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ROADS and BRIDGES: the UNSEEN LABOR BEHIND OUR DIGITAL INFRASTRUCTURE Preface
Roads and Bridges:The Unseen Labor Behind Our Digital Infrastructure WRITTEN BY Nadia Eghbal 2 Open up your phone. Your social media, your news, your medical records, your bank: they are all using free and public code. Contents 3 Table of Contents 4 Preface 58 Challenges Facing Digital Infrastructure 5 Foreword 59 Open source’s complicated relationship with money 8 Executive Summary 66 Why digital infrastructure support 11 Introduction problems are accelerating 77 The hidden costs of ignoring infrastructure 18 History and Background of Digital Infrastructure 89 Sustaining Digital Infrastructure 19 How software gets built 90 Business models for digital infrastructure 23 How not charging for software transformed society 97 Finding a sponsor or donor for an infrastructure project 29 A brief history of free and public software and the people who made it 106 Why is it so hard to fund these projects? 109 Institutional efforts to support digital infrastructure 37 How The Current System Works 38 What is digital infrastructure, and how 124 Opportunities Ahead does it get built? 125 Developing effective support strategies 46 How are digital infrastructure projects managed and supported? 127 Priming the landscape 136 The crossroads we face 53 Why do people keep contributing to these projects, when they’re not getting paid for it? 139 Appendix 140 Glossary 142 Acknowledgements ROADS AND BRIDGES: THE UNSEEN LABOR BEHIND OUR DIGITAL INFRASTRUCTURE Preface Our modern society—everything from hospitals to stock markets to newspapers to social media—runs on software. But take a closer look, and you’ll find that the tools we use to build software are buckling under demand. -
Circular 1 Copyright Basics
CIRCULAR 1 Copyright Basics Copyright is a form of protection Copyright is a form of protection provided by the laws of the provided by U.S. law to authors of United States to the authors of “original works of authorship” that are fixed in a tangible form of expression. An original “original works of authorship” from work of authorship is a work that is independently created by the time the works are created in a a human author and possesses at least some minimal degree of creativity. A work is “fixed” when it is captured (either fixed form. This circular provides an by or under the authority of an author) in a sufficiently overview of basic facts about copyright permanent medium such that the work can be perceived, and copyright registration with the reproduced, or communicated for more than a short time. Copyright protection in the United States exists automatically U.S. Copyright Office. It covers from the moment the original work of authorship is fixed.1 • Works eligible for protection • Rights of copyright owners What Works Are Protected? • Who can claim copyright • Duration of copyright Examples of copyrightable works include • Literary works • Musical works, including any accompanying words • Dramatic works, including any accompanying music • Pantomimes and choreographic works • Pictorial, graphic, and sculptural works • Motion pictures and other audiovisual works • Sound recordings, which are works that result from the fixation of a series of musical, spoken, or other sounds • Architectural works These categories should be viewed broadly for the purpose of registering your work. For example, computer programs and certain “compilations” can be registered as “literary works”; maps and technical drawings can be registered as “pictorial, graphic, and sculptural works.” w copyright.gov note: Before 1978, federal copyright was generally secured by publishing a work with an appro- priate copyright notice. -
An Introduction to Software Licensing
An Introduction to Software Licensing James Willenbring Software Engineering and Research Department Center for Computing Research Sandia National Laboratories David Bernholdt Oak Ridge National Laboratory Please open the Q&A Google Doc so that I can ask you Michael Heroux some questions! Sandia National Laboratories http://bit.ly/IDEAS-licensing ATPESC 2019 Q Center, St. Charles, IL (USA) (And you’re welcome to ask See slide 2 for 8 August 2019 license details me questions too) exascaleproject.org Disclaimers, license, citation, and acknowledgements Disclaimers • This is not legal advice (TINLA). Consult with true experts before making any consequential decisions • Copyright laws differ by country. Some info may be US-centric License and Citation • This work is licensed under a Creative Commons Attribution 4.0 International License (CC BY 4.0). • Requested citation: James Willenbring, David Bernholdt and Michael Heroux, An Introduction to Software Licensing, tutorial, in Argonne Training Program on Extreme-Scale Computing (ATPESC) 2019. • An earlier presentation is archived at https://ideas-productivity.org/events/hpc-best-practices-webinars/#webinar024 Acknowledgements • This work was supported by the U.S. Department of Energy Office of Science, Office of Advanced Scientific Computing Research (ASCR), and by the Exascale Computing Project (17-SC-20-SC), a collaborative effort of the U.S. Department of Energy Office of Science and the National Nuclear Security Administration. • This work was performed in part at the Oak Ridge National Laboratory, which is managed by UT-Battelle, LLC for the U.S. Department of Energy under Contract No. DE-AC05-00OR22725. • This work was performed in part at Sandia National Laboratories. -
