To hear an audio recording while viewing slides, see my blog: http://goo.gl/ffTeMm
Surveillance, Copyright, Privacy
The End of the Open Internet
Dunedin, New Zealand
Jan 30 – Feb 1, 2014
Dr Mark McGuire
University of Otago, Dunedin, NZ
email: mark.mcguire@otago.ac.nz
Twitter: @mark_mcguire
Blog: http://markmcguire.net/
Dept.: http://www.otago.ac.nz/appliedsciences/staff/markmcguire.html
This presentation is covered by a Creative Commons CC-BY
(attribution only) licence unless otherwise stated
http://creativecommons.org/licenses/by/3.0/nz/
Copyright, Creative Commons and Libre Culture in New Zealand
A set of 33 Tweets with related links, which were published as the presentation was delivered, can be found here: http://goo.gl/aCYdHe
Abstract
Copyright, Creative Commons and Libre Culture in New Zealand Dr Mark McGuire, University of Otago, New Zealand
In 2001, Lawrence Lessig pointed out that, when considering of the ownership, regulation and governance of the virtual commons, we must take into account the “physical” layer, the “logical” or “code” layer, and the “content” layer, which includes the text, images, music, animations, movies and other digital material accessed over the internet. In an effort to free up the “content” layer, creativecommons.org went online in 2002, allowing individuals to attach “some rights reserved” licences to their work. This development was in response to changes in US copyright laws that the Creative Commons founders (including Lessig) argued hindered access to creative works. Since then, the Creative Commons Licenses have been ported to over fifty jurisdictions, including New Zealand.
As in the US, copyright has become more restrictive in New Zealand. The introduction of the “Copyright (Infringing File Sharing) Amendment Act 2011” enables owners of copyrighted works to penalize individuals for violating their copyright through online file sharing without providing adequate protection from unfair prosecution. The Trans Pacific Partnership (TPP), a trade agreement that New Zealand is negotiating with the US and nine other countries, could extend the length of copyright of creative work from the life of the author plus 50 years after his or her death, by a further 20 years.
As Yochai Benkler notes (2006), formal institutions are working to extend the scope and reach of excusive rights over cultural resources, and the primary countervailing force against exclusivity is the cultural and social response represented by the nascent “free culture” movement and the growing individual practice of sharing work with others to create a domain of free resources for common use. In this paper, I discuss institutional efforts to strengthen copyright in New Zealand and discuss the use of Creative Commons licenses as an alternative.
The Creative Commons v.3.0 Greece licenses as Free Culture applications for t...Dr. Marinos Papadopoulos
Presentation of speech made by Marinos Papadopoulos in the 3rd Pan-Hellenic Conference with International Participation upon Free / Libre / Open Source Software (March 27-28, 2008); said speech pertains to the Greek version of Creative Commons v.3.0 licenses as Free Culture applications for the promotion of Open Educational Resources.
Copyright and Creative Commons licensing for South African educatorsFayyaad Hendricks
A presentation to help South African educators work through what the difference between Copyright and Creative Commons is, and how to apply these different licenses.
Some Rights Reserved: How Creative Commons Licensing Can Engage and Expand Yo...CAMT
Creative Commons helps artists and institutions to define the terms under which they share their creations with the public. In this session, learn how Creative Commons can help you expand the reach of your next creative endeavor, online and off.
While copyright & fair use can be confusing to navigate you CAN use copyrighted material in your creative work! This introduction to the Code of Best Practices in Fair Use for Media Literacy Education will explain fair use, reduce copyright confusion and share helpful ideas regarding how to teach your students and staff about copyright & fair use.
<a>http://sigms.iste.wikispaces.net/Copyright+Clarity</a>
Yes! You Can Use Copyrighted Material for Digital LiteracyRenee Hobbs
In this session, Renee Hobbs, Sandy Hayes and Kristin Hokanson explore the importance of copyright and fair use for digital literacy. Participants gain knowledge about U.S. copyright law as it relates to the most common instructional practices in digital literacy and appreciate the concept of transformative use. They gain confidence in making a fair use determination and learn how to integrate fair use reasoning into student media production activities. Finally, participants increase their ability to advocate for the fair use of copyrighted materials in digital literacy
Digitalization in a post-professional societyYoungjin Yoo
This is a short talk that I gave as a provocation at Reshaping Boundary: Art, Design and Management at Case Western Reserve University on Sept 24, 2009.
