DOCSLIB.ORG

Ebook Download Public Domain, the 8Th Edition Ebook, Epub

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ebook Download Public Domain, the 8Th Edition Ebook, Epub PUBLIC DOMAIN, THE 8TH EDITION PDF, EPUB, EBOOK Stephen Fishman | 9781413324020 | | | | | Public Domain, The 8th edition PDF Book Thank you! Submit a Tip All tip submissions are carefully reviewed before being published. Through this link , you will find filtered all the songs in the public domain. Plagiarism is defined as intentionally or unintentionally using the ideas, language, or work of another without acknowledgement that such material is not one's own. What does this mean? The 'Other'. Example of "Chasing Citations" when you read something and want to find the original. Pdinfo is a project that provides information, scores and music tracks in the public domain. Pay by Credit Card. Lofting, Hugh. The Adventures of Chatterer the Red Squirrel. Harold Greenlee "His 'eighth major edition' contains a critical apparatus which has never been equaled in comprehensiveness of citation of Greek mss. After some struggles, he managed to build a great source of information for people who need amazing background music for their projects and videos. Audio Software icon An illustration of a 3. By continuing to use our site, you agree to our cookie policy. They are public domain works, in the USA and in many other countries. The Princess and the Goblin. Folkscanomy : A collection of books and text derived from the efforts of volunteers to make information as widely available as possible. Navy - contains good information on knots. The part that appears in green is the part corresponding to public domain music. Public Domain Resources from. The copyright on the musical composition is given on all the elements that make up the composition, such as the music and the lyrics. It is not uncommon to find multiple versions of the same show. What happens when you want to perform the work of another artist? In the same way, it is quite common that when you search for those terms, you will find results that point in one direction: public domain music. BHL also serves as the foundational literature component of the Encyclopedia of Life. Coined by Thomas Vander Wal, it is a portmanteau of folk and taxonomy. This website works best with modern browsers such as the latest versions of Chrome, Firefox, Safari, and Edge. Baum, L. Wikimedia Commons. Explore this Article Steps. Oops, read the beginning of the download of The Boxcar Children and the book has been significantly revised since this version. Some good examples of public domain books that could be turned into how-to articles: [2] X Research source The Household Cyclopedia - a how-to manual from ! A derivative work is when an original work that is in the public domain has been translated, adapted or altered in any way. I loved The Secret Garden too, however, since the parents die of a cholera epidemic it could probably be a little scary for children right now. Amid the current public health and economic crises, when the world is shifting dramatically and we are all learning and adapting to changes in daily life, people need wikiHow more than ever. Jungle Book. Topic: electric sheep. Related wikiHows. Feel free to contribute! Jesus in the home of Mary and Martha Luke If you continue to use this site we will assume that you are happy with it! What is MLA? Musopen is a non-profit organization that provides a large number of sheet music, recordings and textbooks at no cost. For information please contact lcc senecacollege. Public Domain and. It is a set of rules for publications, including research papers. However, there is one license that is often mistakenly confused with the public domain: the Creative Commons Zero license CC0. Feature films, shorts , silent films and trailers are available for viewing and downloading. There are several platforms on the Internet that you can access to find public domain music to use in your projects. Public Domain, The 8th edition Writer This musical composition can take the form of a notebook, such as the score or the sheet of paper with the lyrics, or also the form of a sound format, such as a cassette, a CD, a vinyl, etc. Opened in and named for John Robarts, the 17th Premier of Ontario, the library contains more than 4. In a revision process was begun on the 14th edition, resulting in publication in various states of revision until The one who holds the copyright over the musical composition, usually the original author or those in charge of managing those rights — copyright societies. Or look further back in the comments here to a time I was less concerned about that and answered a similar question. You can also use the comment box to leave us any feedback on the article. Look through some of the more popular websites containing public domain