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Ulrich Kaiser Die Einheiten Dieses Openbooks Werden Mittelfristig Auch Auf Elmu ( Bereitge- Stellt Werden
Ulrich Kaiser Die Einheiten dieses OpenBooks werden mittelfristig auch auf elmu (https://elmu.online) bereitge- stellt werden. Die Website elmu ist eine von dem gemeinnützigen Verein ELMU Education e.V. getra- gene Wikipedia zur Musik. Sie sind herzlich dazu eingeladen, in Zukun Verbesse rungen und Aktualisierungen meiner OpenBooks mitzugestalten! Zu diesem OpenBook finden Sie auch Materialien auf musikanalyse.net: • Filmanalyse (Terminologie): http://musikanalyse.net/tutorials/filmanalyse-terminologie/ • Film Sample-Library (CC0): http://musikanalyse.net/tutorials/film-sample-library-cc0/ Meine Open Educational Resources (OER) sind kostenlos erhältlich. Auch öffentliche Auf- führungen meiner Kompositionen und Arrangements sind ohne Entgelt möglich, weil ich durch keine Verwertungsgesellschaft vertreten werde. Gleichwohl kosten Open Educatio- nal Resources Geld, nur werden diese Kosten nicht von Ihnen, sondern von anderen ge- tragen (z.B. von mir in Form meiner Ar beits zeit, den Kosten für die Domains und den Server, die Pflege der Webseiten usw.). Wenn Sie meine Arbeit wertschätzen und über ei- ne Spende unter stützen möchten, bedanke und freue ich mich: Kontoinhaber: Ulrich Kaiser / Institut: ING / Verwendungszweck: OER IBAN: DE425001 0517 5411 1667 49 / BIC: INGDDEFF 1. Auflage: Karlsfeld 2020 Autor: Ulrich Kaiser Umschlag, Layout und Satz Ulrich Kaiser erstellt in Scribus 1.5.5 Dieses Werk wird unter CC BY-SA 4.0 veröffentlicht: http://creativecommons.org/licenses/by-sa/4.0/legalcode Für die Covergestaltung (U1 und U4) wurden verwendet: -
Open Animation Projects
OPEN ANIMATION PROJECTS State of the art. Problems. Perspectives Julia Velkova & Konstantin Dmitriev Saturday, 10 November 12 Week: 2006 release of ELEPHANT’S DREAM (Blender Foundation) “World’s first open movie” (orange.blender.org) Saturday, 10 November 12 Week: 2007 start of COLLECT PROJECT (?) “a collective world wide "open source" animation project” Status: suspended shortly after launch URL: http://collectproject.blogspot.se/ Saturday, 10 November 12 Week: 2008 release of BIG BUCK BUNNY (Blender Foundation) “a comedy about a fat rabbit taking revenge on three irritating rodents.” URL: http://www.bigbuckbunny.org Saturday, 10 November 12 Week: 2008 release of SITA SINGS THE BLUES (US) “a musical, animated personal interpretation of the Indian epic the Ramayan” URL: http://www.sitasingstheblues.com/ Saturday, 10 November 12 Week: 2008 start of MOREVNA PROJECT (RUSSIA) “an effort to create full-feature anime movie using Open Source software only” URL: morevnaproject.org Saturday, 10 November 12 Week: 2009 start of ARSHIA PROJECT (Tinab pixel studio, IRAN) “the first Persian anime” Suspended in 2010 due to “lack of technical knowledge and resources” URL: http://www.tinabpixel.com Saturday, 10 November 12 Week: 2010 release of PLUMIFEROS (Argentina) “first feature length 3D animation made using Blender” URL: Plumiferos.com Saturday, 10 November 12 Week: 2010 release of LA CHUTE D’UNE PLUME (pèse plus que ta pudeur) - France “a short French speaking movie made in stop motion” URL: http://lachuteduneplume.free.fr/ Saturday, 10 November 12 -
WP-MIRROR 0.7.4 Reference Manual
WP-MIRROR 0.7.4 Reference Manual Dr. Kent L. Miller November 22, 2014 DRAFT 1 DRAFT 2 To Tylery DRAFT i WP-MIRROR 0.7.4 Reference Manual Legal Notices Copyright (C) 2012–2014 Dr. Kent L. Miller. All rights reserved. Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.3 or any later version published by the Free Software Foundation; with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts. A copy of the license is included in the section entitled “GNU Free Documentation License”. THIS PUBLICATION AND THE INFORMATION HEREIN ARE FURNISHED AS IS, ARE FURNISHED FOR INFORMATIONAL USE ONLY, ARE SUBJECT TO CHANGE WITH- OUT NOTICE, AND SHOULD NOT BE CONSTRUED AS A COMMITMENT BY THE AU- THOR. THE AUTHOR ASSUMES NO RESPONSIBILITY OR LIABILITY FOR ANY ER- RORS OR INACCURACIES THAT MAY APPEAR IN THE INFORMATIONAL CONTENT CONTAINED IN THIS MANUAL, MAKES NO WARRANTY OF ANY KIND (EXPRESS, IMPLIED, OR STATUTORY) WITH RESPECT TO THIS PUBLICATION,AND EXPRESSLY DISCLAIMS ANY AND ALL WARRANTIES OF MERCHANTABILITY, FITNESS FOR PAR- TICULAR PURPOSES, AND NONINFRINGEMENT OF THIRD-PARTY RIGHTS. The WP-MIRROR logotype (see margin) was released by the author into the public domain on 2014-Apr-10. See https://www.mediawiki.org/wiki/File:Wp-mirror.png. This logotype fea- tures a sunflower that is derived from 119px-Mediawiki logo sunflower Tournesol 5x rev2.png, which is also in the public domain. See https://en.wikipedia.org/wiki/File:Mediawiki_logo_sunflower_Tournesol_5x.png. -
Staying Without Power a Case Study of the Drupal Content Management System by Qi Zhang
Staying without Power A Case Study of the Drupal Content Management System By Qi Zhang Bachelor of Science in Engineering, Jiangxi Science and Technology Normal University (1999) Interfaculty initiative in information studies program, University of Tokyo (2006) Master of international studies, University of Tokyo (2008) Submitted to the System Design and Management Program in Partial Fulfillment of the Requirements for the degree of Master of Science In EngIneerIng and Management ARCHNES At the A/SSACHUSETTS INS fW E OF TECHNOLOGY Massachusetts Institute of Technology AUG 20 2013 May 2012 y2012 RRARIES C 2012 Massachusetts Institute of Technology Signature of Author Qi Zhang Certified by -. Michael A. Cusumano SMR Distinguished Professor of Management T( esis Supervisor Certified by_ Patrick Hale Director System Design and Management Program THIS PAGE IS INTENTIONALLY LEFT BLANK Acknowledgements I run the knowledge that I learned from M.I.T the most wisdom school of the world. It works AMAZING! I would also like to thank Michael, Imran and Pat who staying with me when I am without power. Love in M.I.T; Love in USA XlApq, M31 THIS PAGE IS INTENTIONALLY LEFT BLANK Staying without Power By Qi Zhang Submitted to the System Design and Management Program in Partial Fulfillment of the Requirements for the degree of Master of Science In Engineering and Management ABSTRACT This main focus of this thesis is not to describe the inner workings of the Ecosystem or software; it is to help young entrepreneurs with limited resources to not just survive, but thrive in a competitive business environment. Thesis Supervisor: Michael A. -
Univerzita Karlova V Praze DIPLOMOVÁ PRÁCE Petr Köppel
Univerzita Karlova v Praze Filozofická fakulta Ústav informačních studií a knihovnictví DIPLOMOVÁ PRÁCE Petr Köppel Veřejné licence a public domain jako alternativ cop ri!"tu Public licenses and public domain a# alternatives to cop ri!"t Praha 2012 !edoucí práce" M$r. !ít Šisler Prohlašuji, že jsem diplomovou práci vypracoval samostatně, že jsem řádně citoval všechny použité prameny a literaturu a že práce nebyla využita v rámci jiného vysokoškolského studia či k z skán jiného nebo stejného titulu! " Praze dne 15. 8. 2012 $bstrakt Práce ne'prve představu'e oblast veře'n*ch licencí 'ako prostor mezi autorsk*m zákonem a sf+rou voln*ch d,l% Pot+ u kate$orií proprietárního softwaru. svobodného a open source softwaru. otevřen+ho hard-aru a otevřeného obsahu postupně mapu'e 'ednotliv+ druh/ veře'n*ch licencí a s nimi spo'ená společenská a kulturní hnutí, dává 'e do vzá'emných a časových souvislostí, rozebírá 'e'ich charakteristick+ r/s/ a porovnává 'e mezi sebou. ukazu'e. 'ak veře'n+ licence definu'í různá s nimi spo'ená hnutí, a také anal/zu'e, 'aké překá1ky u1ití veře'n*ch licencí v 2esk+ republice klade česk+ právo% %líčová #lova 3utorské právo, licence, open source, creative commons, voln+ dílo. software, design. $bstract 4he -ork first introduces the area of public licenses as a space between the copyri$ht la- and public domain. 3fter that, consecutivel/ for proprietar/ software. free and open source software. open hard-are and open content, it maps particular types of public licenses and the accompanyin$ social and cultural movements. puts them in mutual as -ell as historical context, examines their characteristics and compares them to each other. -
Open Source Film a Model for Our Future?
