LibriVox Definition/It - Definition of Free Cultural Works Versione stabile Questa è la versione stabile 1.1 della definizione. Il numero di versione verrà aggiornato con lo sviluppo della definizione. La versione modificabile della definizione si trova su Definition/Unstable (in inglese). Riassunto[edit] Questo documento definisce le "Opere Culturali Libere" ("Free Cultural Works") come opere o espressioni che possono essere liberamente studiate, utilizzate, copiate e/o modificate da chiunque, per qualsiasi scopo. Preambolo[edit] I progressi sociali e tecnologici rendono possibile a una crescente parte dell'umanità di accedere, creare, modificare, pubblicare e distribuire vari tipi di opere - opere d'arte, materiali scientifici ed educativi, software, articoli - in breve: tutto ciò che può essere rappresentato in forma digitale. Per assicurare il buon funzionamento di questo ecosistema, le opere autorali devono essere libere, e per libertà intendiamo: Identificare le Opere Culturali Libere[edit] Definire le Free Culture Licenses[edit]
Comment réussir dans un monde égoïste ? | Mutinerie : Libres ensemble Imaginez que vous soyez illustrateur et que vous ayez un projet de création d’une BD interactive pour tablette. Votre style est sûr, votre scénario est au point et vos planches sont bien avancées. Le problème, c’est que tout cela prendra beaucoup de temps et que que vous ne maitrisez pas les outils de développement nécessaires. La vie nous place souvent devant ce genre de situations délicates et il nous est parfois difficile de trouver la voie. Pour ceux qui auraient oublié, voici le dilemme en question : Deux suspects sont arrêtés par la police. S’il réfléchit de manière rationnelle, le prisonnier se rendra compte qu’il a intérêt à balancer son complice. Autrement dit, la somme de leurs décisions égoïstes et rationnelles n’aboutira pas à « l’intérêt général » des prisonniers mais au contraire à la pire décision possible … Comment éviter ce genre de phénomène ? Axelrod a commencé par se poser trois questions : Tous les environnements ne sont pas naturellement coopératifs.
¡Copiad, malditos! derechos de autor en la era digital - elegant mob films Copyleft: Pragmatic Idealism by Richard Stallman Every decision a person makes stems from the person's values and goals. People can have many different goals and values; fame, profit, love, survival, fun, and freedom, are just some of the goals that a good person might have. When the goal is a matter of principle, we call that idealism. My work on free software is motivated by an idealistic goal: spreading freedom and cooperation. That's the basic reason why the GNU General Public License is written the way it is—as a copyleft. Not everyone who uses the GNU GPL has this goal. “Sometimes I work on free software, and sometimes I work on proprietary software—but when I work on proprietary software, I expect to get paid.” He was willing to share his work with a community that shares software, but saw no reason to give a handout to a business making products that would be off-limits to our community. Consider GNU C++. Consider GNU Objective C. Here the GNU GPL comes to the rescue. The GNU GPL is not Mr.
Definition of Free Cultural Works Definition of Free Cultural Works logo, selected in a logo contest 2006.[1] The Definition of Free Cultural Works is a definition of free content from 2006. The project evaluates and recommends compatible free content licenses. History[edit] The Open Content Project by David A. Therefore, Creative Commons' Erik Möller[4] in collaboration with Richard Stallman, Lawrence Lessig, Benjamin Mako Hill,[4] Angela Beesley,[4] and others started in 2006 the Free Cultural Works project for defining free content. The Definition of Free Cultural Works is used by the Wikimedia Foundation.[7] In 2008, the Attribution and Attribution-ShareAlike Creative Commons licenses were marked as "Approved for Free Cultural Works".[8] "Free cultural works" approved licenses[edit] References[edit] External links[edit]
Libre Accès : " Ni SACEM, Ni Jamendo ! " À l'heure où certaines menaces planent sur la neutralité d'internet, des modèles économiques de rémunération de la création commencent à s'affronter. Récemment, l'entreprise luxembourgeoise Jamendo a lancé un pavé dans la mare en annonçant son projet de sonoriser des lieux commerciaux avec de la musique provenant de sa plateforme. Ce projet entre directement en conflit avec la SACEM, qui jusqu'ici, en France était la seule interlocutrice de ces lieux. Nous assistons à une nouvelle forme de libéralisation de la culture, où une plateforme de musique en vient à commercialiser des œuvres en libre diffusion, en se posant comme concurrente d'une société de gestion de droits d'auteurs. Cette attaque d'une société commerciale démontre certainement le grand désarroi d'auteurs qui ne font plus confiance à une société de gestion censée les représenter. Il est dommageable que la politique de certaines Sociétés de Gestion en Europe ne semble pas plus morale que le business d'une startup internet.
