Planet Creative Commons

This page aggregates blogs from Creative Commons, CC jurisdiction projects, and the CC community. Opinions are those of individual bloggers.

Προσοχή! Προσεχώς DRM στο Firefox

CC Greece, May 15, 2014 05:47 PM   License: Αναφορά Δημιουργού 3.0 Ελλάδα

Οι μελλοντικές εκδόσεις του Firefox θα περιλαμβάνουν σύστημα Digital Rights Management (DRM) κλειστού κώδικα από την Adobe, όπως ανακοίνωσε ο CTO της Mozilla, Andreas Gal, την Τετάρτη 14 Μαΐου 2014. Η απόφαση αυτή έχει προκαλέσει έντονες αντιδράσεις στην κοινότητα του ανοικτού λογισμικού, καθώς και ανησυχία για το μέλλον του web και τη διαφύλαξη της ελεύθερης πρόσβασης σε αυτό.

Υπενθυμίζουμε ότι τον Οκτώβριο του 2013 είχε ανακοινωθεί επίσημα από το World Wide Web Consortium (W3C — ο οργανισμός που θέτει τις προδιαγραφές για το web) ότι θα ενσωματωθούν τεχνολογίες DRM στις προδιαγραφές της HTML5, κατόπιν αιτήματος εταιριών διακίνησης περιεχομένου, μεταξύ των οποίων οι Netflix, Google, Microsoft και Apple. Περισσότερες πληροφορίες για αυτές τις κλειστές επεκτάσεις μπορείτε να δείτε στη σχετική πρόταση.

Ο κ.Gal, στην ανακοίνωση του αναφέρει ότι ήταν μία απόφαση δύσκολη αλλά αναπόφευκτη προκειμένου να παραμείνει ανταγωνιστικός ο Firefox, καθώς στους υπόλοιπους δημοφιλείς browsers (Safari, IE και Chrome) έχουν υιοθετηθεί ήδη οι κλειστές επεκτάσεις. Παρόλαυτα, στην κοινότητα του ανοικτού λογισμικού έχει ξεκινήσει συζήτηση για τις επόμενες κινήσεις και πιθανότατα σύντομα να δούμε κάποιο fork του Firefox χωρίς κλειστό κωδικά, όπως είχε γίνει παλιότερα από το Debian με το Iceweasel.

Πηγή: hacks.mozilla.org.
Πηγή εικόνας: XKCD.

Creative Commons explicado en una sencilla infografía

CC Chile, May 15, 2014 05:35 PM   License: Atribución-NoComercial-CompartirIgual 2.0 Chile

 ¿Qué es Creative Commons? ¿Por qué usarlo? ¿Cuáles son los tipos de licencias? ¿Qué restricciones tienen? ¿Cuáles son sus ventajas?

Toda esa información la podrás encontrar didácticamente explicada en esta infografía.

Infografía CC por (Martin Missfeldt) – SA.
Traducción de Flora Pelissier.

Ryan Merkley nieuwe CEO Creative Commons Internationaal

CC Netherlands, May 15, 2014 11:53 AM   License: Naamsvermelding 3.0 Nederland

Creative Commons Internationaal stelt Ryan Merkley per 1 juni aan als nieuwe Chief Executive Officer (CEO). Na het terugtreden van Catherine Casserly eerder dit jaar is Creative Commons Internationaal op zoek geweest naar een CEO.

Ryan Merkley

Ryan Merkley door Rannie Turingan - CC0

Ryan Merkley brengt een nieuw gezicht naar Creative Commons. Hij heeft onder andere ervaring opgedaan bij de Mozilla Foundation en als adviseur van de burgemeester van Toronto waar hij een Open Data project startte. Gezien zijn technische achtergrond lijkt het erop dat de komende tijd een focus zal komen te liggen op de technologische aspecten van de Creative Commons-licenties.

Wij verwelkomen Ryan en wensen hem veel succes!

Lees hier het hele persbericht.

Why I joined Creative Commons

Creative Commons, May 14, 2014 08:47 PM   License: Attribution 3.0 Unported

Ryan Merkley

Ryan Merkley / Rannie Turingan / CC0

I’m honored to be chosen as CEO of Creative Commons. CC is a giant of the open web, and it’s an organization that I have always believed in and truly admire. I appreciate the confidence shown by the board, and support I have already received from staff and community members has been fantastic.

My path to CC has been unorthodox, but feels logical in retrospect. My commitment to public service and the public good; my deep belief in the power of technology; and my work to support the open Web as a place for everyone to create, share, and connect. Those are common threads that run through my work at the City of Toronto, at Mozilla, and now with Creative Commons.

Why am I joining CC? Because its success is so vital, and I want to ensure we succeed. Creativity, knowledge, and innovation need a public commons — a collection of works that are free to use, re-use, and build upon — the shared resources of our society. The restrictions we place on copyright, like fair use and the public domain, are an acknowledgement that all creativity and knowledge owe something to what came before.

Without a robust and constantly growing collection of works available for use and reuse, we lose the kind of innovation and creative inspiration that gave us Disney classics, hip-hop, and the interoperable Web. The consequences of failing to grow and protect the public commons present themselves as lost opportunities: discoveries not made, innovations left undeveloped, and creativity unrealized. It’s complex and hard to quantify, but also dangerous to ignore.

A public commons is a driving force to advance human knowledge, and is essential infrastructure for the global economy.

In today’s legal environment, the commons is increasingly under threat. New works are restricted by copyright from the moment they are created until long after their creators are dead, and stricter copyright rules are almost always demanded by large rights-holders who benefited from the commons in the first place. It’s like running across a rope bridge only to cut it loose once you get to the other side. And today’s battles over copyright often ignore the fact that the Web has dramatically shifted the motivations for creators: it’s no longer only about money. Many do it just for the love of their craft, or just to be seen in the world, and still more are finding ways to share their work and get paid at the same time.

There needs to be a balance that allows business models to thrive, and allows shared work to proliferate.

In the modern copyright environment, each one of us has to make a conscious decision to share our work. It can be complicated, confusing, and expensive. But we need creators to be inspired to do it anyway. We need governments, nonprofits, and institutions to give the public permission to use their works. We need an organization that makes the case, creates solutions so that sharing is easy even when the legal frameworks make it difficult, and that champions the benefits — both to individual creators, and to society.

That’s where Creative Commons has to lead.

A lot has changed since the first Creative Commons licenses were released in 2002. While the organization has been by many measures incredibly successful — enabling hundreds of millions of works to become part of a public commons — it has also struggled to adapt to new technology and the massive expansion of content created online.

Half a billion licensed works is an impressive achievement, but today’s Facebook users upload 350 million photos a day, and YouTube users upload over 100 hours of video a minute (yes, some of it CC-licensed). I want to drive more licensed works into the commons by breaking down the barriers — legal and technical — for individual creators. And we need tools to help those who would reuse their work to find it quickly and easily.

In his 2008 book, The Public Domain: Enclosing the Commons of the Mind, James Boyle (also a former CC board member) makes an impassioned plea to build a global movement that will fight for the public commons — one modeled after the environment movement, which took something complex and hard to quantify and drew people to its cause. I believe Creative Commons must lead this movement.

We need to rally people to our cause, and ask for their creativity, their time, and their financial support.

We begin with a global network of 70 affiliates around the world who already form a vibrant, opinionated, and brilliant community of legal experts and advocates. The seeds of our movement already have roots.

We have a strong suite of free licenses that enable sharing in an increasingly restrictive legal framework.

And we have a powerful, recognizable brand that is respected the world over.

Not a bad place to start. I’m excited to step into this role, to defend and champion the public commons, and to join this global community and movement.

A message from Larry: A new CEO and a challenge to the CC community

Creative Commons, May 14, 2014 07:53 PM   License: Attribution 3.0 Unported

I am thrilled to welcome Ryan Merkley as the incoming CEO of Creative Commons.

This is an important moment in the history of the organization. After eleven years, CC licenses are globally recognized as the definitive tool for sharing creative works. Millions across the world use CC as a force for good in their communities. We are building universal access to knowledge and culture as we had hoped — within the freedoms we craft inside copyright.

But the web has changed, and its users with it. And CC must too. I am excited and incredibly pleased that Ryan has agreed to join CC as the leader to take CC into its next era.

Ryan is an outstanding and recognized voice among Mozilla’s global community. From his time there he has proven that he is a strong believer in the open web, open data, and open content, and he knows how to activate and motivate community members for change. He is a leader with a great technical vision informed by the right values. He has inspired all of us, and I am confident he will be the leader CC needs.

At the last Creative Commons Global Summit in Buenos Aires, someone asked me how I’d like to see the organization change.

My answer was simple: We celebrate the tremendous achievement of Version 4.0 of our Creative Commons licenses. But we are still at Version 2.0 of the technology that we use to deliver those licenses.

Ryan will fix that, and give CC another decade of incredible growth and remarkable success. We are grateful he has agreed to share his enormous talents with us.

Welcoming Creative Commons’ new CEO, Ryan Merkley

Creative Commons, May 14, 2014 06:58 PM   License: Attribution 3.0 Unported

Ryan Merkley

Ryan Merkley / Rannie Turingan / CC0

After an extensive search, the Creative Commons board of directors is pleased to announce that Ryan Merkley will be our new CEO. He’ll start work on June 1, and we’re all looking forward to working with him.