resources. Therefore they can be used without the need for any permission or payment to the author of the same. Oops, read the beginning of the download of The Boxcar Children and the book has been significantly revised since this version. Users may view short clips, share links to customized short quotes, embed customized short quotes, or borrow a copy of the full program. Carroll, Lewis. In the same way, it is quite common that when you search for those terms, you will find results that point in one direction: public domain music. London, Jack. Why Cite? These videos are available for free download. Please help us continue to provide you with our trusted how-to guides and videos for free by whitelisting wikiHow on your ad blocker. Audio Software icon An illustration of a 3. Public Domain materials have no copyrights. Did this article help you? Folksoundomy : A collection of sounds, music and speech derived from the efforts of volunteers to make information as widely available as possible. NoodleTools Express. On the other hand, music protected by a Creative Commons free license has certain limitations on the reproduction, distribution, dissemination and copying of a musical work. To create this article, 30 people, some anonymous, worked to edit and improve it over time. Peter Rabbit is always fun for younger children and this has all the beautiful illustrations. Alternatively, the user may become more involved with the project, manually creating a fractal flame file for upload to the server where it is rendered into a video file of the animated fractal flame PDR Recommends. Public Domain, The 8th edition Reviews Leave a Reply Cancel reply Your email address will not be published. Users may view short clips, share links to customized short quotes, embed customized short quotes, or borrow a copy of the full program. Look for materials published in the USA before Be consistent with whatever citation format you choose to use. For more information, check our the Copyright and Fair Use guide. Filippo Buonanni's Harmonic Cabinet In addition, the CDL provides tools that support the construction of online information services for research, teaching, and learning, including services that enable the UC libraries to effectively share their materials and provide greater access to digital content. Robinson Crusoe. Therefore they can be used without the need for any permission or payment to the author of the same. A collection of data and miscellaneous media donated by individuals to the Internet Archive. In the same way, it is quite common that when you search for those terms, you will find results that point in one direction: public domain music. The Velveteen Rabbit. These public domain works can be incorporated into other publications such as wikiHow or Wikipedia. In working on getting that launched this summer, I wanted to know if any of our books were available at Project Gutenberg, so we could just link to them none were, but we added WorldCat links to make it easy to find them at a local library. Because the Process The process is transparent to the casual user, who can simply install the software as a screensaver. For more information and how-to please see help. If you want to know more about these licenses, we suggest you visit this article. User icon An illustration of a person's head and chest. Burnett, Frances Hodgson. Some typical sources include old published materials, US Government publications, and materials explicitly donated to the public domain. Authorship of the musical composition, and therefore of the copyright in the musical composition, is held by the composer and lyricist — as long as they are not the same person-. Note that not all material on these sites are public domain: [5] X Research source ibiblio. In-Text Citation - How to cite a source within a paper. I want to read Aloud classics for children who may not otherwise read them. The Railway Children. Self-Plagiarism reusing your previous work without citing. I wonder if these books are actually still hold copyright to them? License — Public domain In this site, you can read the Bible in a comfortable format, and use the tools provided to explore and understand the deeper meanings of stories you already know and love. Amid the current public health and economic crises, when the world is shifting dramatically and we are all learning and adapting to changes in daily life, people need wikiHow more than ever. What happens when you want to perform the work of another artist? Cookie Settings. Copy Rights. The Public Domain Review is dedicated to the exploration of curious and compelling works from the history of art, literature, and ideas — focusing on works now fallen into the public domain, the vast commons of out-of-copyright material that everyone is free to enjoy, share, and build upon without restrictions. Owner at Legis Music.
