Bridges of the Revolution Linking People, Sharing Informations and Remixing Practices by Augusto Valeriani
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WIKINOMICS How Mass Collaboration Changes Everything
WIKINOMICS How Mass Collaboration Changes Everything EXPANDED EDITION Don Tapscott and Anthony D. Williams Portfolio Praise for Wikinomics “Wikinomics illuminates the truth we are seeing in markets around the globe: the more you share, the more you win. Wikinomics sheds light on the many faces of business collaboration and presents a powerful new strategy for business leaders in a world where customers, employees, and low-cost producers are seizing control.” —Brian Fetherstonhaugh, chairman and CEO, OgilvyOne Worldwide “A MapQuest–like guide to the emerging business-to-consumer relation- ship. This book should be invaluable to any manager—helping us chart our way in an increasingly digital world.” —Tony Scott, senior vice president and chief information officer, The Walt Disney Company “Knowledge creation happens in social networks where people learn and teach each other. Wikinomics shows where this phenomenon is headed when turbocharged to engage the ideas and energy of customers, suppli- ers, and producers in mass collaboration. It’s a must-read for those who want a map of where the world is headed.” —Noel Tichy, professor, University of Michigan and author of Cycle of Leadership “A deeply profound and hopeful book. Wikinomics provides compelling evidence that the emerging ‘creative commons’ can be a boon, not a threat to business. Every CEO should read this book and heed its wise counsel if they want to succeed in the emerging global economy.” —Klaus Schwab, founder and executive chairman, World Economic Forum “Business executives who want to be able to stay competitive in the future should read this compelling and excellently written book.” —Tiffany Olson, president and CEO, Roche Diagnostics Corporation, North America “One of the most profound shifts transforming business and society in the early twenty-first century is the rapid emergence of open, collaborative innovation models. -
(OER) Movement
MiT8 public media, private media May 3-5, 2013 at MIT, Cambridge, MA Theo Hug <[email protected]> (University of Innsbruck) Education for All Revisited: On Concepts of Sharing in the Open Educational Resources (OER) Movement DRAFT VERSION Abstract1 Relationships between the private and public sphere in education have been discussed repeatedly and in various ways. However, the role of media and media dynamics is widely underestimated in this context. Only recently, after the digital turn, has the focus of the debates changed. In the past few years, manifold initiatives aiming at opening up education on various levels using digital communications technologies and Creative Commons licenses. Additionally, massive open online courses (moocs) have been developed. Today, OER (Open Educational Resources) is used widely as an umbrella term for free content creation initiatives: OER Commons (http://www.oercommons.org/), Open Courseware (OCW), OER repositories, OCW search facilities, University OCW initiatives, and related activities. Shared resource sites such as Connexions (http://cnx.org), WikiEducator (http://wikieducator.org), and Curriki (www.curriki.org) have an increasing number of visitors and contributors. On one hand, the motif of ‘education for all’ is once again appearing in related debates and practices. On the other hand, notions of sharing play a crucial role in open content and open education strategies. This paper has a threefold purpose: it starts with an outline of selected understandings of sharing in educational contexts; it then addresses their relevance for OER development through examining contrasting and relational conceptual dimensions. Furthermore, the contribution aims to take forms of sharing as media forms and to distinguish between stronger and weaker forms of sharing. -
Creative Commons Licence: an Alternative Solution to Copyright in the New Media Arena
CORE Metadata, citation and similar papers at core.ac.uk Provided by Sydney eScholarship CHAPTER FOURTEEN CREATIVE COMMONS LICENCE: AN ALTERNATIVE SOLUTION TO COPYRIGHT IN THE NEW MEDIA ARENA Chunyan Wang• AN INTRODUCTION TO CREATIVE COMMONS Creative Commons (CC) is a global non-profit organisation that provides free tools, including Creative Commons licenses and software, to enable authors, researchers, artists and educators to easily mark their creative works with the specific intellectual property rights they wish their creative works to carry. The mission of CC is to build a system of balanced intellectual property rights by advocating a ‘some rights reserved’ alternative to the traditional ‘all rights reserved’ system.1 CC is dedicated to building a flexible copyright regime in the face of increasingly restrictive copyright rules. It encourages legal sharing, remixing, and reuse of creative work, and provides a legal platform to spread and build digitally enabled creative culture. Incorporating distributive and legal mechanisms at the same time, CC serves to remedy excessively restrictive intellectual property protection. By promoting a fair and user-friendly structure of intellectual property rights, CC is helping to realise open access to knowledge. • Many thanks to Professor Brian Fitzgerald of Queensland University of Technology and Professor Gao Fuping of East China University of Political Science and Law for inviting me to write this article. Thanks also to Dr Stewart Cheifet of Internet Archive and Professor Jing Wang of MIT for their comments and assistance in writing this article. Additional thanks to Mr Yi Zheng and Mr Fei Yang for their help. 1 Creative Commons <http://creativecommons.org>. -