The Creative Commons v.3.0 Greece licenses as Free Culture applications for t...Dr. Marinos Papadopoulos
Presentation of speech made by Marinos Papadopoulos in the 3rd Pan-Hellenic Conference with International Participation upon Free / Libre / Open Source Software (March 27-28, 2008); said speech pertains to the Greek version of Creative Commons v.3.0 licenses as Free Culture applications for the promotion of Open Educational Resources.
Copyright and Creative Commons licensing for South African educatorsFayyaad Hendricks
A presentation to help South African educators work through what the difference between Copyright and Creative Commons is, and how to apply these different licenses.
Some Rights Reserved: How Creative Commons Licensing Can Engage and Expand Yo...CAMT
Creative Commons helps artists and institutions to define the terms under which they share their creations with the public. In this session, learn how Creative Commons can help you expand the reach of your next creative endeavor, online and off.
While copyright & fair use can be confusing to navigate you CAN use copyrighted material in your creative work! This introduction to the Code of Best Practices in Fair Use for Media Literacy Education will explain fair use, reduce copyright confusion and share helpful ideas regarding how to teach your students and staff about copyright & fair use.
<a>http://sigms.iste.wikispaces.net/Copyright+Clarity</a>
Yes! You Can Use Copyrighted Material for Digital LiteracyRenee Hobbs
In this session, Renee Hobbs, Sandy Hayes and Kristin Hokanson explore the importance of copyright and fair use for digital literacy. Participants gain knowledge about U.S. copyright law as it relates to the most common instructional practices in digital literacy and appreciate the concept of transformative use. They gain confidence in making a fair use determination and learn how to integrate fair use reasoning into student media production activities. Finally, participants increase their ability to advocate for the fair use of copyrighted materials in digital literacy
Digitalization in a post-professional societyYoungjin Yoo
This is a short talk that I gave as a provocation at Reshaping Boundary: Art, Design and Management at Case Western Reserve University on Sept 24, 2009.
Slide notes - Changes in media production and distribution which have led to ...Holly Grover
Slide / Speaking Notes for:
www.slideshare.net/htgrover/changes-in-media-production-and-distribution-which-have-led-to-the-development-of-creative-commons-17663413
Presentation licensed under a Creative Commons Attribution 3.0 New Zealand Licence, however please note the images each have their own individual licence, as shown.
Creative Commons licenses were designed to help
creators utilize the Internet’s potential as a place
for collaboration without copyright law getting in
the way. Since CC was founded, the possibilities
for creativity on the Internet have expanded
tremendously. CC’s products and community must
continue to grow and transform too.
Open, Connected Education. Voices from Tertiary Education: A conversation about productivity & innovation in tertiary education in New Zealand, a symposium organised by the Tertiary Education Union, July 22-23 2016, Wellington (http://teu.ac.nz/2016/07/productivity-commission/). Hashtag: #TEUvoices16
Audio available via SoundCloud: https://goo.gl/IPqQwS
A post that includes these slides plus audio and other links can be found on my blog: https://goo.gl/aiwXpl
Imagining and Enabling the Collaborative CommonsMark McGuire
Presentation delivered at the Internet Research 16 (#IR16) Conference, Phoenix Arizona, Oct. 21-24 2015 (http://aoir.org/ir16/). I discuss open practices in education and design, including collaboration, cooperation, crowdsourcing and dissemination. An audio recording of this presentation can be found on Soundcloud (https://goo.gl/G7U1tB). A post that integrates the slides and audio can be found on my blog (http://goo.gl/ps3pHr).
Smartphones and Open, Collaborative Image MakingMark McGuire
A presentation given at the Art + Design Symposium, Dunedin School of Art 16-17 Oct. 2015: http://artandesign.org/. The audio file for this presentation can be found on Soundcloud: https://goo.gl/PdUSlN. A blog post that puts the slides and audio together with can be found here: http://goo.gl/izarVC
Finding and Sharing Educational Resources using Twitter, Hashtags and Storify...Mark McGuire
This presentation reports on the use of Twitter, hashtags and Storify to connect with individuals inside and outside the university who have a shared interest in the future of libraries. The objective was to discover and share educational resources that were applicable to a class project, by engaging with experts through social media, rather than by searching for the resources directly. A related aim was to discover how even limited social contact with others could result in a more collaborative, networked approach to problem solving, in keeping with contemporary design practice. Over the 13-week course, 250 Twitter messages were collected, narrated and archived by the course Lecturer (and author), using Storify. During class discussions, students reported that the resources were useful, and they commented on the effectiveness of reaching out beyond the classroom in this way. This trial also provided insights into how such collaborations could be taken further.
