Creative Commons

Im Jahr des 10. Jubil?ums der f?r das deutsche Recht portierten CC-Lizenzen wird es endlich wirklich spannend rund um die Frage, was das Lizenzelement “NC ? Keine kommerzielle Nutzung” f?r ?ffentlich-rechtlich verfasste Nachnutzende bedeutet, in diesem Falle f?r den ?ffentlich-rechtlichen Rundfunk. Wie bei der k?rzlich ergangenen Pixelio-Entscheidung steht wieder das Landgericht K?ln mit einer Entscheidung im Mittelpunkt. Leonhard Dobusch hat einen sehr guten Beitrag zum neuen Fall bei netzpolitik.org geschrieben, dem eigentlich nur noch hinzuzuf?gen ist, dass wir von CC DE hoffen, dass der Rechtsstreit zumindest vor das OLG K?ln als zweite Instanz kommen wird. Der Volltext der langerichtlichen Entscheidung jedenfalls geht so wenig auf den eigentlichen Lizenztext und seine Auslegung ein, dass dies nicht ernsthaft das letzte Wort sein kann.

This guest blog post was written by Niki Korth. If you’re in the Bay Area, come see Marc read from his new book at City Lights Thursday night and come hear Niki speak at next week’s CC Salon.

In 1996, Marc Weidenbaum founded the website Disquiet.com, which focuses on the intersection of sound, art, and technology. He has written for Nature, the website of The Atlantic, Boing Boing, Down Beat, and numerous other publications. He initiated and moderates the Disquiet Junto group, where musicians respond on SoundCloud to weekly Oulipo-style restrictive compositional projects. He developed the sound design with Taylor Deupree for the 2013 documentary The Children Next Door. Since 2012, he has taught a course he developed on the role of sound in the media landscape at the Academy of Art in San Francisco. He cites Creative Commons as a major inspiration to his work and methodology, and recently paid homage to cherished CC advocate Bassel Khartabil through a Disquiet Junto prompt themed around one of his projects that remains unfinished due to his ongoing imprisonment in Syria. His new book, Selected Ambient Works Volume II, in Bloomsbury’s 33 ? series, takes as its subject the 1994 Aphex Twin album by that name, and much of it is concerned with the album’s “cultural afterlife,” how our understanding of the music has been informed by its adoption by filmmakers, musicians, choreographers, and others. In the following interview, Marc discusses his projects, influences, and his perspective on the role of CC in the music community.

Where does the name Junto come from? And how is it pronounced?

Around the year 1727, when he was barely into his 20s, Benjamin Franklin had the desire to create a small society. He was an enthusiastic society-creator throughout his life. It can be informative to think of the United States of America as just one of the many clubs that Franklin created or helped create, along with militias, schools, fire departments, and so forth. “Junto” was the name he gave to one of his earliest such groups. I believe he imagined it to be a masculine version of “junta.” As for how it’s pronounced, this is at best a guess, but I think it’s pronounced like the Spanish “junta” ― which in English we tend to think of primarily as a “military junta” ― except with an “o” at the end, as in the English-language word “flow.” Add in whatever constituted a Boston accent at the time. Franklin’s dad was born in England and his mom, I believe, was born in the colonies.

Franklin described his Junto as a club of “mutual improvement,” and it involved regular meetings of men ― exclusively men, such were the times ― from various walks of life who would meet to discuss politics, philosophy, and business. It was a knowledge-sharing union ― part book club, part meatspace chat room, and probably to some extent part fraternity.

I first came across the Junto when I was consumed by a biography of Franklin written by Walter Isaacson, having earlier read and enjoyed his biography of Albert Einstein. I was reading the Franklin book in the months that lead up to the creation of the Disquiet Junto, toward the end of 2011, and in many ways I don’t think that I would have ever started this group if I hadn’t been reading that book at that time. I was always a fan of Benjamin Franklin. I grew up on Long Island in New York, so Philadelphia and Boston and the whole revolutionary period were very close at hand, very prominent in regional memory. My hometown, Huntington, has numerous of these little plaques on the exterior walls of old buildings saying that so and so slept here or so and so died here back in the day. I turned 10 in the summer of 1976. I was an opportune age to have the Bicentennial play a huge role in my imagination.

When you say that the Disquiet Junto project wouldn’t have come into being if you hadn’t read that book, are you saying that the act of naming sort of brought the project into fruition?

Yeah, I think that registers. It’s more than naming, though ― it’s the whole broad idea of getting people together as a creative process unto itself, and the benefits of mutual activity, of sharing knowledge and experience. All of which said, when I started the Disquiet Junto, all I was doing was experimenting: putting out a call for participation. I had no idea if anyone would join in the project, let alone whether there would be a second project the next week or the next month. I just employed the word “Junto” when I proposed the first project. I was using SoundCloud as the infrastructure, and on SoundCloud the simplest way to do this is to create what it calls a “group.” To make a group, you need to give the group a name. So, in the name slot I put “Disquiet Junto.”

Anyhow, having a vague historical precedent in mind meant adopting a history, looking to precedents, like the Junto of Benjamin Franklin, and more recently to the artistic movements known as Fluxus and Oulipo. In making creative work, I think it is important to think about who your “parents” are ― that’s parents in the metaphoric sense ― and you sort of adopt them, creating your “inheritance” of traits, rather than the other way around ― you recognize them after the fact. This isn’t about laying claim to legacy; it’s about acknowledging influence, precedent, culture. And I think that’s one of the key aspects of the idea of the Creative Commons as a community, when you think about it in the long term. It’s the idea that open licenses develop an “ecosystem” that enables you to create a collaboration and a lineage not only forward, where others are free to later do the same toward you, but backward, retroactively. I’m hesitant to say the word “ecosystem” because when it’s used these days it can easily be replaced with “shopping mall” ― the Apple ecosystem, the Android ecosystem ― but it’s the best word for what I’m trying to get at.

If Junto and Oulipo and Fluxus are the adopted histories, what is the more immediate history that led up to Disquiet Junto?

Something important for me happened in 2006. I’d been running my Disquiet.com website for a decade at that point. And that year, Brian Eno and David Byrne were celebrating the 25th anniversary of their album My Life in the Bush of Ghosts, one of my favorite records, and they did a very simple thing that was informed by Creative Commons. They posted online the stems, the core constituent parts, of two songs off this record, and they said to the world: you can remix these, for free.

And at the time, I was not unfamiliar with this concept, but I was relatively unfamiliar with the idea of someone that prominent doing this so comfortably. I was a very big fan of remixes. Remixes form a huge part of the way that I understand music. I remember when I was attending college, in the mid-1980s, buying an extended version of a song that I liked, by an Australian band called INXS, and I remember being astonished by how listening to the remix could kind of make you completely rethink the way that you relate to the original, and that moment was really important, realizing that altering something does not detract from the original, but can enrich your understanding of it. Part of the reason that particular remix registered with me was because it sounded the way the music sounded in my memory ― the parts I liked, the parts my memory would often play on repeat when I wasn’t actually listening to the original version of the song.

So, anyhow, back in 2006 I checked out the Eno-Byrne website for their Bush of Ghosts remix project and listened to the music that was created using their stems, and although I was inspired by the idea of this thing, I just couldn’t stand listening to it. The resulting works were just really uninteresting to me, mostly bland house and routine techno tweaks of the source material. I was disappointed ― it was crazy that some of the best music that I’d ever heard was being turned into something so lackluster. So my first thought was ― my immediate thought was ― why isn’t so-and-so doing this, what would it sound like if person X did a remix based on this material. I wished that people whose music I admired would contribute to this Eno-Byrne thing. And so I sent out emails to some of these musicians to see if they would participate, and I don’t think anyone said no, if memory serves. This led to the compilation Our Lives in the Bush of Disquiet featuring Roddy Schrock, Stephane Leonard, John Kannenberg, Mark Rushton, and (DJ) Morsanek, among others ― a dozen acts in total. I initially posted the compilation at archive.org and, later, at the Free Music Archive. Between downloads and streams, it’s nearing on 80,000.

That project led to a series of such projects, each of which followed a similar approach. I would come up with an idea, send out the description, and collect pieces by the invited musicians. Despite the Downturn took issue with a peculiar article about filesharing by Megan McCardle. Anander Mol, Anander Veig was a holiday remix album commissioned by Tabletmag.com. Lowlands: A Sigh Collective was a response to criticism of artist Susan Philipsz winning the Turner prize in 2010. And then LX(RMX): Lisbon Remixed involved the sounds of the city reconstructed by eight musicians ― including Steve Roden and Stephen Vitiello ― as inspired by a photo exhibit by Jorge Colombo, best known as the artist who does “the iPhone covers” for the New Yorker, though he is much much more than that. And all these projects of mine were posted for free download, with a Creative Commons license.

My next project after those was significantly more open-ended. I got 25 musicians to make pieces of ambient music based on each other’s Instagram photos: essentially they were asked to imagine that the assigned image was the cover of their next single, and to then go and record that single. It’s titled Instagr/am/bient. That came out at the very end of 2011, five years after the Bush of Disquiet project, and between Free Music Archive, SoundCloud, and the Internet Archive, Instagr/am/bient is nearing 120,000 streams and downloads.

This project was as essential an experience for me as was the Eno-Byrne Bush of Ghosts remix opportunity. Several things made Instagr/am/bient different, key among them that it was more of an open call than my earlier, invite-only projects, and because the compositional prompt was also less deterministic. My experience of it was also different ― I came to be interested in how a group of 25 musicians doing something had a lot more energy, a lot more online communication, than a group of 8 to 12 musicians had in the past. Instagr/am/bient was a self-contained Creative Commons community ― they each made music based on each other’s photos. I wondered, then, what would happen if I opened the floodgates wider still ― and that thinking in turn led me to try out what became the Disquiet Junto approach.

Could you say more about this collaborative aspect of Instagr/am/bient and how it led to your conceptualization of the Disquiet Junto?

The important aspect of the Instagr/am/bient project was the fact that the musicians were supporting each other, and the relationship wasn’t just between the musicians and the audience, but amongst the musicians themselves. Each participant was creating the “prompt” ― the Instagram photo ― that served as the inspiration for another’s composition, as well as taking one of the prompts for their own composition. So the process created an “ecosystem” ― there’s that word again ― where the musicians themselves created the energy source ― forgive the somewhat hippie tone to that phrase ― for the project.

In turn, by sharing the “final” product with a Creative Commons license, those who are listening in on the conversation are allowed to actually join the conversation, and potentially expand it into a new conversation. So listening becomes a context for production. As one example, an Instagr/am/bient track by the OO-ray, aka Ted Laderas, who is based in Portland, Oregon, titled “Silhouettes,” based on a photo by Naoyuki Sasanami, who is based in Tokyo, Japan, has been used subsequently in dozens, I think, of videos by various people.

