Creative Barcode and Creative Commons: complementary bedfellows Just six months after its launch, and five months after the IPKat posted this little piece, Creative Barcode has attracted a good deal of attention, not least on account of a question which many folk have asked the IPKat and others: “How does Creative Barcode differ from Creative Commons?” Maxine Horn, CEO of Creative Barcode, has kindly accepted the Kat's invitation to explain: "The shortest answer is that Creative Barcode and Creative Commons they are complementary. However, they do have a few pertinent points of difference. Let’s start with what both organisations have in common. They are both not for profit organizations. The major point of difference between Creative Commons and Creative Barcode is one system is far more suited to works in the public domain and the other is predominantly suited to concepts not in the public domain. Creative Commons is best used on open source work and source credits for works in the public domain. The key points of difference are:
pangaia Census – The Ada Initiative We ran the first Ada Initiative Census of open technology and culture in March 2011. We aimed to find out where the women are, and how they perceive their community. We're ready to share the results of this, our first project under the Ada Initiative banner. In this post, we'll set the scene with a simple set of response breakdowns. Number of participants The total number of respondents was not quite 3000 people: 2844. The total number of people who completed the census was 1799 (63.3%), but SurveyMonkey's "completed" statistic means that they answered every question, including optional ones. Number of participants by gender Respondents were required to state their gender identity in one of three categories: "Female", "Male", "Other". Number of participants by field We asked people what fields within open technology and culture they were involved in. Census: number of participants by field (top 11 fields) Number of participants by primary field
Supporting tools for decentralized metadata - Creative Commons The use of decentralized metadata to drive discovery allows creators and curators to publish information about works without relying on a central authority, and allows developers to utilize that data with seeking permission from a gate keeper. However, self publishing requires a certain degree of technical expertise from creators and curators. Two tools can help ease this burden and aid deployment of the necessary metadata. A Validator would help publishers and curators understand how their resources are ingested and processed by DiscoverEd (and other tools). A Curation Tool would allow users to identify resources — individually, as an ad hoc group, or as part of an institutional team — and label them with quality, review, or other metadata. The Validator tool would allow users to enter a URL to be checked, and return details of what information DiscoverEd or other software could extract. The Validation tool would also be integrated with DiscoverEd.
Free Music Archive Sharism 分享主义 - default Get It Louder Sharism exhibition in Shanghai. Sharism is a term for the motivation and philosophy behind the collaborative building of value that results from sharing content and ideas. Inspired by user-generated content, Sharism states that the act of sharing something within a community produces a proper value for each of its participants: "the more you share, the more you receive".[1] As knowledge is produced through crowdsourcing, this new kind of shared ownership leads to the production of goods and services where value is distributed through the contributions of everyone involved. History of the term[edit] Sharism has been particularly focused in China in order to promote the Open Web and combat internet censorship.[3] Notable proponents of Sharism as both a term and practice have included Larry Lessig and Ou Ning. In 2012, Sharism Lab has been created with the purpose of providing experimental and theoretical background for a real-world implementation of Sharism.[9] Criticism[edit]
Aiki framework Libre Accès : " Ni SACEM, Ni Jamendo ! " À l'heure où certaines menaces planent sur la neutralité d'internet, des modèles économiques de rémunération de la création commencent à s'affronter. Récemment, l'entreprise luxembourgeoise Jamendo a lancé un pavé dans la mare en annonçant son projet de sonoriser des lieux commerciaux avec de la musique provenant de sa plateforme. Ce projet entre directement en conflit avec la SACEM, qui jusqu'ici, en France était la seule interlocutrice de ces lieux. Nous assistons à une nouvelle forme de libéralisation de la culture, où une plateforme de musique en vient à commercialiser des œuvres en libre diffusion, en se posant comme concurrente d'une société de gestion de droits d'auteurs. Cette attaque d'une société commerciale démontre certainement le grand désarroi d'auteurs qui ne font plus confiance à une société de gestion censée les représenter. Il est dommageable que la politique de certaines Sociétés de Gestion en Europe ne semble pas plus morale que le business d'une startup internet.
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