DOCSLIB.ORG

IP Watchlist /Watchlist

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
IP Watchlist /Watchlist IP Watchlist /watchlist Table of Contents Introduction ..........................................1 This year's results ..................................2 Highlights ..............................................2 How the survey has been refined............4 Best Practices..........................................5 Fair use ................................................5 Innovative business models ..................5 Orphan works ......................................6 Concerns................................................7 Private copying ....................................7 Graduated response ............................8 Digital rights management ..................8 Looking forward ....................................9 Endnotes ..............................................11 Children at First Lubuto Library Children Contributors ........................................12 Introduction In most countries, the rules that regulate access to our accessible formats such as Braille, which were legally society's culture and learning place big business first and produced in another country. There are libraries whose consumers second. That is the overall finding of this second collections of rare audiovisual materials are crumbling, and Consumers International IP Watchlist, which endeavours to who lack the means to legally preserve them for future rate countries on how well they uphold their citizens' rights generations. There are families in Europe who have been cut of access to knowledge – or A2K, for short. It's complicated off from the Internet – often their communications lifeline to to assess the state of a country's support for A2K; in this relatives and friends – because of unproven allegations of survey we use a composite measure of 60 criteria, developed copyright infringement. And there are thousands of hours of and weighted by experts from around the world. But in films and music, along with millions of pages of books, simple terms, we are interested in how balanced the country's copyright law is, whether it is enforced in ways which will never be seen, heard or read again because their that impact consumers' interests, and whether the country copyright owner cannot be found and the law does not fosters the exchange of knowledge in forms that are not allow their works to be reproduced without permission. encumbered by exclusive rights. CI does not disagree that the copyright laws in force in a Using these measures, Consumers International (CI) is unable given country should be enforced, and that the rights of to report any overall improvement in the global state of authors should be respected and upheld. We would simply access to knowledge for consumers in 2010. Rather, we see like to see more balance into the equation. For every consumers' interests still being sidelined as lawmakers rush country's legislation that is amended to prevent consumers to meet the never-ending demands of lobbyists for the from bypassing copyright locks, we would like to see another entertainment and media conglomerates, who shape country adopting a new ‘fair use’ exception into its copyright domestic and international laws with their hyperbolic talk of law. For every new law enforcement initiative to seek out piracy, theft and organised crime. Whilst CI does not doubt and destroy pirated CDs or DVDs, we would like to see an that copyright infringement is a real problem, causing loss of educational initiative promoting the benefits of open access income within the publishing and entertainment industries, learning materials and open source software. And for every there are many other problems with the distribution of country in which Internet Service Providers (ISPs) collaborate knowledge that affect consumers much more acutely. with rights holders in tracking infringements, we would like To pick a handful of real life examples, there are millions of to see new measures to enshrine the rights of consumers to blind consumers who are unable to lawfully access books in access information over the Internet. IP Watchlist 2010 — 2 — /watchlist At first glance, there seems to be nothing connecting these This year's results countries... but let's pick out some patterns. Most of the best rated countries (but none of the worst rated countries) have Highlights copyright exceptions that are broad and general... in other words, they allow consumers to copy material for a range of For 2010, we have obtained reports on the state of access to purposes, rather than just for narrow ones like private study knowledge in 34 countries around the world – almost twice or news reporting. In the United States and Israel, this as many as last year. The results are consistent with those of exception is called ‘fair use’ – which will be discussed in our inaugural survey, but with more countries included, the much more detail. In Lebanon and Sweden it's called ‘private results are even more interesting. First, let's look at the top copying’ – as this implies, it only applies to individuals for ten countries – those whose laws and enforcement practices their own use, but it isn't limited to education; it extends to offer the best support for consumers' access to knowledge – the use of material for leisure purposes. In both cases, it and the bottom ten, who perhaps seem to be have forgotten gives consumers in these countries a lot more flexibility to about consumers altogether. utilise cultural and educational materials than those in the worst-rated countries enjoy. Best rated countries Worst rated countries What about income, is that a pattern? Not at all – and that's 1. India 1. Chile interesting in itself. Both the richest country in our survey (the United States) and the poorest country (Bangladesh) are 2. Lebanon 2. Jordan in the top 10. Another of the richest (the United Kingdom) is 3. Israel 3. United Kingdom next to the second poorest (Kenya) in the bottom 10.1 This means that a country's level of development does not have 4. United States 4. Kenya much impact on the shape of its copyright law. However, 5. Indonesia 5. Thailand research suggests that it should. It has been found that stronger copyright and patent laws are not, as often claimed, 6. South Africa 6. Argentina conducive to the growth of developing countries.2 For this 7. Bangladesh 7. Brazil reason, it would be better for the strictest laws to be reserved for the countries that have the most to gain from a 8. Morocco 8. Zambia bulletproof copyright regime – but too often, that is not the case. Much of Zambia's law, for example, is taken up with 9. Sweden 9. Egypt provisions about copyright collecting societies – whereas it 10. Pakistan 10. Japan has only one section detailing copyright exceptions. Are these the appropriate priorities for a poor African nation? IP Watchlist 2010 — 3 — /watchlist More patterns can be found when you look at the categories of Watchlist criteria in which countries scored best and worst. In the table below, A represents a good score, that shows that consumers' interests are being observed in this area. B, C and D are progressively not so good... and F is a fail. Freedom to access and use Freedom Admin Scope and By By In to share and duration home For By content By the By disabled public and enforce- of copyright users education Online creators press libraries users affairs transfer ment Overall Argentina C F F C D B F C C B C C- Australia D C B C B C B C D D C B- Bangladesh B C A C C C B F C D C B- Brazil F F F D B B F A B C D C- Cameroon B D C A B D F C B D D C Canada C D B B D A B A D F C C Chile F F F C D D F F F C C D China (PRC) B C A C C B C C A F D B- Egypt D C B B D B C F B F F C Fiji C D D B C B C F C F C C India B B B A A A B C C D A B Indonesia D B A A D A B A B D D B Israel D D C A B A B C B C B B Japan F C B C F B D A D C D C Jordan C D C D F B D F B F F C- Kenya A D D C D D D F B F F C- Lebanon C C C B B A B C A F B B Malaysia C C A D C B C C C C C B- Mexico D C B A C B B F C D D C Morocco C D B A C A A F C F C B- New Zealand D C C B C B B A B D C B- Nigeria B C C C D B C C D D B B- Pakistan A D A F F A B F B F B B- Philippines D C D B D A B F B F D C South Africa B D B B D A D F B B C B- South Korea D D A C C B B C C D D C Spain D B D A C B D C B D C B- Sweden C A F A B A D A B D C B- Thailand D B B F C B C F D F F C- Ukraine D B D A C D B C B F D C UK C F F B C D B A F D F C- USA B B C A B C A A B C D B Vietnam B F B C D A D C A F D C Zambia C B D C D C D F B D D C IP Watchlist 2010 — 4 — /watchlist Whilst it might not be immediately obvious due to the education or library use, or by specific groups of individuals volume of data in the table, the category in which most such as users with disabilities.
Load more

Recommended publications
  • The Truth About Big Oil and Climate Change РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS
    РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS Is the German model broken? Iran, 40 years after the revolution China’s embrace of intellectual property On the economics of species FEBRUARY 9TH–15TH 2019 Crude awakening The truth about Big Oil and climate change РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS World-Leading Cyber AI РЕЛИЗ ПОДГОТОВИЛА ГРУППА "What's News" VK.COM/WSNWS Contents The Economist February 9th 2019 3 The world this week United States 6 A round-up of political 19 After the INF treaty and business news 20 Missiles and mistrust 21 Virginia and shoe polish Leaders 21 Union shenanigans 9 Energy and climate Crude awakening 22 Botox bars Elizabeth Warren’s ideas 10 Germany’s economy 23 Time to worry 24 Lexington Donald Trump and conservatism 10 Arms control Death of a nuclear pact The Americas 12 Iran’s revolution at 40 Dealing with the mullahs 25 Canada in the global jungle On the cover 13 A new boss for the World Bank 26 Jair Bolsonaro’s The oil industry is making a A qualified pass congressional win bet that could wreck the 28 Bello The Venezuelan climate: leader, page 9. Letters dinosaur ExxonMobil, a fossil-fuel On the Democratic titan, gambles on growth: 14 Republic of Congo, Asia Briefing, page 16. The Green hygiene, Brexit, chicken, New Deal pays little heed to 29 India’s Congress party King Crimson, airlines economic orthodoxy: Free 30 Avoiding military service exchange, page 67 in South Korea Briefing • Is the German model broken? 31 Turmoil in Thai politics 16 ExxonMobil An economic golden age could 31 Facial fashions in Bigger oil, amid efforts to be coming to an end: leader, Pakistan hold back climate change page 10.
