be freely used by everyone and for any purpose.

This year, in Europe, we are happy to welcome the works of:

Walter Sickert, a German painter who had an important influence on distinctively British styles of avant-garde art in the 20th century.

Grant Wood, an American painter from Iowa best known for his paintings depicting the rural American Midwest. He is best known for his painting American Gothic, an iconic image of the 20th century.

Bruno Schulz, a Polish writer and artist most famous for his collection of short stories The Street of Crocodiles (1934) which centre on a merchant family from a small town in the Galician region.

Arthur Edward Waite, a scholarly mystic who wrote extensively on occult and esoteric matters, and co-created the widely used Rider-Waite Tarot deck.

Stefan Zweig, one of the most famous authors in the world of the 1920s and 1930s;

Franz Boas, a German-American pioneer of modern anthropology often referred to as the “Father of American Anthropology”. He applied the scientific method to the study of human cultures and societies; previously this discipline was based on the formulation of grand theories around anecdotal knowledge.

Robert Musil, an Austrian writer whose huge tome of an unfinished novel “The Man Without Qualities” is generally considered to be one of the most important modernist novels;

… and many more.

The Public Domain Review has compiled a list of the most notable authors whose works are entering the public domain in those countries with a ‘life plus 70 years’ copyright term.

These works can now be freely reproduced and shared to everyone; they can be freely use, reused, translated, adapted or otherwise modified by anyone without asking for permission and without incurring the risk of violating the law.

Yet, it is important to remember that copyright law differs from one country to another. For instance, in the U.S., the Sonny Bono Copyright Term Extension Act – which added 20 years to most copyright terms – effectively “froze” the public domain by stipulating that, unless otherwise stipulated by the copyright owner, all works produced in or after 1923 and still eligible for protection in 1998 would not enter the public domain until 2019 or after. Unfortunately, today, there is not much to celebrate for them.

Hence, before using a work, it is always necessary to check the status of the work in the country where it will actually be used. Yet, given the complexity of copyright law, this can often be an extremely tedious complicated process. To facilitate the task, various tools have been developed –  such the Public Domain Calculators of the Open Knowledge Foundation, and  outofcopyright.eu from Europeana – to help determine which works are in the public domain in various countries around the world.

For more information on the public domain day, check out the Public Domain Day website – an initiative of the international Communia Association for the promotion and the preservation of the Digital Public Domain, with the special support of the Open Knowledge Foundation.

João Batista Ciaco，FIAT / 聖保羅（更多資訊：http://www.fiatmio.cc）

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Each year on January 1st, copyright protection expires for millions of creative works, allowing those works to be used by anyone without restriction or need for permission. On this Public Domain Day, we celebrate the rich creative works that have risen into the public domain, and mourn the massive number of works that could have been in the public domain but which aren’t due to unreasonable copyright extension or the chilling effects created by Byzantine copyright term schemes. The excellent Public Domain Review–which catalogs and offers some interesting insight, explanation, and analysis into unique and unusual treasures in the public domain–has profiled some great works from the Class of 2013. But in other countries, nothing will enter the public domain again this year.

While copyright terms continue to be extended and policymakers support a detrimental enforcement agenda, there has been no shortage of encouraging work in support of a robust and expanded public domain.