Free culture movement The movement objects to overly-restrictive copyright laws. Many members of the movement argue that such laws hinder creativity. They call this system "permission culture Creative Commons is an organization started by Lawrence Lessig which provides licenses that permit sharing under various conditions, and also offers an online search of various Creative Commons-licensed works. The free culture movement, with its ethos of free exchange of ideas, is aligned with the free software movement. Background[edit] In 1998, the United States Congress passed the Sonny Bono Copyright Term Extension Act which President Clinton signed into law. In 1999, Lessig challenged the Bono Act, taking the case to the US Supreme Court. In 2001, Lessig initiated Creative Commons, an alternative “some rights reserved” licensing system to the default “all rights reserved” copyright system. Organizations[edit] The organization commonly associated with free culture is Creative Commons (CC), founded by Lawrence Lessig.
Brief History Opening Space for Emerging Order Harrison Owen Open Space Technology, as a definable approach to organizing meetings has been in existence for somewhat more than a dozen years. Truthfully, I suspect it has been around as long as Homo sapiens has gathered for one purpose or another, from the days of the campfire circle onward. It is only that our modern wisdom has obfuscated what we already knew and have experienced from the beginning. In 1985, eighty-five brave souls, or there abouts, gathered in Monterey for The Third Annual International Symposium on Organization Transformation. And different it was. Observably, the operative mechanism was simplicity itself. For several years following, the annual symposium was conducted in a similar fashion. And then, in 1989, Open Space escaped. In subsequent years, the space has continued to open. "Doing the Job" begs for further specificity. It is reasonable to ask, what on earth is going on. What’s the secret? Now back to Open Space.
Home - AcaWiki What does a free culture look like? - FreeCulture.org Wiki A free culture is one where critics don't just vote thumbs-up or thumbs-down on a movie but seriously discuss how a movie could be improved -- and then someone reads their critique and goes out and does it. [1] [2] A free culture is one where being a cover band doesn't lose you any street cred compared to doing your own music from scratch -- and where it starts to become hard to tell the difference. [3] A free culture is one where bad old TV series and movies turn into brilliant remakes and fan fiction on a regular basis -- and bad remakes and fan fiction themselves generate brilliant ones after a few years. A free culture is one where making a tribute to your favorite book or speculating on a logical continuation of an existing book is just as legal as mocking and satirizing a bad book you don't like. [4] A free culture is one where anyone who wants to can try to build a better mousetrap -- and the world beats a network of paths connecting everyone's front door.
Free Culture: Lawrence Lessig Keynote from OSCON 2002 Editor's Note: In his address before a packed house at the Open Source Convention, Lawrence Lessig challenges the audience to get more involved in the political process. Lawrence, a tireless advocate for open source, is a professor of law at Stanford Law School and the founder of the school's Center for Internet and Society. He is also the author of the best-selling book Code, and Other Laws of Cyberspace. Here is the complete transcript of Lawrence's keynote presentation made on July 24, 2002. Lawrence Lessig: I have been doing this for about two years--more than 100 of these gigs. Creativity and innovation always builds on the past. In 1774, free culture was born. These publishers, people whom Milton referred to as old patentees and monopolizers in the trade of book selling, men who do not labor in an honest profession (except Tim here), to [them] learning is indebted. Remember the refrain. That free culture was carried to America; that was our birth--1790. (Audience Applauds.)
SOL: Semana de Obras Libres | The Wind Done Gone The Wind Done Gone (2001) is the first novel written by Alice Randall. It was a bestselling historical novel that reinterprets the famous American novel Gone with the Wind (1936) by Margaret Mitchell. Plot summary[edit] The plot of Gone with the Wind revolves around a pampered Southern woman named Scarlett O'Hara, who lives through the American Civil War and Reconstruction. The Wind Done Gone is the same story, but told from the viewpoint of Cynara, a mulatto slave on Scarlett's plantation and the daughter of Scarlett's father and Mammy; the title is an African American Vernacular English sentence that might be rendered "The Wind Has Gone" in Standard American English. Sold from the O'Haras, Cynara eventually makes her way back to Atlanta and becomes the mistress of a white businessman. Characters[edit] Legal controversy[edit] The cover of the book bears a seal identifying it as "The Unauthorized Parody." References[edit] Randall, Alice (June 2001). Further reading[edit] External links[edit]