Load more

Recommended publications
  • You Are Not Welcome Among Us: Pirates and the State
    International Journal of Communication 9(2015), 890–908 1932–8036/20150005 You Are Not Welcome Among Us: Pirates and the State JESSICA L. BEYER University of Washington, USA FENWICK MCKELVEY1 Concordia University, Canada In a historical review focused on digital piracy, we explore the relationship between hacker politics and the state. We distinguish between two core aspects of piracy—the challenge to property rights and the challenge to state power—and argue that digital piracy should be considered more broadly as a challenge to the authority of the state. We trace generations of peer-to-peer networking, showing that digital piracy is a key component in the development of a political platform that advocates for a set of ideals grounded in collaborative culture, nonhierarchical organization, and a reliance on the network. We assert that this politics expresses itself in a philosophy that was formed together with the development of the state-evading forms of communication that perpetuate unmanageable networks. Keywords: pirates, information politics, intellectual property, state networks Introduction Digital piracy is most frequently framed as a challenge to property rights or as theft. This framing is not incorrect, but it overemphasizes intellectual property regimes and, in doing so, underemphasizes the broader political challenge posed by digital pirates. In fact, digital pirates and broader “hacker culture” are part of a political challenge to the state, as well as a challenge to property rights regimes. This challenge is articulated in terms of contributory culture, in contrast to the commodification and enclosures of capitalist culture; as nonhierarchical, in contrast to the strict hierarchies of the modern state; and as faith in the potential of a seemingly uncontrollable communication technology that makes all of this possible, in contrast to a fear of the potential chaos that unsurveilled spaces can bring.
    [Show full text]
  • Guarding Against Abuse: the Costs of Excessively Long Copyright Terms
    GUARDING AGAINST ABUSE: THE COSTS OF EXCESSIVELY LONG COPYRIGHT TERMS By Derek Khanna* I. INTRODUCTION Copyrights are intended to encourage creative works through the mechanism of a statutorily created1 limited property right, which some prominent think tanks and congressional organizations have referred to as a form of govern- ment regulation.2 Under both economic3 and legal analysis,4 they are recog- * Derek Khanna is a fellow with X-Lab and a technology policy consultant. As a policy consultant he has never worked for any organizations that lobby or with personal stakes in copyright terms, and neither has Derek ever lobbied Congress. He was previously a Yale Law School Information Society Project Fellow. He was featured in Forbes’ 2014 list of top 30 under 30 for law in policy and selected as a top 200 global leader of tomorrow for spear- heading the successful national campaign on cell phone unlocking which led to the enact- ment of copyright reform legislation to legalize phone unlocking. He has spoken at the Con- servative Political Action Conference, South by Southwest, the International Consumer Electronics Show and at several colleges across the country as a paid speaker with the Fed- eralist Society. He also serves as a columnist or contributor to National Review, The Atlan- tic and Forbes. He was previously a professional staff member for the House Republican Study Committee, where he authored the widely read House Republican Study Committee report “Three Myths about Copyright Law.” 1 See Edward C. Walterscheld, Defining the Patent and Copyright Term: Term Limits and the Intellectual Property Clause, 7 J.