Ryan joins us after a career working to advance social causes and public policy in nonprofits, technology, and government. As chief operating officer at the Mozilla Foundation, Ryan contributed to the development of Mozilla products and programs supporting the open web, including Lightbeam, Webmaker, and Popcorn, and also established Mozilla’s successful individual fundraising program. Ryan was most recently managing director and senior vice president of public affairs at Vision Critical, a Vancouver-based SaaS and market research firm. Before that he held leadership roles at Toronto’s City Hall, including senior advisor to Mayor David Miller, where he initiated Toronto’s open data project. Ryan also served as director of corporate communications for the City of Vancouver and the 2010 Winter Olympics. He has an impressive track record of leadership in civic-minded and technology-centered organizations — and I think he’ll make a great leader in the Creative Commons movement.

As the board has gotten to know Ryan after the past several weeks, he’s articulated a strong vision to us for the future of the organization. He understands that the internet has changed a lot since we first launched the CC licenses, and that our relevance requires an evolving technology strategy. Ryan speaks enthusiastically and eloquently about the future of Creative Commons. It is clear to me, and I think to anyone he meets, that he has been working in our world as an outspoken supporter of our mission for almost as long as Creative Commons has existed.

He also recognizes that this is a crucial moment for CC and its allies: we must work together to strengthen and protect the open web. As the web has become more stratified in a world of apps, and as new laws and court decisions stand to dramatically extend terms of copyright and make it more difficult for people to build upon the work of others, our role has never been more important.

Once again, the board would like to voice our appreciation for the work of outgoing CEO Cathy Casserly. She substantially advanced CC’s mission over the past three years. Under Cathy’s leadership, Creative Commons helped numerous governments around the world adopt open education policies, and we saw considerable growth and engagement in the CC Affiliate Network.

And finally, our sincere thanks to Lisa Grossman and staff at m/Oppenheim Associates for helping us conduct a swift and successful CEO search.

Please join me now in welcoming Ryan to Creative Commons.

Creative Commons Names Ryan Merkley as Chief Executive Officer

Creative Commons, May 14, 2014 06:57 PM   License: Attribution 3.0 Unported

Ryan Merkley
Ryan Merkley / Rannie Turingan / CC0

Mountain View, CA May 14, 2014: The board of directors of Creative Commons is pleased to announce the appointment of Ryan Merkley to the position of chief executive officer. Ryan is an accomplished strategist, campaigner, and communicator in the nonprofit, technology, and government sectors. Ryan was recently chief operating officer of the Mozilla Foundation, the nonprofit parent of the Mozilla Corporation and creator of the world’s most recognizable open-source software project and internet browser, Firefox. At the Mozilla Foundation, Ryan led development of open-source projects like Webmaker, Lightbeam, and Popcorn, and also kicked off the Foundation’s major online fundraising effort, resulting in over $1.8 million USD in individual donations from over 44,000 new donors.

Ryan is a well-known and respected voice in the open source community, and recognized for his unwavering support to open government and open data initiatives.

“As the board has gotten to know Ryan after the past several weeks, he’s articulated a strong vision to us for the future of the organization,” board chair and interim CEO Paul Brest said. “He understands that the internet has changed a lot since we first launched the CC licenses, and that our relevance requires an evolving technology strategy. He also recognizes that this is a crucial moment for CC and its allies: we must work together to strengthen and protect the open web.”

“A public commons, enabled by the open web, is the most powerful force to foster creativity, inspire innovation, and enhance human knowledge around the world. Those who believe in its potential need to join together in a global movement to ensure its success,” said Ryan Merkley. “At Creative Commons we’re making that case, and supporting, inspiring, and connecting the various communities that are building the commons — from open education, to science, to film and photography — and working to provide tools, solutions, and policy on their behalf.”

Creative Commons provides a set of licenses that creators can use to grant permission to reuse their work. With over half a billion openly licensed works on the internet, Creative Commons is internationally recognized as the standard in open content licensing. Ryan will lead a global team of legal and technology professionals who manage and support the licenses, as well as experts who lead CC license adoption efforts in areas like education, culture, science, and public policy.

Ryan joins Creative Commons after a career working to advance social causes and public policy in nonprofits and government. Outside of his work at Mozilla Foundation, Ryan was senior advisor to Mayor David Miller in Toronto, where he initiated Toronto’s Open Data project. He was also seconded to the City of Vancouver as director of corporate communications for the 2010 Winter Games. Most recently, Ryan was managing director and senior vice president of public affairs at Vision Critical, a Vancouver-based SaaS company and market research firm.

Ryan will take up his new position on June 1, 2014. He will be based in Toronto, and will split his time between Toronto and the Bay Area.

Official biography and high-resolution images can be found at:
http://creativecommons.org/staff/ryan

Additional information

Bios and photos of Creative Commons board and advisory council members
http://creativecommons.org/board

Creative Commons launches Version 4.0 of its license suite
http://creativecommons.org/weblog/entry/40935

About Creative Commons

Creative Commons (http://creativecommons.org/) is a globally-focused nonprofit organization dedicated to making it easier for people to share and build upon the work of others, consistent with the rules of copyright. Creative Commons provides free licenses and other legal tools to give everyone from individual creators to large companies and institutions a simple, standardized way to grant copyright permissions and get credit for their creative work while allowing others to copy, distribute, and make specific uses of it.

For more information contact:
Elliot Harmon
Communications Manager, Creative Commons
elliot@creativecommons.org

Cryptocurrency Culture

Rob Myers, May 14, 2014 12:43 AM   License: Attribution-ShareAlike 4.0 International

http://thecypherfunks.com/

“”The Cypherfunks” is a network of musicians working individually & together to make music under the same name. A cryptocurrency [FUNK] acts as “stock” in the band.

Both the currency & band are completely decentralized. It is a grand experiment in permission-less, internet scale innovation in music, collaboration, and technology.”

http://www.monegraph.com/

http://techcrunch.com/2014/05/09/monegraph/

“monegraph helps anyone verify that a digital artwork is an original, exactly as created by the artist.

monegraph encourages a vibrant market around the sale and exchange of digital art.

monegraph uses the same technology as Bitcoin to let anyone participate in the digital art market.”

https://forum.ethereum.org/discussion/446/the-ephemeral-artcoin

The Ephemeral Artcoin (EA) is a platform designed to spark the creation of qualitative new works of non-commercial art in the post-bitcoin digital economy.

http://bitcoinmagazine.com/12259/fine-art-meets-bitcoin-rise-aesthetic-paper-wallet/

“Fine art meets bitcoin cold storage in Troy Fearow’s “labour of love”, CryptoArt, a project that took the fine art dealer 8 months to construct and launch.

Troy searches for and commissions high level artists, starting with Alexander Fedosov of the Ukraine, to produce fine art paper wallets in limited editions. These prints are meant for bitcoiners who wish to store their bitcoin safely and show them off in a beautiful way.”

http://saycheers.co/

“Cheers is an app that allows you to tip (or “Cheer”) any musician or band in the world using Bitcoin. You can Cheer any song or band, whether it’s your all-time favorite, or just a song that you loved on the radio that you’ve never heard before. See what your friends are Cheering, discover new music and reward them for finding it.”

Het Witte Huis kiest voor de CC0-verklaring

CC Netherlands, May 13, 2014 11:58 AM   License: Naamsvermelding 3.0 Nederland

Het Witte Huis heeft vrijdag 9 mei het ‘U.S. Open Data Action Plan’ uitgebracht, waarin verplichtingen zijn opgenomen om overheidsdata toegankelijk en herbruikbaar te maken. Om dit te doen maakt het Witte Huis gebruik van de CC0-verklaring en doet daarmee afstand van alle auteursrechten en aanverwante rechten. Onder CC0 beschikbaar gestelde werken kunnen door iedereen voor alle doeleinden gebruikt worden, zonder dat hierbij naamsvermelding verplicht is.

Uitsnede van 'U.S. Open Data Action Plan', CC0.

Uitsnede van ‘U.S. Open Data Action Plan’, CC0.

De Nederlandse overheid maakt sinds 31 maart 2010 niet alleen data maar ook teksten en andere media beschikbaar onder CC0. Inmiddels meer dan vier jaar later heeft Amerika ook gekozen voor CC0. We zijn blij dat de Amerikaanse data nu ook open beschikbaar worden, en kijken uit naar welke creatieve dingen hiermee zullen gaan gebeuren!

Przegląd linków CC #132

CC Poland, May 11, 2014 07:50 PM   License: Uznanie autorstwa 2.5 Polska

1. Poważne zmiany dotyczące licencji Creative Commons w serwisie flickr.com, o których pisaliśmy kilka tygodniu temu wywołały sporo reakcji w sieci a te doczekały się odpowiedzi ze stront serwisu. Ostatecznie flickr poprawił wyszukiwanie wewnętrzne (teraz jest jeszcze prostsze niż wcześniej) oraz oznaczanie poszczególnych zdjęć. Pewne problemy pozostają nadal otwarte np. z API, które ostatnio przeszło poważną awarię, a w lipcu będzie przechodzić poważną reformę bezpieczeństwa. Na wszelki wypadek pamiętajcie też, że flickr.com możecie korzystać też przez alternatywne wyszukiwarki jak compfight.com, które też obsługują CC. Tymczasem poniżej ilustracja tego gdzie teraz znajdziecie filtrowanie po licencjach CC na flickr.com – od razu nad wynikami!
flickr.com
2. Alek Tarkowski, który uczestniczył w ostatnich konferencjach Open Courseware Consortium i brytyjskiej OER14 napisał ich podusmowanie, a w nim m.in. o pierwszej krajowej pochodnej od programu europejskiego Opening Up Education czyli Opening Up Slowenia, MOOC’ach, otwartości zasobów w dwóch modelach edukacyjnych: K12 oraz dzielone na podstawową i średnią.