• The Internet Archive announced this year a massive trove of over 1,000,000 mostly public domain content available for download over Bittorrent. In similar fashion, video archivist Rick Prelinger pointed us toward a big collection of public domain video footage.
• Musopen continues to be a promising project initially dedicated to providing copyright free music content: music recordings, sheet music and a music textbook.
• There’s ongoing efforts to educate the public about the public domain. The Public Domain Review published the Guide to Finding Interesting Public Domain Works Online, and P2PU is working on developing the Public Domain Detective course.
• At the international policy arena, the public domain continues to be a topic on the agenda at venues like WIPO, where there have been discussions about how to support access to the public domain. The Communia Association has been at the forefront in championing support for broad access to public domain materials, and has been urging policymakers around the world to adopt liberal policies promoting wide access to public domain content. Communia–of which CC has been a longtime member–has been a key participant to these conversations at WIPO. CC has also been involved.
• Communia published “The Digital Public Domain: Foundations for an Open Culture” as well as a comprehensive report detailing the efforts of the group during the three years it operated as the European Thematic Network on the Digital Public Domain.
• Creative Commons continues to offer tools in support of the public domain. These include the CC0 Public Domain Dedication, which is a tool for authors to waive all copyright and related rights, thus putting their work in the public domain prior to the expiration of copyright. This is a crucial tool in use around the world for high profile projects. In September of this year, Europeana released 20 million records into the public domain using CC0. This release is the largest one-time dedication of cultural data to the public domain using CC0, and the dataset consists of descriptive information from a huge trove of digitized cultural and artistic works. In addition, the Public Domain Mark is used to mark works already in the worldwide public domain, such as for very old works where it is clear that the copyright has already expired.
• In fact, more libraries are releasing metadata under CC0, and public domain may become the norm for libraries in sharing their data.

As you can see, there’s a ton of positive work being done to help increase our access to creative content in the public domain. But the work is not done: the longer we do not have access to these works the less rich our culture will be moving ahead. Let’s keep working on it and demanding access to content that could (and should) be available to all.

Se ancora state cercando regali di fine anno ci sono tre cose che vorrei portare alla vostra attenzione.

Sono tre cause che mi stanno a cuore, di natura diversa, per motivi diversi.

La prima e` la Siria, il paese che ho nel cuore, che soffre in questi giorni enormemente..molti, troppi, sono al freddo, senza alloggi, senza gas, elettricita`..molti, troppi, sono in campi profughi sparsi nei paesi limitrofi e in alloggiamenti di fortuna nella stessa Siria.

La ONG Un ponte per.., da sempre attiva in Medio oriente, ha lanciato Emergenza Siria, un sostegno ai rifugiati siriani che fuggono al confine con l`Iraq. Per sostenere il progetto potete dare il vostro contributo qui.

 

Il Teatro Valle Occupato e` il progetto di resistenza culturale -e politica- piu` interessante che sia venuto fuori nel nostro paese negli ultimi anni. I lavoratori dello spettacolo hanno occupato lo storico Teatro Valle, un gioiello architettonico, un tesoro storico al centro di Roma che rischiava di finire nel dimenticatoio. Dal giugno del 2011, gli hanno ridato la vita e da quel momento e` un cuore pulsante dell`offerta culturale della citta` e un esempio per quanti di noi credono nella cittadinanza attiva. Gli occupanti del Teatro Valle stanno cercando di trasformarlo in Fondazione e cosi restituirlo pienamente alla citta e alla cittadinanza. Sebbene a buon punto, il traguardo non e` ancora raggiunto, e il Teatro ha bisogno di tutti noi per mantenere questa sua vita cosi speciale e per continuare a dare un segnale che un`altra strada alla cultura, alla politica, e`possibile.  Per diventare socio fondatore e` possibile versare un contributo – e anche regalare quote – qui.

 

Creative Commons, la no-profit per la quale mi occupo della comunita` di lingua araba, ha lanciato la sua campagna annuale di fundraising.

Quest`anno CC ha compiuto 10 anni, 10 anni di attivita` intensa in giro per il mondo per promuovere la flessibilita nel diritto d`autore e lo sharing legale su Internet. Ma, soprattutto, per promuovere la condivisione e lo scambio, i valori fondamentali sui quali si basa l`architettura aperta di Internet.

CC ha un network di affiliati in oltre 70 paesi del mondo, compresa l`Italia.

Per sostenere le attivita` di Creative Commons e` possibile regalare donazioni qui.