Offenheit Und Teilen in Der Open Educational Resources (OER) Bewegung
Bildung für alle – eine Neuauflage? Offenheit und Teilen in der Open Educational Resources (OER) Bewegung Theo Hug Zusammenfassung Fragen nach der Bedeutung privater und öffentlicher Dimensionen in Bil- dungsprozessen und Forderungen nach Bildung für alle werden in der Pädago- gik seit Jahrhunderten diskutiert. Die Rolle von Medien und Mediendynami- ken wurde dabei weithin unterschätzt. In den letzten Jahren wurden allerdings vielfältige Initiativen entwickelt mit dem Ziel der Öffnung von Bildung mit- tels digitaler Kommunikationstechnologien und Creative Commons-Lizenzen sowie massive open online courses (moocs). Heute findet die Bezeichnung Open Educational Resources (OER) breite Verwendung als Überbegriff für Initiativen zur Schaffung von frei verfügbaren Inhalten, OER Commons, Open Courseware (OCW), OER-Archiven, OCW-Suchhilfen sowie universitären OCW-Initiativen und ähnlichen Aktivitäten. Auf der einen Seite werden in den einschlägigen Debatten und Praktiken alte Motive der Bildung für alle wieder aufgegriffen. Auf der anderen Seite spielen spezifische Auffassungen der gemeinsamen Nutzung eine zentrale Rolle bei Strategien bezüglich frei zugänglicher Inhalte und offener Bildungsmedien. Der Beitrag beginnt (1) mit einem Abriss über ausgewählte Auffassungen von Offenheit und Teilen in bildungsbezogenen Zusammenhängen, gefolgt (2) von einer Erörterung ihrer Relevanz für OER-Entwicklungen mittels der Gegenüberstellung und Relati- onierung von konzeptuellen Dimensionen. Abschließend (3) zielt der Beitrag auf eine Interpretation der Formen -
The University and the Future
Contents PRESENTATION 1 THE UNIVERSITY THE YEAR AT A AND THE FUTURE GLANCE 2 ACADEMIC YEAR 2010-2011 SUMMARY OF THE UOC ANNUAL REPORT THE UOC IN FIGURES 8 THE UOC IN THE WORLD 16 RESEARCH, TRANSFER AND INNOVATION 18 EDUCATION AND QUALITY 20 FINANCIAL REPORT 22 THE UOC ONLINE 24 portada okENG.indd 1 09/02/12 11:04 “OVER THE LAST ACADEMIC YEAR WE HAVE MADE EVERY EFFORT TO ENSURE THAT THE UOC IS EVEN MORE OPEN AND ACCESSIBLE, FLEXIBLE AND ADAPTABLE TO SOCIETY’S NEEDS, AND MOBILE, MULTILINGUAL AND MULTI-FORMAT IN ORDER TO BE ABLE TO RESPOND TO THE LIFESTYLES OF OUR STUDENTS.” Imma Tubella, President of the UOC rectora.uoc.edu THE UNIVERSITY AND THE FUTURE Recently, I have had the opportunity to For this reason, over the last academic present the UOC’s educational and gov- year we have made every effort to ensure ernance model at international university that the UOC is even more open and ac- forums in such diverse corners of the world cessible, fl exible and adaptable to society’s as Washington, Paris, Singapore, Qatar and needs, and mobile, multilingual and multi- Kenya to widely differing audiences from the format in order to be able to respond to the academic, scientifi c, business and govern- lifestyles of our students. ment sectors. On each occasion, I felt great pride on hearing how speakers – both those This commitment means we have to who already knew about us and those who reinvent ourselves constantly and steer our only just had – saw the UOC as a point of organisation so as to bravely navigate the reference for their online universities. -
Exploring Design Space Through Remixing
1 Exploring Design Space through Remixing YUE HAN AND JEFFREY V. NICKERSON, Stevens Institute of Technology 1. INTRODUCTION Open innovation [Chesbrough 2006] sometimes performs better than traditional company-based innovation [Hippel and Krogh 2003, Poetz and Schreier 2012]. Open innovation communities promote collective intelligence by providing members platforms to design and create use-generated content. Among these communities, many have incorporated a system to encourage users to modify each other’s work in a process called remixing [Lessig 2014]. Remixing continues to evolve in open innovation communities including Github [Dabbish et al. 2012], Scratch [Hill and Monroy-Hernández 2013], Thingiverse [Kyriakou and Nickerson 2014], and ccMixer [Cheliotis and Yew 2009]. Remixing in online communities relies on a small number of technical features [Nickerson 2014], and understanding the way these features are used may help us design more productive online communities. Remixing can be thought of as a form of product evolution [Nickerson and Yu 2012]: Together a community explores a design space of possibilities, starting from the many designs already created. 2. EXPLORATORY STUDIES In our first study, we analyzed projects on Scratch.mit.edu to understand how users explored the design space. Scratch is a programming language created by the Lifelong Kindergarten Group at the MIT Media Lab [Resnick et al. 2009]. Scratch.mit.edu is an online community in which users, mainly youth, create, share and remix projects using Scratch. The projects selected in our study are created after 2013, when Scratch 2.0 was launched, because the raw project code is readily available in text format, allowing us to compute distance measures. -