This experience of Instagr/am/bient was a big part of making me think: Wow, what if that unexpected result was the goal? What if I decreased the importance of the listener-as-consumer, what if the listener is secondary, and the interaction of the musician-participants is primary, but we as listeners can still enjoy the end result, and listen in to the “conversation,” to observe the interaction between the musicians. To be clear, this isn’t to put aside the role of the listener-consumer ― just to delay it a step, and to first extend the musician interaction.

How does this idea of diminishing the role of “the listener” inform live performance?

We’ve done four Disquiet Junto concerts so far. They’ve happened in New York, Chicago, Denver, and San Francisco. The thing I explain before each of them is: We’re all here in the audience to watch and listen to a concert. But what we’re really here to do is to watch the musicians interact with each other. At each concert, everyone performed original work based on the same compositional prompt. This sort of changes the concept of “listening” ― it’s like, don’t just watch the people playing and absorb it, but watch them interact, watch how they pass the proverbial baton to each other, watch how they in the audience themselves react to the performances. So it’s sort of like having the online version of the Disquiet Junto collaboration happen in person.

So, is it a live composition among the group of participants? Are they making new compositions, or playing preconceived works from the original prompts?

So far, these live Disquiet Junto concerts have all involved around five to seven solo performances per concert, though some of the participants bring in collaborators. Each concert has a prompt from the Junto as their subject. If memory serves then so far they’ve all used the same prompt, which is the first prompt from the Disquiet Junto project series: record the sound of ice in a glass, and make something of it.

We’ll be doing something similar alongside the launch events that are happening for a book I have just had published by Bloomsbury. This book is about Aphex Twin’s 1994 album Selected Ambient Works Volume II. My book is part of the 33 ? series. Its U.S. released date is mid-February 2014, and in England it’s April. For each of the bookstore readings I’m doing about the book, I’m trying to arrange for there to be musicians present who will be playing something that was inspired by the Aphex Twin album, and that’s filtered through a prompt from a previous Junto project. In this case it’s wind-chime based piece, informed by a track on the Aphex Twin album that is often referred to as “White Blur I.”

I should mention that the Creative Commons was a significant influence on my Selected Ambient Works Volume II book. Much of the book is concerned with what I term the album’s “cultural afterlife”: that which happened to the music after it was released. I explore how the album’s tracks, which are all but one lacking titles, were given names by listeners. I interview a composer who transcribed the tracks for traditional chamber music ensemble, and two directors who used the music in their films, and a choreographer and sound designer from two different contemporary dance ensembles who used the music in performances. I talk about unofficial, unlicensed remixes, as well as official, sanctioned licensing of the music. My sense that our understanding of the album has been informed by these subsequent uses takes a cue from the old Brian Eno and Peter Schmidt koan from their Oblique Strategies set: Repetition is a form of change. The music itself hasn’t changed in 20 years, but its repeated use and reuse has changed our understanding of the music.

It sounds like a lot of your projects involve you acting as a facilitator, or framework builder, of collaborations. Is it difficult for you to imagine doing this without access to a large network of musicians, as you have? In other words, do you have any advice for people who may be interested in trying to do something similar, but don’t have access to as wide of a network?

Well just to begin with, it’s totally cool that you used the word “network,” but that’s a word that I tend not to use. There’s something a little possessive inherent in the term that doesn’t feel collaborative to me. It’s kind of OK as a noun, but as a verb it really is not a word I’m going to use.

Because it’s only one person’s network?

It can imply that one person’s network is exclusive from another’s. It can put the person whose network it is in contrast with the network itself. It’s a person’s network, rather than a network in which the person is a participant. This is why the word “community,” for all its overuse, is preferable. The word “community” isn’t sufficient, but it’s better than “network.” The word “network” tends to emphasize size, rather than being about connections, and better yet the interconnections. When I hear “network” I see “Rolodex.”

What about “internet”? As a word or concept, not the internet itself? Since what we understand as the Internet is a network of networks, that would seem to emphasize the connections and overcome the possessive character of the term.

I’m not sure I’m ready to use it that way, but I do like this idea of using the word “internet” to describe something that is not “the internet.” This discussion reminds me of a recent interview with Kim Stanley Robinson, the science fiction writer, where he says something similar about the word “sustainable.” He takes issue with it for various reasons, key among them that it allows people to continue their capitalist and consumerist ways without reflecting on the role those ways play in the issue in the first place. He tries out a different word, “permaculture.” Rather than “it’s sustainable so I’ll buy it,” this other word emphasizes that it is permanent, so it’s more like “it exists, and I’m going to continue to use it.” So, I feel like “network” is like “sustainable,” and I’m trying to find a “permaculture” alternative to it. Perhaps “community.” Perhaps “internet” could work. Doesn’t feel quite right at the moment, but it’s an interesting nudge in the right direction. Come to think of it, pretty much the only time I think I actively employ the term “network” is in terms of “network” ― or “networked,” more often ― communication and creativity, which aligns with your “internet” idea.

Anyhow, with that “network” stuff out of the way, let’s get to your question. So, for people who don’t have a wide address book of potential collaborators but want to try building something like Disquiet Junto, I would say: Just work with the people you know. Look, I didn’t think that I had this “network,” either. Sure, I had gotten to know musicians, mostly tangentially, over the years, and I knew that a sizable percentage of the audience of my Disquiet.com website self-identified as musicians, in contrast with “listeners who don’t make music.” But when I posted the first Disquiet Junto project, I felt like I’d bought a keg of beer for a party that no one might even show up for.

If you’re creative and you have a group of like-minded people who inspire you, then that’s your group. It doesn’t take much. It’s not about an end result. It’s about an ongoing, refreshing, rewarding sense of engagement. Just work with the people you like working with, and it’ll build from there. This isn’t about scale. It isn’t about: Well, we have this many hundred participants, but how do we get to a thousand? You don’t make a garden in your backyard and start worrying about increasing your tomato haul or the density of flowers. You just tend to it, and watch it grow, shaping it as it goes, as time passes, as the seasons change, as you learn from experience.

Man, first “energy source” and now “online community as a garden.” I sure can come across like a digital hippie. Please let people know that’s not how I come off in person.

So how did you first become interested in Creative Commons? How did you first hear about it?

I have no idea. I mean, I have no specific memory. I imagine that it was an article in Wired ― because back then, that was the main channel through which things like that were communicated. Or maybe, since I was into the Internet Archive so early, it could have been through there that I saw a license, and then I followed that through.

Since 2012, I’ve taught a class at the Academy of Art on the role of sound in the media landscape. I talk in the class about an early open source text, The Cathedral and the Bazaar by Eric S. Raymond. And I talk about the ideas discussed there ? about the decentralized, at times frenzied and random organization of a bazaar and how it contrasts with the perfection-oriented, often exclusive and severely hierarchical mindset of the cathedral as an organization.

And even though this book was released in 1999, which is already 15 years ago, and Creative Commons was founded just 2 years later, many students are not aware that these alternatives to closed-source, super-hierarchal production methods exist. That said, they’ve come up in the culture, so it isn’t alien to them. It can be exciting for them to think about these alternatives ? that by sharing and enabling more eyeballs, or eardrums, to encounter your work, you can get better feedback that helps you to develop it, and very often giving people the license to remix your work can help you to see and hear it in ways you never imagined before. More important that that, the model of the Creative Commons maps in ways to human interaction that the more traditional marketplace model does not.

Have you had any non-computer or non-music based experiences that have also contributed to your sharing-driven creative outlook?

One specific experience comes to mind: I took a two-week trip by myself to Scotland when I was in my mid-20s, and I was amazed by the “Right of Way” laws in the United Kingdom that permit free travel on certain routes between public places, even when those routes involve passage through an area of private property. This was completely mind-blowing to me at the time, since I came from the United States where “private property” is synonymous with “restricted” and “off limits” and often involves someone who’s more likely to shoot than to call a lawyer.

When I was in Scotland I walked along these Right of Ways, completely fascinated by the opportunity, the concept, and the experience. And there is a connection between this idea, and these memories, and what I’ve done since that point in my life. There’s something in that walking through the shared geography of Scotland that relates to how I think about culture. In the early 1990s, my head was deep in what some people tried to call “avant-pop,” especially writers like Jonathan Lethem and David Shields, who were doing inquisitive meta-works that involved pre-existing texts and drew from influences in an acquisitive manner, and to me this relates to the idea of property being left open for creative use. It’s like a creative stroll.

I also think about how artistic awards shape culture. I’m not a big fan of things like the Oscars. Think about contemporary Hollywood films. Their composition and construction is often motivated by the pursuit of the Oscar, and the Oscars in turn dictate that movies have to operate following certain types of roles, with main stars, supporting roles, and so on. Imagine if the system was changed, and there were an Oscar for the best ensemble drama. The very next year there would be movies that de-emphasize a main role in favor of a collection of roles. This isn’t just about the Oscars. There are reward structures throughout culture that define the way that people and works participate, how they’re conceived. The law plays a role. The law codifies the way that music is handled and that defines how cultural objects are shaped. I’m not saying get rid of the law. I’m saying look at the unintended ramifications of the law.

What was your motivation behind doing the Disquiet Bassel project?

Just about every Disquiet Junto project originates not as a project but as me thinking about things and trying to shape my thoughts into the form of a compositional prompt. I don’t set out to make a project involving the tone of rooms. I become fascinated, for example, by the idea of room tone and then I try to figure out how to explore that fascination by asking people to make music related to the idea. I try to turn my interest into a compositional prompt as a means of exploring it further.

So, what happened with the Bassel situation is that I was taken by several factors, in particular the passion of people whom I admire, such as Barry Threw. I knew about the Free Bassel activity, and had talked with him about it, but a video I saw of him speaking really hit me. I read a lot of Kafka at way too young and impressionable an age, so the idea of prison is a powerful one for me, especially wrongful imprisonment.

Although I’ve never met Bassel Khartabil, I read about his activity in the open-source community and about his work promoting Creative Commons and the role of open source in a part of the world that has a very different take on freedom of expression, and I was really moved by it all. And I was aware that, with the second anniversary of his arrest coming up, the timing was useful to get people’s attention.

Could you say more about the idea of risk-taking, and the process of facilitating collaborations and open submissions that can be very unpredictable?

It was several months into the Disquiet Junto when I realized that part of what made it function was that people who participated felt comfortable failing. Initially the idea of the four-day window for participation in each project was to give people a solid deadline. But an unintended result was people felt comfortable posting work because listeners would understand that the work wasn’t necessarily finished. It gave them an “out.” A community of people making music under the same restrictions can be, in its own way, freeing.

I think we had like 40-60 participants the first week that I did Junto. At the time I didn’t even know if there would be a second one. At the time it felt like hubris that there was a four-digit number for the project ― “0001″ ― which is certainly a naming structure that I borrowed from the Long Now Foundation. You know, how they have a zero before the year to make you think in terms of 10,000 years, not 1,000 years? For example, right now it is 02014, not 2014. Who knows if we’ll actually get to one thousand? Who cares? I like this idea of a numbering system that forces you to think about the future, whether or not you get there.