3. Na niezastąpionym blogu JISC sporo wiedzy i ciekawostek na temat prowadzenia kampanii promujących otwarte zasoby edukacyjne, m.in. na przykładzie właśnie trwającej akcji I love OER, w której autorzy otwartych zasobów bazujących na projekcie JORUM lub Ci którzy polecą nowe, nieznane otwarte zasoby mogą wygrywać pieniądze na zakupy w księgarni internetowej.

4. Biały Dom opublikował U.S. Open Data Action Plan, plan dalszego otwierania zasobów informacyjnych i danych produkowanych przez rząd federalny Stanów Zjednoczonych. W dokumencie ważną rolę odgrywają rekomendacje używania licencji Creative Commons Zero dla skutecznego publikowania do domeny publicznej zarówno w USA jak i poza jego granicami.

5. Unia Europejska zablokowała prace WIPO nad dokumentem w sprawie dozwolonego użytku dla bibliotek i archiwów. Na sesji komitetu WIPO ds. własności intelektualnej i prawa autorskiego (SCCR) odrzucili prace nad wypracowanym do tej pory przez komitet tekstem dokumentu, w ramach którego bibliotekarze/rki zrzeszeni m.in. w Electronic Information for Libraries (eILF) proponowali zapisy zmierzające do wprowadzenia międzynarodowego dozwolonego użytku dla bibliotek.

6. W niektórych krajach trzeba bronić przed pomysłami wydawców edukacyjnych nie tylko dozwolony użytek, ale nawet prawo do odsprzedania fizycznej, używanej książki. W USA wydawnictwo Aspen należące do Wolters Kluwer wymusza na studentach zakupujących podręczniki do nauki prawa licencję zabraniającą odsprzedaży książki co jest sprzeczne z obowiązującą w USA doktryną pierwszej sprzedaży (w Polskim prawie jest to część tzw. “wyczerpaniem prawa” które umożliwia dalszy obrót egzemplarzami już wprowadzonymi do obrotu bez naruszania prawa autorskiego).

7. Kolejny tydzień otwartego dostępu (Open Access Week) dopiero w październiku, ale został już ogłoszony temat, którym będzie “Generacja otwartości”.

8. Na koniec link na poziomie meta czyli definicja licencji Creative Commons i kilkanaście przykładów możliwego użycia w zdaniach na jednym z ciekawszych otwartych zasobów edukacyjnych czyli w podręcznikach Boundless.com

5 wydanie Przewodnika po Otwartych Zasobach Edukacyjnych

CC Poland, May 10, 2014 07:02 PM   License: Uznanie autorstwa 2.5 Polska

przewodnik po otwartych zasobach edukacyjnychKoalicja Otwartej Edukacji udostępniła 5 werjsę Przewodnika po Otwartych Zasobach Edukacyjnych, który jest rozwijamy od 2010 roku.

Przewodnik składa się z kilku rozdziałów: 1) Otwartość w edukacji 2) Otwarte Zasoby Edukacyjne 3) Wolne licencje 4) Domena Publiczna 5) Katalog OZE 6) Wyszukiwanie OZE 7) Publikowanie i wykorzystanie otwartych treści w serwisach web 2.0 8) Oznaczanie treści otwartymi licencjami 9) Dostępność zasobów w Internecie.

W ciągu dwóch lat od ostatniej aktualizacji pojawiło się wiele nowych zasobów edukacyjnych polskich i obcojęzycznych. Stąd właśnie na tę część publikacji został położony szczególny nacisk. W Przewodniku można znaleźć nowy, mocno rozbudowany katalog Otwartych Zasobów Edukacyjnych, w którym zasoby zostały pogrupowane wg ich przydatności do przedmiotów. Znajdziemy zasoby do j. polskiego, biologii, chemii, fizyki, matematyki, historii i geografii, edukacji medialnej i kulturalnej czy przedsiębiorczości oraz zasoby muzyczne i graficzne.

Pobierz najnowszą wersję Przewodnika po OZE w PDF. Publikacja jest dostępna na licencji Creative Commons Uznanie autorstwa – Na tych samych warunkach 3.0 Polska.

Artworld Ethereum – Identity, Ownership and Authenticity

Rob Myers, May 09, 2014 11:06 PM   License: Attribution-ShareAlike 4.0 International

Ethereum is a distributed computing system for writing and executing smart contracts. Inspired by Bitcoin, it’s currently in development with a planned late 2014 release date. The term “smart contracts” was coined around 1993 by computer scientist Nick Szabo to describe computer-readable code that replaces lawyer-readable code to describe agreements and obligations between people.

It’s a very literal take on Lawrence Lessig’s argument that “code is law”, a libertarian attempt to reduce the costs and uncertainty of having to trust human beings and interpret ambiguous human language, or possibly a dystopian replacement of rights and safeguards with binary logic.

Smart contracts can be used to implement smart property, physical goods governed by computer code, and Distributed Autonomous Organizations, which replace written constitutions with code running on Ethereum’s Blockchain.

This series of articles will look at applications of Ethereum to the production, exhibition, critique and institutions of art. Starting with digital art as smart property.

The sample code is written in Serpent, the high level Ethereum programming language, and is current as of Ethereum POC 5. It will be revised and tested for the release version of Ethereum.

You can learn more about Ethereum here and here. You can learn more about Serpent here and here.

Storing and Identifying Digital Art In Ethereum

There are three cases of digital art as smart property. The first is the conceptual or code art case, where the code of the contract itself is or contains the artwork. The second is the Ethereum storage case, where a small digital artwork is stored in the Ethereum datastore. The third is the stored identifier case, where only an identifier or proxy for the artwork is stored with the contract.

Conceptual and Code Art

Contracts that are themselves art are a simple case. They should store their owner’s Ethereum address and ensure that transactions initiating actions that only the owner should be able to perform come from that address.

Conceptual Art

As art is defined by its inutility, a contract that does nothing must be art. ;-)

stop

Hot/Cold

A contract that does something, but nothing useful.

init:
    contract.storage[1000] = "hot"
    contract.storage[1001] = "cold"

code:
    // Make sure we have enough gas to run the contact
    if tx.value < tx.basefee * 100:
        // If not, stop
        stop

    // Swap
    temp = contract.storage[1000]
    contract.storage[1000] = contract.storage[1001]
    contract.storage[1001] = temp

Numbered Works

A simple generative work that creates a new, original piece for each request.

init:
    ARTWORK.NUMBER.INDEX = 1001 
    contract.storage[ARTWORK.NUMBER.INDEX] = 1

code:
    ARTWORK = "Work #"
    ARTWORK.NUMBER.INDEX = 1001
    // Make sure we have enough gas to run the contact
    if tx.value < tx.basefee * 400:
        // If not, stop
        stop

    // Get the number of the work to produce
    number = contract.storage[ARTWORK.NUMBER.INDEX]
    // Store the number to use for the next work
    contract.storage[ARTWORK.NUMBER.INDEX] = contract.storage[ARTWORK.NUMBER.INDEX] + 1
    // Return the work
    return([ARTWORK, number], 2)

Data Visualization

A simple customised generative work / data visualization. The output looks something like:

when assembled.

HEX = ["0", "1", "2", "3", "4", "5", "6", "7", "8", "9", "A", "B", "C", "D", "E", "F"]
ARTWORK = ["<svg><rect x=\"23\" y=\"23\" ", "height=\"123\" width=\"123\" ", "style=\"fill:none;stroke:#", ";stroke-width:32\" /></svg>"]
ARTWORK.LENGTH = 10
ARTWORK.INSERT.END = 8

// Make sure we have enough gas to run the contact
if tx.value < tx.basefee * 500:
    // If not, stop
    stop

// If there are enough arguments
// and the command to create the work is being given
if msg.datasize == 1 and msg.data[0] == "create":
    artwork = array(ARTWORK.LENGTH)
    artwork[0] = ARTWORK[0]
    artwork[1] = ARTWORK[1]
    artwork[2] = ARTWORK[2]
    artwork[9] = ARTWORK[3]
    // Copy the most significant hex bytes of the key as an html colour
    index = 0
    hash.bytes = msg.sender
    while index < 3:
        current.byte = hash.bytes % 256
        hash.bytes = hash.bytes / 256
        hi = HEX[current.byte / 16]
        lo = HEX[current.byte % 16]
        artwork[ARTWORK.INSERT.END - (index * 2)] = lo
        artwork[ARTWORK.INSERT.END - (index * 2) + 1] = hi
        index = index + 1
    return(artwork, ARTWORK.LENGTH)
// Otherwise
else:
    // Logical false for failure
    return(0)

Stored Art

Digital art can be stored in a contract’s bytecodes or permanent storage rather than generated by the contract’s code.