Righteous Remixes, Sacred Mashups: Rethinking Authority, Authenticity, and Originality In
Righteous Remixes, Sacred Mashups: Rethinking Authority, Authenticity, and Originality in the Study of Religion __________ A Dissertation Proposal Presented to the Faculty of the University of Denver and the Iliff School of Theology Joint PhD Program University of Denver __________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy __________ by Seth M. Walker September 2018 Advisor: Lynn Schofield Clark 1 Thesis Remix studies largely revolves around the metaphorical extension of “remix” outside of its typical audio-visual contexts to culture at large. While many unrelated fields have seen the conceptual application of remix to their practices and productions, its application to the study of religion has been noticeably limited. This has been a curious absence in scholarship, as those studying digital culture have increasingly examined the role of religion in new media practices. Emerging from an interest in how remix engages clouded cultural understandings of authorship, and a curiosity over what happens when it is metaphorically applied to areas where it has not yet been encountered, this project primarily asks what it would mean to study religious traditions and their developments in the modern Western world as remix processes. Moreover, it asks how the consideration of religious phenomena and traditions from this shift in conceptual and terminological framing might help scholars understand religiosity differently, and what sorts of meanings, implications, or assumptions might accompany this. In other words, what does the application of remix in this context help us rethink? Thus, the project considers how a remix model might fundamentally shift the way we perceive and understand religious phenomena and institutions. -
An Introductory Historical Contextualization of Online Creation Communities for the Building of Digital Commons: the Emergence of a Free Culture Movement
An Introductory Historical Contextualization of Online Creation Communities for the Building of Digital Commons: The Emergence of a Free Culture Movement Mayo Fuster Morell Autonomous University of Barcelona [email protected] Abstract. Online Creation Communities (OCCs) are a set of individ- uals that communicate, interact and collaborate; in several forms and degrees of participation which are eco-systemically integrated; mainly via a platform of participation on the Internet, on which they depend; and aiming at knowledge-making and sharing. The paper will first pro- vide an historical contextualization OCCs. Then, it will show how the development of OCCs is fuelled by and contributes to, the rise of a free culture movement defending and advocating the creation of digital com- mons, and provide an empirically grounded definition of free culture movement. The empirical analyses is based content analysis of 80 in- terviews to free culture practitioners, promoters and activists with an international background or rooted in Europe, USA and Latino-America and the content analysis of two seminar discussions. The data collection was developed from 2008 to 2010. 1 Introduction Online Creation Communities (OCCs) are a set of individuals that communicate, interact and collaborate; in several forms and degrees of participation which are eco-systemically integrated; mainly via a platform of participation on the In- ternet, on which they depend; and aiming at knowledge-making and sharing (Fuster Morell, 2010). OCCs based on certain governance conditions result on the building of a digital commons. Digital commons are defined as an informa- tion and knowledge resources that are collectively created and owned or shared between or among a community and that tend to be non-exclusivedible, that is, be (generally freely) available to third parties. -
1 Remixing Culture
REMIXING CULTURE: LITERATURE REVIEW Introduction Remixed, or mashed up music is a contested issue both within musical communities and the law. The dispute arises when a musician creates a new piece of music by taking apart, re-arranging and sampling the work of another musician to create a new song. These remixed versions of songs are often unlicensed and have not been granted permission by the record label that produced the original tracks. While instances of cultural phenomena have often influenced the development of new works of art throughout history, the digital technologies of the 21st century have enabled artists to directly cut and paste the works of others into their own art, creating controversy both within artistic communities and the legal realms. Methodologically, this literature review will explore the historical context of music evolution, from the performance to the first recordings to the current mp3 format. In addition, it will reference the growing culture of remix music: the artistic practice of pastiching the works of others to create new songs. Finally, it seeks to uncover implications of music as intellectual property, as opposed to a new form of cultural democracy and literacy. The research question that this literature review elucidates is whether or not a remixed song, or a mash-up, is an extension of a phenomenon of culture building, and what implications the digital nature of its production has on the notion of artistic creation and intellectual property rules. Three essential mindsets pertain to the issue of remixed music. There is one group of academics that argue remix is the fundamental cornerstone of human collective consciousness, and law professors like Lawrence Lessig and writers such as Paul D. -