 

A tutti, buon inizio di anno nuovo…

Scott Nickrenz / 波士頓 ISABELLA STEWART GARDNER 博物館（更多資訊：http://www.gardnermuseum.org)

位於波士頓的 Isabella Stewart Gardner 博物館不僅擁有超過一世紀的歷史，保藏超過 2,500 件藝術品，更是在古典音樂發行中最先進運動之一的起源地。除了廣泛的藝術收藏品之外，這間博物館擁有以 CD 形式保存長達數百小時的現場演奏。多年以來，這些音樂乏人聆聽。於是在 2006 年 9 月，博物館的音樂策展人 Scott Nickrenz 推出了一個古典音樂播客 (podcast) "The Concert"。「就在我聽到創用 CC 授權的時候，我知道這就是我們要做的事。」 Nickrenz 說，「讓這些高品質錄音得以免費分享對我們非常重要。」

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Γιορτάζουμε τα 10 χρόνια Creative Commons και μοιράζουμε έργα δημιουργών με Ανοιχτή Αδειοδότηση. Ο γραφίστας Γιαννης Φετάνης, φίλος και χρήστης των αδειών Creative Commons ετοίμασε μια σειρά με αφίσες για τα γενέθλια των αδειών.

Ευχαριστούμε πολύ τον Γιάννη και όλους όσους στηρίζουν το κίνημα του Ανοιχτού Διαμοιρασμού για την ενίσχυση της δημιουργικότητας και της καινοτομίας! Σας υπενθυμίζουμε και το Mixtape που δημιουργήσαμε φέτος με μουσική από όλη την Ευρώπη και την Ελλάδα με άδειες Creative Commons!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Φέτος τα Creative Commons κλείνουν 10 χρόνια και αριθμούν εκατομμύρια χρήστες σε όλο τον πλανήτη. Από τις πρώτες άδειες μέχρι το ολοκληρωμένο σύστημα αδειοδότησης που προσφέρουν σήμερα τα Creative Commons, η πορεία ήταν δύσκολη αλλά έγινε δυνατή χάρη στους χιλιάδες ανθρώπους που δουλεύουν για τη προώθηση αυτού του εναλλακτικού αλλά πάντα νόμιμου τρόπου κατοχύρωσης πνευματικής ιδιοκτησίας. Το μέλλον των αδειών είναι μπροστά και αυτά τα 10 χρόνια είναι μόνο η αρχή.

Στην ετήσια συνάντηση των συνεργατών μας τον Σεπτέμβριο που μας πέρασε συζητήσαμε τις διάφορες δράσεις και ενέργειες που θα κάνουμε για τον εορτασμό των 10 χρόνων. Αποφασίσαμε λοιπόν την δημιουργία ενός Mixtape με καλλιτέχνες και δημιουργούς από όλη την Ευρώπη που χρησιμοποιούν άδειες Creative Commons.

Το αποτέλεσμα ήταν εξαιρετικό. Μαζέψαμε υλικό από 20 χώρες ανάμεσα τους και η Ελλάδα και δημιουργήσαμε μια συλλογή με μουσική Creative Commons! Το μοναδικό αυτό Mixtape είναι διαθέσιμο με διάφορες άδειες για κατέβασμα στο Free Music Archive στο Soundcloud και στο Internet Archive και αποτελείται από διάφορα είδη μουσικής όπως ηλεκτρονική, φολκ, κλασσική, drum & bass, ροκ κτλ. Το εξώφυλο του δίσκου εκδώθηκε και αυτό με άδειαCreative Commons Attribution license.

Η Ελλάδα συμμετέχει και αυτή στη δημιουργία αυτού του mixtape για τα γενέθλια των Creative Commons με τους αγαπημένους StrangeZero! Άλλες Ευρωπαϊκές χώρες που συμμετέχουν είναι το Βέλγιο, η Βουλγαρία, η Τσεχία, η Σλοβακία, η Ισπανία, η Γερμανία κ.α. Απολάυστε και εσείς τώρα μουσική με άδειες Creative Commons και γιορτάστε μαζί μας τα γενέθλια μας!