What areas of the future are you forcing yourself to think about?

I’ve been really interested in the idea of what a record label is, and in many ways I think that the best record labels are like communities. Think of the acts that were on Motown, the acts that were on Blue Note ― they were more like subsets of a broader, loosely structured community that the audience was able to get a taste of through the release of the music. Musicians and songwriters would move between albums, between groups. A backup singer or instrumentalist would later be a headlining musician, and the audience was along for the ride. Whereas record labels now are more like marketing firms that find the act and then obtain the rights, so it’s more like licensing products. Sure, there are collaborations. Elektra, ECM, Ghostly, and Warp are great examples of record labels where artists still intermingle in interesting ways.

I am really interested in: What should a record label be like today? How has the Internet changed things. If you were to reverse-engineer a record label, then I feel like the Junto is closer to what a record label might try to be than an actual record label is today. I think it’s always important to ask, when you import something to the digital world, when you port a pre-digital system to a digital system: How does it change, and what pre-Internet assumptions have come along as baggage?

And in saying that, it’s important to clarify that when I talk about Creative Commons licenses, I’m essentially always thinking of it in terms of a particular license, which is the one that gives the ability to remix, the one that allows for “derivative” works. And I’m troubled by the fact that a lot of Creative Commons use does not actually employ that. For example, I’ve written a lot about the netlabel community. There are about 600 netlabels at this point that actively release music by musicians with the permission for that music to be downloadable for free. And that’s an incredible world of music. But an oddly small percentage of those netlabels employs the license that allows for creative reuse, which I find disappointing. So I’m always pushing for people to think beyond the non-commercial download, and to think about the creative re-use. I’m also wrestling with the word “derivative.” It seems to have a negative cast to it. There may be a better word, a word that makes the benefits more self-evident.

What interests you about creative re-use? Why do you think it is important, for yourself as well as others, and how did your view of it impact the prompt you created for the #FreeBassel Disquiet Junto?

I don’t take much stock in fixed cultural objects as ends unto themselves. For example, I don’t really have favorite movies or books ― I love Citizen Kane, Dawn of the Dead, and Playtime, but I especially love them in the context of their creators’ other work. I have favorite authors, favorite directors, favorite actors, and I enjoy work in that context. When I read a Don DeLillo novel, or a Mira Grant novel, or a Richard Stark novel, or a Michael Brodsky novel, or a Joanna Scott novel, or one among many types of things ― novels, comics, essays, tweets, Instagram captions ― by Warren Ellis, I enjoy it in the context of their broader work. Same for musicians and architects, even journalists and politicians. And that’s just speaking of the individuals’ own “careers,” for lack of a more nuanced term.

An original piece of work is also part of a broader community, part of various ongoing continuities ― it’s about the type of work that it is, how it fits into the broader scope of that work. You don’t just write a sonnet from scratch. It is always informed by and reflects back on previous sonnets. You always draw material and references, often subconsciously.

So, I started thinking about the work that Bassel hasn’t finished due to his ongoing imprisonment, such as his Palmyra project, which involves mapping an ancient architectural site using computer graphics. And I thought: this is something that we can help to keep alive, while he’s not around. And not only can we keep his projects going, but we can do so in new and unexpected ways. We aren’t taking his CGI architectural endeavor and completing it. We are, in the course of the Junto project, creating sound and music to accompany his work. This is something he might not have even considered. There’s something, also, metaphoric about how adding sound to his CGI work brings that work to live. This idea of keeping something alive, of keeping his ideas alive, is part of the reason the idea struck me as worth pursuing.

What did you think of the resulting works? In reading through the comments people wrote about the story behind each of their compositions, I was really interested in how many people researched the history of Syrian music and integrated some of these sounds/ideas into their works. This adds a lot of depth and also brings it away from being political, approaching it more from an angle of cultural history.

I’m always anxious when I do anything related to social or political issues in the context of a work like the Disquiet Junto. I generally steer away from it. It’s amazing how a turn of phrase can turn something from a collaborative project into a heated side conversation, so I am always trying to create a situation that is warm and inviting. In this case, that meant something that came from a place of mutual concern and caring about this person, about Bassel, about creative work that has been cut off. For the Junto members, I think the idea of the unfinished artistic project was what they related to in particular. I didn’t want people to be put off by it in the sense of thinking their compositions needed to address the political situation, necessarily. It was important to me that the Bassel project wasn’t “special,” that it was just another project in an ongoing string of projects. It could only work if we treated it as business-as-usual. Part of business-as-usual is asking people to, when posting their tracks, describe their creative process. That’s where a lot of the communication between the participants occurs ― that and them commenting on each other’s tracks. And this isn’t to say all my projects are pacifist, but the ones with a strong unified opinion, like Despite the Downturn and Lowlands: A Sigh Collective, are focused on art as their primary subject.

You make reference to Oulipo as an influence behind Disquiet Junto. Could you say more about this? What relation do you see between Oulipo and creative reuse, especially in the digital age?

The most concise way to get into that is to compare it with another popular form of creative reuse: fan fiction. Fan fiction often works within the universe created by and defined by the source material, whereas Oulipo tends to walk up to the edges of that universe and say, “Oh, there’s a wall here, so let’s break through it or paint on it” or something like that. The difference isn’t a binary one. Lots of fan fiction actively flips the source material, changing gender, setting, plotlines. Oulipo is a little less of a collective, communal effort, and often works with material that isn’t as hallowed as the subjects of fan fiction, but the parallel is clear. I think Oulipo ― along with Fluxus ― exists as a keen pre-digital premonition of the collective consciousness that seems at work within, that seems alive within, communal creative activity.

The first official translation of CC0, into Dutch, is now published! Congratulations to CC Netherlands and CC Belgium, who collaborated on the work.

This is not just the first CC0 translation―it is the first official translation of any international CC legal tool. Under CC’s new legal code translation policy, translation teams work closely with CC Legal to create official linguistic translations of the original English text. These translations are equivalent to the original English: when you create or reuse a CC0 work, you may now refer to either English or Dutch. (You can read more about official translations in our new FAQ entry.)

We are excited to mark this event. CC0 and the 4.0 licenses are designed to be as fully international as possible, and to support that goal, they should be available in languages everyone reads. (Ported versions of 3.0 and earlier have generally been published in the official language(s) of the appropriate jurisdiction, but the ported licenses are not equivalent to the international licenses and may not be substituted as references.) Working with our affiliate teams to produce official translations is a detailed, painstaking endeavor, involving a lot of correspondence on precise word choices, and the first teams have been tremendously helpful to us as we developed the process. There are several teams currently working on more translations of CC0 and the 4.0 licenses, so look for more announcements in the coming months.

CC0 was launched in 2009, and is designed to allow creators to dedicate their work to the public domain by waiving all their copyright and neighboring and related rights in a work, to the fullest extent permitted by law. If the waiver isn’t effective for any reason, then CC0 acts as a license granting the public an unconditional, irrevocable, non-exclusive, royalty-free license to use the work for any purpose. CC0 has been adopted widely by institutions, governments, and individuals for data and other material that can be freely reused without restriction.

All language versions of CC0 now indicate that official translations are available.

Vandaag lanceert Creative Commons de eerste offici?le vertaling van de CC0 Publieke Domein Dedicatie Tool. In 2009 lanceerde Creative Commons CC0. De internationaal geldige public domain verklaring hoeft, net als de nieuwe 4.0-versie van de Creative Commons-licenties, niet juridisch aangepast te worden aan de Nederlandse wetgeving. In de plaats hiervan zal Creative Commons lingu?stische vertalingen uitbrengen.

CC0 is geen licentie, maar een afstandsverklaring van je auteursrechten en aanverwante rechten. Werken die vrijgegeven worden onder CC0 kunnen hergebruikt worden voor alle doeleinden, inclusief commerci?le, zonder dat daarvoor toestemming gevraagd hoeft te worden aan de maker. In tegenstelling tot de 6 Creative Commons-licenties is het bij CC0 niet verplicht om de naam van de maker te vermelden.

De vertaling van CC0 is tot stand gekomen door een samenwerking van Creative Commons Nederland en Creative Commons Belgi?. Wij zijn trots dat het Nederlandse taalgebied het eerste in de wereld is dat CC0 lingu?stisch vertaald heeft.

This is the final installment in our five week blog post series on the Affiliate Team project grants. You’ve heard about projects in Africa, Arab World, Asia-Pacific, and Europe. Today, you’ll hear about projects from our Latin America region, including: a report on the evolution of the academic journals’ presence and dissemination in Chile, a School of Open course for librarians on copyright led by Colombia, El Salvador, and Uruguay, and a free music festival and open source website from Guatemala and Uruguay.

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Chile: Promotion of Open Knowledge in the Chilean Academia: Ways to Facilitate Adoption of Creative Commons in the Academic World
by project lead Francisco Vera

In Derechos Digitales, we have been working almost 10 years on copyright and access to knowledge issues, by doing public advocacy on copyright reform and working with Creative Commons licenses to enable all kind of creators to share their works in the digital environment, through the use of these tools.
One of our stronger research lines has to do with scientific and scholarly work, how this knowledge is being disseminated, and how we can improve that process to make this information accessible to everybody interested.
Following that path, since 2008 we have been researching academic journals production and their publishing terms, along with creating legal guides to academics to get a sense of how to use CC licenses and make them able to share their work. That allowed us to publish a couple books with our findings and internal policy recommendations.
Thanks to the CC grant we were awarded, we have been able to resume that work, updating our figures from the 2008 research and taking one step further, conducting field research on the academic community about the way they publish and manage that content, and if they are aware of the CC and Open Access movements.
At this point, we have interviewed scholars from the major Chilean universities in different fields on exact and social sciences to be aware of their perceptions and needs regarding open access. In parallel, we are researching academic publications to determine how the situation has evolved from 2008 to this day, in terms of journal continuity but also in terms of how these deal with publishing formats and licensing terms.
We hope, by April this year, to have a step forward on our diagnosis of the academic dissemination environment, and with more insights of the academic world, a report that speaks on the evolution of the journals’ presence and dissemination. We also hope to have performed a couple workshops with government officers and academic community, in order to boost open access and open licensing initiatives.

