background preloader

Copyleft

Copyleft
Copyleft symbol Copyleft (a play on the word copyright) is the practice of using copyright law to offer the right to distribute copies and modified versions of a work and requiring that the same rights be preserved in modified versions of the work. In other words, copyleft is a general method for marking a creative work as freely available to be modified, and requiring all modified and extended versions of the creative work to be free as well.[1] Copyleft is a form of and can be used to maintain copyright conditions for works such as computer software, documents, and art. In general, copyright law is used by an author to prohibit recipients from reproducing, adapting, or distributing copies of the work. In contrast, under copyleft, an author may give every person who receives a copy of a work permission to reproduce, adapt or distribute it and require that any resulting copies or adaptations are also bound by the same licensing agreement. Reciprocity[edit] History[edit] Some[who?] Related:  OPEN SOURCEEcole numérique hauss

Copyright Copyright is a legal right, existing globally in many countries, that basically grants the creator of an original work exclusive rights to determine and decide whether, and under what conditions, this original work may be used by others.[citation needed] [1] This is usually only for a limited time. The exclusive rights are not absolute but limited by limitations and exceptions to copyright law, including fair use. A major limitation on copyright on ideas is that copyright protects only the original expression of ideas, and not the underlying ideas themselves.[citation needed] [2][3] Copyright is a form of intellectual property, applicable to certain forms of creative work. Copyrights can be granted by public law and are in that case considered "territorial rights". Most jurisdictions recognize copyright limitations, allowing "fair" exceptions to the creator's exclusivity of copyright and giving users certain rights. Copyrights can also be granted by private companies. History[edit]

Open Source Cinema Open Source Cinema was a collaborative website created to produce the documentary film RiP!: A Remix Manifesto, a co-production with Montreal's EyeSteelFilm and the National Film Board of Canada (NFB). It was launched in 2004 as a public beta, and in 2007 launched at the South By Southwest Interactive festival on the Drupal platform. The site served as a repository for all of the footage for Basement Tapes,[1] licensed under a Creative Commons license, which the audience is free to remix.[2] The site also hosted user-generated remixes that have subsequently been edited into the final film. The website was created by Montreal filmmaker Brett Gaylor.[3] He was member of the panel of experts during South by Southwest venue in 2007.[4] Gaylor's Basement Tapes project and feedbacks blossomed into a documentary that was renamed prior to theatrical release to become RiP! In September, 2010, the site was closed. Past projects[edit] See also[edit] References[edit] External links[edit]

eSafety Kit We believe that the best way to protect younger users is to educate and empower them by providing the tools they need to safeguard themselves, as part of our commitment to 'Promoting a Digital Society'. The safety of young people as they access the digital world is becoming an increasingly important issue, as internet and digital TV use continues to increase worldwide. Insafe and Liberty Global have developed a Family eSafety Kit for children aged 6–12 years, which explores online safety issues such as security, communication, cyberbullying and entertainment, while offering parents, teachers and young people advice on how to overcome these issues. To date, over one million copies of the Family e-Safety Kit have been distributed in 18 languages across 23 countries. On the interactive website, you can find quizzes, online games, golden rules and fun downloads on the four topics discussed in the eSafety Kit. Visit the eSafety Kit website and select your country from the site homepage.

Food Trucks, Moving Companies Get in on Food Waste Reduction Whether its canned goods or pantry items, most people leave food behind when they move. As one whose family ran a moving company, Adam Lowry saw pounds of food go to waste. Until one day, he had an idea. “We figured we’d just ask people,” recalls the founder and executive director of Move for Hunger, a hunger relief organization that works with relocation. “In the first month we collected 300 pounds of food.” Today, Move for Hunger partners with 600 moving companies in 40 states. Who Has Time to Get to the Food Bank? The average American throws away 20 pounds of food every month at home (enough to provide about 16 meals to people in need). While offices and corporations are targeted for food donations by non-profits because they’re large, want tax benefits, and can predict when and where they might have extra food to give, most individuals have to opt in of their own volition. There have been a number of creative solutions to helping people cut down on food waste in the last decade.