    [Show full text]
  • A Remix Manifesto
    An Educational Guide About The Film In RiP: A remix manifesto, web activist and filmmaker Brett Gaylor explores issues of copyright in the information age, mashing up the media landscape of the 20th century and shattering the wall between users and producers. The film’s central protagonist is Girl Talk, a mash‐up musician topping the charts with his sample‐based songs. But is Girl Talk a paragon of people power or the Pied Piper of piracy? Creative Commons founder, Lawrence Lessig, Brazil’s Minister of Culture, Gilberto Gil, and pop culture critic Cory Doctorow also come along for the ride. This is a participatory media experiment from day one, in which Brett shares his raw footage at opensourcecinema.org for anyone to remix. This movie‐as‐mash‐up method allows these remixes to become an integral part of the film. With RiP: A remix manifesto, Gaylor and Girl Talk sound an urgent alarm and draw the lines of battle. Which side of the ideas war are you on? About The Guide While the film is best viewed in its entirety, the chapters have been summarized, and relevant discussion questions are provided for each. Many questions specifically relate to music or media studies but some are more general in nature. General questions may still be relevant to the arts, but cross over to social studies, law and current events. Selected resources are included at the end of the guide to help students with further research, and as references for material covered in the documentary. This guide was written and compiled by Adam Hodgins, a teacher of Music and Technology at Selwyn House School in Montreal, Quebec.
    [Show full text]
  • Remix and Rebalance: Copyright and Fair Use Issues in the Digital Age and English Studies Scott A
    Kennesaw State University DigitalCommons@Kennesaw State University Dissertations, Theses and Capstone Projects 4-1-2013 Remix and Rebalance: Copyright and Fair Use Issues in the Digital Age and English Studies Scott A. inS gleton Kennesaw State University, [email protected] Follow this and additional works at: http://digitalcommons.kennesaw.edu/etd Part of the Curriculum and Instruction Commons Recommended Citation Singleton, Scott A., "Remix and Rebalance: Copyright and Fair Use Issues in the Digital Age and English Studies" (2013). Dissertations, Theses and Capstone Projects. Paper 558. This Thesis is brought to you for free and open access by DigitalCommons@Kennesaw State University. It has been accepted for inclusion in Dissertations, Theses and Capstone Projects by an authorized administrator of DigitalCommons@Kennesaw State University. Remix and Rebalance: Copyright and Fair Use Issues in the Digital Age and English Studies By Scott A. Singleton A capstone project submitted in partial fulfillment of the Requirements for the degree of Master of Arts in Professional Writing in The Department of English In the College of Humanities and Social Sciences of Kennesaw State University Kennesaw, Georgia 2013 3 Table of Contents Introduction 4 Chapter 1: Writing in the Twenty‐First Century 10 Chapter 2: Creativity 19 Chapter 3: Remix 24 Chapter 4: Plagiarism 28 Chapter 5: Fair Use 35 Chapter 6: The Original Purpose of Copyright 44 Chapter 7: Creative Commons 51 Conclusion 53 Appendix A: Three Mini‐Lessons 56 Appendix B: Three Small Assignments 61 Works Cited for Appendices A and B 67 Additional Resources 68 Works Cited 69 Curriculum Vitae 73 4 Introduction “Never in our history have fewer had a legal right to control more of the development of our culture than now.” – Lawrence Lessig, Free Culture This thesis addresses both the need and specific ways to increase conversations on copyright law, fair use, and intellectual property in the composition classroom.