Audiences, Gender and Community in Fan Vidding Katharina M
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2011 "Veni, Vidi, Vids!" audiences, gender and community in Fan Vidding Katharina M. Freund University of Wollongong, [email protected] Recommended Citation Freund, Katharina M., "Veni, Vidi, Vids!" audiences, gender and community in Fan Vidding, Doctor of Philosophy thesis, School of Social Sciences, Media and Communications, Faculty of Arts, University of Wollongong, 2011. http://ro.uow.edu.au/theses/3447 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] “Veni, Vidi, Vids!”: Audiences, Gender and Community in Fan Vidding A thesis submitted in fulfilment of the requirements for the award of the degree Doctor of Philosophy From University of Wollongong by Katharina Freund (BA Hons) School of Social Sciences, Media and Communications 2011 CERTIFICATION I, Katharina Freund, declare that this thesis, submitted in fulfilment of the requirements for the award of Doctor of Philosophy, in the Arts Faculty, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Katharina Freund 30 September, 2011 i ABSTRACT This thesis documents and analyses the contemporary community of (mostly) female fan video editors, known as vidders, through a triangulated, ethnographic study. It provides historical and contextual background for the development of the vidding community, and explores the role of agency among this specialised audience community. Utilising semiotic theory, it offers a theoretical language for understanding the structure and function of remix videos. -
Copyright Online Education
Roadmap Copyright online education April 2018 Education and Student Affairs 1 | Roadmap for Copyright April 2018 Table of content Table of content ....................................................................................2 Introduction .........................................................................................3 Open Education and Licenses ...................................................................4 What you further have to know about Creative Commons .............................6 What is… .............................................................................................7 Flow chart for the use of footage in ..........................................................9 Searching for images, audio or video via CC Search ................................... 10 More websites with new CC footage ........................................................ 11 Attributing works ................................................................................. 12 Copyright and Brightspace .................................................................... 14 Contact .............................................................................................. 16 2 | Roadmap for Copyright April 2018 1. Introduction Education is based on a foundation of sharing. In our education we share knowledge with our students and our fellow teachers. Sharing educational resources openly and offering open and online courses gives others a chance to benefit from the knowledge we teach. In return others can contribute back -
Linux and Free Software: What and Why?
Linux and Free Software: What and Why? (Qué son Linux y el Software libre y cómo beneficia su uso a las empresas para lograr productividad económica y ventajas técnicas?) JugoJugo CreativoCreativo Michael Kerrisk UniversidadUniversidad dede SantanderSantander UDESUDES © 2012 Bucaramanga,Bucaramanga, ColombiaColombia [email protected] 77 JuneJune 20122012 http://man7.org/ man7.org 1 Who am I? ● Programmer, educator, and writer ● UNIX since 1987; Linux since late 1990s ● Linux man-pages maintainer since 2004 ● Author of a book on Linux programming man7.org 2 Overview ● What is Linux? ● How are Linux and Free Software created? ● History ● Where is Linux used today? ● What is Free Software? ● Source code; Software licensing ● Importance and advantages of Free Software and Software Freedom ● Concluding remarks man7.org 3 ● What is Linux? ● How are Linux and Free Software created? ● History ● Where is Linux used today? ● What is Free Software? ● Source code; Software licensing ● Importance and advantages of Free Software and Software Freedom ● Concluding remarks man7.org 4 What is Linux? ● An operating system (sistema operativo) ● (Operating System = OS) ● Examples of other operating systems: ● Windows ● Mac OS X Penguins are the Linux mascot man7.org 5 But, what's an operating system? ● Two definitions: ● Kernel ● Kernel + package of common programs man7.org 6 OS Definition 1: Kernel ● Computer scientists' definition: ● Operating System = Kernel (núcleo) ● Kernel = fundamental program on which all other programs depend man7.org 7 Programs can live -
Digital Rights Management, Copyright, and Napster†
