A few years ago, I discovered a site called "FreeSound.org" which sounded quite exciting, but turned out to be rather disappointing because the content was released under the Creative Commons "Sampling+" license, which is not a free license. This made all of the content incompatible with use on free software or free culture projects, and was very frustrating, especially given the name. Last month, though, Creative Commons decided to retire the Sampling+ licenses, and FreeSound.org is rolling out a new site with a license chooser that favors the "CC 0" public domain declaration and the "CC By" attribution licenses -- both compatible with free projects. This will be a big help for free-culture multimedia projects.
Digging through "free" sites to sort the "free beer" from the "free speech" content is quite a chore. Many of the sites are not useful for free culture projects, and many make it very difficult to tell. Fortunately for you, I took notes! Here you will find 8 sites with free-licensed content, 8 more with licenses that you'll probably find acceptable for many projects, and 20 others that might be useful on some projects if you're not a purist. There are also 22 sites I have to warn you away from, because their terms are incompatible with use in free-licensed productions.
In a recent blog, Nina Paley, the animator behind the free-licensed animated film, "Sita Sings the Blues", complained of the enormous confusion caused by poor differentiation of the Creative Commons licenses. In particular, there's a great deal of confusion over the difference between "NonCommercial" and "ShareAlike" licenses. Maybe the Creative Commons licensing system is still too complex? I'd suggest that only three licenses are really needed: "Attribution" (CC By), "ShareAlike" (CC By-SA), and "NonCommercial" (CC By-NC), and that the others are essentially deadweight that's holding the movement back.
What is this "Free Culture" thing? What is "Free Software"? And how do I get my work out there? If you're looking to participate in the "Commons", you'll need to get comfortable with the idea of free, public licenses and how to use them for your works. This won't be hard at all, especially with this short guide, but there are different traditions that have sprung up around different kinds of works.
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.
Politicians in general are not terribly tech-savvy, let alone conscious of the most important intellectual freedom issues, but President Barack Obama does have a reputation of being more aware than most of the new media and new possibilities of the internet. The new US presidential website shows some promise that indeed, we now have a US president who isn't afraid of the future.
For the past 26 weeks I've been producing the Bizarre Cathedral strips for Free Software Magazine. Every one of them is released under a Creative Commons Attribution-Non-commerical-Share Alike (BY-NC-SA) licence. Recently I've received a few pieces of mail saying this is a "non-free" licence and questioning my use of it here. Some of them are quite polite, others have demanded I change the licence immediately (presumably "or else"). I'm not going to change the license, and here's why.
This year, Creative Commons unveiled a new initiative called "CC+". It is not a license. It's a "protocol", although it's so simple that it almost doesn't warrant the term. Basically it specifies a standardized mechanism to sell further rights for works under Creative Commons licenses. One application of this technology could be to enable "collective patronage" models like the one that brought us the Blender free movies to be extended to a much larger pool of Creative Commons licensed material.
I was surprised to find that I have never seen nor heard of this movie before it just suddenly appeared in Google video today. Called Alternative Freedom the Movie I just couldn't resist.
Doseone (rapper: pop culture commentator) DJ Danger mouse (mix maker extraordinaire) Richard Stallman (The Grand philosopher of Free Software) Lawrence Lessig (Super lawyer, creator of Creative commons) Andrew "Bunnie" huang (reverse engineering pro)
A new conventional wisdom began to spring up around free software, led in part by theorists like Eric Raymond, who were interested in the economics of free software production. Much of this thought centered around service-based and other ancillary sales for supporting free software. Based on this kind of thinking, it's fairly easy to imagine extending free licensing ideas to utilitarian works. But what about aesthetic works? The Creative Commons was established in 2002, largely to solve the kinds of licensing problems that aesthetic works might encounter, and it has been remarkably successful, pushing the envelope of even this newer wave of thought. Today, Creative Commons licensed works number in at least the tens of millions. And more than a quarter of those are using the "Attribution" or "Attribution-ShareAlike" free licenses.
A new conventional wisdom began to spring up around free software, led in part by theorists like Eric Raymond, who were interested in the economics of free software production. Much of this thought centered around service-based and other ancillary sales for supporting free software. Based on this kind of thinking, it's fairly easy to imagine extending free licensing ideas to utilitarian works. But what about aesthetic works? The Creative Commons was established in 2002, largely to solve the kinds of licensing problems that aesthetic works might encounter, and it has been remarkably successful, pushing the envelope of even this newer wave of thought. Today, Creative Commons licensed works number in at least the tens of millions. And more than a quarter of those are using the free "Attribution" or "Attribution-ShareAlike" licenses.
It used to be that you could safely assume a work was public domain unless there was a highly visible warning printed on it, containing both the copyright owner and the date of copyright (at least in the USA). This system also ensured that, when the work's copyright expired, you could tell from any copy that this was so—by simply adding the duration of copyright to the date printed in the work's copyright notice. The Berne Convention, however, changed all that by replacing the assumption of freedom with the assumption of monopoly, and it now takes extensive research to be sure a work is public domain.
The Creative Commons' new CC-Zero initiative, instigated largely as an adjunct to the Science Commons' "Protocol for Implementing Open Access Data" is designed to make things easier.
A DVD made with Blu-ray DVD Ripper 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!
The number of the current, freshly-released version of the Creative Commons licenses: 3.0. The total number of CC licensed works on the web at last estimate: 145 million. The percent of those that we would call “free”: 29%. The time it takes to double the number of free, Creative Commons licensed works: approximately 115 days.
Recently, I've become involved in the ongoing discussion between the Creative Commons and Debian over the "freeness" of the Creative Commons Public License (CCPL), version 3. Specifically, the hope is that Debian will declare the CC-By and CC-By-SA licenses "free", as most people intuitively feel they are. There are a number of minor issues that I think both sides have now agreed to, leaving only the question of "Technological Protection Measures" (TPM, also known as "Digital Rights Management" or "Digital Restrictions Management" or "DRM").
The concept of the commons has a long heritage. The Romans distinguished between different categories of property, these were: Firstly, res privatæ, which consisted of things capable of being possessed by an individual or family. The second, res publicæ, which consisted of things built and set aside for public use by the state, such as public buildings and roads. The third, res communes, which consisted of natural things used by all, such as the air, water and wild animals.