A Stored Image

ARTWORK = ['P1\n32 32\n00000000000000010000000', '00000000000000000000000010000000', '000000000000000\n0000000001000000', '00000000000000000000000001000000', '0000000000000000000000\n001100000', '00000000000000000000001100001010', '00001100001000000000100000000\n00', '01011000010000000000100000000000', '01111000100000000001000000000001', '1111\n000100000000001000000000011', '11110110000000000010000000001111', '11100010000\n00000000000000011111', '11000000000000000010000001111111', '110000001000000000\n1000001111111', '11000000000000000000000000111111', '1110000001000000000000000\n000011', '11111000000000000000100000000001', '11111100000100000000000000000111', '\n1111110000000000000010000000011', '11111100000100000000010000001111', '1111000\n000010000000000000000111', '11110000000000000000000100001111', '10000000000100\n00000000000001111', '10000000000010000000000001111100', '000000000001000000000\n0000011100', '00000000000100000000000000101000', '0000000000000000000000000000\n010', '10000000010100000000000000000000', '01010010100000000000000000000000', '000\n0110000000000000000000000000', '00000100000000000000000000000000', '0000010000\n000000000000000000000', '00000010000000000000000']

ARTWORK.LENGTH = 33

// Make sure we have enough gas to run the contact
if tx.value < tx.basefee * 1000:
    // If not, stop
    stop

// If there are enough arguments
// and the command to show the work is being given
if msg.datasize == 1 and msg.data[0] == "exhibit":
    // Just return the artwork
    return(ARTWORK, ARTWORK.LENGTH)
// Otherwise
else:
    // Logical false for failure
    return(0)

Identifiers For Digital Art

Where a work of digital art will not fit in the blockchain a more compact identifier must be stored in the contract and used to refer to the work instead.

Ideally a method for identifying unique instances of a digital artwork will be:

  • Stable. The identifier should be usable for decades. Web URLs for example can change or become inaccessible as services change how they serve content or go out of business.
  • Verifiable. The identifier should be usable as a way of verifying that a resource is the one it refers to. Cryptographic hashes for example will not work with digital images that have been resized or GPS co-ordinates that differ even fractionally.
  • Amendable. Where stability fails or a change in ownership requires a change in identifier, it should be possible to update the identifier in a trusted and verifiable way.
  • Sufficient. The information required to identify the resource should be usable directly from the contract rather than requiring external information to complete it.
  • Private. An identifier should leak as little information about the owner of the resource as possible. For example GPS co-ordinates or street addresses, while stable, do locate the resource and possibly its owner. Storing only the cryptographic hash of an identifier can mitigate this.

Some of these criteria clash and therefore any given method of identification must trade them off against each other. For example being private and verifiable, or stable and amendable.

For artworks to interact with smart contracts we need a way of identifying them in those contracts.Where a digital artwork is too large or complex to keep in the contract’s code or storage, a proxy or compact identifier that refers to the must be used.

The following identifiers have various strengths and weaknesses. We’ll use some of them in the next section.

URL

A URL, such as a web site address, is a clear public identifier. It lacks privacy and is only as stable as the service hosting it, but has the advantage of being unique. To add a veneer of privacy, only the cryptographic hash of the URL can be stored by the contract and this can be checked against the hash of a URL by anyone who wishes to check whether it is the instance of the work referred to by the contract.

For example the url:

http://robmyers.org/wp-content/uploads/2012/10/applied_aesthetics-824×1024.png

has the SHA256 hash:

6a1811d79b46ab9e43f449beb9838e21dc5865d293e3dfb9b4ba508c7261b915

Never use a link shortening service or a consumer third party hosting service for work represented as URLs, such services are likely to go out of business or change their URL structure, rendering identifiers using them useless. When using your own site for hosting work make sure both to both keep your domain name registered and the server running and to make provisions for them to be maintained when you are no longer able or willing to do so.

File Hash

Producing a cryptographic hash of a work contained in or represented by a file is simple and uniquely identifies the data contained by the file (although any copies of the file will have the same hash). It is better to hash the contents of the file rather than the file itself: an image that has the same pixel values as a PNG or a GIF will have a very different structure on disk in each of those formats. Likewise the full-size or full-quality version of the contents of the file should be hashed rather than a thumbnail or a lossy version.

Git Repository Commit Hash

Modern decentralised version control systems use cryptographic hashes to identify commits. Hashes can identify version of works in a series within a version control repository, although they are best accompanied by a URL or other identifier for the repository.

Serial Number or UUID

A serial number or unique identifier embedded in the work’s filename or metadata can be used to identify it. Visible watermarks are the mark of the amateur, and steganographic watermarks are easily defeated.

Cryptographic Signing

When producing editions of a digital work, each can be signed by the artist to identify it as authorised.

Name

When all else fails, a unique name and description for a work is a useful identifier.

Art As Smart Propery

A Simple Owned Work

OWNER = 0x7c8999dc9a822c1f0df42023113edb4fdd543266

// Get the owner Ethereum address
return(OWNER)

A Simple Owned Work That Confirms Ownership

OWNER = 0x7c8999dc9a822c1f0df42023113edb4fdd543266

// Make sure we have enough gas to run the contact
if tx.value < tx.basefee * 100:
    // If not, stop
    stop

// If the Ethereum address sent matches the owner
if msg.data[0] == OWNER:
    // Return true
    return(1)
// Otherwise
else:
    // Return false
    return(0)

A Simple Owned Stored Work

OWNER = 0x8802b7f0bfa5e9f5825f2fc708e1ad00d2c2b5d6 // Artist initially
WORK = "The art happens here."

// Make sure we have enough gas to run the contact
if tx.value < tx.basefee * 200:
    // If not, stop
    stop

// If there are enough arguments
// and the command to return the owner address is given
if msg.datasize == 1 and msg.data[0] == "owner":
    // Return the owning Ethereum address
    return(OWNER)
// If there are enough arguments
// and the command to return the artwork is given
if msg.datasize == 1 and msg.data[0] == "work":
    // Return the work
    return(WORK)
// Otherwise
else:
    // Return logical failure
    return(0)

Simple Transferable Stored Work

init:
    ARTIST = 0x8802b7f0bfa5e9f5825f2fc708e1ad00d2c2b5d6
    OWNER = 1001
    // Initialize the owner to be the artist
    contract.storage[OWNER] = ARTIST
code:
    OWNER = 1001
    ARTWORK = "The art happens here."
    // Make sure we have enough gas to run the contact
    if tx.value < tx.basefee * 200:
        // If not, stop
        stop

    // If the message is from the current owner
    // and there are enough arguments
    // and the command to transfer is being given
    if msg.sender == contract.storage[OWNER] and msg.datasize == 2 and msg.data[0] == "transfer":
        // Transfer it to a new owner
        contract.storage[OWNER] = msg.data[1]
        return(1)
    // If there are enough arguments
    // and the command to show the work is being given
    else if (msg.datasize == 1):
        // Just return the artwork
        return(ARTWORK)
    // Otherwise
    else:
        // Logical false for failure
        return(0)

An Ownership Registry For Digital Art

if tx.value < tx.basefee * 200:     // If not enough gas, stop     stop // If data was provided, it won't overwrite the code, and the artwork is unregistered if msg.datasize == 1 and msg.data[0] > 1000 and contract.storage[msg.data[0]] == 0:
    // Set the owner to be the sender
    contract.storage[msg.data[0]] = msg.sender
    return(1)
else:
    // Do nothing
    return(0)

A Hash-based Ownership Registry For Specific Instances Digital Art

This is a registry for ownership of artworks at specific urls. Artworks are identified by the hash of their file contents and by the hash of their url. Owners are identified by Ethereum address.

if tx.value < tx.basefee * 200:
    // If not, stop
    stop

// If registration is being requested
if msg.datasize == 3 and msg.data[0] == "register":
    // If the url/work combination has not been claimed
    if ! contract.storage[msg.data[1]]:
        // Set the owner to be the provided Ethereum address
        contract.storage[msg.data[1]] = msg.sender
        // Store the artwork hash next to the url ownership information
        contract.storage[msg.data[1] + 1] = msg.data[2]
        // return success
        return(1)
    // If the sender was trying to overwrite a work they do not own
    else:
        // They cannot set it, so return failure
        return(0)
// If ownership confirmation is being requested
// Confirm that the work and url hashes match
else if msg.datasize == 4 and msg.data[0] == "confirm":
    // Check the provided hashes against the stored work and url hashes
    return((contract.storage[msg.data[2]] == msg.data[1]) and (contract.storage[msg.data[2] + 1] == msg.data[3]))
// If no action was specified
else:
    // Otherwise do nothing
    return(0)

Authenticating Art In Ethereum

Authentication, like ownership, is related to identity and contract law.

