2019/01/30: The Local Contexts initiative began in 2010 when Kim Christen and I started to think more carefully about how to support Indigenous communities to address the immense and growing problems being experienced with copyright around Indigenous or traditional knowledge. We had both been working with Indigenous peoples, communities and organizations over a long period of time and had increasingly been engaged in a very specific way with the dilemmas of copyright that existed at the intersection of Indigenous collections in archives, libraries and museums. We were able to see more clearly the ways in which copyright has functioned as a key tool for dispossessing Indigenous peoples of their rights as holders, custodians, authorities and owners of their knowledge and culture.
Combining both legal and educational components, Local Contexts has two objectives. Firstly, to support Indigenous decision-making and governance frameworks for determining ownership, access to and culturally appropriate conditions for sharing historical and contemporary collections of Indigenous material and digital culture. Secondly, to trouble existing classificatory, curatorial and display paradigms for museums, libraries and archives that hold extensive Indigenous collections by finding new pathways for Indigenous names, perspectives, rules of circulation and the sharing culture to be included and expressed within public records.
Inspired by Creative Commons, we began trying to address the gap for Indigenous communities and copyright law by thinking about licenses as an option to support Indigenous communities.
Our initial impulse was to craft several new licenses in ways that incorporated local community protocols around the sharing of knowledge. Pretty quickly however we ran into a significant problem: with the majority of photographs, sound recordings, films, manuscripts, language materials that had been amassed and collected about Indigenous peoples, and that were now being digitized, Indigenous peoples were not the copyright holders. Instead, copyright was held by the researchers, missionaries or government officials who had done the documenting or by the institutions where these materials were now held. Or – at the other end of the spectrum, these materials were in the unique space that copyright makes – the public domain. This meant that not only did Indigenous peoples have no control over these materials and their circulatory futures, they also could not apply any licenses – either CC ones or ones that we were developing. This was a problem that we responded to by developing the TK Labels.
Free knowledge based on Creative Commons licenses: Consequences, risks and side-effects of the license module "non-commercial use only – NC".
2018/09/12: consigli per evitare una violazione: SBAGLIATI, perchè non citano affatto pubblico dominio, Creative Commons, e fanno pure confusione sul punto royalty-free = previo acquisto licenza:
Quando decidiamo di pubblicare un video in rete o su un social network, occorre prestare molta attenzione. Se si utilizza una musica di sottofondo, infatti, si potrebbe violare il diritto d'autore. Come fare allora? Abbiamo raccolto quattro consigli per stare tranquilli:
Se vuoi pubblicare un video su YouTube o su un altro social network, evita di inserire una musica di sottofondo;
Chiedi l'autorizzazione all'autore, pagando i relativi diritti, se decidi di pubblicare un video utilizzando un brano edito;
Opta per brani royalty-free, ovvero quelli che, previo acquisto di una licenza d'uso, consentono di sincronizzare la musica con un altro contenuto audiovisivo senza spese ulteriori;
Cita sempre le fonti delle notizie o dei tweet riportati.
Stefano Epifani non presenterà il TEDx Roma per il veto dell'organizzazione. Una scelta fatta per le sue opinioni sulla rete. Scelta censoria?
Creative Commons allows people to grant others freedom, but with very specific and often mutually exclusive conditions. And that's only sort of freedom.
Chiedere scusa quando si ha ragione è un atteggiamento diseducativo che contenta gli umori, ma non porta lontano.
When I was a child someone taught me that if you are right you should never apologize . So I am still trying to understand the reasons th...
Unlike conventional economics textbooks, which set forth axiomatic principles that supposedly govern an entire field of economic life, the Core-Econ textbook is a big fan of empirical realities, behavioral evidence and economic history. This textbook does not treat economics as if the past were irrelevant or as if the Universal Truths of Neoliberal Economics make societal institutions marginal. The Economy sees economics in its rich, complicated historical context. For example, it boldly addresses the importance of property rights arrangements, bargaining power, and distributional fairness issues.
Il libro di testo cartaceo è ormai superato, soppiantato non tanto dall'eBook, quanto da formati aperti e licenze aperte. Dall'esperienza di Garamond, che diventa CurrikiItalia e rilascia Alexandria, al progetto "Book In Progress" partito dall'ITIS Majorana di Brindisi, fino all'esperienza sarda di "Impari
Techdirt recently wrote about Spain's imminent and almost unbelievably foolish new copyright law designed to prop up old and failing business models in the publishing sector. Mike mentioned that it was potentially disastrous for things like fair...
Publishing scholarly papers with, and on, Wikipedia
The Wellcome Trust recently published details of how much it spent on open access publishing in the year 2012-2013 in an attempt to make the debate around the costs of open access publishing more evidence-based. The data we released fuelled much discussion online and Robert Kiley, Head Digital Services at the Wellcome Library, gives an
Creative Commons licenses have been hugely successful in allowing people to share their creations in ways otherwise impossible using traditional copyright monopolies. But one problem remains unresolved: what exactly does the...
The English version of my article about open licensing and databases is out. It has been published in Vol 4, No 1 (2012) of International...
Denunciata un'app che impiega un database diffuso da CrunchBase sotto licenza Creative Commons. Il problema potrebbe essere legato non tanto ai contenuti quanto alle API impiegate per ottenerli
Harlan Ellison talks about running away from home, the rights and wrongs of paying to read books and how his job on this planet is annoying people
Copyleft as a pro-software-freedom regulatory mechanism, of which more are needed.
Glyn Moody wonders whether, given the decline of copyleft licences, it is time to contemplate switching to placing software in the Public Domain and addresses the commonly raised objections