Digital Rights Management, Copyright, and Napster† Nic Garnett* Digital Rights Management technologies in the field of copyright protection should meet four objectives: • give consumers new freedom to enjoy music and other forms of content; • give copyright owners and other value chain participants the means to manage and protect their rights in published works; • implement elements of law, such as copyright exceptions, that ensure that rights are managed in accordance with the public interest; • provide users with the means to manage their legitimate personal rights and interests. We sketch how these goals can be achieved with current technology for peer-to-peer Digital Rights Management (DRM). This technology can ensure the neutrality, security, commercial reliability, and trusted interoperability of applications and services used to protect and manage rights in all forms of information, including creative works protected by copyright. The rapidly evolving area of digital commerce in information requires a framework of commercial trust comparable in scope, and at least as reliable, as the systems of trust that underpin commerce in the physical world. 1. INTRODUCTION Great creators are normally great communicators, their individual voices collectively embodying and expressing the values and passions of their culture. Using digital technology expedites the accurate communication of creators’ works. When employed in the proper context, digital technology can also support the universe of rights associated with most creative works – the rights of creators, value chain members, users, and societal organizations. Although digital technology can greatly enhance the communication of creators’ works, it can also create severe problems. Improperly used digital technology can deny content creators and their successors a commercial return on their labor and the ability to manage and exploit their own property. -
Defense Against the Dark Arts of Copyright Trolling Matthew As G
Loyola University Chicago, School of Law LAW eCommons Faculty Publications & Other Works 2018 Defense Against the Dark Arts of Copyright Trolling Matthew aS g Jake Haskell Follow this and additional works at: https://lawecommons.luc.edu/facpubs Part of the Civil Procedure Commons, and the Intellectual Property Law Commons Defense Against the Dark Arts of Copyright Trolling Matthew Sag &Jake Haskell * ABSTRACT: In this Article, we offer both a legal and a pragmaticframework for defending against copyright trolls. Lawsuits alleging online copyright infringement by John Doe defendants have accounted for roughly half of all copyright casesfiled in the United States over the past threeyears. In the typical case, the plaintiffs claims of infringement rely on a poorly substantiatedform pleading and are targeted indiscriminately at noninfringers as well as infringers. This practice is a subset of the broaderproblem of opportunistic litigation, but it persists due to certain unique features of copyright law and the technical complexity of Internet technology. The plaintiffs bringing these cases target hundreds or thousands of defendants nationwide and seek quick settlements pricedjust low enough that it is less expensive for the defendant to pay rather than to defend the claim, regardless of the claim's merits. We report new empirical data on the continued growth of this form of copyright trolling in the United States. We also undertake a detailed analysis of the legal andfactual underpinnings of these cases. Despite theirunderlying weakness, plaintiffs have exploited information asymmetries, the high cost of federal court litigation, and the extravagant threat of statutory damages for copyright infringement to leverage settlementsfrom the guilty and the innocent alike. -
Annex I Definitions
Annex I Definitions Free and Open Source Software (FOSS): Software whose source code is published and made available to the public, enabling anyone to copy, modify and redistribute the source code without paying royalties or fees. Open source code evolves through community cooperation. These communities are composed of individual programmers and users as well as very large companies. Some examples of open source initiatives are GNU/Linux, Eclipse, Apache, Mozilla, and various projects hosted on SourceForge1 and Savannah2 Web sites. Proprietary software -- Software that is distributed under commercial licence agreements, usually for a fee. The main difference between the proprietary software licence and the open source licence is that the recipient does not normally receive the right to copy, modify, redistribute the software without fees or royalty obligations. Something proprietary is something exclusively owned by someone, often with connotations that it is exclusive and cannot be used by other parties without negotiations. It may specifically mean that the item is covered by one or more patents, as in proprietary technology. Proprietary software means that some individual or company holds the exclusive copyrights on a piece of software, at the same time denying others access to the software’s source code and the right to copy, modify and study the software. Open standards -- Software interfaces, protocols, or electronic formats that are openly documented and have been accepted in the industry through either formal or de facto processes, which are freely available for adoption by the industry. The open source community has been a leader in promoting and adopting open standards. Some of the success of open source software is due to the availability of worldwide standards for exchanging information, standards that have been implemented in browsers, email systems, file sharing applications and many other tools. -
