Wiki Μετάφραση στα Ελληνικά του βιβλίου Power of Open
Το Power of Open είναι ένα βιβλίο που κυκλοφόρησε απ’ τον οργανισμό Creative Commons ως μια συλλογή καλών πρακτικών χρήσης αυτών των αδειών.
Σ’ αυτή τη σελίδα γίνεται συνεργατικά η μετάφραση του στα Ελληνικά. Κάντε login (πάνω δεξιά) και στη συνέχεια πατήστε τροποποίηση.
Για την καλύτερη δυνατή μετάφραση μπορείτε να συμβουλεύεστε το Γλωσσάρι όρων. Για να δείτε την πρωτότυπη μορφή του βιβλίου κατεβάστε το σχετικό pdf.
| Αριθμος Σελίδας | Αγγλικά | Ελληνικά |
|---|---|---|
| Acknowledgements | Ευχαριστίες | |
| 3 | Creative Commons would like to acknowledge the many contributions of staff, consultants, sponsors, and supporters responsible for producing The Power of Open. A very special thanks goes to the organizations, artists, and creators who not only share their work with CC licenses, but shared their time and insights to be profiled in this book. | Το Creative Commons θα ήθελε να αναγνωρίσει τις πολλές συνεισφορές του προσωπικού, των συμβούλων, των χορηγών και υποστηρικτών υπεύθυνων για την παραγωγή της Δύναμης του Ανοιχτού. Ένα πολύ ιδιαίτερο ευχαριστώ προς τους οργανισμούς, τους καλλιτέχνες και τους δημιουργούς οι οποίοι δε μοιράζονται μόνο την δουλειά τους με άδειες CC, αλλά και τον χρόνο τους όπως και τις ιδέες τους, που θα περιγραφθούν σε αυτό το βιβλίο. |
| 3 | Visit http://thepowerofopen.org to download a digital version of The Power of Open or to find out how to order print copies. | Επισκεφθείτε το http://thepowerofopen.org για να κατεβάσετε μια ψηφιακή έκδοση της Δύναμης του Ανοιχτού ή να μάθετε πώς να παραγγείλετε την έκδοση σε έντυπη μορφή. |
| 3 | Credits | Αναγνωρίσεις Συνεισφοράς |
| 3 | Text and layout © 2011 Creative Commons Corporation; photo credits appear alongside images throughout the book. Cover art © 2011 Naeema Zarif (http://naeemazarif.com). Created as a special commission for this project. This book uses two public domain fonts available via The League of Moveable Type: League Gothic and Goudy Bookletter 1911. For more information see http://www.theleagueofmoveabletype.com. The double C in a circle, the words and logotype “Creative Commons,” and the Creative Commons license buttons are trademarks of Creative Commons. For more information, see http://creativecommons.org/policies. | Κείμενο και Διάταξη © 2011 Creative Commons Corporation; τα δικαιώματα των φωτογραφιών εμφανίζονται μαζί με τις εικόνες σε όλο το βιβλίο. Σχεδίαση Εξωφύλλου © 2011 Naeema Zarif (http://naeemazarif.com). Δημιουργήθηκε ειδικά γι’ αυτό το έργο. Το βιβλίο αυτό χρησιμοποιεί δύο γραμματοσειρές από το Public Domain οι οποίες είναι διαθέσιμες μέσω του The League of Moveable Type: League Gothic και Goudy Bookletter 1911. Περισσότερες πληροφορίες http://www.theleagueofmoveabletype.com. Το διπλό C μέσα σε κύκλο, οι λέξεις και το λογότυπο “Creative Commons,” και τα κουμπιά των αδειών Creative Commons είναι εμπορικά σήματα της Creative Commons. Περισσότερες Πληροφορίες http://creativecommons.org/policies. |
| 3 | Except where otherwise noted, content in The Power of Open is licensed under a Creative Commons Attribution 3.0 License. For the terms of this license, please visit http://creativecommons.org/licenses/by/3.0/. | Εκτός απ ‘όπου διευκρινίζεται διαφορετικά, το περιεχόμενο της Δύναμης του Ανοιχτού διατίθεται υπό την άδεια Creative Commons Attribution License 3.0. Για τους όρους της παρούσας άδειας, παρακαλώ επισκεφθείτε το σύνδεσμο http://creativecommons.org/licenses/by/3.0/. |
| 4 | An INTRODUCTION BY | Μια Εισαγωγή από τους |
| 4 | The world has experienced an explosion of openness. From individual artists opening their creations for input from others, to governments requiring publicly funded works be available to the public, both the spirit and practice of sharing is gaining momentum and producing results. | O κόσμος μας έχει βιώσει ένα εκρηκτικό άνοιγμα. Από τους μεμονωμένους καλλιτέχνες που ανοίγουν τις δημιουργίες τους για τη συνδιαλλαγή με άλλους, έως τις κυβερνήσεις που απαιτούν τα δημόσια χρηματοδοτούμενα έργα να είναι διαθέσιμα στο κοινό, τόσο το πνεύμα όσο και η πρακτική του διαμοιρασμού κερδίζει έδαφος και φέρει αποτελεσμάτα. |
