N E W S L E T T

Total Page:16

File Type:pdf, Size:1020Kb

N E W S L E T T Share, Reuse, Remix — Legally NEWSLETTER http://creativecommons.org Issue No. 12 April 2009 Alex Roberts. “Melissa Reeder.” CC-BY 3.0 Dear Creative Commoner, In this newsletter, you will find the latest news updates on Creative Commons internationally and in science, education, and arts & culture. As you will see, there is a lot going on for CC - and all thanks to you, our community of advocates, users, creators, volunteers, and supporters. The stories below are your stories, the stories of everyone working around the world to build a more participatory culture. We couldn’t possibly include as many highlights and success stories as we’d like to, so if you’d like to stay up to date with more CC news, I encourage you to subscribe to our weblog: http://creativecommons.org/weblog CC Newsletter - Issue No. 12 Each newsletter we produce is also available in beautifully-designed PDF format, thanks to our CC Philippines team. Be sure to check out this and past months’ newsletters: http://wiki.creativecommons.org/CCNewsletter 2 Best, Melissa Reeder Development Manager Creative Commons This newsletter is licensed under http://creativecom- mons.org/licenses/by/3.0/ — please share and remix! Breaking News Esther Wojcicki, new CC board chair Launch of CC Zero — no rights We’re very pleased to announce that reserved effective April 1, noted educator, http://creativecommons.org/about/cc0 education innovator and journalist Esther Wojcicki is the new chair of the Creative We are pleased to formally introduce Commons board of directors. From the CC0 (read “CC Zero”), a universal waiver press release: that may be used by anyone wishing to permanently surrender the copyright and “I am thrilled to take on this new role,” database rights they may have in a work, said Wojcicki. “I strongly believe that the thereby placing it as nearly as possible into Creative Commons approach to sharing, the public domain; essentially, it is a “no reuse, and innovation has the power to rights reserved” option. CC0 is universal totally reshape the worlds of education, in form and may be used throughout the science, technology, and culture at large. world for any kind of content, without 3 My main goal as chair is to make average adaptation to account for laws in different Internet users worldwide aware of Creative jurisdictions. Like all other CC licenses, Commons and to continue building the CC0 has the benefit of being expressed organization’s governance and financial in three ways – legal code, a human resources. I am also very eager to help readable deed, and machine-readable CC Newsletter - Issue No. 12 CC’s education push at high school and code that allows works distributed under college journalism programs worldwide.” CC0 to be easily found. Outgoing chair James Boyle, a founder of 20x200 Benefit Edition: Buy Art, the modern movement for the intellectual Support CC commons and CC itself, will remain http://www.20x200.com/mailinglist deeply engaged in the movement. There remains no better in depth explanation On Tuesday, April 7th, 20×200, a project of the intellectual commons than Boyle’s started by Jen Bekman that produces book, The Public Domain. affordable, exhibition quality art prints and sells them exclusively online, will release Thank you and congratulations to both a special benefit edition by designer Matt Wojcicki and Boyle! Jones with proceeds to benefit Creative Commons. This is an incredible way to support CC, so be sure to sign up for the CC recognized with Free Software twice-weekly 20×200 newsletter to to be Award for Projects of Social Benefit among the first to collect Matt’s print for At the Free Software Foundation’s annual as little as $20. Popular editions often sell conference, Libre Planet, FSF founder and out via the mailing list before they’re even president Richard Stallman presented CC available on the 20×200 homepage, with an annual award given to a project so add yourself to the list for your best that applies the ideas of the free software shot at getting one of Matt’s prints and movement in ways that intentionally and supporting CC in this unique way. significantly benefits society in other aspects of life. This is a great honor for CC, as free software blazed the path forward for us. CC News - International Creative Commons works New excitement, new energy, and users of CC, such as Interactiva Web and internationally to “port” new face for CC Korea Maestros del Web - two firm supporters the core Creative Commons As of January 23, Creative Commons for the creation of a Guatemalan shared Licenses to different Korea restarted as an independent culture. copyright legislations legal association under the title of <http://gt.creativecommons.org/> around the world, involving both linguistically Creative Commons Korea Association translating the licenses and and welcomed 17 new volunteers with CC