Colombia, El Salvador, Uruguay: ABC of Copyright for Librarians
#schoolofopen
by project lead Maritza Sanchez

A CC grant made possible that since August 2013, three Creative Commons chapters -Colombia, El Salvador and Uruguay- are working to adapt an online course for librarians about copyright and with an eye on the Open world.
The project aims to develop the necessary open educational resources (OER) for an online course, self-taught and in Spanish, that will be available through the School of Open, and eventually in the OER projects of the chapters developing the course (i.e. Internet Activa and Artica).
Why Basic Copyright Concepts for Librarians? It is not a secret that many librarians and libraries in Latin America work with little or no knowledge about the copyright frame. We want to offer this target group and other related professionals (e.g. academic researchers, teachers, OER developers, librarian students, archivists, museum workers, all those interested on heritage conservation, etc.) the basic knowledge for their work.
We believe that this knowledge is much needed right now and will also be useful to promote CC licenses among librarians in the region.
The material in this course will be open as a self-guided course that can be tapped on demand ― individually, at a user-preferred time and date. Moreover, the course can be harnessed as a group, from a collective or specific institution, to be facilitated according to the possibilities and conditions of a given community.
We are currently finalizing the legal and pedagogical review process of the last module of the course that we have titled, “ABC Copyright.” The legal review ensures the strengthening of self-learning potential of all students, while the pedagogical review is valuable to contextualize accurately and clearly each module to Latin American culture. We are also working on building a communication strategy which will be essential once the course is published at the School of Open for the dissemination to the audience of this open educational material. We have already developed the graphic concept, which we share as a preview in this post! We are at the stage of creating new graphic elements that will complement some of the most complex issues and will make their assimilation much easier.
We are working with love and energy so that very soon all those curious and interested can learn, share and supplement the online course, ABC Copyright for Librarians in Latin America!

Guatemala, Uruguay: Promoting Free Music in Central and South America
by Meryl Mohan (project lead: Renata Avila)

This project, a collaboration between CC Guatemala and Uruguay, was drafted following the suggestions of six bands who are starting to use open licenses in Guatemala. It represents a unique opportunity to reconnect and expand the open license network in the Latin American music community, consisting of an open call for free music followed by a week dedicated to festivals and concerts in multiple jurisdictions. Each country will have at least ten bands participating, and is combined with training for musicians, producers, artists, and copyright experts to explain artists’ rights, how copyright law affects music, and the power of sharing. The activities will be posted on an open source website filled with the LP of Latin American free music, photos and videos of the workshop, a free music declaration, and showcase of successful cases in Latin America and all the activities of the free music week. Since it’s open source, anyone can use it to recreate the same project in their region or country.

[Cable Green, Creative Commons, Link, (CC-BY)] I recently interviewed Dr. Phil Venditti, professor of communication studies at Clover Park Technical College in Washington State (USA). Phil teaches public speaking and other oral and written communication courses. In 2010 Phil learned about the Open Course Library project and became an enthusiastic adherent.

Phil developed two courses in the Open Course Library, wrote a textbook which he licensed CC BY, and has since saved his students roughly $60,000 by using open educational resources (OER).

The Open Course Library was Phil’s first exposure to OER, but it wasn’t his last. He testified to the State Legislature in favor of a bill which would have mandated that all educational materials created by state postsecondary education employees be openly licensed. As President of FACTC ― the Washington Faculty Association of Community and Technical Colleges, Phil has promoted adoption of OER by college faculty members throughout his state. FACTC passed a resolution in 2012 endorsing the ideal of OER on economic, educational, and moral grounds.

Phil recently went on sabbatical and decided to interview 50 prominent speakers to gather tips on effective public speaking for his students ― and for the world because all of Phil’s work and videos are openly licensed under CC BY 4.0 license. Nearly 30 hours of his videos can be browsed at Phil’s YouTube channel. Speakers included in the project are 29-time Emmy winner and “Almost Live” alum Bill Stainton, Tacoma News Tribune Executive Editor Karen Peterson, former NFL quarterback Jon Kitna, Tacoma Mayor Marilyn Strickland, and wildlife artist and conservationist Becci Crowe. To complete the project, 40 of Phil’s public speaking students and a team of editors from Clover Park’s Media Design and Production program spent more than 700 hours reviewing and editing the interviews. When it is launched online in May of this year, the project will offer a database of free, CC BY-licensed materials at cptc.edu/fifty-wise on subjects ranging from how to conquer stage fright to how to organize a presentation.

On March 20, the “50 Wise Speakers” project will be presented in a red-carpet gala at Clover Park Technical College.

Phil says OER has changed the way he thinks about teaching and learning.

“I believe that the essence of education should be sharing. Every day I ask myself, ‘How can I help connect more people to more information that might change their lives?’”

Following Phil’s lead, what will you share today?

I recently interviewed Dr. Phil Venditti, professor of communication studies at Clover Park Technical College in Washington State (USA). Phil teaches public speaking and other oral and written communication courses. In 2010 Phil learned about the Open Course Library project and became an enthusiastic adherent. Phil developed two courses in the Open Course Library, wrote a textbook which he licensed CC BY, and has since saved his students roughly $60,000 by using open educational resources (OER).

The Open Course Library was Phil’s first exposure to OER, but it wasn’t his last. He testified to the State Legislature in favor of a bill which would have mandated that all educational materials created by state postsecondary education employees be openly licensed. As President of FACTC ― the Washington Faculty Association of Community and Technical Colleges, Phil has promoted adoption of OER by college faculty members throughout his state. FACTC passed a resolution in 2012 endorsing the ideal of OER on economic, educational, and moral grounds.

Phil recently went on sabbatical and decided to interview 50 prominent speakers to gather tips on effective public speaking for his students ― and for the world because all of Phil’s work and videos are openly licensed under CC BY 4.0 license. Nearly 30 hours of his videos can be browsed at Phil’s YouTube channel. Speakers included in the project are 29-time Emmy winner and “Almost Live” alum Bill Stainton, Tacoma News Tribune Executive Editor Karen Peterson, former NFL quarterback Jon Kitna, Tacoma Mayor Marilyn Strickland, and wildlife artist and conservationist Becci Crowe. To complete the project, 40 of Phil’s public speaking students and a team of editors from Clover Park’s Media Design and Production program spent more than 700 hours reviewing and editing the interviews. When it is launched online in May of this year, the project will offer a database of free, CC BY-licensed materials at cptc.edu/fifty-wise on subjects ranging from how to conquer stage fright to how to organize a presentation.

On March 20, the “50 Wise Speakers” project will be presented in a red-carpet gala at Clover Park Technical College.

Phil says OER has changed the way he thinks about teaching and learning.

“I believe that the essence of education should be sharing. Every day I ask myself, ‘How can I help connect more people to more information that might change their lives?’”

Following Phil’s lead, what will you share today?

1. Znamy wreszcie wyniki najwi?kszego jak dot?d (2 lata, 20 szk??, ponad 70 nauczycieli i?2000 uczni?w) badania wykorzystania Akademii Khana w?szko?ach przeprowadzonego przez SRI international. Problemem dla badaczy okaza?y si? zmiany wprowadzane w?platformie (poza filmami Akademia oferuje rozwi?zanie do prowadzenia ?wicze? i??ledz?ce post?py uczni?w).

2. Pisali?my ju? nieraz o?“open-washing” czyli procesie nazywania otwartymi projekt?w, kt?re wcale nie otwieraj? prawnie dost?pu do swoich tre?ci (na czele tego stoi wi?kszo?? tzw. MOOC’?w). Je?li chcecie dowiedzie? si? wi?cej jak ten proces wygl?da w?przypadku udost?pniania danych zajrzyjcie na blog Open Knowledge Fundation.

3.?Siomon Grant z?projektu CETIS pisze tym dlaczego poza otwartymi zasobami i?praktykami edukacyjnymi potrzebujemy r?wnie? otwartych standard?w, podstaw programowych oraz wska?nik?w ewaluacyjnych w?edukacji.

4. Z?okazji Tygodnia Otwartej Edukacji Marcin Wilkowski pisze o?otwartych zasobach edukacyjnych w?nauczaniu historii, a?Damian Muszy?ski na NaTemat.pl dlaczego potrzebujemy otwartych zasob?w. Dobrze przy tej okazji poczyta? te? troch? konstruktywnej krytyki jak od?Sheili MacNeill, kt?ra broni praktyk i?instytucji nie otwieraj?cych si? w?ekspresowym tempie, a?pr?buj?cych za to lepiej zrozumie? jak otwarto?? zasob?w mo?e na nie wp?yn?? zanim podejm? decyzje.

5. Getty Images wywo?a?o spore poruszenie udost?pnieniem du?ej cz??ci zdj?? do darmowego embedowania, ale po pierwszej krytyce, ?e dla u?ytkownik?w lepsze i?bezpieczniejsze okaza?oby si? gdyby by?y dost?pne na licencjach Creative Commons, Electronic Froniter Foundation dorzucia?o jeszcze analiz? problemu ?ledzenia u?ytkownik?w przez mechanizm emebdowania zdj??.

6. W?reakcji na rozwi?zanie Getty Images warto zwr?ci? uwag?, ?e od dawna istnieje wiele rozwi?za? ( powstaj? nowe jak WP Inject) kt?re u?atwiaj? blogerom dodawania zdj?? na licencjach Creative Commons do popularnych platform blogowych.

7. Ameryka?ski Departament Stanu og?osi? kontunuacj? rozpocz?tego w?ubieg?ym roku programu OpenBook wspieraj?cego tworzenie otwartych zasob?w edukacyjnych na Bliskim Wschodzie i?p??nocenej Afryce. Program b?dzie teraz r?wnie? stypendia dla ekspert?w zajmuj?cych si? OZE.

8. David Wiley, kt?ry po raz kolejny otrzyma? wsparcie od Fundacji Shuttleworth?pisze o rozwijaniu kolejnych produkt?w, kt?re maj? u?atwia? korzystanie z?otwartych zasob?w edukacyjnych np. za pomoc? WordPressa.?Po serii odpowiedzi i?komentarzy?Willey r?wnie? rozwija i?wyja?nia na swoim blogu pomys? rozszerzenia definicji otwartych zasob?w edukacyjnych?o prawa do posiadania, o?kt?rej ju? pisali?my tydzie? temu.

9. CK-12 fundacja i?projekt darmowych podr?cznik?w na licencji Creative Commons Uznanie autorstwa ? U?ycie nikomercyjne, po ostatnich g??bokich zmianach serwisu i?nowych partnerstwach (m.in. z?Google i?NASA) og?osi?a najnowsze, z?Microsoftem, kt?ry oferuje teraz wersj? offline CK-12 jako program, kt?ry umo?liwia r?wnie? nauczycielom elastyczne przygotowywanie kurs?w i?test?w.

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#FREEBASSEL / Kennisland / CC BY-SA

As of today, CC Syria community leader Bassel Khartabil has been in prison for two years. Today, we join the worldwide open community in honoring Bassel and insisting that he be freed.

Amnesty International and Front Line Defenders have produced this excellent video about why Bassel’s story is important to our community, featuring interviews with CC co-founder Lawrence Lessig and the Electronic Frontier Foundation’s Jillian York.

“Bassel could have gotten out, but he chose to stay. And that decision was very costly for him, and it was an important decision for us. It symbolized his commitment to making this democracy possible, and to continuing the work to spread that message. And we owe him for that, and we have an obligation to do as much as we can to keep the world aware of this incredible person.” ? Lawrence Lessig

In honor of Free Bassel Day, our friend Niki Korth has compiled a cookbook in honor of Bassel, featuring recipes submitted by people who know Bassel or are involved with the #freebassel campaign. You can read the cookbook online or download a PDF (469 KB).