A Simple Certificate Of Authenticity For Digital Art

ARTIST = 0x8802b7f0bfa5e9f5825f2fc708e1ad00d2c2b5d6
ARTWORK.HASH = 0x76bba376ea574e63ab357b2374d1cee5aa77d24db38115e3824c5cc4f443d5f7

return((msg.data[0] == ARTIST) and (msg.data[1] == ARTWORK.HASH))
ARTIST = 0x8802b7f0bfa5e9f5825f2fc708e1ad00d2c2b5d6
WORK.HASH = 0x76bba376ea574e63ab357b2374d1cee5aa77d24db38115e3824c5cc4f443d5f7
URL.HASH = 0xa005b1625af0b6ee080dafb904c4505ad285764071ee45a8786159bd1a282634

// If there are enough arguments
if msg.datasize == 2:
    // Check the provided hashes against the stored work and url hashes
    return((msg.data[0] == WORK.HASH) and (msg.data[1] == URL.HASH))
// Otherwise
else:
    // Do nothing
    stop

Catalogue Raisonné For Digital Artists

ARTIST = 0x8802b7f0bfa5e9f5825f2fc708e1ad00d2c2b5d6

// Make sure we have enough gas to run the contact
if tx.value < tx.basefee * 200:
    // If not, stop
    stop
    
// If the message is from the artist
if msg.datasize == 1 and msg.sender == ARTIST:
    // Add the work to the catalog
    contract.storage[msg.data[0]] = 1
    return(1)
// check inclusion
else if msg.datasize == 1:
    // Check whether the artwork is in the catalog
    return(contract.storage[msg.data[0]])
// Otherwise
else:
    return(0)

White House supports CC0 for federal government datasets

Creative Commons, May 09, 2014 07:06 PM   License: Attribution 3.0 Unported

us open data action plan

Today the White House released the U.S. Open Data Action Plan, reaffirming their belief that “freely available data from the U.S. Government is an important national resource… [and] making information about government operations more readily available and useful is also core to the promise of a more efficient and transparent government.” The report (PDF) outlines the commitments to making government data more accessible and useful, and documents how U.S. federal agencies are sharing government information. From a legal standpoint, some agencies have decided to place their datasets into the worldwide public domain using the CC0 Public Domain Dedication. This means that all copyright and related rights to the data are waived, so it may be used by anyone–for any purpose–anywhere in the world–without having to ask permission in advance–and even without needing to give attribution to the author of the data.

Use of CC0 for U.S. government works has always been a challenging topic for federal agencies. This is due to the hybrid nature of copyright for government works under Section 105 of U.S. copyright law. That statute guarantees that U.S. government works do not receive copyright protection–they are in the public domain. However, while these works are not granted copyright protection inside the U.S., the legislative history of the law notes that the works may receive copyright protection outside of U.S. borders:

The prohibition on copyright protection for United States Government works is not intended to have any effect on protection of these works abroad. Works of the governments of most other countries are copyrighted. There are no valid policy reasons for denying such protection to United States Government works in foreign countries, or for precluding the Government from making licenses for the use of its works abroad.

Historically, the U.S. government has been apprehensive to apply CC0 to federal government works, because the CC0 Public Domain Dedication is a tool to waive copyright and neighboring rights globally. At the same time, it’s clear that many high-value U.S. government datasets, such as the weather data produced by the National Oceanographic and Atmospheric Administration (NOAA), are being widely (and freely) used by meteorological and research organizations around the world. It seems that in the vast majority of cases, the U.S. federal government doesn’t wish to leverage its copyrights abroad. So perhaps it makes sense to simply clarify that these works will be made available in the worldwide public domain using a standard tool such as CC0. While we had some initial questions about acceptable licenses for federal government information, it seems that agencies are moving in the right direction in utilizing the public domain dedication, as opposed to the other copyright licensing tools that were laid out in Project Open Data.

In addition to showcasing federal agencies that are using CC0 on some of the datasets it’s releasing, the U.S. Open Data Action Plan document itself is also published under CC0.

As a work of the United States Government, this document is in the public domain within the United States. Additionally, the United States Government waives copyright and related rights in this work worldwide through the CC0 1.0 Universal Public Domain Dedication.

Over the last several years, many have called upon the federal government to adopt CC0 for U.S. government works. Most recently, a group of advocates drafted recommendations urging federal agencies to release federal government works, contractor-produced works, and primary legal materials into the into the worldwide public domain under CC0. Today’s announcement is a move in the right direction for data re-users in the United States and beyond.

Το 2ο Φεστιβάλ των Κοινών έφτασε!

CC Greece, May 08, 2014 04:27 PM   License: Αναφορά Δημιουργού 3.0 Ελλάδα

Στις 9, 10 και 11 Μαΐου το Δεύτερο CommonsFest θα λάβει χώρα στο Ηράκλειο της Κρήτης και σας καλούμε όλους να συμμετέχετε!

Το Φεστιβάλ των Κοινών (CommonsFest) αποτελεί μια πρωτοβουλία για την προώθηση της ελεύθερης γνώσης και της ομότιμης συνεργασίας για τη δημιουργία και τη διαχείριση των κοινών (Commons),  μια φιλοσοφία που έχει διαδοθεί πολύ μέσα από τις κοινότητες του ελεύθερου λογισμικού και επεκτείνεται σε πολλές πτυχές της καθημερινότητάς μας, όπως στις τέχνες, στην διακυβέρνηση, στις κατασκευές μηχανημάτων, εργαλείων και άλλων αγαθών.

Στόχος των διοργανωτών και των συλλογικοτήτων που συμμετέχουν στο 2ο Φεστιβάλ των Κοινών είναι να παρουσιάσουν το πώς οι πρακτικές και εμπειρίες του ανοικτού κώδικα, των αδειών Creative commons και της ομότιμης διαχείρησης (P2P) μπορούν να οικοδομήσουν μια πλατφόρμα για την ικανοποίηση ενός συνόλου αναγκών.

«Το 2o Φεστιβάλ των Κοινών αποτελεί μια μοναδική ευκαιρία να συναντηθούν συλλογικότητες και εγχειρήματα που δραστηριοποιούνται με βασικό άξονα την αξία του μοιράσματος και της συμμετοχικής δημιουργίας. Παρά τις διαφορετικές αφετηρίες εκκίνησης και τα διαφορετικά αντικείμενα ενασχόλησης, οι δεσμοί των κοινών αξιών του μοιράσματος, της αλληλεγγύης, της συνεργασίας, της κοινωνικής δικαιοσύνης και της επιδίωξης αρμονικής σχέσης των ανθρώπων με τη φύση, διαμορφώνουν τον κοινό τόπο οικοδόμησης μιας πολιτικής συμμαχίας με σκοπό την ανάδειξη και την διεύρυνση των Κοινών. Η επιτάχυνση αυτής της διαδικασίας είναι σημαντική καθώς γίνονται ολοένα και πιο έντονα φανερά τα αδιέξοδα των σημερινών αντιλήψεων που περιορίζουν τον ορίζοντα της παραγωγής και αναπαραγωγής της κοινωνικής ζωής μεταξύ κράτους και αγοράς.

Τα Κοινά αποτελούν ένα πρακτικό παράδειγμα αυτο-διακυβέρνησης, συμμετοχής και διαχείρισης πολύ διαφορετικών μεταξύ τους πόρων με τρόπο ώστε να καλύπτονται οι ανθρώπινες ανάγκες και το ΕΥ ΖΗΝ, χωρίς την διαμεσολάβηση των αγορών ή των κρατικών ιεραρχιών. Μέσα στο πολύπλοκο κοινωνικό και οικονομικό περιβάλλον τα Κοινά πρέπει να βρουν τη θέση που τους αντιστοιχεί ανάμεσα στις αγορές και το κράτος: να απλωθούν σε περισσότερους τομείς της κοινωνικής ζωής, να αποκτήσουν βιώσιμες οργανωτικές και οικονομικές δομές, να αναγνωριστούν σαν ένας διακριτός κατ” ελάχιστο ισότιμος πόλος οργάνωσης της κοινωνικής δραστηριότητας.”

Το CommonsFest δεν θα ήταν δυνατό να γίνει χωρίς την στήριξη πολλών ατόμων και ομάδων που έχουν κοινό την αγάπη τους για τα Κοινά και την πίστη ότι μπορεί μέσω τέτοιων διαδικασιών να αλλάξει ο κόσμος προς το καλύτερο. Σας υπενθυμίζουμε την crowdfunding καμπάνια του CommonsFest για την οικονομική στήριξη του Φεστιβάλ στην πλατφόρμα Indiegogo. Οι διοργανωτές επέλεξαν αυτόν τον τρόπο κάλυψης μέρους των εξόδων του φεστιβάλ γιατί συνάδει με την φιλοσοφία των Κοινών, δηλαδή τη συμμετοχή όσο το δυνατόν περισσότερων ατόμων στην πραγματοποίηση του φεστιβάλ. “Αυτό, πέρα από τη χρηματοδότηση, προσπαθούμε να το τηρούμε σε όλες τις δραστηριότητες μας, με ανοικτές προσκλήσεις συμμετοχής, συμμετοχικές δράσεις και συζητήσεις και διαθέτοντας ελεύθερα το υλικό μας.”

Παράλληλα, τα Creative Commons Ελλάδας με την στήριξη της Εταιρίας Ανοιχτού Λογισμικού/ Λογισμικού Ανοιχτού Κώδικα (ΕΕΛ/ΛΑΚ) έχουν τη χαρά να φιλοξενηθούν από το CommonsFest και να διοργανώσουν τη Ευρωπαική Συνάντηση των Συνεργατών Creative Commons (Creative Commons European Affiliates Meeting). Είμαστε ιδιαίτερα χαρούμενοι για αυτή τη χρονική συγκυρία και αναμένουμε τους συνεργάτες μας από την Ευρώπη για μια συνάντηση με πολλά σχέδια για το κίνημα των Κοινών, του Ανοιχτού Λογισμικού και των αδειών στο μέλλον.

Ακολουθεί αναλυτικά το πρόγραμμα του Φεστιβάλ των Κοινών. Ελάτε και εσείς φέτος στο Ηράκλειο της Κρήτης και ανακαλύψτε τι είναι τα Κοινά, γνωρίστε τις διάφορες ομάδες και κολεκτίβες που ασχολούνται με τα Κοινά και μοιράζονται ένα όραμα για τον κόσμο του μέλλοντος βασισμένο στις αξίες του διαμοιρασμού, της συλλογικής δραστηριότητας και της Ανοιχτότητας.

