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Free C Ulture Forum
Free C ulture Free C ulture Forum March 23, 2006 11:30 am - 2:30 pm 450 Dodge Hall, Northeastern University PROGRAM Welcome Dani Capalbo NU Student, Class of 2010 Edward A. Warro Dean of Libraries Introduction of Panelists Marcus Breen Communication Studies Panelists Lawrence Lessig Derek Slater Nelson Pavlosky Will Wakeling Bios Additional Resources Lawrence Lawrence Lessig is a Professor of Law at Stanford Law School and founder of the school's The World Wide Web holds many examples of projects whose intent is to facilitate Center for Internet and Society. Prior to joining the Stanford faculty, he was the Berkman the sharing of ideas, scholarly research and creative works. Professor of Law at Harvard Law School and a Professor at the University of Chicago. He clerked for Judge Richard Posner on the 7th Circuit Court of Appeals and Justice Antonin Scalia on the United States Supreme Court. Professor Lessig represented web site operator Creative Commons (http://creativecommons.org/) is a nonprofit organization that Eric Eldred in the ground-breaking case Eldred v. Ashcroft, a challenge to the 1998 Sonny offers flexible copyright licenses for original works; creators may choose from a range Bono Copyright Term Extension Act. He has won numerous awards, including the Free of protections and freedoms. Software Foundation's Freedom Award, and was named one of Scientific American's Top 50 Visionaries, for arguing "against interpretations of copyright that could stifle innovation and Creative Commons Education (http://creativecommons.org/education/) helps with online discourse online." Professor Lessig is the author of Free Culture (2004), The Future of Ideas publishing of educational materials. -
Diverted Derived Design
Diverted Derived Design Table of Contents Introduction 0 Motivations 1 Licenses 2 Design (as a) process 3 Distributions 4 Economies 5 Propositions 6 This book 7 Glossary 8 2 Diverted Derived Design Introduction The term open source is becoming popular among product designers. We see websites and initiatives appear with a lot of good intentions but sometimes missing the point and often creating confusion. Design magazines and blogs are always rushing into calling an openly published creation open source but rarely question the licenses or provide schematics or design files to download. We are furniture designers, hackers and artists who have been working with free/libre and open source software for quite some time. For us, applying these prirciples to product design was a natural extension, providing new areas to explore. But we also realized that designers coming to this with no prior open source experience had a lot of information to grasp before getting a clear picture of what could be open source product design. So we set ourselves to mobilize our knowledge in this book. We hope that this tool can be a base for teaching and learning about open source product design; a collective understanding of what one should know today to get started and join the movement; a reference students, amateurs and educators can have in their back pocket when they go out to explain what they are passionate about. How to read this book We have divided this book in sections that make sense for us. Each of these tries to address what we think is a general question you might have about open source product design. -
Guide to Using Public Domain Tools
Creative Commons makes sharing easy Public domain works are valuable because anyone What is the difference between can freely build upon, enhance, and reuse them for CC0 and the Public Domain Mark? any purposes without restriction under copyright or database law. CC0 (“CC Zero”) is intended for use only That’s why it’s important for creators to have a clear and by authors or holders of copyright and legally robust way to place their works in the public domain as related rights (including database rights), in connection Guide to completely as possible, and it’s also important for publishers with works that are still subject to those rights in one or and archives to have a standardized way to identify works that are already in the public domain. more countries. Creative Commons supports two distinct public domain tools, When CC0 is applied to a work, copyright and related using public rights are relinquished worldwide, making the work free the CC0 Public Domain Dedication and the Public Domain Mark. Creative Commons copyright licenses help authors from those restrictions to the greatest extent possible. manage their copyright on terms they choose. Conversely, CC0 domain tools enables authors and copyright owners who want to dedicate The Public Domain Mark (PDM) is used their works to the worldwide public domain to do so, and PDM to label works that are already free of facilitates the labeling and discovery of works that are already known copyright restrictions. Unlike CC0, PDM doesn’t free of known copyright restrictions. change the copyright status of a work. -