Niki is planning to release a Version 2 of the cookbook, so it’s not too late to submit a recipe.

We honor Bassel today and look forward to the day he is freed.

Leaders in the Obama Administration, in state governments, and in corporate America have acknowledged the urgency of increasing access to higher education in the United States ? particularly through community colleges.? These leaders also recognize the importance of improving completion rates and educational outcomes for those who enroll.

As we come to the close of Open Education Week, it is now time for these leaders to focus attention, energy and resources on the most immediate opportunity to make progress toward these goals while also freeing up billions of dollars that can be redirected toward this progress.? Make textbooks available to students for free or at very low marginal cost.

The Open Textbook Opportunity ? Tidewater Community College Case Study

Sound too good to be true?? It’s not, and the forward-looking folks at Tidewater Community College are leading the way.? Students at Tidewater can now save 30% of the cost of a two-year Associate’ Degree of Science in Business Administration because all of the textbooks are published under a Creative Commons Attribution license which gives anyone ? students and the school ? the rights to freely make copies and adapt these works as long as proper attribution to the author(s) is maintained.

According to Linda Williams at Tidewater, open textbooks have not just been a cost savings but also have improved the quality of the educational experience and have opened up improvements in students’ quality of life.

In one case a student ? a veteran ? was routinely unable to afford his textbooks until weeks into the semester.? When he enrolled in a Pre-Calculus class for which he could freely download the openly-licensed textbook, it was the first time he’d ever started a class with the required materials in hand.

In another case, a single mother who enrolled in the Business Administration degree program was able to use her savings on textbooks to buy braces for her daughter ? an expense she could not have managed without these cost savings.

Why Open Textbooks Now?

Of all of the challenges facing access to education and improved educational outcomes, the problems of textbook affordability, usability, and adaptability are the key barriers that can be readily overcome. The Tidewater case should not be an exception ? let’s make it the norm.? Educational materials are moving from print to digital, but currently they are still expensive, subject to extensive restrictive copyright licensing terms, and reside behind a password-protected paywall.? To adapt the famous lines from President Reagan, leaders, use smart policies that promote open educational resources to tear down this wall!

By shifting to high quality OER, educational institutions at both the K-12 and tertiary levels can redirect billions of dollars into improved access and outcomes that currently flow into a textbook production system that is highly inefficient, a system that transfers significant wealth out of the educational sector and into the pockets of shareholders in a handful of publishing firms without corresponding benefits.

To be clear, there are historical reasons for this that predate the Internet.? The Internet is the game-changer, and while these firms currently are part of the problem, they also have the opportunity to become part of the solution.

How? By embracing the production of Open Educational Resources.? These aren’t free to produce or update, but production, adaptation, and quality control can all be done far more efficiently and at significantly lower cost than is currently the case. Just ask the folks at OpenStax College who are publishing top-notch textbooks that are free to download and are available in print for about $30.

Who Will Offer the Next Degree Program Built on Open Educational Resources?

With the pool of high quality, openly licensed textbooks and other educational resources growing every day, what traditional brick-and-mortar educational institution will be next to follow Tidewater’s lead and start using OER to promise students from the beginning that the cost of their textbooks will be free, at very low cost, or covered by the cost of tuition?

Stay up to date with CC by subscribing to our newsletter and following us on Twitter.

Alaska’s Pavlof Volcano: NASA’s View from Space (cropped)
NASA Goddard Space Flight Center / CC BY

The global CC community: building a more open world

Over the past few weeks, we’ve been featuring some of the amazing activities of our global affiliate network. Learn about a Finnish team building a CC plugin for WordPress, an open data symposium in Japan, a series of School of Open workshops in Kenya, a booksprint in Morocco, and much more. Take a tour of the CC communities in the Arab world, Africa, Asia-Pacific, and Europe.

? ? Open educational resources aren’t just a good idea; they’re the center of a global movement that’s transforming how education works worldwide. Browse the resources from Open Education Week to learn more.	Bassel Joi Ito / CC BY Longtime CC community leader Bassel Khartabil has been in prison in Syria since 2012. Join the worldwide open community to honor Bassel this Saturday, March 15. If you’re in the Bay Area, join us at the Wikimedia offices in San Francisco.
Don’t Look At The Sign! smlp.co.uk / CC BY Learn how a proposed US law would weaken public access to federally funded research.	Kristina Alexanderson CC BY-NC-SA Is Getty Images’ new photo embed service a step in the right direction?

• Join us in San Francisco for a discussion on free culture and social justice.
• The CC Europe team has been following the proposed changes to EU copyright law. Read their analysis and recommendations.
• “People should support Creative Commons if they care about what they’re doing, and they want to get their work to as many people as possible; if they care about collaborating with people all over the world together and coming up with something beautiful.” Khalid Albaih is on Team Open.

Leaders in the Obama Administration, in state governments, and in corporate America have acknowledged the urgency of increasing access to higher education in the United States - particularly through community colleges.? These leaders also recognize the importance of improving completion rates and educational outcomes for those who enroll.

?As we come to the close of Open Education Week, it is now time for these leaders to focus attention, energy and resources on the most immediate opportunity to make progress toward these goals while also freeing up billions of dollars that can be redirected toward this progress.? Make textbooks available to students for free or at very low marginal cost.

The Open Textbook Opportunity - Tidewater Community College Case Study

Sound too good to be true?? It's not, and the forward-looking folks at Tidewater Community College are leading the way.? Students at Tidewater can now save 30% of the cost of a two-year Associate' Degree of Science in Business Administration because all of the textbooks are published under a Creative Commons Attribution license which gives anyone - students and the school - the rights to freely make copies and adapt these works as long as proper attribution to the author(s) is maintained.

According to Linda Williams at Tidewater, open textbooks have not just been a cost savings but also have improved the quality of the educational experience and have opened up improvements in students' quality of life.

In one case a student - a veteran - was routinely unable to afford his textbooks until weeks into the semester.? When he enrolled in a Pre-Calculus class for which he could freely download the openly-licensed textbook, it was the first time he'd ever started a class with the required materials in hand.

In another case, a single mother who enrolled in the Business Administration degree program was able to use her savings on textbooks to buy braces for her daughter - an expense she could not have managed without these cost savings.

Why Open Textbooks Now?

Of all of the challenges facing access to education and improved educational outcomes, the problems of textbook affordability, usability, and adaptability are the key barriers that can be readily overcome. The Tidewater case should not be an exception - let's make it the norm.? Educational materials are moving from print to digital, but currently they are still expensive, subject to extensive restrictive copyright licensing terms, and reside behind a password-protected paywall.? To adapt the famous lines from President Reagan, leaders, use smart policies that promote open educational resources to tear down this wall!

?By shifting to high quality OER, educational institutions at both the K-12 and tertiary levels can redirect billions of dollars into improved access and outcomes that currently flow into a textbook production system that is highly inefficient, a system that transfers significant wealth out of the educational sector and into the pockets of shareholders in a handful of publishing firms without corresponding benefits.

To be clear, there are historical reasons for this that predate the Internet.? The Internet is the game-changer, and while these firms currently are part of the problem, they also have the opportunity to become part of the solution.

How? By embracing the production of Open Educational Resources.? These aren't free to produce or update, but production, adaptation, and quality control can all be done far more efficiently and at significantly lower cost than is currently the case. Just ask the folks at OpenStax College who are publishing top-notch textbooks that are free to download and are available in print for about $30.

Who Will Offer the Next Degree Program Built on Open Educational Resources?

With the pool of high quality, openly licensed textbooks and other educational resources growing every day, what traditional brick-and-mortar educational institution will be next to follow Tidewater's lead and start using OER to promise students from the beginning that the cost of their textbooks will be free, at very low cost, or covered by the cost of tuition?

Creative Commons去年提供獎助申請，希望讓各司法管轄創用CC授權推動組織提出各自著眼的推動構想與執行方案。目前各地都有些提案及進展，其中亞太區域獲選者有：やまと、紐西蘭、?台灣。這裡是台灣目前的?況！

?讀全文

CC10 Party in San Francisco / David Kindler / CC BY

Creative Commons is thrilled to announce that we will be reviving CC salons on a quarterly basis starting March 27!

Years ago, CC ran a series of CC Salon events in the Bay Area, informal events that brought together creators of all kinds to talk about how and why they choose open in their fields. CC salons continue to occur all over the world, but on March 27, CC will host a salon on social justice and open innovation right here in San Francisco.

This informal event will feature short talks from guests in local nonprofits and the free culture community, as well as lots of interesting people to network and socialize with. It’s free and open to everyone.

Thursday, March 27, 2014
6:00 ? 7:30 PM Pacific time
Cafe Royale, 800 Post St, San Francisco, CA 94109
Bart: Civic Center, Powell St.
Facebook invite

Speakers

Joshua Knox, Brute Labs

Joshua Knox is co-Founder and CFO for BRUTE LABS, a non-profit out to prove that anyone can do good. BRUTEs use design and technology to create sustainable social entrepreneurship. Our small, all-volunteer team has launched 11 projects around the world and across a broad spectrum of causes; from cyclone relief in Myanmar, to clean water wells in Ghana, to a bio-diesel project with Stanford. Our open source altruism has also garnered multiple design awards from AIGA and Adobe as well as partnerships with local businesses, the city of San Jose, Google, Nike, Facebook and many more.

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Niki Korth, Writer and Free Culture Activist

Niki Korth is an artist, writer, and free culture enthusiast/activist who resides in the triad of the creative arts, technological literacy, and human rights. Together with Cl?mence de Montgolfier, she co-founded The Big Conversation Space (TBCS), an art, research, and consulting organization based in Paris and San Francisco that acts as a participatory production platform for books, media, and games involving free speech, art, technology, politics, philosophy, and the occult. TBCS has exhibited and lectured internationally at venues including Palais Tokyo (Paris), TCB Gallery (Mellbourne, Australia), Yerba Buena Center for the Arts (San Francisco), and Human Resources (Los Angeles).

Their most recent projects include Letters for Bassel and The #FreeBassel cookbook, both dedicated to creative and participatory methods of advocacy for the release of CC community member Bassel Khartabil, who has been detained in Syria for the last two years. They also have a book coming out in summer 2014 titled I Can Do Anything Badly II, which uses conversational interviews to explore the intersections of DIY and Free Culture in the arts, the internet, sociology, and design.

Korth is also an advocate for trees and sustainable urban planning, and works in marketing and operations at DeepRoot Green Infrastructure, a San Francisco?based company that provides arboriculturally-oriented products and services for the built environment.

In the spirit of McLuhan but in the age of the Internet ? she believes that we all own the message, humans as much as plant life. But the medium may have a mind of its own.