    [Show full text]
  • Ids-3309-Fall2016-Syllabus.Pdf
    Do not copy without the express written consent of the author. IDS 3309 Foundations of Global Learning in the Humanities Fall 2016 • M 3:00-5:30 p.m. PC 310 What we expect What you should expect What and how you’ll learn Why it’s important How we’ll all know you succeeded Do not copy without the express written consent of the author. IDS 3309: How We Know What We Know Fall, 2016 Monday, 3:00 p.m. - 5:30 p.m. WUC 100 Course Description World, national and local events of the past two decades have triggered the most extreme and traumatic transformation of information technology and communication since Johann Gutenberg successfully linked moveable type with early-automated press technology. The viral spread of digitized information demands education and awareness to enable you to locate, evaluate, and effectively use information. How We Know What We Know is a course that merges the skills of global information literacy with the critical perspective required to ascertain and measure the authenticity and credibility of what you consume in your academic and casual research and writing. The course will provide you an understanding of the diverse and complex nature of information, bringing order to and maximizing the value of the information glut and chaos, while limiting its potential harm. Course Overview The course is designed for students in all disciplines to experience the effects of information on their lives and the local, national and global communities. It explains how information gets made and why it gets made the way it does.
    [Show full text]
  • The Code and Politics of Drupal and the Pirate Bay
    THE CODE AND POLITICS OF DRUPAL AND THE PIRATE BAY: ALTERNATIVE HORIZONS OF WEB2.0 by Fenwick McKelvey Bachelor of Arts, Halifax, Nova Scotia, 2004 A thesis presented to Ryerson University in partial fulfillment of the requirements for the degree of Masters of Arts in the Joint Programme of Communication and Culture, a Partnership of Ryerson University and York University. Toronto, Ontario, Canada, 2008 © Fenwick McKelvey 2008 Author's Declaration I hereby declare that I am the sole author of this thesis or dissertation. I authorize Ryerson University to lend this thesis or dissertation to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this thesis or dissertation by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. ii Abstract The Code and Politics of Drupal and the Pirate Bay: Alternative Horizons of Web2.0 By Fenwick McKelvey Master of Arts, 2008 Joint Programme of Communication and Culture, a Partnership of Ryerson University and York University. Code politics investigates the implications of digital code to contemporary politics. Recent developments on the web, known as web2.0, have attracted the attention of the field. The thesis contributes to the literature by developing a theoretical approach to web2.0 platforms as social structures and by contributing two cases of web2.0 structurations: Drupal, a content management platform, and The Pirate Bay, a file sharing website and political movement. Adapting the work of Ernesto Laclau and Chantal Mouffe on articulation theory, the thesis studies the code and politics of the two cases.
    [Show full text]
  • Free Pirate Cinema Pdf
    FREE PIRATE CINEMA PDF Cory Doctorow | 384 pages | 14 Jun 2013 | Titan Books Ltd | 9781781167465 | English | London, United Kingdom THE PIRATE CINEMA - A CINEMATIC COLLAGE GENERATED BY P2P USERS Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge Pirate Cinema. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. Preview Pirate Cinema Pirate Cinema by Cory Doctorow. Pirate Pirate Cinema by Cory Doctorow. Trent McCauley is sixteen, brilliant, and obsessed with one thing: making movies on his computer by reassembling footage from popular films he Pirate Cinema from the net. In near-future Britain, this is more illegal than ever. Pirate Cinema punishment for being caught three times is to cut off your entire household from the internet for a year - no work, school, health or money benefits Trent McCauley is sixteen, Pirate Cinema, and obsessed with one thing: Pirate Cinema movies on his computer by reassembling footage Pirate Cinema popular films he downloads from the net. The punishment for being caught three times is to cut off your entire household from Pirate Cinema internet for a year - no work, school, health or money benefits. Trent thinks he is too clever for that to happen, but it does, and Pirate Cinema destroys his family. Shamed and shattered, Trent runs away to London, where slowly Pirate Cinema learns the ways of staying alive on the streets. He joins artists and activists fighting a new bill that will jail too many, especially minors, Pirate Cinema one stroke.
    [Show full text]
  • Copyright, Creative Commons and Artistic Integrity
    Edith Cowan University Research Online Theses : Honours Theses 2010 Copyright, creative commons and artistic integrity Yagan M. Kiely Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Intellectual Property Law Commons, and the Other Music Commons Recommended Citation Kiely, Y. M. (2010). Copyright, creative commons and artistic integrity. https://ro.ecu.edu.au/theses_hons/ 1332 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1332 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form.
    [Show full text]
  • Access to Knowledge in Brazil
    ACCESS TO KNOWLEDGE IN BRAZIL ACCESS TO KNOWLEDGE IN BRAZIL NEW RESEARCH ON INTELLECTUAL PROPERTY, INNOVATION AND DEVELOPMENT EDITED BY LEA SHAVER This work was made possible by the generous support of THE MACARTHUR FOUNDATION The cover art features photos of the installation “Sherezade” as exhibited in 2007at the Palácio das Artes in Belo Horizonte, by the generous permission of artist Hilal Sami Hilal and photographer Elmo Alves. © In the selection and editing of materials, Information Society Project 2008 The authors retain copyright in the individual chapters. The authors, editor and publisher make all components of this volume available to the public under a Creative Commons Attribution- Noncommercial-Share Alike License. Anyone is free to copy, distribute, display or perform this work—and derivative works based upon it. Such uses must be for non-commercial purposes only. Credit must be given to the authors, the editor and the publisher. Any derivative works must be made available to the public under an identical license. For more information, visit http://creativecommons.org. To seek authorization for uses outside the scope of this license, contact: Information Society Project Yale Law School 127 Wall Street New Haven, CT 06511 To download an electronic version of this book at no charge, or to purchase print copies at cost, visit http://isp.law.yale.edu. ISBN 978-0-615-25038-0 CONTENTS FOREWORD 1 INTRODUCTION 7 FROM FREE SOFTWARE TO FREE CULTURE: THE EMERGENCE OF OPEN BUSINESS 25 From free software to free culture 27 Case study:
    [Show full text]
  • Remixing Music Copyright to Better Protect Mashup Artists Kerri Eble
    EBLE.DOCX (DO NOT DELETE) 3/29/2013 2:34 PM THIS IS A REMIX: REMIXING MUSIC COPYRIGHT TO BETTER PROTECT MASHUP ARTISTS KERRI EBLE Modern copyright law has strayed from its original purpose as set out in the Constitution and is ill-equipped to protect and foster new forms of artistic expression. Since the last major amendment to the Copyright Act, new art forms have arisen, particularly “mashup music.” This type of music combines elements of other artists’ songs with other sounds to create a new artistic work. Under modern copy- right law, various courts treat this type of music inconsistently, creat- ing uncertainty among mashup artists and stifling this new artistic ex- pression. In addition, copyright law, as applied to music, unduly favors primary artists, sacrificing the Copyright Clause’s focus on preserving the public domain. This Note discusses the history of mashup music and its increas- ing popularity in the United States, as well as the relevant history of copyright law. This Note then discusses current safe harbors that ex- ist under copyright law for secondary artists and analyzes why mashups do not fit within these safe harbors. This Note concludes by recommending that the fair use exception be expanded to protect mashup artists by adding a safe harbor for “recontextualized” or “re- designed” artworks. I. INTRODUCTION Everything is breaking down in a good way. Once upon a time . there was a line. You know, the edge of the stage was there. The performers are on one side. The audience is on the oth- er side, and never the twain shall meet.
    [Show full text]
  • Good Copy Bad Copy (60') Genre: Documentary / Music / Crime
    GOOD COPY BAD COPY (60') GENRE: DOCUMENTARY / MUSIC / CRIME An entertaining introduction to the current copyright climate from Moscow to Brazil, over to Hollywood, Nigeria and Sweden. The film vividly displays the global dilemmas of copyright law. Who really owns what? And what is the purpose of copyright? It travels alongside Gnarls Barkley's mega-hit 'Crazy' to northern Brazil for a local reflavouring and back to remix virtuoso Girl Talk in Pittsburgh. In Sweden, Hollywood henchmen and 'Pirate Bay' followers clash, while in African movie capital 'Nollywood' in Nigeria no one worries about copyright or "piracy". Until now. "Good Copy Bad Copy is a superb copyright documentary on the remix wars, remix culture and copyright. The film skips around the world... The movie has a very light touch, and a lot of humor. This has been a banner year for copyright documentaries, but this is the best looking of the lot, with superb production values. This is a master class on the copyright wars crammed into one hour. A must-see." - Cory Doctorow, Boing-Boing Featuring, in order of appearance: GIRL TALK, Producer DR LAWRENCE FERRARA, Director of Music Department NYU PAUL V LICALSI, Attorney Sonnenschein JANE PETERER, Bridgeport Music DR SIVA VAIDHYANATHAN, NYU DANGER MOUSE, Producer DAN GLICKMAN, CEO MPAA ANAKATA, The Pirate Bay TIAMO, The Pirate Bay RICK FALKVINGE, The Pirate Party LAWRENCE LESSIG, Creative Commons CHARLES IGWE, Film Producer Lagos Nigeria MAYO AYILARAN, Copyright Society of Nigeria OLIVIER CHASTAN, VP Records JOHN KENNEDY, Chairman IFPI PETER JENNER, Sincere Management JOHN BUCKMAN, Magnatune Records BETO METRALHA, Producer Belem do Para, Brazil DJ DINHO, Tupinamba Belem do Para, Brazil.
