Share, Reuse, Remix — Legally. N E W S L E T T E R http://creativecommons.org Issue No. 9 1 October 2008 2 CC Newsletter - Issue No. 9 Message Dear All, see the word fundraising and immediately your eyes glaze over The past couple of months have not been easy — living in — but please, keep reading! If uncertainty never is. What is certain, though, is that we need you care about what we’re doing, to increase creative problem solving and innovation on a if you think it’s important, then you global scale. As I sit here thinking about innovation and will want to know what’s going on how it happens, I’ve come to realize that we’ve been able to with the part of the organization highlight only a very small percentage of the progress made responsible for making sure the possible thanks to the tools CC develops and provides for free (CC) things you care about are that enable people to harness the power of the Commons actualized. A l ex R o b e r t s . “M e lis s a and the open Web — and that gives me hope. It gives me Reeder.” CC BY 3.0 hope because it means that there are millions of projects, Our annual fundraising initiatives, thinkers, and doers out there making advances in campaign is CC’s most important fundraising initiative. It every realm of thought, and that have the potential to help raises vital unrestricted funds for CC’s core operations, and solve some of the world’s biggest problems — and just think it encourages our community members to rally around CC, about the innovation possible if all that information was free proving to us, to others, and to the U.S. government that we and accessible! are a publicly supported organization — that we’re important and necessary. This newsletter will walk you through the The past three newsletters have highlighted various concept and components of the recently-launched campaign, CC projects: Creative Commons International, Science so that you can get a better sense of what CC is doing, where Commons, and Culture Commons, and their impressive our priorities lie, where we want to go, and how we need accomplishments over the past year. While this newsletter you — the community — to help us get there. adheres to the previous format of highlighting some significant CC accomplishments over the past two months, its main focus All the best, is to update you on a part of CC that is vital to each of our programs and projects, and yet rarely gets acknowledged Melissa Reeder — the development department. Not development as Development Manager in software, but development as in community building, Creative Commons outreach, and the ever important — fundraising. You may Contents The Inside Scoop 3 Build the Commons 10 dublab and Creative Commons launch Into Infinity, a CC-licensed art and music project themed around CC News the infinite possibilities of creative reuse. 4 Flickr Co-founder Caterina Fake Joins the Creative Commons Board. ccLearn 5 American presidential candidates show support for 11 Latam Commons 2008: ccLearn to host a three-day “open debates.” conference in Santiago, Chile on “open licensing, open technologies, and the future of education in CC International Latin America.” 5 Former CC General Counsel to lead Australian 14 Bill Enabling Community Colleges to Establish OER government digital economy push. Pilot Program is signed into law 6 Launched! Creative Commons Romania reports on a successful event. 7 CC Jordan: First Arabic Version 3.0 License draft in public discussion. 8 Australian National Innovation Review recommends Creative Commons. Culture Commons 9 Featured Commoner: Brad Sucks, a CC license-using pop/rock musician and one of the most remixed artists at cc Mixter. The Inside Scoop Help Build the Commons http://support.creativecommons.org/ On October 15th, CC launched its fourth annual fundraising effort - the Build the Commons campaign. I would like to take this opportunity to extend a hearty thanks to those of you who have already joined in our efforts. We’re off to a pretty good start, but but there is still much more we can do! We’ve set some pretty ambitious goals for this campaign (we CC Network want to raise $500,000 by December 31!), but as long as This is a brand new feature of Creative each of us does our part to rally the community and show Commons. While it was launched in our support of CC, I am certain we can meet those goals. We conjunction with the campaign, it is a must keep up our momentum, throughout the campaign and year long, permanent option for CC beyond, to continue broadening CC’s reach and ensuring community members. By joining the a long-lived future for both CC and the Commons. We’ve Network, you will become part of a only got two months to make the 2008 campaign the most worldwide communit y dedicated to successful yet, and with so many ways to support CC, there’s building the Commons and bringing no reason we can’t exceed our own expectations! open content to all corners of the globe. When you donate $50 or above ($25 for There are many skeptics who think this is a precarious time students) to Creative Commons, you will to launch a major fundraising initiative; we disagree. This receive a profile page, where you can is an opportunity. An opportunity to call our community list all your CC licensed works; a button members to action -- to help us make sure that the Commons you can put on your works that shows the continues to grow and be supported. The innovation I spoke world you are part of the CC Network and of before stems from collaboration and knowledge exchange, helps authenticate your ownership; and both of which are facilitated through access and sharing, a Creative Commons OpenID. and all of which are made possible by the Commons. An incredible example of the kind of innovation the Commons CC Videos Project inspires is the beautifully-made short film about CC, A Another way we are asking people to help Build the Shared Culture, which was directed by Emmy-award winning