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Supriya Misra, TeachAIDS

Supriya Misra is a Senior Project Manager at TeachAIDS, where she helps lead the development, maintenance, and expansion of TeachAIDS products. Founded at Stanford, and recognized as an innovation that will “change the world” by MIT Technology Review, TeachAIDS is a nonprofit social venture that creates breakthrough software to solve persistent problems in HIV prevention. Used in more than 70 countries, TeachAIDS provides the most effective HIV prevention software to educators, governments, and NGOs around the world ? for free.

With a background in behavioral health research and expertise in innovative applications of new technologies in preventative care, she has previously worked at HopeLab and the Institute for Brain Potential, and co-authored a handbook on the neurobiological basis for forming positive health habits. She holds an M.A. and a B.A. with Honors in Psychology, with a concentration in Neuroscience, from Stanford University.

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Rachel Weidinger, Upwell

Rachel Weidinger is the Founder and Executive Director of Upwell, a nonprofit PR firm with one client, the ocean. At Upwell, Rachel leads the development of cutting edge big listening practices. She couples this big data approach with the resiliency-increasing tactic of campaigning across a distributed network to increase online attention to ocean issues. Because of Rachel’s vision, the ocean community knows the baseline of online conversation for its issues for the first time.

Previously, Rachel was the Senior Manager of Marketing and Communications at TechSoup Global where she provided marketing vision and leadership for TechSoup Global, and the TechSoup Global Network of partners in 36 countries. She has also worked with social enterprises including NTEN, Common Knowledge, the Black Rock Arts Foundation, SF Environment, Copia, and the Xtracycle Foundation.

Rachel has a B.Phil. in Interdisciplinary Studies from Miami University’s Western College Program, and completed the coursework for a masters in Arts Policy and Administration at Ohio State University. When she’s not working to save the ocean, she makes preserves, swims in the Bay, and gardens at her tiny home in San Francisco. She is obsessed with whale sharks.

Μια μεγ?λη μ?κου? ταιν?α τεκμηρ?ωση? ?Σαν Π?τρινα Λιοντ?ρια στην Μπασι? τη? Ν?χτα?? (Comme des Lions de Pierre ? l’Entr?e de la Nuit), παραγωγ?? 2012, διατ?θεται πλ?ον δωρε?ν στην ολ?τητα του, με την υπογραφ? του ελβετο? δημιουργο? ντοκιμαντερ?στα Ολιβι? Ζισσου?.

Διατ?θεται μ?σω τη? επ?σημη? ιστοσελ?δα? του, για μη εμπορικ?? δημ?σιε? προβολ?? και για κ?θε ιδιωτικ? χρ?ση στο ελληνικ? ?δαφο?, υπ? την ?δεια Creative Commons. Μετ? τη διεθν? πορε?α τη? στα κινηματογραφικ? φεστιβ?λ (Βραβε?ο Οικουμενικ?? Επιτροπ?? Dok Leipzig 2012) και την κινηματογραφικ? διανομ? τη? σε Ελλ?δα, Γαλλ?α και Ελβετ?α διατ?θεται πλ?ον δωρε?ν στην Ελλ?δα υπ? την ?δεια Creative Commons. Μ?σα απ? τη? δωρε?ν αυτ? διανομ?, οι δημιουργο? ελπ?ζουν πω? η ταιν?α θα μπορ?σει να διαδοθε? στο κοιν? που δεν την ανακ?λυψε κατ? την προηγο?μενη διανομ? τη? π?ρυσι τον Απρ?λιο σε Αθ?να και Θεσσαλον?κη, αλλ? και στην υπ?λοιπη Ελλ?δα, που δεν ε?χε τη δυνατ?τητα να την παρακολουθ?σει.

Η ταιν?α αναφ?ρεται στην εξορ?α τη? Μακρον?σσου, κατ? την περ?οδο 1947 ?ω? 1951, ?που περισσ?τεροι απ? 80.000 ?νδρε?, γυνα?κε? και παιδι? ελληνικ?? καταγωγ?? εκτοπ?στηκαν στη Μακρ?νησο, σε στρατ?πεδα αναμ?ρφωση? που δημιουργ?θηκαν για να ?καταπολεμ?σουν την επ?κταση του Κομμουνισμο??. Αν?μεσα στου? εξ?ριστου? αυτο??, βρ?σκονταν πολλο? συγγραφε?? και ποιητ??, ?πω? ο Γι?ννη? Ρ?τσο? και ο Τ?σο? Λειβαδ?τη?.

Ο σκηνοθ?τη? τη? ταιν?α??Ολιβι? Ζισσου? περιγρ?φει: ?Οι ποιητ?? συν?θω? γρ?φουν για να υμν?σουν τη φ?ση, να εκφρ?σουν ερωτικ? αισθ?ματα ? ακ?μα υπαρξιακ?? αγων?ε?. Σπ?νιοι ε?ναι εκε?νοι που δημιο?ργησαν ποιητικ? ?ργο π?σω απ? συρματοπλ?γματα, κ?τω απ? βασανιστ?ρια. Οι ποιητ?? τη? Μακρον?σου ?καναν να αναδυθε? απ? τα κε?μεν? του? μια φων? αντ?σταση?, ?ναν π?δακα? ζωτικ?? δ?ναμη?. Τα ποιητικ? χρονικ? τη? ζω?? των πολιτικ?ν εξ?ριστων π?νω στο νησ? αφηγο?νται τον τρ?μο και την επιβ?ωση μ?σα σε αυτ? το β?ρβαρο εργαστ?ριο που στ?χο ε?χε τον ?πνευματικ? επαναπρογραμματισμ?? των αντιστεκ?μενων κομμουνιστ?ν. Κ?νουν ?ορατ?? τον πανταχο? παρ?ντα φ?βο, την ατ?ρμονη αναμον?, την αδυσ?πητη δ?ψα και τα εξουθενωτικ? καψ?νια τη? π?τρα? που κουβαλι?ται δ?χω? αν?παυλα. Μιλο?ν για τι? ν?χτε? ?που αντηχο?ν οι κραυγ?? εκε?νων που τρελ?θηκαν απ? τα βασανιστ?ρια. ?ταν, κατ? λογοτεχνικ? τ?χη, δι?βασα τα ποι?ματα αυτ?, ?ε?δα? εικ?νε? εν?? φρικτο? παρελθ?ντο?, τι? οπο?ε? θ?λησα να φ?ρω αντιμ?τωπε? με εικ?νε? του παρ?ντο?: αυτ?? των ερειπ?ων των στρατοπ?δων τη? Μακρον?σου. Θ?λησα να ψ?ξω στου? σωρο?? απ? π?τρα και σκυρ?δεμα για αποτυπ?ματα των ?σων συν?βησαν, να τα αντιπαραθ?σω στα ουρλιαχτ? των μεγαφ?νων που μετ?διδαν εθνικιστικ? συνθ?ματα, να τα τοποθετ?σω δ?πλα στι? φωτογραφ?ε? των εξ?ριστων. Μια ταιν?α μν?μη? που μ?χεται εν?ντια στη λ?θη, σ?μερα που αποτρ?παιε? εθνικιστικ?? εξ?ρσει? αναδ?ονται ξαν? στην Ελλ?δα…?

Με την προσδοκ?α πω? η ταιν?α θα μπορ?σει να συνεισφ?ρει στη διατ?ρηση τη? ιστορικ?? μν?μη?, οι δημιουργο? ενθαρρ?νουν κ?θε ενδιαφερ?μενο να οργαν?σει μη εμπορικ?? δημ?σιε? ? ιδιωτικ?? προβολ??, με τη βο?θεια και του συνοδευτικο? υλικο? που διατ?θεται στον ιστοτ?πο τη? ταιν?α?, αλλ? και με τη βο?θεια του παρ?λληλου ενημερωτικο? ιστοτ?που.

Πηγ? (www.tvxs.gr)

Creative Commons去年提供獎助申請，希望讓各司法管轄創用CC授權推動組織提出各自著眼的推動構想與執行方案。目前各地都有些提案及進展，其中亞太區域獲選者有：やまと、紐西蘭、?台灣。這裡是紐西蘭目前的?況。

?讀全文

Two bills in Congress share a basic understanding that the unclassified research articles and data that arise from federal funding should be made available over the public Internet at some point after the articles have been published. ?However, these two bills have sharply divergent approaches to how this basic goal should be achieved.

The forward-looking, pro-innovation bill is the?Fair Access to Science and Technology Research Act (FASTR).? It would effectively embody in legislation the requirements outlined in this Policy Directive from the Office of Science and Technology Policy. ?FASTR is a bi-partisan bill that reflects a realistic appreciation of the economics of scholarly publishing and accommodates the needs of subscription-based publishers while also promoting rapid, publicly-provided, public access.

In contrast, the Frontiers in Innovation, Research, Science and Technology Act (FIRST), which would fund the National Science Foundation, would roll back progress already made. ?The bill would allow for access embargoes of up to 24 months even though publishers have failed to bring forth evidence that the much shorter 6-month embargo in Europe or the 12-month embargo used by the NIH have had any measurable impacts on the financial sustainability of the subscription-based publishing model. ?This particular feature of the bill is simply anti-innovation. Second, the bill would not require that the agency receive a copy of the article arising from federal funding. ?Instead, a mere link, without any requirements about its persistence, would suffice. ?Sadly, this would turn out to be a public access mirage in many cases, as links frequently break. Last, NSF already has drafted a public access plan ? that the Obama Administration currently has not shared ― in response to the OSTP Directive. ?The bill’s requirement for another 18-month delay is therefore merely an impediment to public access in the near future.

For more on the FIRST ACT, see Tim Vollmer, “Proposed U.S. law would weaken and postpone public access to publicly funded?research.”

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This week the US House Representatives introduced H.R. 4186, the Frontiers in Innovation, Research, Science and Technology Act of 2014 (FIRST Act). The stated goal of the proposed law ― “to provide for investment in innovation through scientific research and development, [and] to improve the competitiveness of the United States ― is worthy and well received. But part of the bill (Section 303) is detrimental to both existing and proposed public access policies in the United States.

According to SPARC:

Section 303 of the bill would undercut the ability of federal agencies to effectively implement the widely supported White House Directive on Public Access to the Results of Federally Funded Research and undermine the successful public access program pioneered by the National Institutes of Health (NIH) ? recently expanded through the FY14 Omnibus Appropriations Act to include the Departments Labor, Education and Health and Human Services. Adoption of Section 303 would be a step backward from existing federal policy in the directive, and put the U.S. at a severe disadvantage among our global competitors.

The White House Directive, NIH Public Access Policy, Omnibus Appropriations Act, and the proposed Fair Access to Science and Technology Research Act (FASTR) all contain similar provisions to ensure public access to publicly funded research after a relatively short embargo (6-12 months). These policies make sure that articles created and published as a result of federal funding are deposited in a repository for access and preservation purposes. In addition, the policies provide for a reasonable process and timeline for agencies to development a plan to comply with the public access requirements.