RESEARCH NOTE Remix Culture: an Empirical Analysis of Creative Reuse
RESEARCH NOTE Remix culture: an empirical analysis of creative reuse and the licensing of digital media in online communities Giorgos Cheliotis (PI) School of Information Systems Singapore Management University 80 Stamford Road Singapore 178902 [email protected] Contributors Clint Mark Lumantao Gono, Ankit Guglani, Mike Linksvayer, Victor Stone, Warren Chik, and Giri Kumar Tayi January 10, 2007 This is a short description of work in progress, to communicate preliminary findings and to propose more research in this direction. Results will likely change as we continue to refine and extend the analysis. Abstract We explore the nature and impact of creative reuse in the production of digital media by ana- lyzing the output of an innovative online music sharing community, ccMixter. The dataset is of great significance because this is one of only a handful of online communities which do not only allow for the sharing of user-generated content, but also track the evolution of content af- ter it has been published online and encourage reuse of the content for the production of new works. All content on ccMixter is legally uploaded, copyrighted, and licensed under Creative Commons. Much has been written about the birth of a new “remix culture” on the Internet and how collaborative Web 2.0 technology has led to an explosion of user-generated content. But very little is known about the process of developing digital media in an open and collaborative fashion, the incentives of participating authors, and the outcomes of their actions. Based on our earlier studies of Creative Commons licensing [1] and the analysis of this unique online community we hope to shed more light on the structure and dynamics of such activities by pro- viding some of the first visualizations ever of large-scale remixing activity and presenting our preliminary findings. -
Fifty Years of Open Source Movement: an Analysis Through the Prism of Copyright Law
FIFTY YEARS OF OPEN SOURCE MOVEMENT: AN ANALYSIS THROUGH THE PRISM OF COPYRIGHT LAW V.K. Unni* I. INTRODUCTION The evolution of the software industry is a case study in itself. This evolution has multiple phases and one such important phase, termed open source, deals with the manner in which software technology is held, developed, and distributed.1 Over the years, open source software has played a leading role in promoting the Internet infrastructure and thus programs utilizing open source software, such as Linux, Apache, and BIND, are very often used as tools to run various Internet and business applications.2 The origins of open source software can be traced back to 1964–65 when Bell Labs joined hands with the Massachusetts Institute of Technology (MIT) and General Electric (GE) to work on the development of MULTICS for creating a dynamic, modular computer system capable of supporting hundreds of users.3 During the early stages of development, open source software had a very slow beginning primarily because of some preconceived notions surrounding it. Firstly, open source software was perceived as a product of academics and hobbyist programmers.4 Secondly, it was thought to be technically inferior to proprietary software.5 However, with the passage of time, the technical issues got relegated to the backside and issues pertaining to copyright, licensing, warranty, etc., began to be debated across the globe.6 * Professor—Public Policy and Management, Indian Institute of Management Calcutta; Thomas Edison Innovation Fellow (2016–17), Center for the Protection of Intellectual Property, George Mason University School of Law. 1. -
Android App for Free Music Downloads Top 10 Free Music Download Apps for Android to Download Free Music
android app for free music downloads Top 10 Free Music Download Apps for Android to Download Free Music. Along with the rapid development of internet and Smartphone, you can handily enjoy your favorite music on mobile devices at any time, rather than listen to music with your old CD or MP3 player. Just a music app on your phone, can totally replace all your music devices. However, nowadays, you may easily find out that lots of free music download apps for Android no longer enable you to download songs free. No matter how deep you love music, you won't pay money for every song you like and downloaded. Because you like all kinds of music types, you fancy too many singers. So many times, free music download apps for Android can be the biggest saviors for you. In this article, we will show you 10 great Android apps for you to free stream and download mp3 songs. Let's look at the top free music apps for Android to download free music. 1. Gaana Music - One-stop solution music download app for Android. Gaana is an excellent free music downloading app on Android for you to download music for free. It provides you with free and unlimited access to all your favorite songs, no matter where you are. Based on the India's largest online music broadcasting service, Gaana can be the one-stop solution for all your music needs. Gaana carries huge collection of Bollywood movie songs. So if you like listening to Hindi music, it can be your best choice to free download MP3 songs. -
How to Create Music with GNU/Linux
How to create music with GNU/Linux Emmanuel Saracco [email protected] How to create music with GNU/Linux by Emmanuel Saracco Copyright © 2005-2009 Emmanuel Saracco How to create music with GNU/Linux Warning WORK IN PROGRESS Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.2 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 available on the World Wide Web at http://www.gnu.org/licenses/fdl.html. Revision History Revision 0.0 2009-01-30 Revised by: es Not yet versioned: It is still a work in progress. Dedication This howto is dedicated to all GNU/Linux users that refuse to use proprietary software to work with audio. Many thanks to all Free developers and Free composers that help us day-by-day to make this possible. Table of Contents Forword................................................................................................................................................... vii 1. System settings and tuning....................................................................................................................1 1.1. My Studio....................................................................................................................................1 1.2. File system..................................................................................................................................1 1.3. Linux Kernel...............................................................................................................................2 -
Unlicense Yourself: Set Your Code Free
Unlicense Yourself: Set Your Code Free Like 232 Follow on Tumblr 138 What is the Unlicense? The Unlicense is a template for disclaiming copyright monopoly interest in software you've written; in other words, it is a template for dedicating your software to the public domain. It combines a copyright waiver patterned after the very successful public domain SQLite project with the no-warranty statement from the widely-used MIT/X11 license. Why Use the Unlicense? Because you have more important things to do than enriching lawyers or imposing petty restrictions on users of your code. How often have you passed up on utilizing and contributing to a great software library just because its open source license was not compatible with your own preferred flavor of open source? How many precious hours of your life have you spent deliberating how to license your software or worrying about licensing compatibility with other software? You will never get those hours back, but here's your chance to start cutting your losses. Life's too short, let's get back to coding. The Unlicense To opt out of the copyright industry's game altogether and set your code free, put your next software project into the public domain using the following (un)licensing statement: This is free and unencumbered software released into the public domain. Anyone is free to copy, modify, publish, use, compile, sell, or distribute this software, either in source code form or as a compiled binary, for any purpose, commercial or non-commercial, and by any means. In jurisdictions that recognize copyright laws, the author or authors of this software dedicate any and all copyright interest in the software to the public domain. -
Orphan Works Comment 0229
schumaker-ward-20050308160004 To: Jule L. Sigall Associate Register for Policy & International Affairs Date: 03/08/2005 From: ward schumaker Comment: FROM THE ILLUSTRATORS' PARTNERSHIP DEMANDING FREE CULTURE Two weeks ago we notified you that the U.S. Copyright Office is conducting a study of "orphaned works" to determine if copyright protection should be removed from creative work because others wishing to exploit it find the authors "difficult" to locate. In Kahle v. Ashcroft, two commercial archives have asked the U.S. District Court for the Northern District of California to declare unconstitutional statutes that guarantee the term of copyright protection. The plaintiffs argue that four copyright laws, including the 1976 Copyright Act, are collectively keeping people from gaining access to these orphaned works. The case was dismissed on November 19, 2004, but attorney Lawrence Lessig says the decision will be appealed. He says they had always planned to fight the decisive battle in the appellate courts. Lawrence Lessig is the Founder of Creative Commons and a leading spokesman for the "Free Culture" movement. The stated mission of Creative Commons is to roll back copyright law to allow "open access to the information commons." It's allied to another group called PK (for Public Knowledge), which appears to be the financial support behind Kahle v Ashcroft. PK receives funding from the MacArthur Foundation, Ford Foundation, Rockefeller Foundation, and Andy Warhol Foundation, among others. http://www.publicknowledge.org Kahle v Ashcroft is one of a series of lawsuits designed to force protected creative work into the public domain. The suits are being planned and executed as "phases" by the Stanford Law School Center for Internet and Society. -