Commons is to submit a short 90 second video clip of you filmmaker Jesse Dylan, and released in support of CC’s 2008 explaining why you support CC to our CC Videos Project. fundraising campaign. You can watch the video at http:// CC and the Commons exist because of creative community creativecommons.org/asharedculture/. members like you! As CC and the Commons continue to grow, it’s important to capture and share the stories of how This campaign is not just about raising money, though as a our worldwide community uses CC. We want to hear and see non-profit organization, that is a very important component! your stories of how CC has helped you make and disseminate More than anything, our campaign is about building your work. Tell us, and the world, why CC is important to community and awareness around CC. As more information you. For more information about this project, please visit becomes digital and is born digital, it is imperative that the http://support.creativecommons.org/videos. Commons and its community grows apace. Otherwise, the Commons runs the risk of stagnation and restriction — the Commoner Letter Series antithesis of innovation. CC is dedicated to making sure this We are honored this year to have five doesn’t happen, but in order to do that we need your help. exceptional members of our community We’re asking people to help Build the Commons by using voicing their support of CC and the Build CC licenses and CC licensed work, evangelizing CC and the the Commons campaign through the openness we stand for, educating others about CC (because Commoner Letter email series, sent out your reach is much further than ours), and joining the CC between now and December. This year’s Network. By doing any or all of these things, you are actively “Commoners” are Eben Moglen, Renata building the commons — the pool of content freely and legally Avila, Richard Bookman, Jonathan Coulton, accessible to EVERYONE to use, re-use, and re-purpose — a and Jimmy Wales. The first letter, which was vital public resource in this digital age. There are many ways sent October 20th, was written by Eben to participate in the Build the Commons campaign — below Moglen, founder of Software Freedom Law are just a few. For more ways to participate, please check out http://support.creativecommons.org. Build the Commons > 12 CC Newsletter - Issue No. 9 3 4 CC Newsletter - Issue No. 9 CC News Flickr Co-founder C aterina Fake Joins the Creative Commons Board by Eric Steuer 25 August 2008 http://creativecommons.org/weblog/entry/8953 http://creativecommons.org/press-releases/entry/8949 We are very excited to announce that Caterina Fake[1] has “We’re thrilled that Caterina is joining the CC board,” said joined the Creative Commons board. Fake cofounded the Joi Ito, Creative Commons’ CEO. “Her vast experience in massively popular photo sharing site and community Flickr[2] business and social media make her a perfect addition to in early 2004. To date, Flickr’s community of photographers our team. We’re all honored and excited to be able to take have licensed over 75 million photos[3] to the public under advantage of her expertise and abilities to advance Creative Creative Commons copyright licenses, making the site one Commons’ mission of increasing access and reducing of the biggest sources of permissively licensed material on barriers to collaboration.” the Internet. Fake is also a writer and artist, and is currently the Chief Product Officer for startup Hunch.[4] Fake has won many awards, including BusinessWeek’s Best Leaders of 2005, Forbes‘ 2005 E-Gang, Fast Company’s Fast This is an excellent addition to the CC team. 50, and Red Herring’s 20 Entrepreneurs Under 35. She was named to the Time 100, Time’s list of the world’s 100 most San Francisco, CA, USA – August 25, 2008 influential people. She sits on the boards of Etsy and Hunch, and advises a variety of startup companies. Creative Commons announced today that Flickr cofounder Caterina Fake has joined its board of directors. Fake joins a board of directors that includes cyberlaw and intellectual property experts James Boyle, Michael Carroll, Fake cofounded the massively popular photo sharing site and Lawrence Lessig, Eric Saltzman, and Molly Shaffer Van community in early 2004. Flickr was one of the first media- Houweling, as well as Wikipedia founder Jimmy Wales, sharing sites to embrace Creative Commons licensing as a education innovator Esther Wojcicki, filmmaker Davis way to encourage users to make their work available to the Guggenheim, Public Knowledge founder Laurie Racine, and public for free and legal use. Since the site’s inception, Flickr’s MIT computer science professor Hal Abelson. community of photographers have licensed over 75 million photos to the public under Creative Commons copyright Endnotes licenses, making it one of the biggest sources of permissively- 1 http://www.caterina.net/ licensed material on the Internet. CC-licensed Flickr photos 2 http://www.flickr.com/ are now used in a variety of projects and publications, 3 http://www.flickr.com/creativecommons/ ranging from Wikipedia to The New York Times. 