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Richard Stallman supports Creative Commons. Do you?
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| Sounds like a strong endorsement from someone with demanding standards.
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http://www.movingtofreedom.org/2008/12/04/richard-stallman-supports-creative-commons-do-you/
More Musicians Recognizing The Power Of Free
,----[ Quote ]
| Every time I think we're finally reaching the point where these types of
| stories aren't necessary any more, because we've shown so many different
| musicians give away their music for free and make more money because of the
| additional business models they put in place, we see someone making a
| statement like: "but, if they give music away for free, they don't make any
| money and won't keep producing music." So, apparently, the message still
| isn't getting through. Just because you give away your music for free, it
| doesn't mean that you don't make money. You just need to put in place a
| business model where the free music increases the value of some other
| scarcity.
`----
http://techdirt.com/articles/20081203/0240563005.shtml
Last week:
Musicians tap new revenue model
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| With CD sales in decline the music industry is looking for novel ways to
| recover some of its dwindling revenue.
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http://news.bbc.co.uk/1/hi/technology/7751628.stm
Creative Commons Asks How You Define "Non-Commercial"
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| Joi Ito and the Creative Commons need help getting the word out -- and
| defined. Creative Commons licenses allow (to varying degrees) the content
| they apply to to be freely used, distributed, and altered, with varying
| levels of attribution or certain restrictions on commercial use. One of the
| gray areas Creative Commons has been grappling with is how exactly one
| defines "non-commercial."
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http://ostatic.com/blog/creative-commons-asks-how-you-define-non-commercial
Award-winning Open Source Doc Looks at Digital Copyright
,----[ Quote ]
| Digital technology opens up an unprecedented global economy of ideas. RiP
| explores the robber barons and revolutionaries squaring off across this new
| frontier as the film journeys from the control rooms of Washington to the
| favelas of Brazil.
|
| Along the way, Gaylor interviews key figures about the complexities of
| intellectual property in the digital era, among them Creative Commons founder
| Lawrence Lessig, culture critic Cory Doctorow, Brazilian musician and former
| Minister of Cultural Affairs Gilberto Gil, and Jammie Thomas, the single mom
| successfully sued by the Recording Industry Association of America for
| illegal downloading.
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http://www.mediacastermagazine.com/issues/ISArticle.asp?id=93048&issue=12032008
Introduction to Copyleft Movement
,----[ Quote ]
| When a car breaks down on a high way, the driver opens the bonnet and checks
| if he can fix the problem. Often, experienced drivers do so. If he does not
| know, he will take the car to the garage or call a mechanic if he cannot tow
| it to the garage. The mechanic in the garage fixes the problem, and the car
| is back on the road. This is what happens with every other technology. Does
| this happen with software?
|
| [...]
|
| I did not spend time explaining giving technical or economic reasons for
| using FS. This is not because FS is not a superior technology. FS is already
| a success story. From small industries to big one, everyone is using it. The
| list of success stories is very big. You will possibly hear about them from
| other sources. Most people who use FS often talk only about the technical
| features, and much often about the economical aspect of it. Since there is
| little awareness about the social, ethical and political reasons mentioned
| above, I chose to talk about them instead of the technical and economical
| arguments.
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http://playingwithsid.blogspot.com/2008/12/introduction-to-copyleft-movement.html
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