Koalicja Otwartej Edukacji jak co roku zaprasza na wspólne obchody Dnia Domeny Publicznej. Z początkiem 2013 roku dzieła kolejnych twórców staną się wolne dla wszystkich. Do Domeny Publicznej przejdzie twórczość m.in. Bronisława Malinowskiego, Lucy Maud Montgomery, Bruno Schulza, Wojciecha Kossaka. Pełna lista twórców przechodzących do Domeny Publicznej z dniem 1 stycznia 2013 roku dostępna tutaj. Na obchody [...]

[Sat, 10 Nov 2012]

Nine people turned up (there was a cap of 12; heard it rained heavily so maybe some opted to stay home?)

Nine was a nice number. I sensed the average age was around late 20s to early thirties. Heh, it's nice to know as an 'uncle' in my 40s, I'm teaching the young'uns something.

What the session covered:

• Hour 1: Getting to know GB; learning the basics
• Hour 2: Composing your own track/ Some ‘audio production’ tips
• Hour 3: Continue + Showcase

Demo of a track composed in GB.

Musical concepts - “Bars”, “patterns”, “Even counts”
Layering concept - like photoshop

Pair up - check with a “musical buddy for the day”

Opening a new GB project (file names, tempo)

The GB environment and controls
File menu, add tracks, LCD, Loops, Instruments
Shortcut Keys - Copy, Paste, Undo, Redo, Zoom in/ Out

Preferences panel

Using loops to create music - 20mins
Change tempo
Drag loops into workspace
Copy
Extend loops
Edit - Split/ cut/ copy
Layers

Instruments - 20mins
Experiment with different instruments
Musical Typing
Changing MIDI notes

Individual Track controls

Effects (“i” Edit)

Audio Production tweaks
Compressor
EQ

Export

Share

Before we started, I asked what were they wanted to take away from this session. Most had their Macs for a while but never quite learned how to use GarageBand.

About a third played some form of instruments. Most were piano players (interesting!)

Going round I saw everyone actively building their tracks.

What I tried not to do was overwhelm them by whacking all I knew from the past seven years and seven albums, since I picked up a Mac (woah, seven already?)

I let each participant copy a GarageBand sampler (composed the day earlier) and let them attempt a remix. The sampler (aptly titled TenElevenTwelve) sounds like this:
TenElevenTwelve by Ivan Chew

They didn't seem overwhelmed. Plenty of time to play around. Nice arranges tracks too; these folks have good musical timing.

Three hours was a good duration. Class size of ten was excellent; probably 20 would be fine with an assistant.

One tech problems: The rental MacBook didnt have the latest GarageBand version. Wasnt able to drag and drop loops. Luckily while the software update was in progress, one participant readily volunteered his Mac until the update was completed.

Planned for everything (extra power extensions, making sure we nailed down the screen resolution; a 'live' dry run with my colleagues before this public session) except that one. Must make mental note.

When I was mulling over the session on the train, I asked myself why I liked to share and teach.

On one hand, it means putting myself in the firing line, where participants have a range of expectations. Even of the session is a free one, I don't believe it's an excuse to waste people's time.

On the other, there's something immensely satisfying in seeing people give that nod of understanding, or outwardly thanking for having gained insights.

I wonder if it's an affirmation of my own self worth. Maybe, though I can find other ways to satisfy my ego.

Oh, I ended up conducting this workshop because the Public Library was running a series of Arts related programmes. Mooted the idea of a digital music workshop to a colleague, she liked it, and I volunteered to run it.

Coincidentally it was held on a 10.11.12

Hmm, if nine people turned up, that meant 9.10.11.12.

lol

so it’s the time of the year again where lists of authors who’s works will enter into the public domain on the 1st of january are compiled left and right. Generally these efforts work like this: you start a list of authors who have died in in the year ending 70 years ago (1942) and then compile them into a list and rank them by whatever criterion you wish to apply (notability, specific nationality, etc..).

While this seems rather straightforward it seems like a good opportunity to recall the underlying complexities of calculating copyright term duration: If you have a fast internet connection and a big screen, you may want to take a look at this 25 MB pdf, which depicts the decision trees for 30 european jurisdictions that power the public domain calculators on www.outofcopyright.eu.