    [Show full text]
  • Digital Humanities and Future Archives
    Digital Humanities and Future Archives SAMPO VIIRI REPORTS The Finnish Institute is a London-based private trust. Our mission is to identify emerging issues relevant to contemporary society and to act as catalyst for positive social change through partnerships. We work with artists, researchers, experts and policy makers in the United Kingdom, Finland and the Republic of Ireland to promote strong networks in the fields of culture and society. We encourage new and unexpected collaborations and support artistic interventions, research, the creative industries, foresight and social innovation in new, socially central areas. The Reports of the Finnish Institute in Unit 1, 3 York Way N1C 4AE London London is a series of publications, which United Kingdom publishes research, studies and results of T +44(0)20 3764 5090 collaborative projects carried out by the www.finnish-institute.org.uk institute. The reports provide evidence Digital Humanities and Future Archives and ideas for policy-makers and civic by the Finnish Institute in London is society organisations dealing with licensed under a Creative Commons contemporary social and cultural Attribution-ShareAlike 3.0 Unported License challenges. August 2014 Table of Contents Preface Executive Summary 1 Introduction 1 1.1 Objectives 1 1.2 Methods 3 1.3 Defining Digital Humanities 4 2 The Researcher's Perspective 8 2.1 Access to Historical Resources and Public Interest 8 2.2 New Tools and Methods 14 2.3 Sharing and Preserving 19 2.4 Narrowing Gaps and Building Bridges 20 2.5 Measuring the Impacts
    [Show full text]
  • Creative Commons for Education Sharing and Using Resources: the Basics
    Creative Commons for Education Sharing and Using Resources: The Basics Clipart Presentation Icon, Open Clipart.org, by ousia, used under Creative Commons Zero 1.0 License (links open in new windows). Creative Commons for Education, Sharing and Using Resources: The Basics by Daniel Stewart (DrStew82) Is licensed under CC BY 4.0. I. Introduction A. Situations B. What is the Creative Commons? C. Understanding the Creative Commons Licenses II. Finding Resources Licensed under Creative Commons. Outline of A. Platforms hosting Creative Commons licensed works. Instruction B. Finding resources. B. Attributing the sources. III. Public Domain resources IV. Become a Contributor Introduction: Situations slide 1 • Have you ever: -had difficulty finding images or other resources like videos or sound files to use in your class without fear of copyright infringement? -wanted to share your own photos, drawings, or other resources for educational use? Clipart Emoticons: Question Face courtesy nicubunu, Open Clipart.org, used under Creative Commons Zero 1.0 License (links open in new windows). Introduction: Creative Commons slide 1 • If either of these situations apply to you, you should learn about the Creative Commons! • What are the Creative Commons? • According to the Creative Commons website: Creative Commons is a nonprofit organization dedicated to building a globally-accessible public commons of knowledge and culture. We make it easier for people to share their creative and academic work, as well as to access and build upon the work of others. By
    [Show full text]
  • COMMUNIA Final Report
    Deliverable D.1.11 COMMUNIA Final Report ECP‐2006‐PSI‐610001 COMMUNIA http://COMMUNIA‐project.eu/ Final Report Deliverable number/name Deliverable D1.11: Final Report Dissemination level Public Delivery date March 31, 2011 Status FINAL VERSION TO REVIEWERS Main Author Giancarlo F. Frosio This document incorporates the results of several months of discussions among COMMUNIA members. The main author and the project coordinator wish to thank everyone who contributed, and particularly Lucie Guibault, Paul Keller, Séverine Dusollier and Patrick Peiffer whose comments and analyzes have greatly enhanced this text. eContentplus This project is funded under the eContentplus prograMMe,1 a Multiannual CoMMunity prograMMe to Make digital content in Europe More accessible, usable and exploitable. 1 O.J. L 79 (March 24, 2005), at 1. 1 Deliverable D.1.11 COMMUNIA Final Report 2 Deliverable D.1.11 COMMUNIA Final Report CONTENTS CONTENTS ............................................................................................................................................................ 3 COMMUNIA FINAL REPORT .................................................................................................................................. 7 WHAT IS THE PUBLIC DOMAIN? ........................................................................................................................... 7 THE VALUE OF THE PUBLIC DOMAIN FOR EUROPE ................................................................................................. 11 PUBLIC DOMAIN CHALLENGES