Phonar Nation and Mobile, Connected Learning (#MINA2014)Mark McGuire
Abstract
In this presentation, I discuss Phonar Nation, a free, open, five-week photography course that was offered twice during the North American summer in 2014 as part of the Cities of Learning initiative. Photographer and open education pioneer Jonathan Worth created and taught the non-credit course to individuals from 12-18 years of age through a website designed to work on mobile devices (http://phonarnation.org/). The author followed the course as his twelve-year-old son completed it from New Zealand. The community-based Phonar Nation initiative extends the work that Worth and his colleagues have done with Phonar (Photography and Narrative), an open, for-credit undergraduate course at Coventry University.
I argue that Phonar Nation highlights several related developments in education that are leading to innovative approaches at different levels and in different contexts. Firstly, Phonar Nation is not only open access but it also uses and produces material that is open to be shared through the use of Creative Commons Licenses. Secondly, it is collaborative, both in the way that it is produced and taught, and in the way that participants are encouraged to engage with one another in community settings and through social media sites. Thirdly, Phonar Nation exemplifies an approach to learning that advocates call Connected Learning, which is accessible, interest-driven, socially situated and geared to extending educational and economic opportunities.
Twitter, Instagram and Micro-Narratives: The benefits of sharing the creative...Mark McGuire
See my blog for draft paper (3,700 words): goo.gl/J5RdsY
Abstract
As Rainie and Wellman explain in Networked (2012) the rise of the Internet, social networks and mobile technologies have resulted in media experiences that are personal, multiuser, multitasking and multithreaded. They refer to this new social operating system as “networked individualism”. In Spreadable Media (2013), Jenkins et al. argue that our networked culture is characterized by instantaneous, informal communication through multiple channels in which the audience participates in the creation of value and meaning, and in the circulation of media and messages. In this paper, I use the concepts of networked individualism and spreadable media in an examination of projects that use Twitter and Instagram to create and share micro-narratives.
In 140 Illustrated Haikus, an iPhone and Instagram were used to document a month-long trip to three countries in late 2012. The resulting photos and short texts were published simultaneously via Instagram, Twitter, Facebook, Flickr, email and Tumblr (http://marksjourney.tumblr.com/). In addition to the limitations imposed by time and technology, captions for the photos were written on the spot in the form of a haiku. These constraints were found to help, rather than hinder, the creative process.
Austin Kleon is a writer and artist who creates “Newspaper Blackout Poetry” by selecting a newspaper, choosing a few key words, and blacking out the rest with a marker. He shares the results with more than 28,000 followers on Twitter (@austinkleon), many of whom tweet their own blackout poems. Kleon also posts his poems to a website (http://newspaperblackout.com/), where others are encouraged to contribute their own efforts. An advocate of sharing work-in-progress, Kleon’s approach exemplifies the process-based, conversational nature of networked creative practice.
Desert Friends, the “World’s First Instagram TV Show” is about three individuals who are transported to a distant galaxy and try to find their way back to Palm Springs (http://instagram.com/desertfriends). The filmmakers uploaded the first installment on 23 June 2013, and have continued to publish about four 15-second “shows” each week. Shot in black and white using the Instagram App on an iPhone, the programs emulate the style of low budget science fiction movies of the 1950s and 1960s. By episode number 63, the Desert Friends Instagram stream had attracted over 25,000 followers. This production demonstrates that filmmakers can create their own “TV show” with their own gear, and broadcast it over channels that anyone can use.
These case studies show that, by regularly sharing ideas and processes as well as outcomes online, individuals become part of a creative ecology that enables visibility, mutual support, collaboration, and better work.
Mark McGure - Open Strategies in Design Education (Cumulus Dublin 8 Nov. 2013)Mark McGuire
Blog: http://markmcguire.net/
Twitter: @mark_mcguire
https://twitter.com/mark_mcguire
Abstract:
In many countries, the increasing costs associated with higher education combined with reduced funding for public education during a period of fiscal restraint threatens the sustainability of current models of provision. Glenn Harlan Reynolds (2012) warns of a “Higher Education Bubble” in the United States. Sebastian Thrun, founder of Udacity.com, a for-profit platform for Massive Open Online Courses (MOOCs), predicts that there will be only 10 institutions delivering higher education in 50 years (Steven Leckart, 2012). In contrast to these doomsday scenarios, Audrey Watters (2013) and others counter that professors and the institutions that employ them are not necessarily resistant to change, and that we should not “hack education” in a way that dismantles public institutions and threatens local economies, the community, social justice, and the public good.
In this presentation, I briefly trace the development of MOOCs and I discuss the differences between the high profile platforms that rely on lecture videos and machine marking (xMOOCs) and earlier experiments that follow what George Siemens refers to as a “Connectivist” approach (2005), which encourages participants to build their own personal learning network (cMOOCs). Using a case study method, I discuss three types of Design courses that leverage open strategies and serve as exemplars of “digital scholarship” (Martin Weller, 2011). The first, #Phonar (Photography and Narrative), is a Coventry University course that uses blogging and social media to connect place-based students to online participants. The second, ds106 (Digital Storytelling), is an online-only course offered by the University of Mary Washington that requires students to interact with one another and with the wider world through blogs, social media and an Internet radio station. The third, DOCC2013: Dialogues on Feminism and Technology, is a Distributed Open Collaborative Course that was offered for the first time in the fall of 2013 by fifteen universities in the United States and Canada, with academics working collaboratively across institutions.
I argue that by encouraging a paradigm shift in education from Push (broadcast) to Pull (accessing an archive) to Co-create (collaborative production) Design education can provide positive examples of how we can do more, and reach more, sustainably. Blurring the boundaries between teacher and student, online and offline, and formal and informal, education can enhance learning and extend its benefits beyond the lecture theatre and design studio. This pedagogical shift is in line with contemporary Design practice, in which collaborative and participatory processes are crucial, especially when working to solve wicked problems.
OER: It’s not the artifact, it’s the process (Mark McGuire, U of Otago)Mark McGuire
See the version with audio and slides: http://goo.gl/gkZR8.
These are the slides from a seminar presentation that I presented on 28 June at the University of Otago. You can hear (and download) the audio (MP3) on UniTube (http://goo.gl/3F7IR). Even better, you can see (and download) the slides and hear the audio together on my blog (http://goo.gl/gkZR8).
Feel free to contact me at mark.mcguire@otago.ac.nz.
"Open Educational Resources: It’s not the artifact, it’s the process". Presented at the Open Educational Resources Seminar, University of Otago, 28 June 2012
Abstract
If we think of OERs as we think of physical artifacts, we might focus on their design, production, storage and distribution. We could quantify their number, calculate their popularity, and track their use. However, in open, distributed, networked learning environments, the emphasis is not be on the resources but on the engagement between participants who create, use, modify, and share experiences. Resources can be used to prompt and fuel conversations, and the results of one conversation can be saved and used as fuel for another, but it is the way in which they are created and used that determines their effectiveness in learning contexts. In this talk, I will use examples from several open courses to explore the nature of digital resources and discuss how they are used to enable constructive engagements between networked learners. I suggest that, although appropriate resources are an important part of the learning process, we need to pay more attention to the design of the structures and networks in which they are generated and circulated.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
In this webinar you will learn how your organization can access TechSoup's wide variety of product discount and donation programs. From hardware to software, we'll give you a tour of the tools available to help your nonprofit with productivity, collaboration, financial management, donor tracking, security, and more.
Chapter 3 - Islamic Banking Products and Services.pptx
Copyright, Creative Commons and Libre Culture in New Zealand - Mark McGuire Jan. 31 2014
1. Copyright, Creative
Commons and Libre
Culture in New Zealand
!
Surveillance, Copyright, Privacy
The End of the Open Internet
Dunedin, New Zealand
Jan 30 – Feb 1, 2014
!
Dr Mark McGuire
University of Otago, Dunedin, NZ
email: mark.mcguire@otago.ac.nz
Twitter: @mark_mcguire
Blog: http://markmcguire.net/
Dept.: http://www.otago.ac.nz/appliedsciences/staff/markmcguire.html
This presentation is covered by a Creative Commons CC-BY
(attribution only) licence unless otherwise stated
http://creativecommons.org/licenses/by/3.0/nz/
2. The Revolution will NOT be televised.
!
It will be #Webcast, #Podcast, #Blogged,
#Instagammed, #Tweeted and #Storified.
!
And #Revised, #Remixed and #ReTweeted . . .
3. They hang the man and flog the woman
Who steals the goose from off the common
But leave the greater villain loose
Who steals the common from off the goose.
Anonymous protest poem 1764 or 1821
!
“If you have an apple and I have an apple
and we exchange these apples then you
and I will still each have one apple. But if
you have an idea and I have an idea and
we exchange these ideas, then each of
us will have two ideas”.
George Bernard Shaw
!
!
4.
5. Copyright protections are limited for a period of time
and restricted by a number of exceptions.
Life plus 50 years is typically the minimum for most countries and
many signatories of the Berne Convention, excluding the regions or
countries listed below, for example:.
■ Life plus 70 years for members states of the European Union
■ Life plus 70 years for the United States of America
!
In New Zealand the copyright in sound recordings, films, broadcasts
and cable programmes lasts for 50 years after they are released. The
copyright in a typographical arrangement lasts 25 years.
These durations are valid for every work which is originated in New
Zealand. Others will be protected for the term for which it is granted
protection in its country of origin.
!
http://wikieducator.org/Copyright_for_Educators/Protections
http://wikieducator.org/Copyright_for_Educators/Protections#Duration_of_copyright
http://www.creativecommons.org.nz/frequently_asked_questions#III1
11. !
. . . [We] must first step back from copyright and reflect
upon an idea about how culture develops that should
be familiar to everyone. This idea I want to call
“remixing.” We first imagine a creative work mixed
together by someone; and then someone else remixes
that creative work.
!
In this sense, culture is remix. Knowledge is remix.
Politics is remix. We remix all the time.
Lawrence Lessig: Creative Economies p. 35
https://www.yumpu.com/en/document/view/15761352/the-second-annual-distinguished-lecture-in-intellectual-property
12. The nature of artefacts
!
In crossing the
threshold from
analog to digital,
an artefact exchanges
!
a single, traceable past
for unlimited possible
futures,
!
solidity for malleability,
!
and financial value for
social value.
Photo by Arthur Davison
CC-BY-NC-SA http://goo.gl/lL6vJ Accessed 29 Jan. 2014
17. Joel Little: “We made this song originally just to give away for free . . .”.
New Zealand Herald (29 Jan. 2014)
http://www.nzherald.co.nz/entertainment/news/video.cfm?c_id=1501119&gallery_id=140457&gal_objectid=11192601
18. !
“Royals”: The Love Club EP on SoundCloud (29 Jan. 2014)
https://soundcloud.com/lordemusic/royals?in=lordemusic/sets/the-love-club
http://lorde.co.nz
!
Posted on SoundCloud in November 2012.
Officially released digitally in March 2013 and on CD in May
2013, The Love Club EP features five songs, including the
number one hit "Royals".
19. Lorde - Royals performance at The Grammy's 2014 HD (29 Jan. 2014)
http://www.youtube.com/watch?v=Belewo58nCA
20. “Lorde - Royals performance at The Grammy's 2014 HD” Blocked (29 Jan. 2014)
http://www.youtube.com/watch?v=Belewo58nCA
21. Lorde: Royals Music Video
http://www.youtube.com/watch?v=LFasFq4GJYM (29 Jan. 2014)
24. Think Like a Dandelion
“[I]f you blow your works into the net like a
dandelion clock on the breeze . . . the
winds of the Internet will toss your works to
every corner of the globe, seeking out every
fertile home that they may have.”
(Cory Doctorow ) http://goo.gl/l7Yx6M
Dandelion Wish by John Liu (CC-BY)
http://www.flickr.com/photos/8047705@N02/5572197407/
“Spreadability”
> flow of ideas in easy-to share-formats
> open-ended participation
> reshaping of context as well as the content
> circulation of work through all available
channels
(Spreadable Media. Jenkins, Ford and Green. 2013, p. 2)
http://spreadablemedia.org
25. Photo by Matt Binn: http://www.flickr.com/photos/69029168@N00/3971643845
35. 30 January 2014 7:37 pm
Richard White
To: CopyrightCOP@lists.otago.ac.nz
[CCOP] Udacity's CC licence
!
!
Hi everyone
!
I got quite excited when I saw that Udacity was using a Creative Commons licence,
though less so when I saw it was BY-NC-ND and that they go on to say
!
Without limiting the generality of the terms of the CC License, the following are
types of uses that Udacity expressly defines as falling outside of the definition of
“non-commercial”:
...
(e) the use of Educational Content by a college, university, school, or other
educational institution for instruction where tuition is charged
36. B.navez Stack of Firewood CC-BY-SA http://goo.gl/Y6F7p
Gurumustuk Singh “Fireside Chanting” CC-BY-NC-SA http://goo.gl/GQSle
It’s not
about the
wood or
the fire;
it’s about
the choir.