and free culture continue to gain legally adapting them to an orientation session to gain a better momentum in the Arab world particular jurisdictions. This understanding of CC values and ongoing As CC Jordan continues to publicly discuss work is lead by International domestic projects. As an organization run the first Version 3.0 draft of CC licenses Director Catharina Maracke entirely by a community of volunteers, in Arabic, and with the release of Al and volunteer teams in their new energy is expected to bring a Jazeera’s Gaza footage under CC BY, the each jurisdiction who are a renewed vitality to CC Korea’s future Arab World is poised for greater adoption committed to introducing projects. of open ideals. In Saudi Arabia, King CC to their country. <http://www.creativecommons.or.kr/> Abdullah created the Initiative for Arabic Digital Content, which earlier this year CC Newsletter - Issue No. 12 RiP: A remix manifesto held a two-day workshop on “Open Arabic CC Canada is thrilled to announce Content” in Riyadh, with CC legal expert the premiere of RiP: A remix manifesto, Rami Olwan from Jordan in attendance to written and directed by Canadian Web discuss the licensing system. Ziad Maraqa, 4 activist and filmmaker Brett Gaylor and co-Project Lead from CC Jordan, spoke produced by the National Film Board of in early February in Damascus at the Canada. RiP explores issues of copyright iCommunity FOSS Workshop, a notable in the information age, mashing up the gathering for the Syrian Free Software media landscape of the 20th century community. The Creative Commons and shattering the wall between users Al Jazeera Forum held on March 14 in and producers. A participatory media Doha, Qatar was also a great success at experiment from day one, Brett shares his spreading awareness and dialogue about raw footage at opensourcecinema.org for CC. The forum was broadcast live on the anyone to remix. Al Jazeera version of C-SPAN, and CEO <http://www.creativecommons. Joi Ito moderated a panel about Creative ca/blog/2009/03/09/rip-a-remix- Commons. With initiatives like these, manifesto-toronto/> and given the upcoming launch of the Jordan CC licenses, other jurisdictions Guatemala’s first BarCamp a are ready to follow suit. There is still much success translation and outreach to be done, so Guatemala held its first-ever BarCamp if you would like to get involved, send on March 14. It was a huge success, an email to <info@creativecommongs. bringing together many of the most org> addressed to Donatella Della Ratta, active members of the iCommunity in our Arab World Media and Development Guatemala, in addition to members Manager. of the ccGuatemala team, who helped organize the event. Widespread support CC Case Studies Book: Remix, Reuse for Creative Commons in the country and Recycle is growing, and many of the event’s Many of you will already have seen sponsors and speakers are advocates and Building an Australasian Commons: Creative Commons Case Studies Volume Athens and organized by the National I, the stunning publication launched Documentation Centre (NDC) of Greece late last year by Creative Commons and the National Hellenic Research Australia (CCau). The book, edited by Foundation (NHRF). CC Board Member Rachel Cobcroft, highlights 60 exemplary Michael Carroll’s is in English; Dionysia CC-licensed users in Australasia and Kallinikou’s, Marinos Papadopoulos’ & worldwide, discussing their motivations Theodoros Karounos’ are available in and licensing business models - all under Greek: an an Attribution (CC BY) license. • http://www.openaccess.gr/ conference2008/speakers/index.dot The exciting news is that Building • http://www.marinos.com.gr/bbpdf/ an Australasian Commons is now pdfs/EIE_15.Dec.08_Dionysia.pdf available from the CCau website • http://www.marinos.com.gr/bbpdf/ (http://creativecommons.org.au/ pdfs/EIE_15.Dec.08_Marinos.pdf casestudiesvol1) in digestible booklets, each focusing on a specific field: visual The latest from Creative Commons arts, audio, text, moving images, Puerto Rico government, education, and research. CC Puerto Rico (CC PR), under the This makes it simple for people to print off supervision of Co-Project Lead Chloé and distribute those parts of the publication S. Georas, recently developed a CC PR that interest them, or that are relevant to section for the Pro Bono Program of the their meeting, conference, workshop, etc. University of Puerto Rico Law School, CCau has also made the source files of the wherein students prepared educational 5 entire publication available for download materials (e.g. CD tutorials, brochures, -- prime for remixing. So why not make PowerPoint) and gave presentations at your own booklets, fact sheets or hand “Gráfica del Caribe” on March 13-14, outs tailored to your region, industry or 2009, the most important graphic arts event? If you do, let CCau know at info@ commercial fair in the Caribbean, CC Newsletter - Issue No.