    [Show full text]
  • Problemy Regulacji Rynku Nowych Technologii Ze Szczególnym Uwzgl Údnieniem Ochrony Praw Autorskich
    Problemy Zarz Èdzania, vol. 13, nr 2 (52), t. 1: 240 – 258 ISSN 1644-9584, © Wydzia ï Zarz Èdzania UW DOI 10.7172/1644-9584.52.19 Problemy regulacji rynku nowych technologii ze szczególnym uwzgl Údnieniem ochrony praw autorskich Nadesïany 01.07.14 | Zaakceptowany do druku 12.11.14 Wïodzimierz Szpringer * Autor omawia kluczowe problemy regulacji rynku nowych technologii, Problemy, które znalaz ïy miejsce wb literaturze i orzecznictwie ostatnich lat, to m.in. jednolita us ïuga komunikacji elektronicznej, próby opracowania jednolitych, paneuropejskich standardów e-podpisu, nowe trendy w stosowaniu prawa konkurencji w sektorze telekomunikacji, neutralno ĂÊ sieci, zak ïadajÈca równy dostÚp do sieci, problem standardów, dzielenie si Ú plikami z perspektywy licencji paneuropejskich, prawa autorskie do kopii ana- logowych i cyfrowych, korzystanie z utworów w chmurze, lokalizacja odpowiedzialno Ăci operatorów ISP, jak równieĝ p ïatnoĂci elektroniczne. Sïowa kluczowe : komunikacja elektroniczna, technologia ICT, Internet, software, e-podpis, standardy, prawa wïasnoĂci intelektualnej. Regulating the Market bforbNew Technologies with Particular Emphasis on bthe Protection of Copyright Submited 01.07.14 | Accepted 12.11.14 The author discusses the key issues of market regulation of new technologies, problems which are reflected in the literature and the case law in recent years, including: uniform electronic communication service, attempts to develop a single, pan-European e-signature standards, new trends in the applica- tion of competition law in the telecommunications sector, net neutrality, assuming equal access to the network, the issue of standards, sharing files from the perspective of pan-European licenses, copyrights in analog and digital copies, use of works in the cloud and the location of ISPs’ responsibility, as well as electronic payments.
    [Show full text]
  • Digital Resources for Teaching the Environment, Sustainability, and Ecology in World History
    JOHN MAUNU Digital Resources for Teaching the Environment, Sustainability, and Ecology in World History ncient cave art showed that humans did not regard themselves as the center of the Anatural world. Lascaux cave art showed how animals and the environment were the center of human life. The Neolithic Revolution saw a change over time as to the relationship between humans and the environment. Early Vedic shamans wrote poems on the power of forests and nature; Taoists and the Buddha shared a deep respect for the environment and nature. However, with the Neolithic Revolution, humans began moving from the Lascaux perspective of humans in a secondary role in the environment to viewing nature and the environment as real estate, “territory,” and property to be dominated and exploited; since then most historians wrote about the environment from this human-centered perspective. However, by the mid twentieth century, there evolved among many environmentalists in the United States a model for understanding global environmental history in terms of the interaction between humankind and the environment, which was soon adopted by most world historians. The following digital resources reflect these shifts—these “changes over time”—in the historiography of the global environmental history. This database is divided into sec- tions: Environmental Racism/Justice, Ecofeminism; Queer Ecology; Far Right Environ- mentalism; Global Sustainability and Environment Resources; Teaching Sustainability and Environmental History, with a sub-heading, Teaching the Environment and Collapse of Civilization Resources; Eco-Fiction/Climate Fiction; Environment/Nature in Art and Architecture; Religion and Environment; Digital Resources arranged by global regions, such as the Artic, with sources arranged within regions chronologically using common world historian periodization; and, finally, Environment Journals/Websites.