4 http://www.hunch.com/ After Flickr was acquired by Yahoo in 2005, Fake helped develop Yahoo’s social search products, ran its Technology Development Group, and founded Brickhouse, a rapid development environment for new products. She left Yahoo in June 2008 and subsequently took on the role of Chief Product Officer for startup Hunch. Fake is also a writer and artist, and was Salon.com’s art director prior to founding Flickr. “Creativity flourishes when ideas are freed from legal impediments, when people are able to create and give,” Fake said. “In both my personal and professional work, I’ve seen Creative Commons remove obstacles, allowing the best of culture and ideas to be freely shared. I hope to be able to contribute to Creative Commons’ already significant success.” CC News CC International A meric a n p r e s i d e n ti a l Former CC Gener al Counsel candidates show support for to lead Australian government “open debates” digital economy push by Eric Steuer by Mike Linksvayer 6 October 2008 16 September 2008 http://creativecommons.org/weblog/entry/9910 http://creativecommons.org/weblog/entry/9510 Two recent posts on Lessig’s blog show that both of the Congratulations to former Creative Commons General major party US presidential candidates support the idea of Counsel Mia Garlick,[1] who has joined the Australian debate footage being available to the public for free and government to lead its digital economy initiatives:[2] legal use. iTWire has learnt that Mia Garlick, an Australian lawyer Last Thursday, Lessig posted a letter of reply[1] he’d received who was most recently product counsel for YouTube, has from Trevor Potter, the general counsel of the McCain-Palin been appointed to head the Australian Government’s campaign. The letter says that the campaign “supports drive for the digital economy future, as assistant secretary [the] suggestion that those who may own rights in the in the Department of Broadband Communications and debate video dedicate those rights to the public domain.” the Digital Economy (BCDE) Potter continues: “Barring that, copyright holders should at the very least give utmost respect to principles of fair use Her appointment is linked to communications minister by allowing non-commercial use of debate excerpts, thus Stephen Conroy’s announcement this week of plans ensuring that spurious copyright claims do not chill vigorous to prepare Australia for the future ‘digital economy’. public discourse.” In preparation for this initiative the department advertised in May for “a talented and highly motivated Then, on Saturday, Lessig blogged that Barack Obama senior manager to lead the Digital Economy Branch had reaffirmed[2] his support for open debates, which he’d within the Department…[to provide] leadership and earlier established during the primaries via a letter to DNC strategic direction to a branch with responsibility for the Chairman Howard Dean. Obama’s letter asks that debate development of the digital economy in Australia.” footage “be available freely after the debate, by either placing the video in the public domain, or licensing it under While at CC, Mia led development of the CC version 3.0 a Creative Commons (Attribution) license.” licenses[3] and nearly every other project we undertook during her tenure, in addition to undertaking regular speaking We couldn’t have said it better ourselves. engagements worldwide. Her intelligence, energy, and wit are certainly just what the Australian digital economy needs. Endnotes Good luck! 1 http://lessig.org/blog/2008/10/great_news_from_the_ mccain_cam_1.html It’s also worth noting that Creative Commons Australia[4] 2 http://lessig.org/blog/2008/10/obama_on_open_ has long been a leading CC jurisdiction project, especially debates_1.html in the field of public sector information. Just in the last week the National Innovation Review recommended CC[5] and a minister immediately endorsed the recommendation.[6] Endnotes 1 http://creativecommons.org/about/people/alumni#36 2 http://www.itwire.com/content/view/20634/127/ 3 http://creativecommons.org/weblog/entry/7249 4 http://creativecommons.org.au/ 5 http://creativecommons.org.au/node/188 6 http://creativecommons.org.au/node/189 CC Newsletter - Issue No. 9 5 6 CC Newsletter - Issue No. 9 CC International L aunched! Creative Commons Romania reports on a successful event by Michelle Thorne 10 September 2008 http://creativecommons.org/weblog/entry/9339 Journalists, bloggers, and CC suppor ters gathered non-commercial videos to share online (example). last week in Bucharest to celebrate the launch[1] of the [6] Since the purpose of the song was to share the localized Romanian Creative Commons licenses.[2] CC fun spirit of the HI-Q band, the artists decided that Romania[3] Project Lead Bogdan Manolea reports on the such a request should be granted directly. With a event’s success and how popular Romanian artists such as CC licence, the conditions for using a creative work HI-Q [4] have embraced Creative Commons’ flexible and are very simple and easy to understand. free licensing system. On this occasion, the HI-Q band announced that The public was interested in details about the the vocal tracks from the band’s next single will be practical implementation of CC licences starting released under the Romanian CC BY-NC-SA 3.0 with the way attribution works and ending with the license.[7] Fans will be invited to create remixes of the practical advantages of choosing CC licences for tracks and upload them to music-sharing websites. an artist. The best covers may also be included in the band’s next album. Regarding other speakers at the launch: The band Travka[8] was the first group in Romania to release an entire album under a CC licence. Band member Razvan Rusu explained that they looked for “a kind of an open source licence” that could be used for their music, which is how they found and agreed to use the CC licences. Ioana Avadani, from the Center for Independent Journalism,[9] emphasized the fact that today, attribution might be more important than all the other author’s rights. She also pointed out that small TV and radio stations are forced to close down because of the demand to pay several copyright royalties. Creative Commons “George Gadei @ Travka” (http://flickr.com/photos/levynagy/1260573093/in/ photostream/ ) by LevyNagy, (http://flickr.com/photos/levynagy/) available under could offer a viable alternative. a Creative Commons Attribution-Noncommerical-Share Alike license. (http:// creativecommons.org/licenses/by-nc-sa/2.0/) Photo from a prior concert. The national television station TVR Cultural featured the launch of CC Romania,[10] as did a number of online news portals Hotnews[11] (Romanian) and Transindex[12] (Hungarian), and several blogs (e.g. Florin Grozea from the popular band HI-Q [5] Drept & Internet,[13] Nicu,[14] Hoinar pe web[15] and Webservator). pointed out that the licences are a valid solution [16] The event was organized by EDRi-member Association for for some of the problems that artists face, as the Technology and Internet[17] (APTI Romania) with help from the licences provide a set of rules more flexible than the Center for Independent Journalism.