Medientechnik First Bachelor Thesis Open Source Film A model for our future? Completed with the aim of graduating with a Bachelor of Science in Engineering From the St. Pölten University of Applied Sciences Media Technology degree course Under the supervision of FH-Prof. Mag. Markus Wintersberger Completed by Dora Takacs mt081098 St. Pölten, on June 30, 2010 Medientechnik Declaration • the attached research paper is my own, original work undertaken in partial fulfillment of my degree. • I have made no use of sources, materials or assistance other than those which have been openly and fully acknowledged in the text. If any part of another person’s work has been quoted, this either appears in inverted commas or (if beyond a few lines) is indented. • Any direct quotation or source of ideas has been identified in the text by author, date, and page number(s) immediately after such an item, and full details are provided in a reference list at the end of the text. • I understand that any breach of the fair practice regulations may result in a mark of zero for this research paper and that it could also involve other repercussions. • I understand also that too great a reliance on the work of others may lead to a low mark. Day Undersign Takacs, Dora, mt081098 2 Medientechnik Abstract Open source films, which are movies produced and published using open source methods, became increasingly widespread over the past few years. The purpose of my bachelor thesis is to explore the young history of open source filmmaking, its functionality and the simple distribution of such movies. -
“Blender, a Classic Underdog Story, Is the World's Most Widely Used 3D
The art of open source Open source powers every part of the creative arts. Jim Thacker explores how Blender is conquering animation and movie effects. lender has been used to create It may not be the market leader – animations for national commercial tools, particularly those television channels and developed by Autodesk, are still used for Bcommercials for Coca-Cola, the majority of professional animation, Pizza Hut and BMW. It creates slick visual effects and game development marketing images for brands ranging from projects – in the West, at least. But it is Puma to Philippe Starck. It has even been capable of great work. used on Oscar-nominated movies. And Over the next four pages, we’ll meet best of all, it’s open- source software. “Blender, a classic underdog Blender is a classic underdog story. story, is the world’s most Originally the in-house 3D toolset of a small widely used 3D software.” Dutch animation firm, it has survived early financial hardships and some of the companies using Blender for even the collapse of its original distributor to commercial projects, from illustrations win widespread popular acclaim. With over for cereal boxes to the visual effects four million downloads each year, it is now by for Red Dwarf. We’ll explore how the far the world’s most widely used 3D software. software powers an international But more importantly for the purposes network of animation studios on every of this article, it’s software that commands continent except Antarctica. And we’ll even the respect of professional artists. Once try to answer the question: ‘If Blender is so dismissed as a tool for hobbyists, Blender is great, why doesn’t it get used on more now praised by some of the world’s largest Hollywood movies?’ animation studios. -
Digital Movie-Making Digital
BLENDER Your project guide to preproduction, animation, and visual effects using the short fi lm Mercator YOU CAN DO IT WITH BLENDER, AND HERE’S HOW Create professional assets for fi lm, video, and games with open-source Blender 3D animation software and this project guide. Using the Blender-created short fi lm Mercator as a real-world tutorial, this unique book reveals animation and STUDIO PROJECTS movie-making techniques and tricks straight from the studio. Master the essentials of preproduction. Organize sequences and shots and build an asset library. Re-create an action BLENDER STUDIO PROJECTS scene from Mercator using actual movie assets. It’s all here and more in this hands-on guide. • Learn key Blender attributes, tools, and pipelines for professional results • Conceptualize, write a story, sketch the art, and storyboard your concepts • Organize sequences and shots, build an asset library, and create 2D and 3D animatics • See step by step how to add textures and materials for added realism Digital Movie-Making • Learn organic and inorganic mesh modeling and add clothing that wrinkles and moves • Master the rigging of objects, environments, and characters Digital Movie-Making Assemble 3D animatics Learn character rigging Create driven normal Set up cloth simulations maps using sculpting VALUABLE COMPANION DVD The DVD includes starter, intermediate, and fi nal fi les, as well as movie fi les to help you every step of the way. About the Authors Tony Mullen, PhD, teaches computer graphics and programming at Tsuda College and Musashino Art College in Tokyo. His screen credits include writer, codirector, or lead animator on several short fi lms, including the award-winning live-action/stop-motion fi lm Gustav Braustache and the Auto-Debilitator. -
Made with Creative Commons MADE with CREATIVE COMMONS
ii Made With Creative Commons MADE WITH CREATIVE COMMONS PAUL STACEY AND SARAH HINCHLIFF PEARSON Made With Creative Commons iii Made With Creative Commons by Paul Stacey & Sarah Hinchliff Pearson © 2017, by Creative Commons. Published under a Creative Commons Attribution-ShareAlike license (CC BY-SA), version 4.0. ISBN 978-87-998733-3-3 Cover and interior design by Klaus Nielsen, vinterstille.dk Content editing by Grace Yaginuma Illustrations by Bryan Mathers, bryanmathers.com Downloadable e-book available at madewith.cc Publisher: Ctrl+Alt+Delete Books Husumgade 10, 5. 2200 Copenhagen N Denmark www.cadb.dk [email protected] Printer: Drukarnia POZKAL Spółka z o.o. Spółka komandytowa 88-100 Inowrocław, ul. Cegielna 10/12, Poland This book is published under a CC BY-SA license, which means that you can copy, redistribute, remix, transform, and build upon the content for any purpose, even commercially, as long as you give appropriate credit, provide a link to the license, and indicate if changes were made. If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. License details: creativecommons.org/licenses/by-sa/4.0/ Made With Creative Commons is published with the kind support of Creative Commons and backers of our crowdfunding-campaign on the Kickstarter.com platform. iv Made With Creative Commons “I don’t know a whole lot about non- fiction journalism. The way that I think about these things, and in terms of what I can do is. essays like this are occasions to watch somebody reason- ably bright but also reasonably average pay far closer attention and think at far more length about all sorts of different stuff than most of us have a chance to in our daily lives.” - DAVID FOSTER WALLACE Made With Creative Commons v vi Made With Creative Commons CONTENTS Foreword xi Introduction xv PART 1: THE BIG PICTURE 1 The New World of Digital Commons by Paul Stacey 3 The Commons, the Market, and the State . -
From Content to Knowledge: a Perspective on CMS**
AUTOMATYKA 2007 Tom 11 Zeszyt 12 Grzegorz J. Nalepa*, Antoni Ligêza*, Igor Wojnicki* From Content to Knowledge: a Perspective on CMS** 1. Introduction The Internet has become a single most important resource for instant information shar- ing. From the point of view of ordinary users it can be considered to constitute a very fle- xible and powerful version of the concept of the so-called blackboard architecture. The rapid growth of the Internet prompted a rapid development of specific software. This software addresses different aspects of information organization and interchange related issues, such as storing, retrieval, searching, indexing, aggregating, sharing, updating, etc. Taking into account the size and flexibility of the system as a whole, these problems consti- tute a real challenge. Content Management Systems (CMS for short) emerged as a technology providing a unified interface for large databases or data warehouses. In a broad sense a CMS consists of: a RDBMS (Relational Data Base System) which stores the data, and a complex web- based application or interface providing the access to the data. The web interface is built around using common web technologies. This software