User-Friendly Licensing for a User-Generated World: the Future of the Video-Content Market
Vanderbilt Journal of Entertainment & Technology Law Volume 15 Issue 2 Issue 2 - Winter 2013 Article 5 2013 User-Friendly Licensing for a User-Generated World: The Future of the Video-Content Market Joanna E. Collins Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Intellectual Property Law Commons, and the Science and Technology Law Commons Recommended Citation Joanna E. Collins, User-Friendly Licensing for a User-Generated World: The Future of the Video-Content Market, 15 Vanderbilt Journal of Entertainment and Technology Law 407 (2020) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol15/iss2/5 This Article is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. User-Friendly Licensing for a User-Generated World: The Future of the Video-Content Market ABSTRACT A picture may say a thousand words, but in today's artistic culture, video is the true king. User-generated remix and mashup videos have become a central way for people to communicate their ideas, to be a part of popular culture, and to bring life to their own artistic visions. Digital technology and the rise of user-generated Internet platforms have enabled professionals and amateurs alike to participate in the creation of web videos, which often incorporate popular content. But this has led to a growing tension between amateur sampling artists and copyright rightsholders. The current video-content- licensing scheme requires individually negotiated contracts for authorized use of copyrighted material, but amateur artists frequently lack the bargaining power and understanding of copyright law to comply with licensing requirements. -
Open An-Open-Web.Pdf
AN OPEN WEB Copyright : The Contributors (see back) Published : 2011-01-30 License : None Note : We offer no warranty if you follow this manual and something goes wrong. So be 1 careful! Introduction 1. The Web is Closed 2. The Future is Open 2 1. THE WEB IS CLOSED “As much as we love the open Web, we’re abandoning it.” -Chris Anderson, WIRED Magazine The Web was meant to be Everything. As the Internet as a whole assumes an increasingly commanding role as the technology of global commerce and communication, the World Wide Web from its very inception was designed to be a free and open medium through which human knowledge is created, accessed and exchanged.1 But, that Web is in danger of coming to a close. The Web was meant to be Free. It laid out a language of HyperText, which anyone could use to author electronic documents and connect them together with links. The documents in totum were meant to form a global web of information with no center and no single point of control.2 The first Web browser was also a Web editor, and this principle that any node in the network can both consume and create content has more or less been defended to this day. The Web was meant to be Open. It detailed a common interface that could be implemented on any computer. This innovation overcame the obstacles of incompatible platforms and tools for the sharing of knowledge on the Net,3 by defining a Hypertext Transfer Protocol (HTTP) and other standards for the discovery and communication of online data. -
The Rise of User-Generated Content
Mashing-up Culture Proceedings from the COUNTER workshop Mashing-up Culture Upp- sala University, May 13-14, 2009 Title: Mashing-up Culture: The Rise of User-generated Content Eds.: Eva Hemmungs Wirtén and Maria Ryman Abstract: These are the proceedings of the first COUNTER workshop “Mashing-up Culture: The Rise of User-generated Content”, Uppsala Uni- versity, May 13-14, 2009. COUNTER is a European research project ex- ploring the consumption of counterfeit and pirated goods. Sampling, remix- ing, mash-ups and appropriation are part of the digital creative milieu of the twenty-first century. Sites such as YouTube and deviantART have offered new outlets for creativity and become hubs for innovative forms of collabo- ration, thus playing their part in challenging modernist notions of what it means to be a creator as well as a consumer. Drawing on this general back- ground, the ten papers presented in these proceedings are examining areas such as: Sampling, mash-ups, and appropriation; Creativity and collabora- tive practices; Creative Industries and intellectual property; Copyright, Cultural Heritage and Cultural Policy; and Formal and informal regulations of intellectual property. The ten authors are all contributing to an interna- tional and interdisciplinary scientific discussion on the mash-up. Mash-ups and user-generated content are social and cultural phenomena which in these papers are put into various contexts, from legal ones, over technology, to the nation as a framework. Keywords: Proceedings (COUNTER Counterfeiting and Piracy Research), Copyright—Adaptions, User-created content COUNTER is funded by the European Commission’s Framework 7 programme. Mashing-up Culture: The Rise of User- generated Content Proceedings from the COUNTER workshop Mashing-up Culture Uppsala University, May 13-14, 2009 Eds.