[18] traditional copyright. He also presented a practical case with their older, very well-known song “Gasca mea (My Mob)”, for which they received a lot of requests from teenagers to use the song to make CC International CC Jordan: First A rabic Version 3.0 L ic ense dr a ft i n pu bl ic discussion by Michelle Thorne 1 October 2008 http://creativecommons.org/weblog/entry/9778 Endnotes 1 http://creativecommons.org/weblog/entry/9097 Jordanian legal exper ts 2 http://creativecommons.org/license/?lang=ro are making major s trides 3 http://creativecommons.org/international/ro in the Creative Commons 4 http://www.hiq.ro/tv/ license porting process [1] by 5 http://www.hiq.ro/tv/ producing the first Version 6 http://www.hiq.ro/blog/florin/2007/12/29/gasca-mea- 3.0 CC license draf t [2] in pe-youtube/ Arabic. Adapted to Jordanian law, the license draft is 7 http://creativecommons.org/licenses/by-nc-sa/3.0/ro/ being discussed on CC Jordan’s mailing list,[3] along with 8 http://www.travka.ro/ the license’s English re-translation[4] and an explanation 9 http://www.ijf-cij.org/bucharest.html of its substantial legal changes.[5] 10 http://www.tvr.ro/articol.php?id=45584 11 http://economie.hotnews.ro/stiri-it-4197114-video- With the support of the reputable Abu-Ghazaleh Intellectual cre ative - commons- acum-limba-romana-toate - Property (AGIP),[6] CC Jordan Project Leads Ziad Maraqa drepturile-rezervate-unele-drepturi-rezervate.htm and Rami Olwan have committed much time and expertise 12 http://tech.transindex.ro/?cikk=8024 in developing the Jordanian license draft. Hala Essalmawi 13 http://legi-internet.ro/blogs/index.php?title=cultura_ (CC Egypt) and Anas Tawileh (initiator of Arab Commons) libertatii&more=1 &c=1&tb=1&pb=1 [7] contribute to CC Jordan’s efforts as well as conduct local 14 h t t p : / / n i c u b u n u . b l o g s p o t . c o m / 2 0 0 8 / 0 9 / outreach to further Creative Commons’ mission.[8] Individuals creativecommons-romanian-launch.html and organizations interested in beginning a local Creative 15 http://hoinar-pe-web.blogspot.com/2008/09/creative- Commons project in their jurisdiction or in helping raise commons-pentru-romania.html awareness about Creative Commons in the Arab World, 16 http://w w w.webservator.ro/creative-commons-in- please contact Creative Commons International[9] and CC romania/ Arab Media Consultant Donnatella della Ratta. 17 http://www.apti.ro/ 18 http://www.ijf-cij.org/bucharest.html On behalf of CC Jordan, we warmly welcome you to join in the public discussion[10] of the license draft. Congratulations to CC Jordan and the Arab Commons team, and we are looking forward to your feedback! Endnotes 1 ht tp://wiki.creativecommons.org/International_ Overview 2 http://mirrors.creativecommons.org/international/jo/ translated-license-v3.pdf 3 http://lists.ibiblio.org/mailman/listinfo/cc-jo/ 4 http://mirrors.creativecommons.org/international/jo/ english-retranslation-v3.pdf 5 http://mirrors.creativecommons.org/international/jo/ english-changes-v3.pdf 6 http://www.agip.com/ 7 http://www.arabcommons.org/ 8 http://wiki.creativecommons.org/History 9 http://creativecommons.org/international 10 http://lists.ibiblio.org/mailman/listinfo/cc-jo/ CC Newsletter - Issue No. 9 7 8 CC Newsletter - Issue No. 9 CC International Australian National Innovation Review recommends Creative Commons by Michelle Thorne 9 September 2008 http://creativecommons.org/weblog/entry/9293 CC Australia[1] writes[2] about an important report that advises Australian governments to follow open publishing standards and recommends using a Creative Commons license for government material released for public information. Those interested in open access to public sector information will be excited to see the results of a recently released Australian Federal Government Review of the National Innovation System, http://www. innovation.gov.au/innovationreview. The final report, titled Venturous Australia, was prepared for Senator Kim Carr, Minis ter for Innovation, Industr y, Science and Research, by consultants Culter and Co, headed up by industry consultant and strategy http://farm1.static.flickr.com/54/158279302_c3738314ed.jpg. Appropriately adviser Dr Terry Cutler. It places a strong enough, a photo of Mia Garlick (far right) visiting Brian Fitzgerald, Stuart emphasis on open innovation, stating in Cunningham, and Jessica Coates at CC Australia in 2006. Nic Suzor (http:// flickr.com/photos/nicsuzor/) / CC BY-SA (http://creativecommons.org/licenses/ the introduction: by-sa/2.0/) “Today innovation is understood to involve much more than the transmission of knowledge down the pipeline of production from research to development to application. In the age of the internet, with the opportunities for collaboration which it opens up, open innovation is increasingly important.” Most importantly from an open access point of view, it was Recommendation 7.8 which is most exciting: “Australian governments should adopt international standards of open publishing as far as possible. Material released for public information by Australian governments should be released under a creative commons licence.” The full report is available at http://www.innovation.gov.au/ innovationreview/Documents/NIS-review-web.pdf. Endnotes 1 http://www.creativecommons.org.au/ 2 http://www.creativecommons.org.au/node/188 Culture Commons Featured Commoner: Brad Sucks, a CC license-using pop/rock musician and one of the most remixed artists at cc M ixter by Cameron Parkins 29 September 2008 http://creativecommons.org/weblog/entry/9750 Brad Sucks,[1] a CC license using pop/rock musician, recently Well, I resisted officially CC licensing my stuff for a long released his latest album Out Of It[2] for free online and time, I thought it was unnecessary and a bunch of legal stuff under a CC BY-SA license.