    [Show full text]
  • The Newsletter
    Encouraging knowledge and enhancing the study of Asia iias.asia 8884 The Newsletter The Focus Online Resources for Asia Scholars The Portrait A virtual exhibition for remote times The Study Explaining low crime Japan 2 Contents In this edition of the Focus From the Director is a free 3 Imagining the university The Newsletter periodical published by IIAS. in the post-COVID world As well as being a window into Online the institute, The Newsletter also links IIAS with the The Study community of Asia scholars and the worldwide public 4 What kind of history can we resources interested in Asia and Asian studies. The Newsletter bridges write of the Song dynasty? the gap between specialist Christian de Pee knowledge and public discourse, 5 Explaining low crime Japan and continues to serve as for Asia a forum for scholars to share Laura Bui research, commentary and 6-7 Sex and trade in seventeenth century opinion with colleagues in academia and beyond. Siam: Osoet Pegu and her Dutch lovers Wil O. Dijk scholars Postal address 8 Knock, knock! The great success PO Box 9500 of ideophones in Korean journalism 2300 RA Leiden Sonja Zweegers and The Netherlands Cristina Bahón-Arnaiz Alessandra Barrow 9 Creative ways to help believers: Visitors Indonesian female Islamic leaders Rapenburg 59 Leiden offer COVID-19 relief to families No one has escaped the effects of the T +31 (0) 71-527 2227 under pressure COVID-19 pandemic; we were forced [email protected] Mirjam Künkler and Eva F. Nisa indoors, sequestered to our ‘home 10-11 Indonesia in ‘3D’: development, Colophon dictatorship and democracy offices’.
    [Show full text]
  • Producción Orientada Al Procomún En El Documental Español
    ADVERTIMENT. Lʼaccés als continguts dʼaquesta tesi queda condicionat a lʼacceptació de les condicions dʼús establertes per la següent llicència Creative Commons: http://cat.creativecommons.org/?page_id=184 ADVERTENCIA. El acceso a los contenidos de esta tesis queda condicionado a la aceptación de las condiciones de uso establecidas por la siguiente licencia Creative Commons: http://es.creativecommons.org/blog/licencias/ WARNING. The access to the contents of this doctoral thesis it is limited to the acceptance of the use conditions set by the following Creative Commons license: https://creativecommons.org/licenses/?lang=en TESIS DOCTORAL Producción orientada al procomún en el documental español Simón Vialás Fernández Dirigida por: Dr. José Luis Terrón Blanco Estudios de doctorado en comunicación audiovisual y publicidad Dpto. Comunicación Audiovisual y Publicidad Universidad Autónoma de Barcelona Junio de 2017 A mis abuelas, Esperanza y Nieves A mis padres, Justo y Lola Agradecimientos A mi Familia, especialmente a mi hermana y hermano, por todos sus afectos y apoyo. A los compañeros y compañeras del IncomUAB y del CEO. También a Ernest y a mis amig*s de la Facultad de Comuncación de la UAB. También a los de la UC3M, eca-USP y UAM-Xochimilco, especialmente a Guiomar y Toño. A José Luis, gracias por tu tiempo, dedicación y paciencia. A tod*s l*s participantes en la investigación cuantitativa y cualitativa. A Andreu y al equipo del BccN; a Berto y María de A navalla suíza; a Lucas y al equipo de ZEMOS98; a Pablo de Quepo.org; a Jesús y Aitor de Eguzki Bideoak; a Xavi de Metromuster y a Carmen de Tierravoz.