The interesting thing about this PDF is not how complex it is in absolute terms, but rather that the subject matter depicted is supposed is something that the EU considers to be ‘harmonized’ (by the 2006 copyright term directive). As you can easily tell by glancing at the image above, copyright duration in the EU is anything but harmonised. In fact, as Christiana Angelopoulos, who compiled the information contained in the pdf, argues in a new paper, we are dealing with 27 different public domains for the 27 member states of the EU.

According to Angelopoulos this is the result of four parallel failures of the harmonisation effort (Gaps in Conceptual Harmonisation, Exceptions to Harmonisation, Related Rights of Unharmonised Term and Incorrect Implementation of the directive). One of the most interesting passages of her paper is the one about the effects of the war-related term extensions that are part of French copyright law:

In France, the Intellectual Property Code contains three provisions extending the term of protection for works which were in copyright during WWI and WWII or whose authors died for France. To compensate the loss and difficulties in the commercial exploitation of works during the two World Wars:

1. The rights of authors, composers and artists of works published before the signing of the Treaty of Versailles and which had not fallen into the public domain on 3 February 1919 were extended by 6 years and 152 days;
2. The rights of authors, composers and artists of works published before 1 January 1948 and which had not fallen into the public domain on 13 August 1941 were extended by 8 years and 120 days;
3. The rights of authors, composers and artists who died for France during WWI or WWII were extended by 30 years.

It should be noted that the two first extensions can accumulate in cases of works published during WWI, which can then benefit from an extension of up to 14 years and 272 days.

[…]

The fate of the 30-year extension in favour of authors who died for France has not been decided upon by the courts. If the provision remains valid, then depending on the applicability of the other extensions, the term of protection of a musical work whose author died for France may range from 100 years pma (70 years pma + 30 years) to 114 years and 272 days pma (70 years pma + 30 years + 6 years and 152 days + 8 years and 120 days). With regard to non-musical works, commentators are divided on whether the added mileage would salvage the other two extensions as well: some commentators consider that the extensions due to the wars remain absorbed by the new harmonised term of protection. In this case, a non-musical work whose author died for France, whether published during WWI or WWII or not, will benefit from a term of protection of 100 years pma (70 years pma + 30 years). Others argue that, given that the accumulated extensions will certainly result in a term longer than that of the Directive, the calculation should be made on the basis of the old 50 years pma rule. As a result, the term for non-musical works whose author died for France would vary between 80 years pma (50 years pma + 30 years) and 94 years and 272 days (50 years pma + 30 years + 6 years and 152 days + 8 years and 120 days), depending on the date of publication of the work.

The case of a non-musical work published during WWI or WWII and written by an author who died for France is not hypothetical. Several famous authors belong to this category, including Antoine de Saint-Exupéry, Guillaume Appolinaire and Charles Péguy; uncertainty thus surrounds the term of protection of their works. For example, the entry of Antoine de Saint-Exupéry’s famous novella The Little Prince into the public domain oscillates from 1 May 2033 to 1 January 2045, depending on the interpretation accepted. (Christina Angelopoulos: The Myth of European Term Harmonisation: 27 Public Domains for the 27 Member States, IIC, 2012-5, p. 567.)

These extensions can make life rather difficult for anyone compiling lists of authors whose works will enter into the public domain. More generally the lack of harmonisation points to a bigger problem though. If copyright is indeed the primary system of assigning ownership in knowledge driven economies then we should be seriously concerned about the complexity of the system, which makes it extremely difficult to ascertain if a work can be used without permission from the author or not. COMMUNIA has pointed this out in our policy recommendation #4 and it appears timely to point out the need for more harmonisation in the light of the upcoming public domain day on the 1st of January 2013.

¿Educar o entretener? Todo medio dedicado a la ciencia y la tecnología se enfrenta a la misma pregunta. Materia es un medio en castellano que reúne a galardonados periodistas del desaparecido Público en una publicación que apuesta por el rigor y la calidad de sus contenidos. Su objetivo es la difusión más amplia posible de contenidos científicos y tecnológicos, por lo que han elegido una licencia Creative Commons para sus reportajes.