Contents Work
It worked, and it continues to Contents work. Last year, member dues ac- Fifteen years of FSF associate counted for over half of our total members...................1 revenue, and nearly ten times as Finding a free software silver lining much as we received from corpora- tions. But membership from the to the Facebook Cambridge start has been much more than a Analytica scandal ............3 way to donate. Members form a Tech updates, episode 2018: proud community united around A GNUHope................4 the idea that people, in order to be The threat of government-run Digital free, must be in control of the soft- ware they rely on to live their lives. Restrictions Management . 6 Today, we have members in Uber takes software users for a ride over eighty countries. I feel very ..........................8 close to this community—especially On the road with RMS.........9 to the 136 members who have been GNU needs you: How to contribute with us all fifteen years. I've gotten to a GNU project............10 to know their names through stuff- ing thousands of envelopes, ex- Fifteen years of FSF changing many emails, and shaking associate members hands—first at the annual member meetings we held, at the Libre- ast fall marked fifteen years of Lthe FSF's associate membership program. Shortly after, I celebrated my own fifteenth anniversary with the FSF. I've never known an FSF without associate members. The membership program was launched in late 2002 to stabilize the FSF fin- ancially, as some previous sources of support—like sales of software and In March, the FSF celebrated our tenth manuals on physical media—were annual LibrePlanet conference, with over falling out of fashion. -
Digital Rights Management
ROBERTO CASO DIGITAL RIGHTS MANAGEMENT Il commercio delle informazioni digitali tra contratto e diritto d'autore Ristampa digitale Trento - 2006 La prima edizione di questo libro - © Copyright 2004 by CEDAM, Padova (stampata in Italia: Grafiche TPM – Padova) ISBN 88-13-25253-6 - è stata realizzata nell’ambito di un progetto di ricerca sul tema “Agenti software e commercio elettronico: profili giuridici, tecnologici e psico-sociali” (MIUR- cofin 2001), ed è stata inserita come XLVIII titolo nella Collana CEDAM del Dipartimento di Scienze Giuridiche dell’Università di Trento. Questa ristampa digitale del libro “Roberto Caso, Digital Rights Management. Il commercio delle informazioni digitali tra contratto e diritto d'autore”- © Copyright 2006 by Roberto Caso - è pubblicata con licenza Creative Commons Attribuzione-NonCommerciale-NoOpereDerivate 2.0 Italy. Tale licenza consente l'uso non commerciale dell’opera, a condizione che ne sia sempre data attribuzione all’autore. Per maggiori informazioni circa la licenza, visita il sito http://creativecommons.org/licenses/by-nc-nd/2.0/it/ A mio padre che amava la vita anche attraverso la lettura INDICE Pag. INTRODUZIONE..................................................................... 1 CAPITOLO PRIMO UNO SGUARDO RAVVICINATO AL DRM ............................... 5 1.1 Qualche chiarimento terminologico .............................. 5 1.2 Business models e tecnologie di riferimento.................. 12 1.3 Campi di applicazione ................................................... 26 1.4 Standard........................................................................ -
Free Video Tools
Free Video Tools How do you choose the right video editing software especially when you are a newbie and want a free video editing software before you dig deeper? Interface: For a newbie, a user-friendly interface can help you save a lot of time from learning and getting familiar with the program. Some users like to use modern and intuitive free video editor, while others just like to use old style editors. Formats: Make sure the software you choose enables you to export common used formats like MP4, MOV, AVI, MKV, etc, so that you can easily share your work on YouTube or other social media platform. Friendly reminder: generally speaking, MP4 is the most used format, so it is wiser to find a free video editor that supports MP4 at least. Below are some of the most popular free tools. Screen Recording Tools Ezvid is a 100% free video creation tool that allows you to capture everything that appears on your computer screen. It also allows you to edit your recorded videos by splitting your recordings, inserting text and audio, controlling the speed and even drawing directly on your screen. There’s also a Gaming Mode specially designed for gamers to avoid black screen problems when recording games such as Diablo III and Call of Duty which are full screen games. You can save your edited videos for later use or you may directly upload them on YouTube. https://www.ezvid.com/ TO LEARN MORE, VISIT US AT NVCC.EDU Blueberry Flashback Express recorder This recorder enables you to capture your screen while recording yourself through a webcam.