| 4 | Creative Commons began providing licenses for the open sharing of content only a decade ago. Now more than 400 million CC-licensed works are available on the Internet, from music and photos, to research findings and entire college courses. Creative Commons created the legal and technical infrastructure that allows effective sharing of knowledge, art and data by individuals, organizations and governments. More importantly, millions of creators took advantage of that infrastructure to share work that enriches the global commons for all humanity. | Η Creative Commons άρχισε να παρέχει άδειες για τo ανοικτό μοίρασμα περιεχομένου μόλις πριν από μια δεκαετία. Τώρα, περισσότερα από 400 εκατομμύρια έργα διατίθενται στο Διαδίκτυο με CC-άδεια, από μουσική και φωτογραφίες, μέχρι ερευνητικά ευρήματα και ολόκληρα προγράμματα κολλεγιακών μαθημάτων. Η Creative Commons δημιούργησε τη νομική και τεχνική υποδομή που επιτρέπει την αποτελεσματικότερη διάδοση της γνώσης, της τέχνης και των δεδομένων μεταξύ ατόμων, οργανισμών και κυβερνήσεων. Το πιο σημαντικό, εκατομμύρια δημιουργών, εκμεταλλεύτηκαν αυτή την υποδομή για να μοιραστούν το έργο τους εμπλουτίζοντας τα παγκόσμια κοινά για όλη την ανθρωπότητα. |
| 4 | The Power of Open collects the stories of those creators. Some are like ProPublica, a Pulitzer Prize-winning investigative news organization that uses CC while partnering with the world’s largest media companies. Others like nomadic filmmaker Vincent Moon use CC licensing as an essential element of a lifestyle of openness in pursuit of creativity. The breadth of uses is as great as the creativity of the individuals and organizations choosing to open their content, art and ideas to the rest of the world. | Η Δύναμη του Ανοιχτού συλλέγει τις ιστορίες αυτών των δημιουργών. Κάποιες είναι όπως της ProPublica, μιας βραβευμένης με Pulitzer, ερευνητικής οργάνωσης ειδήσεων, η οποία χρησιμοποιεί τo CC για τις συνεργασίες της με τις μεγαλύτερες εταιρίες μέσων ενημέρωσης στον κόσμο. Άλλες είναι όπως του νομαδιστή σκηνοθέτη Vincent Moon χρησιμοποιούν άδειες CC ως σημαντικό συστατικό ενός ανοιχτού τρόπου ζωής, στο κυνήγι της δημιουργικότητας. Το εύρος των χρήσεων είναι τόσο μεγάλο όση η δημιουργικότητα των ατόμων και των οργανισμών που επιλέγουν να ανοίξουν το περιεχόμενό, την τέχνη και τις ιδέες τους στον υπόλοιπο κόσμο. |
| 4 | As we look ahead, the field of openness is approaching a critical mass of adoption that could result in sharing becoming a default standard for the many works that were previously made available only under the all-rights-reserved framework. Even more exciting is the potential increase in global welfare from the use of Creative Commons’ tools and the increasing relevance of openness to the discourse of culture, education and innovation policy. | Καθώς κοιτάζουμε μπροστά, το πεδίο της “ανοιχτότητας” προσεγγίζει μια σημαντική μάζα που την υιοθετεί, που θα μπορούσε να την οδηγήσει σε δεδομένη σταθερά, για τα έργα που προηγούμενα διατίθεντο υπό το πλαίσιο της επιφύλαξης παντός δικαιώματος. Ακόμη πιο εντυπωσιακή είναι η πιθανή αύξηση της παγκόσμιας ευημερίας από τη χρήση των εργαλείων Creative Commons και ο αυξανόμενος συσχετισμός της “ανοιχτότητας” με τον πολιτισμό, την εκπαίδευση και την πολιτική της καινοτομίας. |
| 4 | We hope that The Power of Open, inspires you to examine and embrace the practice of open licensing so that your contributions to the global intellectual commons can provide their greatest benefit to all people. | Ελπίζουμε πως η Δύναμη του Ανοικτού, σας εμπνέει να εξετάσετε και να αγκαλιάσετε την πρακτική των ανοικτών αδειών, έτσι ώστε οι συνεισφορές σας στην παγκόσμια διανοητική κοινότητα να προσφέρουν το μέγιστο όφελος σε όλους τους ανθρώπους. |
| 5 | About CREATIVE COMMONS | Σχετικά με το CREATIVE COMMONS |