[3] Brad is one of the most remixed I didn’t think anyone wanted to care about. But now I think artists[4] over at ccMixter,[5] runs an active blog,[6] interacts the CC license is simply a shortcut to telling people “hey, go with fans directly,[7] and was recently interviewed[8] by the ahead”. While I had clearly said on my website “do whatever Featured Commoners behind The Indie Band Survival you like”, people would constantly ask me for permission Guide.[9] Needless to say we needed to catch up with Brad anyway, which was strange to me. and ask some questions of our own - read on to learn about Brad’s influences, why he uses CC licenses, and how he I think CC licenses, the entire open attitude is absolutely feels about his work essential for artists that don’t have huge promotion budgets. being remixed and W ithou t th e mon ey reused. to force adver tising and radio play down Can you give our p e o p l e ’s t h r o a t s , r e a d e r ’s a b i t you have to rely on of background the good will of your on you and your fans spreading your music? How long music for you. And if have you been you handcuff them by creating music? making it illegal, I think W ha t are your you’re doing yourself a influences? real disservice. I started taking classical guitar lessons when I was 10 years You are one of the old. I hated practicing and was never very good and quit most remixed artists because it was boring. Then when I was 14 or so I got into at ccMixter.[11] Why MOD/S3M trackers (Scream Tracker and then later Impulse do you think that Tracker) and was really into industrial/electronic music. I got i s? W h a t i s yo u r an electric guitar a few years later and started trying to fit it reaction to that title? all together as digital recording matured. I’m not sure why it is, but I’m super happy about it. I think I got My influences were mostly classic rock as a kid. Pink Floyd, in early and have been very lucky that people have wanted to Rolling Stones, etc, the stuff my dad listened to. As a teenager mess with my songs, whatever their reasons are. I have some I was into more aggressive stuff: Ministry, Skinny Puppy, small theory that the simplicity of my songs maybe makes Nine Inch Nails, etc. Besides being a lot harder, it had a real them easier for people to work with, to imagine what can DIY ethic to it. There usually wasn’t much of a “band”, just be done with them, but I don’t know if that’s true. I haven’t one or two guys working on recordings. That was a huge compared my music with the other stuff that’s available on inspiration because it seemed normal to me to think of doing ccMixter. So I’m gonna go with luck. everything myself. After that I mellowed out and de-gothed a bit but I secretly wish I could take myself seriously enough Brad Sucks > 12 to rock like Ministry. You release your music under a CC BY-SA license. Why did you choose to go that route? What has [10] your experience been like? What would you say to an artist who is considering using CC licenses on their project? CC Newsletter - Issue No. 9 9 10 CC Newsletter - Issue No. 9 Culture Commons dublab and Creative Commons launch Into Infinity, a CC-licensed art and music project themed around the infinite possibilities of creative reuse by Eric Steuer 26 August 2008 http://creativecommons.org/weblog/entry/8998 I’m happy to announce that dublab[1] and Creative Commons Into Infinity comprises a collection of ready-to-remix 12-inch have launched Into Infinity,[2] a CC-licensed art and music circular artworks and 8-second music loops created by a project themed around the infinite possibilities of creative vast array of artists from around the world. Contributors reuse. The online exhibition is available now; physical include world-renowned graffiti artist Kofie, 2008 Whitney installations are being planned for Winter 2008 and Biennial alumni Lucky Dragons, Anticon collective member throughout 2009. Odd Nosdam, and electronic musicians Flying Lotus and DNTEL (AKA Jimmy Tamborello of The Postal Service). New Earlier this year, we distributed 12? circular canvases to a submissions will be added to the exhibit regularly. collection of visual artists. We also commissioned an array of musicians to create eight-second audio loops. We went through all of the submissions and posted the best online, including pieces by world-renowned graffiti artist Kofie,[3] 2008 Whitney Biennial alumni Lucky Dragons,[4] Anticon collective member Odd Nosdam,[5] and electronic musicians Flying Lotus[6] and Dntel[7] (AKA Jimmy Tamborello of The Postal Service). Each time you refresh the site’s exhibition[8] page, you’ll get a new art and loop combination. All of the images and sounds are published under a Creative Commons Attribution-Noncommercial[9] license and (as you may have guessed) we strongly endorse the sharing and remixing of this project. You can download the pieces individually via the links on the exhibition page; you can also download the entire project (including the site’s source code) all at once via the downloads[10] page. Stay tuned for updates, because we’re talking to new artists and musicians all the time and we’ll be adding new pieces All of Into Infinity’s works are available for download under to the exhibition regularly. Soon, we’ll also issue a formal a Creative Commons Attribution-Noncommercial copyright call for remixes of Into Infinity’s works, many of which we’ll license. This license gives the public the legal right to include in future versions of the show. share, remix, and reuse all of the pieces of Into Infinity for noncommercial purposes. For the full terms of this Creative Ready-to-Remix