The Copyleft Movement: Creative Commons Licensing
Centre for the Study of Communication and Culture Volume 26 (2007) No. 3 IN THIS ISSUE The Copyleft Movement: Creative Commons Licensing Sharee L. Broussard, MS APR Spring Hill College AQUARTERLY REVIEW OF COMMUNICATION RESEARCH ISSN: 0144-4646 Communication Research Trends Table of Contents Volume 26 (2007) Number 3 http://cscc.scu.edu The Copyleft Movement:Creative Commons Licensing Published four times a year by the Centre for the Study of Communication and Culture (CSCC), sponsored by the 1. Introduction . 3 California Province of the Society of Jesus. 2. Copyright . 3 Copyright 2007. ISSN 0144-4646 3. Protection Activity . 6 4. DRM . 7 Editor: William E. Biernatzki, S.J. 5. Copyleft . 7 Managing Editor: Paul A. Soukup, S.J. 6. Creative Commons . 8 Editorial assistant: Yocupitzia Oseguera 7. Internet Practices Encouraging Creative Commons . 11 Subscription: 8. Pros and Cons . 12 Annual subscription (Vol. 26) US$50 9. Discussion and Conclusion . 13 Payment by check, MasterCard, Visa or US$ preferred. Editor’s Afterword . 14 For payments by MasterCard or Visa, send full account number, expiration date, name on account, and signature. References . 15 Checks and/or International Money Orders (drawn on Book Reviews . 17 USA banks; for non-USA banks, add $10 for handling) should be made payable to Communication Research Journal Report . 37 Trends and sent to the managing editor Paul A. Soukup, S.J. Communication Department In Memoriam Santa Clara University Michael Traber . 41 500 El Camino Real James Halloran . 43 Santa Clara, CA 95053 USA Transfer by wire: Contact the managing editor. Add $10 for handling. Address all correspondence to the managing editor at the address shown above. -
Tilburg University Free and Open Source Software Schellekens, M.H.M
Tilburg University Free and Open Source Software Schellekens, M.H.M. Published in: The Future of the Public Domain Publication date: 2006 Link to publication in Tilburg University Research Portal Citation for published version (APA): Schellekens, M. H. M. (2006). Free and Open Source Software: An Answer to Commodification? In L. Guibault, & B. Hugenholtz (Eds.), The Future of the Public Domain: Identifying the Commons in Information Law (pp. 303- 323). (Information Law Series; No. 16). Kluwer Law International. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 27. sep. 2021 Free and open source software: an answer to commodification? Maurice Schellekens 1. Introduction Linux is a PC operating system which is distributed under the General Public License (hereinafter: GPL). The GPL allows for the (royalty-)free use, modification and redistribution of the software. Given these license conditions, Linux users believed they could use the operating system without too many license worries. -
Elements of Free and Open Source Licenses: Features That Define Strategy
Elements Of Free And Open Source Licenses: Features That Define Strategy CAN: Use/reproduce: Ability to use, copy / reproduce the work freely in unlimited quantities Distribute: Ability to distribute the work to third parties freely, in unlimited quantities Modify/merge: Ability to modify / combine the work with others and create derivatives Sublicense: Ability to license the work, including possible modifications (without changing the license if it is copyleft or share alike) Commercial use: Ability to make use of the work for commercial purpose or to license it for a fee Use patents: Rights to practice patent claims of the software owner and of the contributors to the code, in so far these rights are necessary to make full use of the software Place warranty: Ability to place additional warranty, services or rights on the software licensed (without holding the software owner and other contributors liable for it) MUST: Incl. Copyright: Describes whether the original copyright and attribution marks must be retained Royalty free: In case a fee (i.e. contribution, lump sum) is requested from recipients, it cannot be royalties (depending on the use) State changes: Source code modifications (author, why, beginning, end) must be documented Disclose source: The source code must be publicly available Copyleft/Share alike: In case of (re-) distribution of the work or its derivatives, the same license must be used/granted: no re-licensing. Lesser copyleft: While the work itself is copyleft, derivatives produced by the normal use of the work are not and could be covered by any other license SaaS/network: Distribution includes providing access to the work (to its functionalities) through a network, online, from the cloud, as a service Include license: Include the full text of the license in the modified software.