All rights reversed The copyleft symbol. Unlike the copyright symbol, it has no legal meaning. In 1984/5 programmer Don Hopkins sent Richard Stallman a letter labeled "Copyleft—all rights reversed". Stallman chose the phrase to identify his free software method of distribution.[3] It is often accompanied by a reversed version of the copyright symbol (see illustration).[4] "All Rights Reversed", its homonym, "All Rites Reversed", and/or the "Copyleft" symbol, are occasionally used among those who publish or produce media (or any other material that might normally be copyrighted) as a clever means of saying "This is not copyrighted. The open source character Jenny Everywhere is released under an "All rights reversed" licence. Open content The logo on the screen in the subject's left hand is a Creative Commons license, while the paper in his right hand explains that the image is open content. History[edit] Originally, the Open content concept was invented by Michael Stutz, who in 1994 wrote the paper "Applying Copyleft to Non-Software Information" for the GNU Project. The "Open Content" term was later evangelized via the Open Content Project by David A. Wiley in 1998, and described works licensed under the Open Content License (a non-free share-alike license, see 'Free content' below) and other works licensed under similar terms.[2] It has since come to describe a broader class of content without conventional copyright restrictions. Although open content has been described as a counterbalance to copyright,[4] open content licenses rely on a copyright holder's power to license their work, similarly as copyleft which also utilizes copyright for such a purpose. "Open content" definition[edit] The term since shifted in meaning.

Droits d’auteur, droits de copie, droits de l’image : 4 bons réflexes L’espace pédagogique de l’Académie de¨Poitiers met à disposition sur son site Internet, un document ressource sous la forme d’un dépliant 4 volets (en pdf) intitulé Droits d’auteur, droits de copie, droits de l’image : les bons réflexes… pour informer les élèves sur ces notions. Plus largement, cette brochure sera utile aux acteurs de terrain des EPN, à leurs usagers et aux internautes qui souhaitent s’informer « pour un meilleur respect de la propriété intellectuelle » avec des réponses à des questions concrètes notamment sur le Droit et Internet. Les points abordés dans l’aide-mémoire Droits d’auteur, droits de copie, droits de l’image : les bons réflexes : Qu’est-ce que le droit d’auteur ? Ce document propose 4 bons réflexes à adopter pour l’Internet : Je respecte le droit moral.Je consulte les mentions légales des sites Web.Je m’adresse à l’auteur si nécessaire.Je me réapproprie l’information pour donner plus d’intérêt à mon travail et j’évite ainsi le copier-coller. Licence :

Marc Giget : « Nous vivons une période de poussée technologique considérable » 01net. le 30/07/13 à 09h00 Marc Guget est Président de l'European Institute for Creative Strategies and Innovation Marc Giget est docteur en économie et Président de l’European Institute for Creative Strategies and Innovation. Depuis 1999, il anime les conférences des Mardis de l’Innovation à la Sorbonne. Diffusé dans une centaine de pays, c’est le cours sur l’innovation le plus suivi dans le monde. 01net : Vivons-nous une période d’innovation particulièrement intense ? Marc Giget : Nous connaissons actuellement un paradoxe. Mais les nouvelles technologies créent aussi des emplois…. Pour le moment, les pertes ne sont pas compensées par des créations de postes en volume suffisant. Comment envisagez-vous notre société en 2033 ? Il y a deux scénarios possibles pour les années à venir. Et le deuxième scénario ? L’hypothèse optimiste, que je partage, voudrait que cela aille mieux d’ici vingt ans.

Creative Commons Creative Commons (CC) is a non-profit organization devoted to expanding the range of creative works available for others to build upon legally and to share.[1] The organization has released several copyright-licenses known as Creative Commons licenses free of charge to the public. These licenses allow creators to communicate which rights they reserve, and which rights they waive for the benefit of recipients or other creators. An easy-to-understand one-page explanation of rights, with associated visual symbols, explains the specifics of each Creative Commons license. Creative Commons licenses do not replace copyright, but are based upon it. The organization was founded in 2001 by Lawrence Lessig, Hal Abelson, and Eric Eldred[3] with the support of Center for the Public Domain. Aim and influence[edit] Creative Commons Japan Seminar, Tokyo (2007) A sign in a pub in Granada notifies customers that the music they are listening to is freely distributable under a Creative Commons license. Dr.