    [Show full text]
  • Image Rights, Art History and Society
    Image rights, art history and society Jean Siméon Chardin, Le Jeune élève dessinant [The young student drawing], c.1738, oil on panel, 21 x 17,1 cm, Kimbell Art Museum, Fort Worth. Source: Wikimedia/Google Art Project. A report on the systems regulating the circulation Licence: Public Domain. of images of works of art and their impact on scholarship, teaching and the visibility of French public collections Presented to the Fondation de France Martine Denoyelle Katie Durand Johanna Daniel Elli Doulkaridou-Ramantani Images/Usages Programme Institut national d’histoire de l’art October 2018 www.creativecommons.org/licenses/by/4.0/deed.fr English translation: Katie Durand Image rights, art history and society - Report 3 Contents Introduction...................................................................................................................................................5 Executive Summary �������������������������������������������������������������������������������������������������������������������������������������7 Part I ................................................................................................................................................................9 The legal framework regulating the circulation of images of works in French public collections �������9 1.1 Author’s rights, intellectual property and exceptions applied to images of works of art .........10 1.2 The Art reproduction market .........................................................................................................14
    [Show full text]
  • Index of /Sites/Default/Al Direct/2013/June
    AL Direct, June 5, 2013 Contents American Libraries Online | ALA News | Booklist Online Chicago Update | Division News | Awards & Grants | Libraries in the News Issues | Tech Talk | E-Content | Books & Reading | Tips & Ideas Libraries on Film | Digital Library of the Week | Calendar The e-newsletter of the American Library Association | June 5, 2013 American Libraries Online American Libraries June issue The ALA Annual Conference Preview issue of American Libraries is now available online. It highlights all of the conference’s must-see events, speakers, and forums, and dishes on the best places to eat in Chicago while visiting. Other June issue features include: tips on building audiobook collections for youth, a look at charter school libraries, and a guide to apps for kids ALA Annual Conference, with special needs.... Chicago, June 27–July 2. AL: Inside Scoop, May 31 Newsmaker: A conversation with Alice Walker Alice Walker is a remarkably prolific and versatile writer of conscience. She will always be remembered for her indelible and life-changing masterpiece, The Color Purple. Walker will be appearing at the ALA Annual Conference in Chicago as an Auditorium Speaker on July 1. On behalf of American Libraries, Booklist Senior Editor Donna Seaman reached Walker at her home in Mexico.... American Libraries column, June The American Libraries ALA Annual Conference 2013 Annual Conference preview, as well as its preview popular dining guide, is ALA welcomes colleagues, vendors, and now available. Get the other attendees to Chicago for the Chicago insiders’ view, Association’s 137th Annual Conference, and find out what we’re June 27–July 2.
    [Show full text]
  • Czy Jesteśmy GLAM?
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Wydawnictwa EBIB Biuletyn EBIB, nr 7 (152)/2014, Co łączy a co dzieli instytucje GLAM (galerie, biblioteki, archiwa, muzea)? Artykuł Marek Zieliński Instytut Piłsudskiego w Ameryce Czy jesteśmy GLAM? Streszczenie: Artykuł omawia pojęcie i głównych aktorów ruchu GLAM. Wąskie rozumienie GLAM jako klasyfikacji grupy instytucji (galerii, bibliotek, archiwów i muzeów) jest nieadekwatne do szerokiego użycia tego skrótowca na świecie. W artykule przedstawiona jest teza, że GLAM reprezentuje ideę, albo ruch społeczny, propagujący szerokie, otwarte i elektroniczne udostępnienie dóbr kultury. Omówione są główne instytucje i organizacje, które biorą udział w ruchu GLAM i jednocześnie go kształtują. Słowa kluczowe: otwarta kultura; GLAM; dobra kultury; dobra informacyjne; digitalizacja dóbr kultury; domena publiczna; otwarte archiwa; otwarte muzea; otwarte biblioteki; otwarte galerie Słowo GLAM to w pierwszym przybliżeniu skrótowiec od słów galerie, biblioteki, archiwa i muzea (Galleries, Libraries, Archives and Museums). Glam to także skrót od słowa glamour, co znaczy powab, urok, splendor. I wystarczy szybki rzut oka na wyniki wyszukiwania w Google, by przekonać się, jak duże mamy szanse na znalezienie raczej tego drugiego użycia słowa glam. Pojęcie GLAM jest bardzo młode, w użyciu jest dopiero od około pięciu lat. Co w rzeczywistości oznacza GLAM, możemy się dowiedzieć, analizując użycie tego słowa w różnych kontekstach (zgodnie ze współczesną wiedzą lingwistyczną, język żyje i jest tworzony oraz modyfikowany przez jego użytkowników). W artykule spróbuję pokazać, że GLAM reprezentuje ideę, zgodnie z którą instytucje gromadzące i udostępniające dobra kultury zyskują na szerokim, otwartym udostępnieniu tych dóbr. Nie ma ciała ani organizacji o nazwie GLAM.
    [Show full text]