Recommended publications
  • Librologie 8 : Les Petits Cœurs De Tatie Nina
    Librologie 8 : Les petits cœurs de tatie Nina Bonjour à vous, courageux public du Framablog ! Avec l’épisode d’aujourd’hui et le prochain, qui concluera cette première partie de saison Librologique, je vous propose d’ébaucher le portrait de deux personnalités importantes du monde Libre, parfois complémentaires, parfois opposées. Contrairement à Linus Torvalds ou Richard Stallman avec qui nous avions ouvert ces chroniques, il ne s’agit pas là de programmeurs ni de techniciens, mais d’auteurs : de ces auteurs qui réfléchissent sur leur propre droit — puisque le droit d’auteur, c’est bien conçu pour… les auteurs, non ? (Comment ça, « rien compris » ?) V. Villenave. Librologie 8 : Les petits cœurs de tatie Nina « En 1988, à l’âge tendre de 20 ans, je quittai ma ville natale de Urbana, Illinois, pour Santa Cruz en Californie, afin d’y poursuivre le rêve naïf de devenir hippie, new-age et ésotérique. Au lieu de quoi je suis devenue illustratrice et cynique. » C’est ainsi que Nina Paley raconte son histoire, de la banlieue de Chicago (Urbana, dont son père a été un maire courageux) à la Californie — le choix de Santa Cruz n’est pas innocent : indissociable des bouleversements sociaux des années 1960-1970, cette ville correspond bien à l’arrière-plan idéologique de la « Nouvelle Gauche » de cette époque, effectivement liée au mouvement hippie, mais également à l’avènement d’une conception nouvelle des sciences humaines (sociologie, psychiatrie alternative,…). Avec toutefois une tournure moins optimiste dans le cas de Paley : par exemple, elle revendique son choix de ne pas faire d’enfants comme un choix militant ; membre revendiquée duMouvement pour l’Extinction Volontaire de l’Espèce Humaine, sa principale préoccupation politique (tout au moins dans la période 1995-2005) semble être la surpopulation humaine.
    [Show full text]
  • Librologie 8 : Les Petits Cœurs De Tatie Nina
    Librologie 8 : Les petits cœurs de tatie Nina Bonjour à vous, courageux public du Framablog ! Avec l’épisode d’aujourd’hui et le prochain, qui concluera cette première partie de saison Librologique, je vous propose d’ébaucher le portrait de deux personnalités importantes du monde Libre, parfois complémentaires, parfois opposées. Contrairement à Linus Torvalds ou Richard Stallman avec qui nous avions ouvert ces chroniques, il ne s’agit pas là de programmeurs ni de techniciens, mais d’auteurs : de ces auteurs qui réfléchissent sur leur propre droit — puisque le droit d’auteur, c’est bien conçu pour… les auteurs, non ? (Comment ça, « rien compris » ?) V. Villenave. Librologie 8 : Les petits cœurs de tatie Nina « En 1988, à l’âge tendre de 20 ans, je quittai ma ville natale de Urbana, Illinois, pour Santa Cruz en Californie, afin d’y poursuivre le rêve naïf de devenir hippie, new-age et ésotérique. Au lieu de quoi je suis devenue illustratrice et cynique. » C’est ainsi que Nina Paley raconte son histoire, de la banlieue de Chicago (Urbana, dont son père a été un maire courageux) à la Californie — le choix de Santa Cruz n’est pas innocent : indissociable des bouleversements sociaux des années 1960-1970, cette ville correspond bien à l’arrière-plan idéologique de la « Nouvelle Gauche » de cette époque, effectivement liée au mouvement hippie, mais également à l’avènement d’une conception nouvelle des sciences humaines (sociologie, psychiatrie alternative,…). Avec toutefois une tournure moins optimiste dans le cas de Paley : par exemple, elle revendique son choix de ne pas faire d’enfants comme un choix militant ; membre revendiquée duMouvement pour l’Extinction Volontaire de l’Espèce Humaine, sa principale préoccupation politique (tout au moins dans la période 1995-2005) semble être la surpopulation humaine.