Art and Music Exhibit Online Now; Commons license, visit http://creativecommons.org/licenses/ Physical Installations to Follow by-nc/3.0/. San Francisco, CA, USA and Los Angeles, CA, USA Into Infinity’s producers invite people to download the — August 26, 2008 exhibit’s works and use them as source material for their own creations. Today, dublab and Creative Commons announced the launch of Into Infinity, an art and music exhibit jointly produced by the “Into Infinity is all about embracing the infinite possibilities two nonprofit organizations. The online version of the exhibit of art and music,” says Mark McNeill, dublab’s founder. “ is online now at http://intoinfinity.org; physical installations These works are available to everyone in the world to reshape, are being planned for Winter 2008 and throughout 2009. remix, and redesign as many times over as possible. We can’t DubLab > 12 ccLearn L atam Commons 2008: ccLearn to host a three-day conference in Santiago, Chile on “open licensing, open technologies, and the future of education in L atin A merica” by Jane Park 6 October 2008 http://creativecommons.org/weblog/entry/9920 Santiago, Chile: ccLearn is hosting a three day conference the meeting wiki (http://derechosdigitales.org/wiki/Creative_ on “open licensing, open technologies, and the future of Commons_Learn) for additional information about travel, education in Latin America” from November 19th to the lodging, and the meeting agenda. 21st. The conference is split up into three meetings over the three days. This meeting is intended to catalyze conversations and projects that will continue after the meeting is over, and Nov 19 is for Creative Commons International, where CC to build relationships among people and organizations so affiliates will meet to discuss the latest developments in that we can bring our collective energies and resources to licensing and other CC-related issues. Though this day of bear on common challenges for open education. Future the conference is only CC, the latter two days are open to meetings are already planned, and we look forward to seeing all. From the Latam Commons 2008 invitation: the progress on this global effort that grows out of Latam Commons 2008. “We are writing to invite you to join us in Santiago, Chile, on Nov 20-21, for a ground-breaking Please direct any questions or concerns to Ahrash Bissell, meeting about open licensing, open technologies, Grace Armstrong, or Claudio Ruiz. We hope to see you and the future of education in Latin America. The in Santiago.” meeting on Nov 20 is called Latam Commons 2008: Creative Commons, Open Education, and Endnote the Public Domain. It is being co-hosted by ccLearn, 1 http://www.derechosdigitales.org/ the education division of Creative Commons, and Derechos Digitales.” You can register for the Nov 20 meeting on Open Education at http://accesoalacultura.cl/registros-cclearn. Registration is free and open to anyone until we reach our capacity of 60. So register now to reserve your spot. “Derechos Digitales [1] is also hosting a seminar on the public domain on Nov 21, to which everyone is welcome.” There is no attendance limit on this day. “Latam Commons 2008 is expected to include representatives of different organizations and projects in open education from throughout the Latin American region. The meeting will be a participatory gathering in which all attendees will be able to discuss a range of issues relevant to open education in Latin America, with the goal of developing a broad understanding of major education issues in the region and a focused vision of how open education and widely available educational resources can address these needs. As the workshop will be dynamic and discussion-based, we are inviting anyone interested in these issues to attend and contribute. Please visit the registration page at: http://accesoalacultura. cl/registros-cclearn/ You can sign up for one or both of the meeting days at this site. Registration is free, and some meals will be provided for all registered participants. Visit CC Newsletter - Issue No. 9 11 12 CC Newsletter - Issue No. 9 9 < Brad Sucks 10 < DubLab Outside of musical remixes, have there been wait to see all of the creative ways people use them.” any other interesting cases of reuse that you can speak of? “Sampling, remixing, and repurposing other people’s work has resulted in some of the greatest art of our times,” My music’s wound up in lots of videos, school projects, VH1, says Eric Steuer, Creative Commons’ creative director. recently a condom ad, before that it was in the stock MP3 “With this project, we want to make the statement that player in a French car. Just lots of weird, awesome stuff this sort of creativity should not only be legal, but also I never could have planned or had the foresight to make explicitly encouraged.” happen. And I think it’s excellent, I just love to see the songs out there doing their own thing, having lives of their own. It Into Infinity’s producers add that new works made from assets feels like having kids: “Oh, so that’s what you’ve been up offered online will be eligible for submission to the exhibit. to! You crazy song, you!” “As the show regenerates and expands, we’ll incorporate Is there anything else you’d like our readers to the best remixes into the show for display online and in our know? What do you have in store for the future? real-world exhibitions,” says McNeill. I may do a bit of touring in the new year, I’m trying to decide About dublab if I can do it without going into huge debt.. If you want to see me in your area, sign up on http://www.bradsucks.net/ dublab is a nonprofit creative collective devoted to the live/ and put yourself on the map. That’s what I’ll be using growth of positive music, arts, and culture. At the core of to determine where I go. the organization’s operations is a web radio station that broadcasts several streams of dublab’s signature “future In the meantime I’m trying to recharge a bit creatively. roots” music. dublab has been broadcasting online since Experimenting with sounds, working on some stories, a few 1999 and now reaches more than 300,000 international web projects, tinkering with songs I’ve got banked up. Staying listeners monthly. dublab’s creative actions include art on track to finish the album took a level of discipline I’m not exhibits, film projects, event production, and record releases. used to so it’ll be nice to play around a bit again and see Into Infinity follows along the vibrant conceptual curve of what shakes out. dublab’s previous art projects: Up Our Sleeve, The Dream Scene, and Patchwork. Information about all of these projects Endnotes is available at http://dublab.com/artaction. 