Περισσότερες πληροφορίες μπορείτε να δείτε εδώ.

Πρόγραμμα Commonsfest:

Παρασκευή 9 Μαΐου

Ομιλίες

Συντονιστής Παπανικολάου Γιώργος

18:00 – 19:00

Δούλεψε μαζί με τη φύση και όχι εναντίον της

Μανιαδάκης Μιχάλης

Διεθνείς πρωτοβουλίες γύρω από τα Πολιτιστικά Κοινά

Γεωργία Αγγελάκη

Aυτοδιαχειριζόμενοι χώροι, μορφές, αναγκαιότητα και τρόποι λειτουργίας
το Γρανάζι

Ανοιχτά δεδομένα και ανοιχτή γνώση
Βασίλης Χρυσός και Χαράλαμπος Μπράτσας- FOSS Office / OKF Greece

20:00 – 21:00

Ιδιωτικότητα και ασφάλεια στο κινητό μας τηλέφωνο
Νίκος Ρούσσος - Digital Liberation Network

Σημερινό σύστημα και πρόταση εναλλακτικού μοντέλου βασισμένο στους κοινούς πόρους

Διομήδης Σκαλίστης - Κίνημα Zeitgeist

ΔΚΑΗ-ΚΙ/ΦΑΗ: Κοινοτική περίθαλψη, από τους πολίτες για τους πολίτες
Δίκτυο Κοινωνικής Αλληλεγγύης Ηρακλείου

Από το ανοιχτό λογισμικό στο ανοιχτό περιεχόμενο
Θεόδωρος Καρούνος - ΕΕΛ/ΛΑΚ

Σαββάτο 10 Μαΐου

Εργαστήρια

10:00-11:00 Ελευθερώστε το Android σας: Root και Custom ROM’s
Κώστας Καλύβας - το labάκι hackerspace

11:15-12:15 Χαρτογραφώντας στο OpenStreetMap
Νίκος Ρούσσος - OpenStreetMap Foundation

12:30-13:30 Ανοιχτές Τεχνολογίες και 3D printing
Θανάσης Δεληγιάννης – ΕΕΛ/ΛΑΚ

Ομιλίες

Συντονιστής Κουκουλάκης Δημήτρης

18:00-19:00

Οικιακή οικονομία: λίγα λόγια για τη ξεχασμένη γνώση της αυτάρκειας
Κάλλια Σπυριδάκη – συνεργατικό καφενείο το Πλουμί

Σκιαγραφώντας μορφές ανοιχτών δικτύων
Πλατφόρμα για την αυτονομία, την αυτάρκεια και την ισότητα

το labάκι hackerspace: μια ανοιχτή κοινότητα για ασυνήθιστη καινοτομία,

μάθηση και ανταλλαγή

Αντώνης Χαρίτων - το labάκι hackerspace

Το πείραμα του #rbnews: εξερευνώντας τη δημοσιογραφία των πολιτών
Κατερίνα Σταυρούλα – radiobubble.gr

20:00-21:00

Άδειες Creative Commons στην πράξη: Περιπτώσεις χρήσης και εμπειρίες
Μαρία Μερτζάνη, Πρόδρομος Τσιαβός - Creative Commons Ελλάδος

Από το βυθό της θάλασσας στην άκρη του ουρανού:

Σχολικά εγχειρήματα βασισμένα στο ανοιχτό υλικό και την ελεύθερη γνώση.
Αστρινός Τσουτσουδάκης, Σαϊτάκη Αγγελική, Αποστολάκη Μαριάνθη,

Ραπτάκης Παναγιώτης – ViannoSat & Hydrobot
Προς ένα δίκτυο κοινωνικά υποστηριζόμενης γεωργίας (CSA)
Χάρης Παπαγιαννάκης - Ζιζάνια

Τι ψηφιακές ελευθερίες θέλουμε; Πολιτικές από τα

κάτω για τα διανοητικά Κοινά στην Ελλάδα της κρίσης.
Αντώνης Μπρούμας - Digital Liberation Network

Κυριακή 11 Μαΐου

Εργαστήρια

10:00-11:00 Be a Webmaker
Νίκος Ρούσσος - Mozilla

11:30-12:30 Άδειες Creative Commons στην πράξη

Μαρία Μερτζάνη, Πρόδρομος Τσιαβός - Creative Commons Ελλάδος

(παράλληλα) Εγκατάσταση λειτουργικού συστήματος Fedora
Δημήτρης Γλάρος – Fedora

13:00-14:00 Συμμετέχοντας στη Βικιπαίδεια – Wikipedia
Δημήτρης Κουκουλάκης

16:30-17:30 Ασφάλεια στις διαδικτυακές σας επικοινωνίες
Γιώργος Κιαγιαδάκης - το labάκι hackerspace
(παράλληλα) Κατασκευή Βαρελόκηπου

Σπιθάρι

Ομιλίες

Συντονιστής Μπριτσολάκης Μανόλης

18:00 – 19:00

Σκιαγραφώντας έννοιες της αποανάπτυξης και της διασύνδεσής τους με τα Κοινά
Αλέκος Πανταζής
Η πορεία προς ένα ανοιχτό φεστιβάλ

εν οίκω 2013

Φυσική Δόμηση: ανακτώντας τη χαμένη γνώση
Μανώλης Ξημέρης & Γιώργος Ριτσάκης - Archanes Project

Ασύρματα κοινοτικά δίκτυα Sarantaporo.gr: Σύγχρονες υποδομές από πολίτες για πολίτες
Βασίλης Χρυσός - sarantaporo.gr

20:00 – 21:00

Υλοποίηση εγχειρημάτων Τέχνης μέσω crowdfunding

Γιάννης Φαρσάρης - OpenΒook

Αυτόνομη ηλεκτροδότηση από ανανεώσιμες πηγές ενέργειας ανοιχτού κώδικα – Peer-to-Peer παραγωγή και διαχείριση ηλεκτρισμού για την ενεργειακή εξοικονόμηση και την αυτάρκεια
Κώστας Λατούφης & Ιάσονας Κουβελιώτης-Λυσίκατος - Nέα Γουινέα/ SmartRUΕ ΕΜΠ
Ομότιμη και επιτραπέζια παραγωγή: Ευκαιρίες και προκλήσεις
Βασίλης Νιάρος - P2P Lab

Οικοδομώντας μια Κοινωνία των Κοινών (μαγνητοσκοπημένη)
Γιώργος Δαφέρμος - FLOK Society project, Εκουαδόρ

Welcoming new CC Arab world affiliate coordinators

Creative Commons, May 07, 2014 10:29 PM   License: Attribution 3.0 Unported

Naeema Zarif

Naeema Zarif, CC BY 4.0

In February we said goodbye to Donatella Della Ratta, CC’s longtime coordinator for the Arab world. Today we’re pleased to announce that Naeema Zarif and Sami Ben Gharbia have joined Creative Commons as the regional coordinators for the region. Naeema and Sami join CC’s other regional team leaders, who are key in organizing the Creative Commons Affiliate Network around the world.

After 8 years in advertising, Naeema Zarif took a leap into social enterprise offering expertise on conceptualization and producing both offline and online integrated media initiatives, including print, social web, audio, and film. She is an enthusiastic supporter of open culture, speaking and lecturing frequently at conferences and educational institutes, and contributing visual and digital strategic consultancy and training to various governmental, not-for-profit, and for-profit initiatives around the MENA region.

Sami is a Tunisian campaigner, blogger, writer, and freedom of expression advocate. He was a political refugee living in the Netherlands between 1998 and 2011. Sami is founding director of the advocacy arm of Global Voices, co-founder of the award-winning collective blog Nawaat, and author of the first Tunisian e-book (in French), Borj Erroumi XL. He co-founded The Arab Techies Collective and co-organized the The Arab Bloggers Conferences for several years. Foreign Policy named Sami a major world influence in promoting government transparency. Sami received a Prince Claus Award in 2012 for his cyber-activism work. Yahoo! named Sami Ben Gharbia as a person of the year during the 2010 World Press Freedom for his work focused on Internet censorship. Electronic Frontier Foundation awarded Sami and his fellow Nawaat co-founders with their 2011 Pioneer Award.

We recently highlighted some of the ongoing affiliate project grants in the Arab world region, and we look forward to more great developments with Naeema and Sami on board.

Przegląd linków CC #131

CC Poland, May 04, 2014 09:52 PM   License: Uznanie autorstwa 2.5 Polska

1. Na początek nowy, bardzo oszczędny (planowany jako prosty i nie utrudniający pracy również osobom ze słaby dostępm do sieci) serwis do dzielenia się/ogłaszania linków do otwartych zasobów edukacyjnych. Pomysł jest w fazie beta, ale bardzo nam się podoba dlatego polecamy go Waszej uwadze.

2. Fundacja Wikimedia, główna organizacja stojąca za dbaniem o infrastrukturę Wikipedii ogłosiła nową dyrektor zarządzającą, została nią Lila Tretikov, dotychczas kierująca zespołem SugraCRM, popularnego, otwartego oprogramowania do zarządzania relacjami z klientami.
TAACCCT OER

3. Amerykańskie Creative Commons bierze udział w jednym z największych (zwłaszcza finansowo) projektów produkcji otwartych zasobów edukacyjnych i dzieli się swoimi wnioskami. Na OER Research Hub Billy Meinke pisze o na temat badań wiedzy i doświadczeń z otwartymi zasobami w edukacji zawodowej w USA.