    [Show full text]
  • Copyright and Inequality
    Washington University Law Review Volume 92 Issue 1 2014 Copyright and Inequality Lea Shaver Indiana University Robert H. McKinney School of Law Follow this and additional works at: https://openscholarship.wustl.edu/law_lawreview Part of the Intellectual Property Law Commons, and the Law and Society Commons Recommended Citation Lea Shaver, Copyright and Inequality, 92 WASH. U. L. REV. 117 (2014). Available at: https://openscholarship.wustl.edu/law_lawreview/vol92/iss1/7 This Article is brought to you for free and open access by the Law School at Washington University Open Scholarship. It has been accepted for inclusion in Washington University Law Review by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. COPYRIGHT AND INEQUALITY LEA SHAVER ABSTRACT The standard theory of copyright law imagines a marketplace efficiently serving up new works to an undifferentiated world of consumers. Yet the reality is that all consumers are not equal. Class and culture combine to explain who wins, and who loses, from copyright protection. Along the dimension of class, the inequality insight reminds us just because new works are created does not mean that most people can afford them, and calls for new attention to problems of affordability. Copyright protection inflates the price of books, with implications for distributive justice, democratic culture, and economic efficiency. Along the dimension of culture, the inequality insight points out that it is not enough for copyright theory to speak generally of new works; it matters crucially what languages those works are being created in. Copyright protection is likely to be an ineffective incentive system for the production of works in “neglected languages” spoken predominantly by poor people.
    [Show full text]
  • ELIZABETH TOWNSEND GARD Tulane
    Annotated Curriculum Vitae (updated as of February 2019) ELIZABETH TOWNSEND GARD Tulane University Law School Office 355B Weinmann Hall (504) 862 8822 (office) 6329 Freret Street (504) 339 3857 (cell) New Orleans, LA 70118 skype: elizabethtownsendgard [email protected] CURRENTLY (Now) Professor of Law, Tulane University Law School, 2007- Founder and Co-Director, Tulane Law Center for IP, Media and Culture, 2009- Director and Host Just Wanna Quilt Research Podcast, www.justwannaquilt.com Director and Co-Inventor, Durationator® Experiment, 2007- Director, Copyright Research Lab, 2007- Non-Resident Fellow, Center for Internet and Society, Stanford Law School, 2004- Newcomb Fellow, Tulane University, 2012- EDUCATION LL.M. University of Arizona James E. Rogers College of Law, May 2005 Trade Law, NAFTA, Copyright and International Intellectual Property; Chair: David Gantz, with Graeme Austin J.D. University of Arizona James E. Rogers College of Law, May 2002 International and Comparative Journal of Law, University of Arizona Clerking NAFTA Dispute Panels (Chapter 20 and Chapter 11 cases) Ph.D. Modern European History, University of California, Los Angeles, June 1998 Dissertation: "Reconstructing Vera Brittain's War Generation: A Comparative Biography" Committee: Robert Wohl (chair), Joyce Appleby, Anne Mellor (English), and Orals Committee included Robert Dallek and Albion Urdank. M.A. Modern European History University of California, Los Angeles, June 1994 B.A. History (Honors Thesis) University of California, Los Angeles, 1991 TEACHING POSITIONS
    [Show full text]
  • Download Your Free Digital Copy of the June 2018 Special Print Edition of Animationworld Magazine Today