The FIRST Act would conflict with each of these practices. Instead, if enacted it would permit agencies that must comply with the law to:

• Extend embargoes to federally funded research articles to up to 3 years after initial publication, thus drastically increasing the time before the public has free public access to this research. We’ve said before that the public should be granted immediate access to the content of peer-reviewed scholarly publications resulting from federally funded research. Immediate access is the ideal method to optimize the scientific and commercial utility of the information contained in the articles.
• Fulfill access requirements by providing a link to a publisher’s site. However, this jeopardizes long-term access and preservation of publicly-funded research in the absence of a requirement that those links be permanently preserved. A better outcome would be to ensure that a copy is deposited in a federally-controlled repository.
• Spend up to 18 additional months to develop plans to comply with the conditions of the law, thus further delaying the plans that are already being organized by federal agencies under the White House Directive and Omnibus Appropriations Act.

This bill is scheduled to be marked up in the House Committee on Science, Space, and Technology tomorrow, March 13.

But there are better alternatives, both in existing policy (e.g. White House Directive), and in potential legislation (e.g. FASTR). Here’s what you can do right now:

• Send a letter to members of the House Science, Space and Technology Committee opposing Section 303 of the FIRST Act.
• Use the SPARC action center to customize and send letters directly to your legislators. Tweet your opposition to Section 303 of the FIRST Act, or post about the bill on Facebook.
• Write a letter to the editor or an op-ed for your local or campus newspaper. You can write directly to them or by using the SPARC legislative action center.
• Share this post with your colleagues, labs, friends and family.

Texto por Arelis Uribe, imagen del “sem?foro” por (Ovtoaster) ? SA

El acceso al conocimiento oscila entre pr?cticas restrictivas a otras m?s flexibles. Esa transici?n puede representarse con los mismos colores de un sem?foro, donde el rojo es literalmente no pasar y el verde la libre circulaci?n. ?Por qu? se da esta diferencia, qu? implica cada tono de esta gama?

Juan Carlos Lara, Director de Contenidos de ONG Derechos Digitales, lo aclara. “M?s que diferencias, entre todos estos conceptos hay una enorme relaci?n. Se trata de un equilibrio entre los derechos de protecci?n y el derecho a consumir productos culturales. En este abanico, el Copyright representa la protecci?n y el Dominio P?blico representa el acceso”. Esa distancia puede representarse con los tonos rojo, amarillo y verde.

“El gran problema del Copyright es su naturaleza restrictiva (rojo) y su hegemon?a como sistema regulatorio, de ah? que surjan alternativas (verdes y amarillas), como Copyleft, para apelar por la circulaci?n del conocimiento y el arte”, agrega.

?En qu? consiste cada una de estas licencias? Aqu? un breve panorama.

Copyright: la licencia m?s restrictiva. S?lo el autor de la obra tiene derecho a utilizarla. Si otra persona quiere usar la obra, debe pedir permiso y pagar al autor. Sin embargo, tras una cantidad de a?os luego de la muerte del autor ?en Chile son 70 a?os-, ?sta pasa a dominio p?blico. El color aqu? es rojo.

Copyleft: es el opuesto al Copyright, esta licencia permite la distribuci?n, intervenci?n, copia e incluso el uso comercial de una obra. Su origen y despliegue est? especialmente asociado al software libre y open source. Su color evidentemente es verde.

Creative Commons: hay cuatro tipo de atribuciones, cuya mezcla va desde la mera atribuci?n al autor con todos los dem?s usos liberados, hasta la licencia que proh?be el uso comercial de la obra y su reutilizaci?n. En esta gama de licencias, Creative Commons posee la m?s amplia: atraviesa del amarillo al verde, diferencia que se remarca en el color del header de la web de cada licencia.

Dominio P?blico: se trata de obras que, a partir de la muerte de su autor, quedan libres del Copyright. Desde ese momento, cesan sus restricciones para copiar, modificar, publicar y comunicar una obra al p?blico.

“Estos modos de distribuci?n no implican dedicaci?n total al dominio p?blico ni una renuncia al derecho de autor. Al contrario, se basan en el derecho de autor (Creative Commons considera la atribuci?n irrenunciable). Pero, a la vez, reconocen que las libertades del dominio p?blico son mucho m?s favorables que el Copyright a la hora de enriquecer el sistema cultural”, concluye Lara.

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This is part four of a five week series on the Affiliate Team project grants. So far, you’ve heard from our affiliates in Africa, Arab World, and Asia-Pacific. Today, we’re featuring our Europe projects, including a revived CC WordPress plugin from Finland, an awareness raising event in Dublin, Ireland, and a course for librarians and academics led by CC Romania.

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Finland: WpLicense Revived
by project lead Tarmo Toikkanen

CC Finland is working on a revived Creative Commons WordPress plugin, building upon the existing official plugin built by Nathan Yergler, former CC CTO.
The renewed plugin will work in multi-author blogs with varying license needs, which displays correct author information on all pages in the license RDF, and which is localized to several languages. As an additional feature, integration with online CC-licensed image banks for searching and using figures in blog posts would be extremely useful in helping bloggers use pictures legally.
As WordPress is the most used CMS in the world, it should have robust Creative Commons functionality, officially produced by CC. The plugin would both make it easy for bloggers to share their content openly, and would educate many about CC licenses.
On February 19th, we announced an alpha version of the renewed WpLicense plugin. Download it here: https://github.com/tarmot/wp-cc-plugin/releases/tag/release-2.0-alpha
We welcome any bug reports, issues or general feedback on WPLicense on the cc-devel mailing list or as issues in Github.

Ireland: Awareness-raising Event in Dublin, November 2013
by project lead Darius Whelan

Creative Commons Ireland held an awareness-raising event in Dublin on “Maximising Digital Creativity, Sharing and Innovation” in January 2014. The event took place in the National Gallery of Ireland and was attended by 100 people working in technology, libraries, academia, galleries/libraries/museums, media and education. The speakers represented a cross-section of perspectives, and the event was an opportunity for CC Ireland to develop relationships with organisations such as the Open Knowledge Foundation, Digital Rights Ireland, and Ireland’s Copyright Review Committee. Eoin O’Dell of the Law School, Trinity College Dublin talked about copyright law reform and its impact on Creative Commons licences. The Copyright Review Committee, which was chaired by Dr O’Dell, published its proposals for change in Ireland in October 2013 (see http://www.djei.ie/press/2013/20131029.htm). O’Dell said his committee’s report had provided the first legal definition of metadata, which particularly aimed to protect the rights of digital photographers. The report also proposed that parody and linking should be allowed without any infringement of copyright, as well as a nine-point ‘fair use’ doctrine. Kristina Alexanderson of CC Sweden spoke about how she uses CC licences in her work and her work has been accessed by very large audiences as a result.

Conor McCabe / CC BY

Alek Tarkowski, European Policy Advisor, CC, discussed open policies for user rights and freedoms, and highlighted a Polish project for providing open education textbooks. Gwen Franck, CC Regional Co-ordinator, highlighted the work of CC Affiliates throughout Europe. Professor David Post, of Temple Law School, Philadelphia, USA said there were between 400 million and 800 million Creative Commons licences in use today, and Creative Commons represented people “taking the law into their own hands.” He said copyright law had “run amok,” with copyright protection running for too long and being too wide. The event was chaired by Darius Whelan and Louise Crowley of CC Ireland and the Faculty of Law, University College Cork. Photos, videos and slides are available at www.creativecommonsireland.org.

Photos: http://www.flickr.com/photos/114281612@N04/
Videos: http://www.youtube.com/user/creativecommonsirl
Slides: http://www.slideshare.net/cc-ireland

Romania: OER Awareness Activities for Librarians and Academics in Romania
#schoolofopen
by Jane Park (project lead: Bogdan Manolea)

Many librarians and academics in Romania are not aware of or knowledgeable about open educational resources (OER) and how they can best leverage them for their needs. CC Romania, along with the Association for Technology and Internet (ApTI), the National Association of Public Libraries and Librarians in Romania, and Kosson and Soros Foundation Romania teamed up to put on a series of workshops to raise awareness among librarians and academics on the topics of open educational resources (OER), copyright, and CC licenses.
The project was launched during the National Association of Librarians and Public Libraries (ANBPR) annual conference which took place between 10-12 October 2013 in Sibiu, Romania. The presentation prepared by the team project and delivered by Andra Bucur from the Soros Foundation explained in short about copyright issues and their limits, how to apply an open license to a creation, what are open educational resources (OER) and where to find them.
From this conference, participants signed up for a series of workshops which focused on the correct attribution of the CC licenses, aspects of OER, online courses and MOOCs delivered by Bogdan Manolea from ApTI and Nicolaie Constantinescu (ANBPR & Kosson.ro).
The series kicked off in 15 November in Bras?ov, Romania, as part of the International Colloquium on Social Science and Communication, a social science academic event.
Subsequent workshops were held in December 2013 and January 2014 at V.A. Urechia Regional Library in Galat?i; at Octavian Goga Regional Library in Cluj; at Polytechnical University in Timis?oara; and University Vasile Goldi? in Arad. Future workshops wil take plece in Ias?i and Bucharest in February 2014.
The partners of the project are also organizing a conference in Bucharest during the open education week to share the best practices on education taught, but also learned in the project.
CC Romania also attended BVCCC ? the first CC Film Festival to be ever organized in Romania that took place in Bra?ov in November 2013. This was a great opportunity for the team to reach out to a different type of public ― mostly local artists and digital content creators.

On Thursday, March 14 Fundaci?n Karisma, in collaboration with UNESCO and Creative Commons will launch the report “Public Expenditure On Education in Latin America: Can It Serve the Paris Open Educational Resources Declaration’s Purposes?”

“Human rights are not left at the door when we enter the online world.” This is the premise on which we embark on a new research project related to one of the fundamental rights under threat in a networked society: access to knowledge.

In Latin America, paper textbooks coexist with digital technologies, but for the most part these digital resources are not yet an essential part of education systems. Despite efforts to foster the pedagogical use of information technology, in Latin America there is currently more emphasis on connectivity issues. Without adequately addressing the challenges to connectivity, the educational ecosystem is wasting real opportunities to boost the adoption and implementation of appropriate technologies.

Open education promotes knowledge as a public good based on the following elements: redistribution (sharing with others), remixing (combining resources to create new content), free reuse of whole or partial educational materials with proper attribution, the ability to revise resources in order to make modifications, enhancements, and adaptations according to context, and peer reviewing to ensure resource quality.

As described in the report, the increasing availability of Open Educational Resources open up a range of possibilities for the countries of the region that are still depending on a high level of negotiations between state educational systems and the publishing industry. But while many governments do not have the technological capabilities to facilitate the realization of human rights, the recommendations of important instruments such as the Paris Open Educational Resources (OER) Declaration can be a useful tool to prompt political and social change within the educational systems in Latin America. According to the Paris OER Declaration, Open Educational Resources include any teaching, learning and research materials which are in the public domain or released under an intellectual property license that allows for free use, adaptation and distribution.