requires a proper and efficient run- time environment, including a web server. An important aspect of a CMS system is the possibility of user personalization, tracking, and interactive use. Today web technologies constitute an advanced and universal programming frame- work. This framework has a very heterogeneous structure including: data encoding and structuring languages (such as HTML and XML), meta-data languages (such as RDF), data transformation languages (such as XSL/T/FO), data presentation languages (such as CSS), server-side programming languages (such as PHP, JSP), and client-side programming lan- guages (such as Javascript). -
Open Content Licensing
Open Content Licensing Open Content Licensing From Theory to Practice Edited by Lucie Guibault & Christina Angelopoulos Amsterdam University Press Cover design: Kok Korpershoek bno, Amsterdam Lay-out: JAPES, Amsterdam ISBN 978 90 8964 307 0 e-ISBN 978 90 4851 408 3 NUR 820 Creative Commons License CC BY NC (http://creativecommons.org/licenses/by-nc/3.0) L. Guibault & C. Angelopoulos / Amsterdam University Press, Amsterdam, 2011 Some rights reversed. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise). Contents 1. Open Content Licensing: From Theory to Practice – An Introduction 7 Lucie Guibault, Institute for Information Law, University of Amsterdam 2. Towards a New Social Contract: Free-Licensing into the Knowledge Commons 21 Volker Grassmuck, Humboldt University Berlin and University of Sao Paulo 3. Is Open Content a Victim of its Own Success? Some Economic Thoughts on the Standardization of Licenses 51 Gerald Spindler and Philipp Zimbehl, University of Göttingen 4. (Re)introducing Formalities in Copyright as a Strategy for the Public Domain 75 Séverine Dusollier, Centre de Recherche Informatique et Droit, Université Notre- Dame de la Paix (Namur) 5. User-Related Assets and Drawbacks of Open Content Licensing 107 Till Kreutzer, Institute for legal questions on Free and Open Source Software (ifrOSS) 6. Owning the Right to Open Up Access to Scientific Publications 137 Lucie Guibault, Institute for Information Law, University of Amsterdam 7. Friends or Foes? Creative Commons, Freedom of Information Law and the European Union Framework for Reuse of Public Sector Information 169 Mireille van Eechoud, Institute for Information Law, University of Amsterdam 8. -
Working-With-Mediawiki-Yaron-Koren.Pdf
Working with MediaWiki Yaron Koren 2 Working with MediaWiki by Yaron Koren Published by WikiWorks Press. Copyright ©2012 by Yaron Koren, except where otherwise noted. Chapter 17, “Semantic Forms”, includes significant content from the Semantic Forms homepage (https://www. mediawiki.org/wiki/Extension:Semantic_Forms), available under the Creative Commons BY-SA 3.0 license. All rights reserved. Library of Congress Control Number: 2012952489 ISBN: 978-0615720302 First edition, second printing: 2014 Ordering information for this book can be found at: http://workingwithmediawiki.com All printing of this book is handled by CreateSpace (https://createspace.com), a subsidiary of Amazon.com. Cover design by Grace Cheong (http://gracecheong.com). Contents 1 About MediaWiki 1 History of MediaWiki . 1 Community and support . 3 Available hosts . 4 2 Setting up MediaWiki 7 The MediaWiki environment . 7 Download . 7 Installing . 8 Setting the logo . 8 Changing the URL structure . 9 Updating MediaWiki . 9 3 Editing in MediaWiki 11 Tabs........................................................... 11 Creating and editing pages . 12 Page history . 14 Page diffs . 15 Undoing . 16 Blocking and rollbacks . 17 Deleting revisions . 17 Moving pages . 18 Deleting pages . 19 Edit conflicts . 20 4 MediaWiki syntax 21 Wikitext . 21 Interwiki links . 26 Including HTML . 26 Templates . 27 3 4 Contents Parser and tag functions . 30 Variables . 33 Behavior switches . 33 5 Content organization 35 Categories . 35 Namespaces . 38 Redirects . 41 Subpages and super-pages . 42 Special pages . 43 6 Communication 45 Talk pages . 45 LiquidThreads . 47 Echo & Flow . 48 Handling reader comments . 48 Chat........................................................... 49 Emailing users . 49 7 Images and files 51 Uploading . 51 Displaying images . 55 Image galleries .