    ANIMATIONWorld GOOGLE SPOTLIGHT STORIES | SPECIAL SECTION: ANNECY 2018 MAGAZINE © JUNE 2018 © PIXAR’S INCREDIBLES 2 BRAD BIRD MAKES A HEROIC RETURN SONY’S NINA PALEY’S HOTEL TRANSYLVANIA 3 BILBY & BIRD KARMA SEDER-MASOCHISM GENNDY TARTAKOVSKY TAKES DREAMWORKS ANIMATION A BIBLICAL EPIC YOU CAN JUNE 2018 THE HELM SHORTS MAKE THEIR DEBUT DANCE TO ANiMATION WORLD © MAGAZINE JUNE 2018 • SPECIAL ANNECY EDITION 5 Publisher’s Letter 65 Warner Bros. SPECIAL SECTION: Animation Ramps Up 6 First-Time Director for the Streaming Age Domee Shi Takes a Bao in New Pixar Short ANNECY 2018 68 CG Global Entertainment Offers a 8 Brad Bird Makes 28 Interview with Annecy Artistic Director Total Animation Solution a Heroic Return Marcel Jean to Animation with 70 Let’s Get Digital: A Incredibles 2 29 Pascal Blanchet Evokes Global Entertainment Another Time in 2018 Media Ecosystem Is on Annecy Festival Poster the Rise 30 Interview with Mifa 71 Golden Eggplant Head Mickaël Marin Media Brings Creators and Investors Together 31 Women in Animation to Produce Quality to Receive Fourth Mifa Animated Products Animation Industry 12 Genndy Tartakovsky Award 72 After 20 Years of Takes the Helm of Excellence, Original Force Hotel Transylvania 3: 33 Special Programs at Annecy Awakens Summer Vacation Celebrate Music in Animation 74 Dragon Monster Brings 36 Drinking Deep from the Spring of Creativity: Traditional Chinese Brazil in the Spotlight at Annecy Culture to Schoolchildren 40 Political, Social and Family Issues Stand Out in a Strong Line-Up of Feature Films 44 Annecy
    [Show full text]
  • Abandoning Copyright
    Case Western Reserve University School of Law Scholarly Commons Faculty Publications 2020 Abandoning Copyright Dave Fagundes Aaron K. Perzanowski Case Western University School of Law, [email protected] Follow this and additional works at: https://scholarlycommons.law.case.edu/faculty_publications Part of the Intellectual Property Law Commons Repository Citation Fagundes, Dave and Perzanowski, Aaron K., "Abandoning Copyright" (2020). Faculty Publications. 2060. https://scholarlycommons.law.case.edu/faculty_publications/2060 This Article is brought to you for free and open access by Case Western Reserve University School of Law Scholarly Commons. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Case Western Reserve University School of Law Scholarly Commons. ABANDONING COPYRIGHT Dave Fagundes* & Aaron Perzanowski** For nearly two hundred years, U.S. copyright law has assumed that owners may voluntarily abandon their rights in a work. But scholars have largely ignored copyright abandonment, and the case law is fragmented and inconsistent. As a result, abandonment remains poorly theorized, owners can avail themselves of no reliable mechanism to abandon their works, and the practice remains rare. This Article seeks to bring copyright abandonment out of the shadows, showing that it is a doctrine rich in conceptual, normative, and practical significance. Unlike abandonment of real and chattel property, which imposes significant public costs in exchange for discrete private benefits, copyright abandonment is potentially costly for rights holders but broadly beneficial for society. Nonetheless, rights holders—ranging from lauded filmmakers and photographers to leading museums and everyday creators—make the counterintuitive choice to abandon valuable works. This Article analyzes two previously untapped resources to better understand copyright abandonment.
    [Show full text]
  • Free Culture in Zines
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2014 Backward C inside a Circle: Free Culture in Zines Alycia Sellie Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/151 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] BACKWARD C INSIDE A CIRCLE: FREE CULTURE IN ZINES by ALYCIA SELLIE A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2014 2014 This work is shared under a Creative Commons Attribution-ShareAlike 4.0 International License. ALYCIA SELLIE ii This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts. Joseph Entin Date Thesis Advisor Matthew K. Gold Date Executive Officer THE CITY UNIVERSITY OF NEW YORK iii Abstract BACKWARD C INSIDE A CIRCLE: FREE CULTURE IN ZINES by Alycia Sellie Adviser: Professor Joseph Entin Although zines made today utilize many forms of antiquated technologies such as the typewriter and the photocopier in their construction, they are a part of contemporary tinkering with intellectual property. This thesis examines free culture as it has been expressed in self-published zines made in the last thirty-five years.