The report was commissioned by the UNESCO Regional Bureau for Science in Latin America and the Caribbean. It will be released on Thursday and published under a Creative Commons BY-NC-ND license. The report seeks to identify and analyze public policy and the investment and expenditure that the governments of Argentina, Chile, Colombia, Paraguay and Uruguay have committed for the development and procurement of textbooks, books and digital content for primary and secondary education (K-12).

Because the purpose of Open Education Week is to raise awareness about the movement and its impact on teaching and learning worldwide, we invite you to be part of the webinar. The event will be a dialogue on open education issues in the region with the participation of Carolina Rossini, OER expert from Brazil, Juan Carlos Bernal from the Ministry of National Education of Colombia, and Patricia Diaz and Virgina Rodes, who are members of the Uruguayan OER community. In addition to these speakers, a Creative Commons and UNESCO representatives will join the talk, as well as the group of researchers from Fundaci?n Karisma who developed the report.

Webinar details:

• Date: March 13, 2014
• Time: 5:00 pm (Bogot?, UCT-5)
• Place: Watch for the webinar link on our social networks: Twitter @karismacol, Facebook Fundaci?n Karisma, and our website: karisma.org.co

This post originally appeared via Fundaci?n Karisma, a civil society organization based in Bogot?, Colombia. The organization supports and promotes access to information and communication technologies in Colombian and Latin American society.

Today, the Scholarly Publishing and Academic Resources Coalition?organized a Congressional briefing on Open Educational Resources (OER) for?Open Education Week. One speaker, Daniel DeMarte, described the experience that Tidewater Community College has had in rolling out it’s “Z-Degree” ? an associate degree in business administration that uses a curriculum composed of entirely of OER.

Tidewater identified 21 courses and signed up faculty members to design the curriculum.? They started with the desired outcomes for each of the courses, and then built the curriculum with OER materials that would meet those outcomes. Developing the curriculum took about 12 months. One year into the program, the early results are highly positive.

The OER degree program had two goals ? to eliminate cost as a barrier, and to improve teaching impacts. The textbooks for an associate’s degree in business administration normally cost $3679, which is about a third of the cost of the degree from Tidewater.? Adoption of OER reduces these costs to zero. Students and instructors alike are happy with the quality of the OER materials used in the classes. 96% of the students enrolled in the courses have rated the quality of the OER content as equal to or better in quality to the textbooks used in other classes.

DeMarte would like to see other schools follow their lead.? Tidewater intentionally developed a model that can be reproduced.? All of their curriculum materials are openly available under a Creative Commons Attribution License, and there is a wealth of additional open resources available.? Tidewater staff and faculty have made at least 12 presentations to others in the last month promoting these types of programs.

He said there are a number of key things that are necessary to make an open OER degree program work:

• Commitment from the organization to provide the necessary resources to build the curriculum.
• Engagement from the faculty, who must be willing to venture into unfamiliar territory. At Tidewater, Prof. Linda Williams played a key role in making the degree a reality.
• Engagement with the larger OER community.? Tidewater worked with Lumen Learning to set up this degree program
• A key role for librarians to work with the staff and faculty
• Continuous effort to fine tune and improve the program

After the panel, Michael Carroll and I talked briefly to DeMarte, who discussed how he wants others to adopt OER.? He told us “I don’t want to hear any more about students who didn’t take a course because they couldn’t buy the book.” ?Down the road he would like to see a repository of Open Educational Resources that evaluates what exists based on student outcomes, and that identifies gaps in OER offerings for others to fill.

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De Blender Foundation, de Nederlandse stichting die open source graphics- en animatiesoftware ontwikkeld, is een crowdfunding campagne gestart om een lange animatiefilm te maken. Project Gooseberry brengt hiervoor twaalf indie-animatiestudio’s over de hele wereld samen. De campagne loopt van 9 maart tot en met 19 april en het doel is om tienduizend donateurs te krijgen en daarmee een half miljoen euro binnen te halen.

Blender brengt jaarlijks korte films uit om de mogelijkheden van zijn open source software tentoon te stellen. Deze films zijn net als het gehele Grooseberry-project beschikbaar gesteld onder Creative Commons-licenties.

Donaties zijn mogelijk vanaf 20 euro, en vanaf 45 euro krijg je toegang tot de Blender-Cloud. Hier worden de donateurs op de hoogte gehouden van de voortgang van het project en kunnen zij meekijken achter de schermen en een bijdrage leveren.?Wordt donateur, kijk mee achter de schermen en draag bij aan het project en de ontwikkeling van animatiesoftware.

W dniach 10-15 marca 2014 na ca?ym ?wiecie odbywa si? b?dzie Tydzie? Otwartej Edukacji. To wydarzenie wzorowane na Tygodniu Open Access jest ?po?wi?cone dost?pno?ci zasob?w edukacyjnych. Mo?ecie wzi?? udzia? w?wielu wydarzeniach, g??wnie online, zar?wno mi?dzynarodowych (wszystkie na g??wnej stronie Tygodnia) oraz polskich, kt?re organizuje Koalicja Otwartej Edukacji.

Tydzie? Otwartej Edukacji w?Polsce…

Koalicja Otwartej Edukacji zaprasza do?zadawania pyta? dotycz?cych problem?w zwi?zanych z?prawem autorskim w?edukacji. Od?10 do?15 marca zbierane b?d? pytania, na?kt?re odpowiada? b?d? eksperci Koalicji.?Specjaln? stron? stworzy?a r?wnie? Bibliosfera.net, kt?ra zbiera pomys?y na akcje w?bibliotekach do zorganizowania w?ramach Tygodnia. Niekt?re biblioteki przygotwa?y ju? ca?kiem aktywny program np. Nowohucka Biblioteka Publiczna organizuje a? 3 wydarzenia w?swoich filiach.

i na ?wiecie

Spo?r?d kilkudziesi?ciu webinari?w i?dyskusji online polecamy Waszej uwadze webinarium po?wi?cone wersji 4.0 licencji Creative Commons w?edukacji?(w ?rod?, o?19:00 czasu lokalnego w?Polsce) oraz ca?otygodniow? dyskusj? na temat plan?w Komisji Europejskiej na otwarto?? edukacji w?szkolnictwie wy?szym.

Creative Commons去年提供獎助申請，希望讓各司法管轄創用CC授權推動組織提出各自著眼的推動構想與執行方案。目前各地都有些提案及進展，其中亞太區域獲選者有：やまと、紐西蘭、台灣。這裡是やまと目前的?況。

?讀全文

I’m very excited to be speaking at South by Southwest tomorrow along with Scott Belsky of Behance, Sofya Polyakov of The Noun Project, and Eric Stover of Autodesk. Each speaker represents a community of designers that use open content or licenses in some way. I’m sure it will be a fascinating discussion.

For people coming to this blog post from the talk, here are some links you might like:

• Slides from the panel
• Featured CC Platform: Behance: My interview with Scott from a couple years ago, where he discusses why Behance users have so fully embraced CC licenses.
• Sofya Polyakov / Team Open: Sofya explains why open licensing is integral to The Noun Project’s business model.
• Autodesk invites users to remix its content: Our blog post from last year about Autodesk adopting CC licenses for all of its training content.
• Open Design Now: Online and print anthology about open design. Very fun read.
• Fiat: The Case for Letting Your Customers Design Your Products: Article in Inc. from a few years ago about Fiat’s CC-licensed car.
• CC in design: expanding your team of collaborators: My notes from a previous panel on open licensing in design.

After the panel, I’ll add a link to the slides.

Ju? od poniedzia?ku trwa? b?dzie kolejny mi?dzynarodowy tydzie? otwartej edukacji, w?ramach kt?rego mo?ecie wzi?? w?wielu akcjach i?wydarzeniach (zw?aszcza w?masie ciekawych webinari?w)

1. Polskie otwarte epodr?czniki nadal goszcz? w?mediach. Alek Tarkowski dla PAP m?wi tym dlaczego otwarte zasoby edukacyjne (w tym epodr?czniki) nap?dzaj? ewolucje w?edukacji m.in. poprzez zmian? modelu, w?kt?rych tradycyjnie wydawane podr?czniki ogranicza?y innowacyjno?? nauczycieli.

2. Getty Images, jedna z?najwi?kszych ?wiatowych agencji fotograficznych zdecydowa?a si? na zezwoleniem u?ytkownikom na niekomercyjne umieszczanie cz??ci zdj?? z?kolekcji na stronach WWW. Cho? brzmi to rewolucyjnie to szczeg??owe warunki korzystania z?tych zdj?? s? niestety nadal bardzo restrykcyjne (nale?y korzysta? ze specjalnego narz?dzia do embedowania) oraz nie daj? ?adnych gwarancji bezpiecze?stwa i?trwa?o?ci licencji.

3. David Wiley proponuje rozszerzenie definicji otwartych zasob?w edukacyjnych i?wzmocnienie w?niej praw posiadania i?kontroli nad kopi? (Retain ? the right to make, own, and control copies of the content; prawo do zapisania, posiadania i?kontrolowania kopii). Wiley uwa?a, ?e taka rozbudowa jest konieczna wobec wydawc?w, kt?rzy mimo otwierania licencji na zasoby, kt?re dystrybuuj?, r?wnocze?nie wprowadzaj? ograniczenia techniczne dla kopiowania czy archiwizowania tre?ci.

4. OER Research HUB przygotowuje map? wp?ywu otwartych zasob?w edukacyjnych na ?wiecie, zbieraj?c dane, przyk?ady i?i projekty z?ca?ego ?wiata. Tutaj mo?na doda? informacje za pomoc? prostego narz?dzia.

5. OERu (University) po kilku miesi?cach od powstania publikuje swoje ambitne plany na najbli?szy rok m.in. wsp??prac? z?kilkoma uczelniami bycie mentorem podczas Google Summer of Code. W?Europie fundacja stoj?ca z?OERu b?dzie wsp??pracowa? z?projektem bada? nad otwart? edukacj? Komisji Europejskiej eMundus.

6. Economist pisze o?Wikipedii, jej przysz?o?ci i?niepokoju jaki wywo?uje spadek edytor?w w?wi?kszo?ci j?zyk?w.

7. Czy otwarte OpenStreetMap mo?e pokona? Google Maps? Ostatnie lata pokaza?y nie tylko si?? wolontariuszy stoj?cych za OSM, ale r?wnie? wewn?trzn? umiej?tno?? spo?eczno?ci do wprowadzania zmian i?podnoszenia jako?ci map, wi?cej na ?amach The Next Web.

8.?Wok?? MOOC-?w (Massive open online course) narastaj? kolejne w?tpliwo?ci i?konflikty (potrzebne by ta forma edukacji online wyros?a z?bycia jedynie trendem o?ciekawej nazwie) poza g??wn? dyskusj? o?otwarto?ci MOOC-?w (tylko cz??? z?nich u?ywa otwartych licencji) kolejnym jest?do kogo nale?? prawa do tre?ci kurs?w?