1 http://www.bradsucks.net/ 2 http://www.bradsucks.net/albums/out_of_it/ Endnotes 3 http://creativecommons.org/licenses/by-sa/3.0/ 1 http://www.dublab.com/ 4 http://ccmixter.org/stats 2 http://intoinfinity.org/ 5 http://ccmixter.org/ 3 http://keepdrafting.com/ 6 http://www.bradsucks.net/blog/ 4 http://www.hawksandsparrows.org/ 7 http://www.bradsucks.net/forums/ 5 http://www.myspace.com/nosdam 8 http://ccmixter.org/artist-spotlight-q-a?topic=brad- 6 http://www.flying-lotus.com/ sucks 7 http://www.jimmytamborello.com/ 9 http://creativecommons.org/weblog/entry/9448 8 http://www.intoinfinity.org/exhibition 10 http://creativecommons.org/licenses/by-sa/3.0/ 9 http://creativecommons.org/licenses/by-nc/3.0/ 11 http://ccmixter.org/ 10 http://www.intoinfinity.org/exhibition/downloads ccLearn Bill Enabling Community Colleges to Establish OER Pilot Program is signed into law by Jane Park 30 September 2008 http://creativecommons.org/weblog/entry/9783 Although we’ve already had a weekend plus a Monday to leveraging the value of OER, so her presentation served digest COSL’s Open Ed ‘08,[1] the events from the conference as a useful lesson regarding such issues from a different and general good feeling inspired by speakers and individual domain. Many of the key tools and technologies developed conversations still drives us forward into the week and the by Creative Commons, such as the CC Plus protocol,[6] are beginning of next month. This year’s conference featured core elements of the Magnatune site. What possibilties lie several notable speakers; the keynotes themselves were given ahead for OER? by WikiEducator’s[2] Wayne Mackintosh, Magnatune’s[3] Teresa Malango, and MITE’s (Monterey Institute for Technology and MITE on How to Build a Financially Self- Education)[4] Gary Lopez . Personally, I attended all three sustaining OER: Practical Considerations: Gary launched keynotes plus a few other sessions from which I extracted an interesting study of how OER could financially sustain some thought-provoking facts and ideas. itself, based on MITE’s own policy regarding individuals and institutions. Basically, the premise is that individuals shouldn’t WikiEducator, Commonwealth of Learning: have to pay, but someone’s got to?that leaves institutions who Wayne broke the news that WikiEducator will be moving to are usually more than happy to pay for a service that would the awe-inspiring Dunedin, New Zealand, home to not only be free for their members. The value I took away from this breathtaking landscapes but also Otago Polytechnic, the was this off-shoot idea; that in the age of the internet, we are first ever university to have a default CC BY licensing policy. now living in a service-economy where content is free (either See my interview with Leigh Blackall[5] in April. He also shed legally or illegally on the internet), but the services required light on why many educators use WikiEducator. Surprisingly to aggregate, make cohesive, and analyze that content is (or not, depending on your presumptions), the number one still needed. In the words of David Wiley, “If my students can reason people go to the site is “to explore new ideas and Google it, I don’t need to teach it.” Open education is not trends”. I found this encouraging; educators are seeking to just about freeing up content; it’s about making that content innovate, to learn in order to innovate. Case in point: the accessible in ways that are smart, novel, and interesting. second reason was “to learn wiki skills”. Now we’ve just got to help them do it. Wayne also mentioned catering to Financial sustainability is still an issue, but if we go back to different knowledge levels when it came to open source and Wayne’s presentation: what about commercial activities that sharing. He described what he called “capability phases”. The would support OER? There are distribution channels; for phases go something like this: personal teaching resources example, we’ve already got sites like Lulu.com,[7] and Flat ? WikiEducator featured resource ? WikiEducator featured World Knowledge[8] is another big open textbook initiative set collaboration ? peer-reviewed resource. Teachers begin by to launch next year. We’ve also got to think about incentive sharing their personal educational resources developed systems to get educators, researchers, and commercially primarily for their own classroom; then they realize they employed persons to contribute beyond their full-time jobs. can create resources on WikiEducator; furthermore, in And finally, the most important statement that, I think, collaboration with other educators!; finally, they ensure reiterates David’s sentiment: in the development of OER, quality by reviewing each other’s work and constantly making quality is more about the process than it is about the product. changes to better place the work in context. Quality is a very different thing in one country’s context than it is in the next. But the process of producing OER, of gaining Magnatune — a history: Teresa’s presentation those critical thinking and analytic skills (remember why some provided an outside viewpoint regarding possible business of us went to college?) yields a quality process that can be and sustainability models for openly licensed resources. integrated universally. She described how Magnatune was founded with a few core principles around which the business models had to Demos: I was busy demo-ing ODEPO[9] while Nathan was be developed. The principles included respect and fair just as busy demo-ing the Universal Education Search,[10] compensation for the artists, engagement with the consumers, but I did get to check out one other tool?the University of and transparency in all that they do. Much of the conference Michigan’s dScribe.