    [Show full text]
  • Sita Sings the Blues Von Nina Paley
    Visuelles Feuerwerk : Sita Sings the Blues von Nina Paley Autor(en): Iten, Oswald Objekttyp: Article Zeitschrift: Filmbulletin : Zeitschrift für Film und Kino Band (Jahr): 51 (2009) Heft 299 PDF erstellt am: 04.10.2021 Persistenter Link: http://doi.org/10.5169/seals-864031 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch FILMBULLETIN A.OB ANIMATIONSFILM AFilm by NINA PALEY starring ANNETTE HANSHAW as sita www.SITASINGSTHEBLUES.com a film by NINA PALEY starring ANNETTE HANSHAWassitawww.sitasingstheblues.com ^it§ firjgf tfe Wn rïïM dargestellt - versuchen, die Liebesgeschichte von Nina für einige Tage beruflich in New York weilt, Rama und Sita nachzuerzählen - unvorbereitet und beendet Dave per E-Mail ihre Ehe.
    [Show full text]
  • Free Culture & Open Access
    Syllabus version 4.0 1 New York University Free Culture & Open Access Thurs 6:20-9:50 PM, room 102 Cantor, Spring 2014, 4 pts Instructor: Howard Besser ([email protected]) Office Hours: Th 4-6 PM, 665 Broadway, rm 612, and by appointment (latest syllabus version always at http://besser.tsoa.nyu.edu/howard/Classes/14free-culture-syllabus.pdf ) Course Description At the root of "Free Culture" and "Open Access" lies the idea that aesthetic and informational works, once shared with the public, become public resources that should be further shared, built upon, and incorporated into new creative works. This interdisciplinary class examines both ideas from a variety of perspectives: aesthetics, politics, law, and social movements. It pays particular attention to the relationship between these ideas and the rise of new forms of media that allow age-old concepts like "The Commons" to flourish. It also situates these ideas within longstanding practices of scholarship, librarianship, and artistic practice. The course places a focus on contemporary and very recent activities, and will also examine closely related ideas and movements such as "Information Wants to be Free", Illegal Art, Culture Jamming, Appropriation, Remix, Fair Use, Free Software/Open-Source, CopyLeft, and "Access to Knowledge". Prominent public figures will make presentations to the class. Guests (either in person or online) include: authors Siva Vaidhyanathan and David Bollier, Media Artists Craig Baldwin and Marshall Reese, Copyright attorney (and librarian and policy activist) Laura Quilter, and Renaissance man Rick Prelinger. Assignments/Grading: All assignments should be emailed to both howard[at]nyu.edu and m.debashree[at]gmail.com Document class sessions (20%) Each student will have primary responsibility for documenting one class session, and will also be responsible for adding salient comments to the documentation that other students do on at least two other class sessions.
    [Show full text]
  • 50.000 Ruller Sære Film
    SMALL BUSINESS COMMISSION CITYAND COUNTYOF SAN FRANCISCO M ARK DWIGHT, PRESIDENT EDWIN M. LEE, M AYOR REGINA D ICK-E NDRIZZI, D IRECTOR Legacy Business Registry Staff Report HEARING DATE OCTOBER 24, 2016 ODDBALL FILMS Application No.: LBR-2016-17-007 Business Name: Oddball Films Business Address: 275 Capp Street District: District 9 Applicant: Stephen Parr, Director Nomination Date: August 15, 2016 Nominated By: Supervisor David Campos Staff Contact: Richard Kurylo [email protected] BUSINESS DESCRIPTION Oddball Films is a stock footage licensing company in the Mission District on Capp Street between 16th Street and 17th Street that has served as an archival and teaching facility focusing on film collection and film preservation. Stephen Parr, the owner, has been a collector of rare and unusual historical films since 1984 and officially registered the business in 1994 after gaining a following of film industry clients seeking unique and rare footage to use. Oddball Films has worked with many renowned, innovative, and pioneer filmmakers and film professionals often seeking footage to use for films based on telling the stories and histories of underrepresented groups. The business has grown in its library and archive collection and has become a “service hub” for award- winning filmmakers in San Francisco. Oddball Films also offers a film and media intern training program that teaches students about archiving and film preservation and, for the past ten years, has offered public screenings, seminars, classes, and benefits. CRITERION 1: Has the applicant has operated in SF for 30 or more years, with no break in SF operations exceeding two years? No, the applicant has not operated in San Francisco for 30 or more years.