4. Autorzy akcji i kampanii Copy Me uzbierali już prawie połowę pieniędzy na serię filmów o kopiowaniu i dzieleniu się w sieci. Z tej okazji i zgodnie z obietnicą przygotowali i opublikowali pierwszy filmik tłumaczący czym jest kopiowanie w sieci.

5. Czasopismo Tytuł Ujednolicony przy okazji promowania kampanii o otwartym dostępie do nauki Centrum Cyfrowego samo postanowiło się otworzyć i od aktualnego numeru jest dostępne na licencji Creative Commons Uznanie autorstwa – Na tych samych warunkach.

6. Światowa organizacja zdrowia (The World Health Organization WHO) ogłosiło że przystępuje do jednego z największych repozytoriów w otwartym dostępie PubMed Central. WHO zapowiedziało również, że pracuje nad swoją polityka open access, którą zaprezentuje w lipcu 2014 r.

7. Bardzo ciekawe i mocne słowa na temat polityki wydawców, operatorów baz publikacji naukowych takich jak Elsevir oraz otwartego dostępu do nauki od urzędujące kanclerza Uniwersytetu Cambrigde. Dr Leszek Borysiewicz (polskiego pochodzenia lekarz immunolog) w rozmowie z unią studentów opowiada o tym, jak najwięksi wydawcy i pośrednicy potrafią paradoksalnie wykorzystywać rosnące zapotrzebowanie oraz trend otwierania dostępu do publikacji naukowych na własną korzyść, często wzmacniając nadal częściowo zamknięte oraz zachowawcze modele publikowania.

8. Współtwórca Creative Commons, profesor Lawrence Lessig otrzymał jedną z najbardziej prestiżowych nagród w sieci, The Webby Awards za całokształt swojej pracy i działalności na rzecz internetu.

Monkeycoin

Rob Myers, May 04, 2014 05:43 AM   License: Attribution-ShareAlike 4.0 International

monkeycoin

Monkeycoin is the follow-up to Facecoin. It is a Bitcoin-like cryptocurrency that uses trying to write the complete works of Shakespeare as its proof of work. You can find out more here.

Pome

Rob Myers, May 04, 2014 02:43 AM   License: Attribution-ShareAlike 4.0 International

pome "(Poets Are|Poet Is)"
pome "Poets? Must"
pome "(Poems Are|Poem Is)"
pome "Poetry Is"
pome "Best Poetry"
pome "Good Poetry"
pome "Bad Poetry"
pome "Worst Poetry"

I have a piece of work in the latest issue of Truck, curated by Alan Sondheim:

http://halvard-johnson.blogspot.com/2014_04_01_archive.html

It’s a Bash script called Pome, you can read it and its output here:

http://halvard-johnson.blogspot.ca/2014/04/rob-myers-binbash-cat-pome.html

The script downloads the text of the Project Gutenberg CD and searches for mentions of poetry and related concepts, gathering together assertions about them. Originally I started using Python, but Bash ended up being easier to use. It serves as a demonstration of the strengths and weaknesses of Digital Humanities approaches to text and to fear of them.

I like the output, particularly the last piece.

Ξεκίνησε η συζήτηση για τη συμβατότητα αδειών χρήσης με τις άδειες CC-Παρόμοιας Διανομής

CC Greece, May 02, 2014 05:07 PM   License: Αναφορά Δημιουργού 3.0 Ελλάδα

Η έκδοση 4.0 των Creative Commons, περιλαμβάνει πρόβλεψη για τη συμβατότητα άλλων αδειών χρήσης (εκτός CC) με τις άδειες CC-Παρόμοιας Διανομής (CC-ShareAlike ή CC-SA, εν συντομία). Η συμβατότητα αυτή θα διευκολύνει ιδιαίτερα τη διαχείριση ελεύθερα προσβάσιμου περιεχομένου, αλλά μέχρι στιγμής δεν έχει εγκριθεί κάποια άδεια ως συμβατή.

Τα Creative Commons απευθύνουν κάλεσμα στην κοινότητα του ανοικτού περιεχομένου για συμμετοχή στη συζήτηση για την ανάπτυξη της διαδικασίας και των κριτηριών επιλογής των συμβατών — με τις CC-SA — αδειών χρήσης.

Ένα αρχικό προσχέδιο για τη διαδικασία και τα κριτήρια είναι προσβάσιμο από το wiki των Creative Commons. Η συζήτηση εξελίσεται στη σχετική λίστα ταχυδρομείου, με ανοικτή συμμετοχή, και θα λήξει στις 28 Μαϊου 2014.

Πηγή: Creative Commons
Πηγή φωτογραφίας: Golan Levin, CC-BY 2.0.

LWN.net original articles now BY-SA after a week

Mike Linksvayer, May 01, 2014 06:30 PM   License: CC0 1.0 Universal

LWN.net started in 1998 as Linux Weekly News. Its coverage is broader now — Free/Open Source Software, and sometimes immediate neighbors, with in-depth coverage of Linux kernel and related system software development — and expert. It’s one of the few publications that I can read an article about a topic that I have in depth knowledge of and not then question whether all reporting on topics I don’t have in depth knowledge of is also that bad. Because LWN.net’s reporting is good (other readers I know seem to agree). LWN.net’s logo says “Linux info from the source”; I suspect the method implied (reading source, commits, mailing lists, talking to developers) explains the goodness.

I’ve poked fun at paywalls, but for a paywall, LWN.net’s is simple and well done: most new articles are subscriber-only for one week, and subscribers can generate a link to share a paywalled article with non-subscribers. The site does have ads, though disappointingly mostly Google AdSense. It is too bad such an in-depth industry publication doesn’t attract highly specific ads, like trade publications or even well done user group newsletters used to.

It seems that starting recently LWN.net releases its original articles under the CC-BY-SA-4.0 license after one week. As of this writing a week old article, a current article, another of more general interest, archive of author guidelines timestamped February 10 mentioning “possibly under a free license”, and today mentioning CC-BY-SA-4.0. I imagine that given LWN.net’s in-depth reporting, especially on the Linux kernel, some articles might actually be usefully incorporated into educational material, documentation, Wikipedia articles.

Subscribe, or occasionally read articles older than one week. Either would probably be good for your information diet.

Update 20140507: The ‘current’ articles above are now a week old, and CC-BY-SA-4.0 licensed.

創用CC電子報 讀者滿意度調查

CC Taiwan, May 01, 2014 08:33 AM   License: 姓名標示-相同方式分享 3.0 台灣

創用CC電子報自2006年發刊至今,即將邁入第100期,感謝各位讀者長期支持。

為了讓電子報更符合需求,我們將進行讀者滿意度大調查!請大家協助回覆。只需花3-5分鐘的時間,即可填寫完成。
你的建議,都將影響日後電子報的規劃與呈現,謝謝你的撥冗參與!

創用CC電子報 讀者滿意度調查 問卷

 

Βραβείο Webby Lifetime Achievement στον συνιδρυτή των Creative Commons

CC Greece, April 30, 2014 04:11 PM   License: Αναφορά Δημιουργού 3.0 Ελλάδα

Ο συνιδρυτής των Creative Commons, Lawrence Lessig πρόκειται να βραβευθεί με τη διάκριση Lifetime Achievement (Επίτευγμα Ζωής) από τα Webby Awards, για το έργο του στα Creative Commons.

Ο κ. Lessig — καθηγητής Δικαίου στο Harvard Law School, μεταξύ άλλων — είναι γνωστός για τη δράση του για τις ψηφιακές ελευθερίες και την ελευθερία του λόγου στο Διαδίκτυο.

Τα βραβεία Webby απονέμονται κάθε χρόνο, από το 1996, ως αναγνώριση της προσφοράς στην ευρύτερη κοινότητα του Διαδικτύου. Η τελετή απονομής για το 2014 θα λάβει χώρα στη Νέα Υόρκη στις 19 Μαΐου.

Ευχόμαστε συγχαρητήρια στον κ. Lessig για αυτή τη σημαντική διάκριση.

Πηγή: Webby Awards
Φωτογραφία: Lawrence Lessig, από Joi Ito, CC BY

CSIRO releases ScienceImage archive: 4,000+ CC BY photos free for reuse

CC Australia, April 30, 2014 06:56 AM   License: Attribution-ShareAlike 2.1 Australia

The Commonwealth Scientific and Industrial Research Organisation (CSIRO) has just released its ScienceImage library under a Creative Commons Attribution license.

CSIRO has provided permission for anyone to freely use, repost and transform the collection’s 4000+ high definition images and videos. The library represents more than six decades worth of environmental, industrial, agricultural and technological research images.

CSIRO is Australia’s premier public scientific research institute, with a history spanning back to the its first iteration, the Advisory Council of Science, in 1916. This council evolved into the modern CSIRO, which enjoys a far wider scope than the ASC, conducting scientific research into almost all facets of Australian environment, industries, agriculture and technology.

The CSIRO has been responsible for a wide range of projects and inventions, from insect repellents and Polymer Banknotes to Atomic Absorption Spectroscopy and the Parkes Radio Telescope (one of the sources of the Apollo 11 TV broadcast).

By using the free CC BY licence, CSIRO has recognised that unlocking its archives can provide more value to the Australian public than the licence fees it previously collected. Many Australian Government agencies now use CC BY as a default for public sector information. The Australian Government intellectual property rules mandate CC BY as a default for Government agencies, and recommend CC BY as good practice for other Government organisations like the CSIRO.