Entre sus artículos más recientes se destaca un interesante resumen noticioso del 2012, que incluye una postura decidida a favor de la investigación científica como uno de los elementos fundamentales para la recuperación económica de España y Europa. Materia es definitivamente uno de los medios en línea más recomendables para seguir (facebook:materia.ciencia | twitter: @materia_ciencia) durante el 2013.

2012年12月24日，知识共享中国大陆项目团队应清华学堂人才培养计划钱学森力学班首席科学家郑泉水教授的邀请，赴清华大学与钱学森班的同学们进行交流，介绍知识共享协议与开放共享理念，并举行CC十周年庆祝活动。知识共享中国大陆项目负责人王春燕、项目经理朱捍东、清华大学顾学雍教授、钱学森班2012级同学及来自中国人民大学法学院的CC志愿者们共同参加了此次活动。

活动现场，王春燕教授在发言

在活动的第一部分，CC中国大陆项目负责人王春燕向同学们介绍了CC协议的背景和相关的法律问题。王春燕提到，CC协议的兴起源于一群知识精英认识到现有的版权制度限制了创造和创新的活力，而在版权制度的基础上设计了一套法律工具，即CC协议。CC协议是传统版权体系“所有权利保留”的有益补充，为权利人提供“部分权利保留”的另一重选择，打破了创作者和使用者之间权利信息不对称的局面，帮助创作者更好地传播和分享作品。CC协议和它所代表的开放共享运动正在慢慢改变人们知识生产和知识传播的方式，并有助于实现权利人与大众之间的利益平衡。

CC中国大陆项目经理朱捍东为同学们介绍了CC协议的使用和CC中国大陆项目的艺术推广计划。他通过介绍CC中国大陆项目在艺术领域举办的各项活动和艺术家们对CC协议的使用呈现了艺术家的独特视角和分享创意的方式，说明了CC协议如何帮助艺术家分享作品，传递灵感。CC中国大陆项目助理孙蓓蓓接着为同学们介绍了开放教育资源（OER）、开放数据、开源硬件与开放设计，以及CC中国大陆项目在这些领域所做的工作。

清华大学顾学雍教授在发言

在活动的第二个部分，即问答互动环节，清华大学钱学森班的同学们积极提出了许多问题。同学们非常关心保护自己知识成果的方法，以及开放共享与知识产权保护之间的关系。就同学们提出的问题，王春燕老师与同学们进行了深入的交流。钱学森班同学们的理工背景和人大志愿者们的法科背景相互补益，使得讨论更加的活跃和深入。

活动的第三个部分是CC十周年的庆祝活动。CC中国大陆项目团队与钱学森班的师生一起，分享了CC十周年的生日蛋糕。CC志愿者们为同学们分发了CC纪念品，活动在欢乐的气氛中顺利结束。

来自中国人民大学的CC志愿者们

CC志愿者团队和清华大学钱学森班的学生们一起合影留念

清华学堂人才培养计划钱学森力学班是清华大学的工科基础科学班，以工程力学系为主，联合航空航天、机械等八个系科，聚集一批精英学生，借助清华大学和国际范围内的顶尖学者共同建设。钱学森班致力于营造一个自主学习和个性化发展的创造性学习环境。同学们将于一月份进行为期四天的“极限学习”计划，为了帮助同学们竖立知识产权保护和开放共享的意识，负责此次学习计划的顾学雍教授要求同学们将此计划的学习成果采用CC协议授权。知识共享中国大陆项目在知识共享十周年之际，向这群知识精英和未来社会的知识领袖介绍CC协议和开放共享理念，具有特殊的积极意义。两校不同专业背景的同学们也在这次活动中进行了非常愉快的交流，大家都期待着下一次，法律与科技碰撞的精彩。

文/ 孙蓓蓓  图/朱捍东  温迪

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