    [Show full text]
  • Speculative Invoicing and Opportunism in File Sharing
    WAKE FOREST JOURNAL OF BUSINESS AND INTELLECTUAL PROPERTY LAW VOLUME 12 FALL 2011 NUMBER 1 COMMENT: “CLOSING PANDORA’S BOX:” SPECULATIVE INVOICING AND OPPORTUNISM IN FILE SHARING Dirk Lasater † I. A BRIEF PRIMER ON FILE SHARING TECHNOLOGY ..... 29 II. COPYRIGHT ENFORCEMENT THROUGH PRIVATE LITIGATION ........................................................................ 32 A. ORIGINS OF CONTRIBUTORY INFRINGEMENT AND VICARIOUS LIABILITY: SUITS AGAINST DISTRIBUTORS ............................................................... 32 B. SUITS AGAINST INDIVIDUAL FILE SHARERS ................ 38 III. SPECULATIVE INVOICING AND PRE-LITIGATION SETTLEMENT ..................................................................... 40 A. THE PLAYERS ............................................................... 41 B. THE PROCESS AND STATUTORY FRAMEWORK ............ 45 C. THE EFFECT IN PRACTICE ............................................ 49 D. RESPONSES AND REACTIONS ....................................... 52 IV. PROPOSED REMEDIES .................................................. 59 A. DMCA AMENDMENT PROPOSAL #1: FAIR USE .......... 61 B. DMCA AMENDMENT #2: DETERRING MERITLESS LAWSUITS ...................................................................... 63 V. MISALIGNMENT WITH COPYRIGHT FUNDAMENTALS ................................................................ 65 VI. CONCLUSION ................................................................. 70 † B.A., Classics (cum laude), University of Florida (2008); J.D., Wake Forest University School of Law
    [Show full text]
  • A Study of the Application of Free and Open Source Software Licensing Ideas to Art and Cultural Production
    Sandbox Culture A Study of the Application of Free and Open Source Software Licensing Ideas to Art and Cultural Production Aymeric Mansoux Supervisor: Matthew Fuller Thesis presented for the degree of Doctor of Philosophy Centre for Cultural Studies, Goldsmiths, University of London, February 2017 I, Aymeric Mansoux, confirm that the work presented in this thesis ismy own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Date: February 19, 2017 Signed: Abstract In partial response to the inability of intellectual property laws to adapt to data-sharing over computer networks, several initiatives have proposed techno-legal alternatives to encourage the free circulation and transfor- mation of digital works. These alternatives have shaped part of contem- porary digital culture for more than three decades and are today often associated with the “free culture” movement. The different strands of this movement are essentially derived from a narrower concept of soft- ware freedom developed in the nineteen-eighties, and which is enforced within free and open source software communities. This principle was the first significant effort to articulate a reusable techno-legal template to work around the limitations of intellectual property laws. It also of- fered a vision of network culture where community participation and sharing was structural. From alternate tools and workflow systems, artist-run servers, net- work publishing experiments, open data and design lobbies, cooperative and collaborative frameworks, but also novel copyright licensing used by both non-profit organisations and for-profit corporations, the impact on cultural production of practices developed in relation to the ideas of iii free and open source software has been both influential and broadly ap- plied.
    [Show full text]