CSIRO’s library is separated into a variety of categories including Animals, Buildings, Soil Science, Technology and Water. Many of the recently released videos and images are accompanied by details about the research project involved, or the specimen photographed. The library provides great educational insight into Australian scientific research and technology as well as a look into the history of recent Australian society.

The library now joins a number of other scientific image collections released into the public domain or under free licenses including NASA’s Image library, the Open-i Biomedical image search engine, the Public Health Image Library, the US NIH National Library of Medicine’s Images from the History of Medicine archive, and the Wikimedia Commons Scientific Images collections.

These free image archives provide excellent resources for teachers, students, bloggers, journalists, and other content creators. CSIRO had previously charged between $50 and $400 per image for a commercial licence to use these images.

The CSIRO library interface has been optimised for easy exploration. It is now possible to search for images by colour, for example, which could be useful for parents to help their children identify beetles, birds, spiders, flowers and the many other creatures found in the backyard, the outback or underwater.

Lawrence Lessig to receive Lifetime Achievement Webby Award

Creative Commons, April 29, 2014 05:52 PM   License: Attribution 3.0 Unported

Lawrence Lessig
Lawrence Lessig / Joi Ito / CC BY

The Webby Awards just announced that Lawrence Lessig will receive a Lifetime Achievement award for his work as cofounder of Creative Commons. From the announcement:

The Webby Awards is proud to honor Lawrence Lessig with a Lifetime Achievement Award in 2014 for his groundbreaking work as cofounder of Creative Commons. Creativity based on collaboration is absolutely fundamental to everything that makes the Web successful and wonderful – but none of that would be possible without the ability (and encouragement) to share, mix, and match creative works. Lessig has spent his life and career standing up for collaboration (and standing up to those who seek to inhibit creative cooperation), as well as defending Net Neutrality and the free and open software movement… in other words, all things essential to the Web’s awesomeness. As we celebrate the 25th Anniversary of the Web this year, there is no one more fitting to accept this year’s Lifetime Achievement Award than Lawrence Lessig – a true hero of the open, collaborative Web, and an all around fantastic human being.

The awards will take place Monday, May 19, in New York City, and available online the next day. Congratulations, Larry!

Publieke consultatie over compatibiliteit GelijkDelen-licenties

CC Netherlands, April 29, 2014 01:34 PM   License: Naamsvermelding 3.0 Nederland

Creative Commons Internationaal houdt een publieke consultatie tot en met 28 mei 2014 waarin feedback wordt gevraagd naar welke niet Creative Commons-licenties inwisselbaar zouden kunnen zijn met de onze 4.0 licentie die een GelijkDelen-bouwsteen hebben. Creative Commons heeft nog geen licenties erkent die inwisselbaar zijn met andere soortgelijke open licenties zoals GPL of de ODbL.

Wij nodigen hierbij iedereen uit om deel te nemen aan de consultatie.

2014 台灣創用CC計畫 實習生招募

CC Taiwan, April 29, 2014 07:28 AM   License: 姓名標示-相同方式分享 3.0 台灣

(相關訊息,以本網頁內容為準。)
招募宗旨:
影音創作愈來愈蓬勃,相關的活動也愈來愈普及。然而,製作一部影片,可能會涉及語文著作、音樂著作、攝影著作、美術著作、視聽著作、錄音著作等多元著作的運用,必然會面臨許多著作權或授權的問題。

台灣創用CC計畫在今年(2014)希望針對「影音創作」與「公眾授權(創用CC授權)」的關係進行整理與呈現。希望透過主題影展及線上企畫方式,讓大家瞭解之間的關連與重要性。為增進在學學生對公眾授權(Public License)領域實務上的認識,特招募實習生協助相關案例蒐集、彙整、以及策劃執行策展之活動。

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ShareAlike compatibility process and criteria discussion opens

Creative Commons, April 28, 2014 10:45 PM   License: Attribution 3.0 Unported

We are now opening the discussion for our compatibility process and criteria for the ShareAlike licenses. As established in the drafting process, 4.0 includes a compatibility mechanism that allows for other licenses to be compatible with the ShareAlike licenses, allowing for greater interoperability of freely-licensed content, but no other licenses have been approved as compatible yet. We are looking to the CC community to help us develop the criteria and process before formally evaluating licenses as candidates for ShareAlike compatibility, and to kick off this discussion, we now have a draft posted for feedback: ShareAlike compatibility process and criteria.

We want this to be a process that the CC community trusts, and so this is a first draft, not a final document. We invite everyone to participate in the discussion on the license development list; it will end on May 28.

2014年度夏学期も東京大学学際情報学府にて「デジタル時代の著作権とオープン化」の授業を担当します

CC Japan, April 28, 2014 01:29 PM   License: 表示 2.1 日本

2010年度から行っている東京大学「デジタル時代の著作権とオープン化」という授業を、2014年度もクリエイティブ・コモンズ・ジャパンの野口祐子と渡辺智暁で担当します。

2010年度、2011年度は「実践情報社会論」という名前で実施されていた本講座は、2012年度からは「デジタル・ヒューマニティ―ズ」プログラムのうちの関連科目の一つとなり、主に大学院の学生が履修する講座となっています。

今回も、授業のスライドを可能な範囲でアップしていきます!

第1回:クラス・ディスカッション 文化を支えるインセンティブ制度をどう設計するか?

担当:野口

資料

第2回:講義 著作権基礎1

担当:野口

資料

Arduino ─ 開放式的科技藝術製作平台

CC Taiwan, April 28, 2014 02:03 AM   License: 姓名標示-相同方式分享 3.0 台灣

想應用手機等科技產品創作出你生活中的創意嗎?現在有Arduino這個開放源碼軟硬體平台來幫你實現夢想!

Arduino是個開放源碼的電子原型平台(open-source electronics prototyping platform),它的硬體電路設計圖和軟體的原始碼都是開放的,使得它的軟體、硬體具有容易使用、擴充性強的特性,提供藝術家、設計師、業餘愛好者、任何有興趣的人,能快速又輕鬆地建立產品原型、打造出專屬的互動式科技藝術裝置作品。

 

http://arduino.cc/

只要發揮出你的想像力,任何人在Arduino的幫助之下都可以成為生活科技品的設計師。譬如將Arduino結合Android裝置,可以做成有趣的「人貓互動」產品:當貓咪跳上專用的座椅上啟動了裝置,就會自動在Twitter上發訊息、或者拍照上傳到Facebook。

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Przegląd linków CC #130

CC Poland, April 27, 2014 01:01 PM   License: Uznanie autorstwa 2.5 Polska

1. Europeana we współpracy z Narodowym Instytutem Audiowizualnym ogłosiła konkurs na remix wideo obiektów pochodzących z jej zasobów. Prace mogą dotyczyć jednego z czterech proponowanych tematów (100 rocznica I Wojny Światowej, 25 rocznica transformacji Centralnej i Wschodniej Europy, historia mody, historia mediów i technologii). Konkurs przeznaczony jest dla uczniów w wieku 13-19 lat oraz dla szkół, a termin nadsyłania prac to 25 maja.
Europeana remix

2. Przed kilkoma dniami w Słowenii zakończyła się międzynarodowa konferencja Open Courseware Consortium zrzeszającego uczelnie z całego świata tworzące otwarte kursy i zasoby edukacyjne. Podsumowania każdego dnia konferencji możecie znaleźć tutaj: dzień 1, dzień 2,, natomiast najciekawszą wiadomością jest zmiana nazwy konsorcjum, która zapowiada nowy kierunek. OCW nazywa się teraz Open Education Consortium.

3. W ubiegłym tygodniu w sieci pojawiała się również nowa, ambitnie się zapowiadająca platforma otwartych zasobów edukacyjnych PanOpen. Na razie znajdziemy na niej bibliotekę podręczników akademickich z różnych instytucji przetworzonych z PDF-ów do wygodniejszych do nauki formatów i dostępnych modułowo na stronie. Podręczniki są na różnych licencjach.

4. Kolejna premiera od firmy i platformy otwartych zasobów akademickich Boundless.com. Tym razem Boundless ogłasza otwarcie swojej platformy dla nauczycieli i edukatorów do współtworzenia zasobów edukacyjnych ( w tym podręczników). Teraz za pomocą platformy można znacznie łatwiej tworzyć i układać własne kursy i podręczniki oraz rozbudowywać je o nowe treści.

5. Przyjęcie przez Parlament Europejski dyrektywy o organizacjach zbiorowego zarządzania z początkiem kwietnia oznacza zmiany w możliwości respektowania przez nie licencji Creative Commons z warunkiem NC (Użycie niekomercyjne). Więcej informacji na blogu MediaLaws.eu.

6. Kontynuując wątek barier w środowisku naukowym dla wdrażania otwartego dostępu, polecamy kolejny tekst, tym razem z Research Information na temat definiowania wpływu publikacji naukowych (ang. impact) oraz problemów wynikających ze sztywności tego wskaźnika i kultury publikowania z nim związanej.

7. Andres Guadamuz przeprowadził dla WIPO (World Intelectual Property Organisation) badania na temat możliwości zrzekania się prawa autorskich (osobistych i majątkowych) na świecie oraz tego czy dane jurysdykcje w ogóle przewidują takie możliwości.

Grafika: Europeana Video Remix na licencji CC BY-SA