[11] This technology was definitely built focused on issues of sustainability and mechanisms for around the idea of sustainability. The basic question as I saw CC Newsletter - Issue No. 9 13 14 CC Newsletter - Issue No. 9 it: How do you make the materials (slides, handouts, images, video, etc.) that an educator uses in the classroom legal so that it can be shared online as OER? Further, how do you do so without draining the school of huge amounts of dollars and other resources? Answer: You build a tool that trains and allows students to gauge and evaluate the course materials for copyright information, and then to search for creative replacements (licensed under a CC or other open license) for those materials that are fully restricted. Ingenious! Props to the U of Michigan; we look forward to seeing progress on this initiative. Various other sessions I attended were equally inspiring, but the basic sentiment I gathered from everyone was that this year’s conference marked great progress in all the projects initiated the year previous. ccLearn is excited about its own projects and looking forward to more dizzying collaboration within the Open Ed community. Endnotes 1 http://cosl.usu.edu/events/opened2008 2 http://wikieducator.org/Main_Page 3 http://www.magnatune.com/ 4 http://www.montereyinstitute.org/ 5 http://creativecommons.org/weblog/entry/8235 6 http://wiki.creativecommons.org/CCPlus 7 http://www.lulu.com/ 8 http://www.flatworldknowledge.com/minisite/ 9 http://wiki.creativecommons.org/ODEPO 10 http://uesearch.creativecommons.org/search/ 11 https://open.umich.edu/projects/oer.php#dscribe 3 < Build the Commons Center. You can read Eben’s letter and sign up to receive future shop online using GoodShop (http://www.goodsearch.com/ letters at http://support.creativecommons.org/letters. goodshop.aspx). A handful of unique ways to support CC Looking Forward • Blog about CC’s Campaign launch and why you think We’re at an important juncture in the life of the Commons. We it’s important to support CC. can either work together to ensure the Commons continues • Include the new Campaign widget on your blog or to grow and thrive, or we can use it and not give back to it website to encourage others to support CC. Get one -- or worse, ignore it altogether -- and watch it be restricted here: http://support.creativecommons.org/widget and/or stagnate. A healthy and thriving commons is the key • Stay involved by joining our events mailing list: to a future full of creativity and innovation across borders, http://creativecommons.org/events mediums, and disciplines. It is a resource we cannot afford to • Give an in-kind donation: check out our wish list at lose. And just as there is currently a worldwide concern about http://support.creativecommons.org/other/wishlist depleting, contaminating, and destroying the earth’s vital • Mission Fish lets you support CC when you buy and natural resources, I believe that if we don’t all come together sell on eBay: right now, we may feel similar concerns about the Commons http://support.creativecommons.org/other/missionfish as well. We’ve just barely begun to tap into the potential that • Use the search engine GoodSearch (like google or CC and the Commons have the power to inspire, so please: yahoo) and CC will get money each time you do. help us Build the Commons and join the CC Network today (http://support.creativecommons.org/join). Simply go to www.goodsearch.com and enter Creative Commons (San Francisco, CA) as the charity you’d like to support. You can also earn money for CC each time you creativecommons.org We rely on our supporters to continue our work enabling stories like those listed above. Check it out — Donate: http://support.creativecommons.org/donate CC Store: http://support.creativecommons.org/store Subscribe to the CC Weblog: http://bloglines.com/sub/http://creativecommons.org/ weblog/rss http://google.com/reader/view/feed/http:// creativecommons.org/weblog/rss http://add.my.yahoo.com/rss?url=http:// creativecommons.org/weblog/rss Creative Commons was built with, and sustained by, the generous support of organizations including the Center for the Public Domain, the Omidyar Network, The Rockefeller Foundation, The John D. and Catherine T. MacArthur Foundation, and The William and Flora Hewlett Foundation, as well as members of the public. Creative Commons newsletters are also posted to the CC Wiki. For back issues please visit: http://wiki.creativecommons.org/CCNewsletter Cover: “Building the Commons II” © 2008 Alex Roberts, based on “Building the Commons” by Lairaja. Some Rights Reserved. Except when otherwise noted, this work is licensed under http:// creativecommons.org/licenses/by-sa/3.0/ This remixed image incorporates Creative Commons’ Support page elements (http://support.creativecommons.org/), tanakawho (“At a construction site (orange sky)” http://flickr.com/photos/28481088@N00/246357466/ ), Daniel Morris (“Construction” http://flickr.com/photos/danielmorris/298268975/), jerine (“Singapore Skyline” http://flickr.com/photos/jerine/2597371279/), and 100kr (“Grass 01” http://flickr.com/photos/100kr/209708058/), All licensed Creative Commons Attribution 2.0. This newsletter is licensed under http://creativecommons.org/ licenses/by/3.0/ — please share and remix! CC Newsletter - Issue No. 9 15
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