Patentleft Patentleft (also patent left, copyleft-style patent license) is the practice of licensing patents (especially biological patents) for royalty-free use, on the condition that adopters license related improvements they develop under the same terms. Copyleft-style licensors seek "continuous growth of a universally accessible technology commons" from which they, and others, will benefit.[1] Patentleft is analogous to copyleft, a license which allows distribution of a copyrighted work and derived works, but only under the same terms. Uses of patentleft[edit] The Biological Innovation for Open Society (BIOS) project implemented a patentleft system to encourage re-contribution and collaborative innovation of their technology. Example[edit] Person A has a patent, and licenses it under a patentleft license. Person B has two patents in her product and wants to use Person A's patents in that product. See also[edit] References[edit] Further reading[edit] Ménage, Guillaume; Dietrich, Yann (March 2010).

Bientôt en librairie : Éducation: émancipation ? | Le carnet de Tracés Alors que, face au reflux des projets de démocratisation scolaire, l’école semble plus que jamais prise dans la contradiction entre reproduction indéniable des inégalités scolaires et sociales et persistance d’une ambition à former des citoyens libres et égaux, ce numéro choisit de réinterroger l’articulation classique entre éducation et émancipation. L’accent y est tout d’abord mis sur les discours et dispositifs qui organisent les parcours des élèves, depuis le principe même de l’obligation scolaire (Elsa Roland) jusqu’aux mécanismes d’orientation (Fabien Truong) et aux réformes qui individualisent l’encadrement des élèves (Camille Giraudon). L’éducation au prisme de l’émancipationpar Hourya Bentouhami, Adrien Chassain, Gilles Couffignal, Clémence Fourton, Chloé Le Meur, Marc Lenormand, Damien Simonin et Marine Trégan Rendre l’école obligatoire : une opération de défense sociale ? Récit d’une expérience : l’école Nadi al Toufoula (Damas, 1993-2012)par Damien Simonin Guillaume Calafat

Marc Giget: «Il n’y a crise que s’il y a innovation» Docteur en économie du développement, Marc Giget estime qu’innovation et crise sont intimement liées. Au point que l’une entraîne l’autre, et vice-versa. Qu’est-ce qu’innover ? C’est dépasser sa nostalgie. Le monde et la société bougent sans cesse. Les sciences et techniques déferlent à un rythme effréné : la planète compte 12 millions de chercheurs, 110 000 revues scientifiques, 1 million de brevets sont déposés chaque année… Innover, c’est intégrer le meilleur des connaissances du moment pour faire progresser la condition humaine. L’innovation est-elle motivée par la compétition ? Pas forcément. En revanche, il est impossible d’arrêter la marche du monde. Pendant trente ans, on a tout misé sur les dirigeables. L’innovation provoque donc la crise… C’est directement lié. Après une longue période de maturation de la science, puis des techniques, c’est une phase de «synthèse créative» qui chasse ce qui existait. Qu’est-ce qui caractérise la période que nous vivons ? Photo Julien Daniel.MYOP

Free Art License History[edit] The license was written in July 2000 with contributions from the mailing list <copyleft_attitude April.org> and in particular with Mélanie Clément-Fontaine and David Geraud, lawyers, and Isabelle Vodjdani and Antoine Moreau, artists. It followed meetings held by Copyleft Attitude Antoine Moreau with the artists gathered around the magazine Allotopie: Francis Deck, Antonio Gallego, Roberto Martinez and Emma Gall. In 2003, Moreau organized a session at the EOF space which brought together hundreds of authors to achieve exposure according to the principles of copyleft with this condition: "Free Admission if free work".[3] In 2005, he wrote a memoir edited by Liliane Terrier entitled Le copyleft appliqué à la création artistique. In 2007, version 1.3 of the Free Art License was amended to provide greater legal certainty and optimum compatibility with other copyleft licenses.[5] References[edit] External links[edit]

Patent troll A patent troll, also called a patent assertion entity (PAE), is a person or company who enforces patent rights against accused infringers in an attempt to collect licensing fees, but does not manufacture products or supply services based upon the patents in question, thus engaging in economic rent-seeking. Related, less pejorative terms include patent holding company (PHC) and non-practicing entity (NPE). Generally not considered patent trolls are NPEs such as university research laboratories, development firms that offer their patented technologies to licensees in advance, and licensing agents that offer enforcement and negotiation services on behalf of patent owners.[1] Etymology and definition[edit] The term "patent troll" was coined by Peter Detkin,[2][3] counsel for Intel, in the late 1990s. The term "patent troll" was used at least once in 1993 with a slightly different meaning, to describe countries that file aggressive patent lawsuits.[4] Legal and regulatory history[edit]

Related: