People have been talking about "micropayments" since the early days of the world-wide-web, so I'm always skeptical of micropayment systems. Flattr is an interesting variation on the idea though. It's a voluntary system, without the overhead or chilling effects associated with "pay walls" and it puts donors in control of how much they spend, allowing them to split their donations among beneficiaries based on a monthly "pie" model. The greatest asset of Flattr is its simplicity of use -- similar in many ways to the various social networking services that abound on the web today. Flattr may well succeed, and it may fill a niche of financing small projects from free software to online videos.
Free software exists in a kind of "special trade zone" within the existing copyright system, defined by free copyleft licenses like the GNU General Public License (GPL). Free culture has created similar zones with tools like the Creative Commons' licenses. We usually consider that to be sufficient. Yet we are often frustrated by the desire to interface with the rest of our culture, and sooner or later we'll all have to face the big bugbear that is reforming the copyright system. Aside from a few vested interests in the entertainment industry, nearly everyone hates the system we've got -- it's clearly overreaching and ill-adapted to the electronic world of the internet. But what sort of system would we like? That's much more contentious. Here's a synthesis of a few prominent ideas of what real copyright reform might look like.
In lieu of today's regular column, I've decided to present an edited transcript of a very informative interview of Nina Paley by Thomas Gideon of "The Commandline Podcast." Paley has been doing a lot of interviews since her free-licensed release of "Sita Sings the Blues" and her subsequent work with QuestionCopyright.org (specifically her two "Minute Meme" animations: "Copying Is Not Theft" and "All Creative Work is Derivative") -- reading them all would be quite a bit of work. But this interview is possibly the best -- covering all of the major issues she's been talking about in what I thought was a very insightful way. So: kudos to Nina Paley and to her interviewer, Thomas Gideon, and I hope you find this text version interesting.
"Sita Sings The Blues" by self-taught animator Nina Paley, may be the first feature-length animated film released under a free license (the Creative Commons By-SA). Presented through a variety of animation styles and narrative tones, it fuses apparently disparate ideas and sources into a unified whole. An ancient Hindu epic, The Ramayana, is retold largely through the songs of a 1920s American singer, Annette Hanshaw. The mode of storytelling also mirrors aspects of the world-wide collaborative potential of twenty-first century art, reflected also in the film's real life controversies, including copyright entanglements and censorship concerns.
It can be hard to get paid for producing free-licensed works. Software represents a niche where a lot of exceptions can be found, but for aesthetic works, the problem is severe. This has spurred a lot of innovative ideas for better incentive systems. Along the way, though, the most obvious and simple solution has mostly been overlooked: just re-implement the traditional limited copyright idea in a way that makes sense for the 21st century. Here's a simple solution that I call "FLOW-IT" for "Free Licensing Of Works -- In Time," which simply leverages existing Creative Commons licensing to do the job.
Today I happened upon a site I really, really wish had been there in 2000 when I started my own game project. Free software games often suffer from poorly-executing graphics, simply because it's a real challenge coordinating both the artistic and software needs of a project. Few developers are good at both, and so it makes sense to accumulate commonly-needed elements in one place.
Blender third open movie project, code-named "Durian" is ramping up to production, and time is running out for the pre-sale campaign if you want to get your spot in the credits. This time the project is focusing on an adolescent audience with an epic-fantasy setting and a female protagonist (my son aptly dubbed this the "Chicks in Chainmail" genre). The only art yet available from Durian itself is the series of banner ads (by concept artist, David Revoy), but an impressive creative team has already been announced.
Why it should be a lot more about feeling, rather than knowing, that free software and free culture is right.
Over the last ten years or so, free software has grown from being just a geek-phenomena. GNU/Linux has become a serious force in the business and server market with major companies now throwing their weight behind it. But on the consumer side of the market, things look still quite a bit different. Although GNU/Linux adoption has made some progress on the desktop too, it's still largely absent, Windows comes pre-installed on almost all new machines sold and you see even die-hard free software advocates using Mac OS X on their personal machine. Why is that?
Over at Sphere of Networks, I published a text that tries to give a simple overview of the workings of information production in the age of the internet, covering everything from free software to free culture. This article is a slightly modified version of another chapter of this text. This time I will show you how the internet enabled a new form of information production: commons-based peer productions, like Wikipedia or most free software today. What is free content and why is it so important to people collaborating over the internet?
Achieving Impossible Things with Free Culture and Commons-Based Enterprise
The first completed book from Free Software Magazine Press, by longtime Free Software Magazine columnist Terry Hancock is now available!
Wikipedia is the largest and most comprehensive encyclopedic work ever created in the history of mankind. It's common to draw comparisons to Encyclopedia Britannica, but they are hardly comparable works—Wikipedia is dozens of times larger and covers many more subjects. Accuracy is a more debatable topic, but studies have suggested that Wikipedia is not as much less accurate than Britannica as one might naively suppose. Project Gutenberg is a less well known, but much older part of the free culture movement, having been started in 1971. Today it contains over 24,000 e-texts.
Project Gutenberg, started in 1971, is the oldest part of the modern free culture movement. Wikipedia is a relative upstart, riding on the wave of success of free software, extending the idea to other kinds of information content. Today, Project Gutenberg, with over 24,000 e-texts, is probably larger than the legendary Library of Alexandria. Wikipedia is the largest and most comprehensive encyclopedic work ever created in the history of mankind. It's common to draw comparisons to Encyclopedia Britannica, but they are hardly comparable works—Wikipedia is dozens of times larger and covers many more subjects. Accuracy is a more debatable topic, but studies have suggested that Wikipedia is not as much less accurate than Britannica as one might naively suppose.
Over at Sphere of Networks, I published a text that tries to give a simple overview of the workings of information production in the age of the internet, covering everything from free software to free culture. This article is a slightly modified version of a chapter of this text. I will show how peer-to-peer file-sharing networks work and how Big Media tries to prevent this sharing by means of random lawsuits and by using DRM. What does this copyright war mean for consumers and for our culture as a whole?
Apparently I’ve been living under a rock, because I only recently found out about the Blender project’s free and open source short movie, Elephants Dream, when I happened across Terry Hancock’s review of it last year on this web site. The motivation behind Elephants Dream was to create a great movie short using only free and open source tools, while at the same time finding ways to improve the quality of those tools and free software projects in general.
A DVD that comes with lots of great examples of Free Culture which plays in your DVD player, with even more examples when you put it in your computer – including a GNU/Linux Live CD. The idea is simple: help to get the word out about Free Culture, including Free Software, by showing off what's already been achieved; the thing is, we need your help!
I am lurking on the OpenMokomailing lists. This is an educational experience for me. Although Ihave participated in many heated discussions concerning Free software, I have never watched such a high-profile full-fledgedFree software project start from the ground up.
It's fascinating watching different sorts of geeks interact.
There’s no point in having a world full of “ethical” but unemployed artists. I think there is an ethical compulsion for people with talent to use their talent (artistic talent is power which carries responsibility). And, since making money at doing it is frequently a requirement for that to happen sustainably, then making money at doing your art is also an imperative.
I'm guessing many FSM readers will recognize the title reference, if like me you're a fan of Neal Stephenson's work. If you're not a fan, then... er... how could you not be?! I'm kidding. I realize tastes differ, but to me, Stephenson is essential geek reading.
His essay, In the Beginning was the Command Line, has been around for several years now. It's showing some age in areas, but it reads as well today as it did back in 1999. It's filled with interesting ideas and thoughts about technology and culture, including free software. For example, you don't have to read very far in to the essay to find a great analogy between operating systems and car dealerships.
Free software sustains and enables the internet. Across the world, people continue to freely contribute ideas and expertise to an important and growing movement. The internet itself was largely born out of a culture of contributing code and content in an electronic public “space” of global proportions. This has meant that the constellation of software supporting the internet, and the content that sits upon it, is to a large degree, non-market, peer-produced and free (as in “freedom” and as in “beer”). But, why do people code, hack, test, write and create free culture?
We have written this manifesto always wishing to unfold the concept and practice of free/libre and open-source. We wanted it to stretch out so that it might take us in new directions. To start off with, we were sure that the practice of non-proprietary software code production was not a narrowly technical or economic affair, but something that was always also socio-political.