    [Show full text]
  • The Routledge Companion to Remix Studies
    THE ROUTLEDGE COMPANION TO REMIX STUDIES The Routledge Companion to Remix Studies comprises contemporary texts by key authors and artists who are active in the emerging field of remix studies. As an organic interna- tional movement, remix culture originated in the popular music culture of the 1970s, and has since grown into a rich cultural activity encompassing numerous forms of media. The act of recombining pre-existing material brings up pressing questions of authen- ticity, reception, authorship, copyright, and the techno-politics of media activism. This book approaches remix studies from various angles, including sections on history, aes- thetics, ethics, politics, and practice, and presents theoretical chapters alongside case studies of remix projects. The Routledge Companion to Remix Studies is a valuable resource for both researchers and remix practitioners, as well as a teaching tool for instructors using remix practices in the classroom. Eduardo Navas is the author of Remix Theory: The Aesthetics of Sampling (Springer, 2012). He researches and teaches principles of cultural analytics and digital humanities in the School of Visual Arts at The Pennsylvania State University, PA. Navas is a 2010–12 Post- Doctoral Fellow in the Department of Information Science and Media Studies at the University of Bergen, Norway, and received his PhD from the Program of Art and Media History, Theory, and Criticism at the University of California in San Diego. Owen Gallagher received his PhD in Visual Culture from the National College of Art and Design (NCAD) in Dublin. He is the founder of TotalRecut.com, an online com- munity archive of remix videos, and a co-founder of the Remix Theory & Praxis seminar group.
    [Show full text]
  • CC Newsletter - Issue No
    CC Newsletter - Issue No. 2 1 2 Below: Ito, Joi. “Melissa Reeder.” CC BY 2.0 http://flickr.com/photos/joi/ CC Newsletter - Issue No. 2 463728506/ MESSAGE Dear All, The second ccNewsletter is chock full of interesting information, use cases, and stories that illustrate the need for Creative Commons within this growing digital world. It also highlights what is happening internally here at CC and calls attention to the work of others that we believe is important to the vitality of the free culture movement. Melissa Reeder This PDF version of the ccNewsletter was remixed Development Coordinator by Creative Commons Philippines. Creative Commons The repackaged newsletter is licensed under http://creativecommons.org/licenses/by/3.0/ CONTENTS 93932066@N00/718320900/ quatro.sinko INSIDE CC CONGRATULATIONS, SHOUTOUTS, USE CASES AND Backgrounds: 3 -CC at OSCON, Eric Steuer on Slideshare INTERESTING TID-BITS -Announcing ccLearn - the education division of 11 -DIY Now! (book) Creative Commons -Finding and Quantifying Australia's Online Guerrero, Berne. 4 -CC Salon SF on WED, Aug. 8th from 7-9PM: Commons 2.0 http://www.flickr.com/photos/ CC BY . "Ring of Fire." Bittorrent and Intern Presentations! -Rhizome Integrates Creative Commons licenses -CC Canada Podcasting Legal Guide into ArtBase 5 -Creative Commons statistics at iSummit 2007 12 -Wellcome Images Launches with CC Licenses -Lessig at iSummit on the next 10 years -RAND Europe survey on Evaluation of Internet Self 6 Spoon to Headline Creative Commons Benefit Regulation, including CC Concert to
    [Show full text]