| 5 | Our vision is nothing less than realizing the full potential of the Internet – universal access to culture, education and research – to drive a new era of development, growth and productivity. The idea of universal access to research, education and culture is made possible by the Internet, but our legal and social systems don’t always allow that idea to be realized. Copyright was created long before the emergence of the Internet, and can make it hard to legally perform actions we take for granted on the network: copy, paste, edit source and post to the Web. The default setting of copyright law requires all of these actions to have explicit permission, granted in advance, whether you’re an artist, teacher, scientist, librarian, policymaker or just a regular user. To achieve the vision of universal access, someone needed to provide a free, public and standardized infrastructure that creates a balance between the reality of the Internet and the reality of copyright laws. That someone is Creative Commons. | Το όραμά μας δεν είναι τίποτα λιγότερο από την πλήρη συνειδητοποίηση της δυναμικής του Διαδικτύου - καθολική πρόσβαση στον πολιτισμό, την εκπαίδευση και την έρευνα - έτσι ώστε να οδηγηθούμε σε μια νέα εποχή προόδου, ανάπτυξης και παραγωγικότητας. Η ιδέα της καθολικής πρόσβασης στην έρευνα, την εκπαίδευση και τον πολιτισμό έχει καταστεί δυνατή εξαιτίας του Διαδικτύου, αλλά τα νομικά και κοινωνικά συστήματα, δεν μας επιτρέπουν πάντοτε να την αντιληφθούμε. To Copyright δημιουργήθηκε πολύ πριν την εμφάνιση του Διαδικτύου, και μπορεί να δυσκολέψει νομικά την εκτέλεση πράξεων που θεωρούμε δεδομένες στο δίκτυο: αντιγραφή, επικόλληση, επεξεργασία πηγής και ανάρτηση στον Ιστό. Η δεδομένη ρύθμιση της νομοθεσίας περί πνευματικών δικαιωμάτων απαιτεί όλες αυτές οι ενέργειες να έχουν ρητή άδεια, χορηγούμενη εκ των προτέρων, είτε είσαι καλλιτέχνης, δάσκαλος, επιστήμονας, βιβλιοθηκάριος, πολιτικός, είτε ένας απλός χρήστης. Για την επίτευξη του οράματος της καθολικής πρόσβασης, κάποιος χρειάζεται να προσφέρει μια δωρεάν, δημόσια και τυποποιημένη υποδομή που δημιουργεί μια ισορροπία μεταξύ της πραγματικότητας του Διαδικτύου και της πραγματικότητας των νόμων περί πνευματικής ιδιοκτησίας. Αυτός ο κάποιος είναι το Creative Commons. |
| 5 | WHAT WE PROVIDE | ΤΙ ΠΡΟΣΦΕΡΟΥΜΕ |
| 5 | The infrastructure we provide consists of a set of copyright licenses and tools that create a balance inside the traditional “all rights reserved” setting that copyright law creates. Our tools give everyone from individual creators to large companies and institutions a simple, standardized way to keep their copyright while allowing certain uses of their work – a “some rights reserved” approach to copyright – which makes their creative, educational and scientific content instantly more compatible with the full potential of the internet. The combination of our tools and our users is a vast and growing digital commons, a pool of content that can be copied, distributed, edited, remixed and built upon, all within the boundaries of copyright law. We’ve worked with copyright experts around the world to make sure our licenses are legally solid, globally applicable, and responsive to our users’ needs. For those creators wishing to opt out of copyright altogether, and to maximize the interoperability of data, Creative Commons also provides tools that allow work to be placed as squarely as possible in the public domain. | Η υποδομή που παρέχουμε αποτελείται από ένα σύνολο αδειών πνευματικής ιδιοκτησίας και εργαλείων που δημιουργούν μια ισορροπία μέσα στο παραδοσιακό πλαίσιο “all rights reserved” που δημιουργούν οι νόμοι περί πνευματικών δικαιωμάτων. Τα εργαλεία μας δίνουν στον καθένα από μεμονωμένους δημιουργούς μέχρι μεγάλες εταιρείες και οργανισμούς έναν απλό, τυποποιημένο τρόπο για να κρατήσουν τα πνευματικά τους δικαιώματα ενώ επιτρέπουν ορισμένες χρήσεις του έργου τους - μια «μερικών δικαιώματα» προσέγγιση προς την πνευματική ιδιοκτησία - η οποία κάνει το δημιουργικό, το εκπαιδευτικό και επιστημονικό περιεχόμενο αμέσως πιο συμβατό με το πλήρες δυναμικό του Διαδικτύου. Ο συνδυασμός των εργαλείων μας και των χρηστών μας δημιουργεί μια αυξανόμενη μεγέθυνση στα ψηφιακά κοινά, ένα σύνολο περιεχομένου που μπορεί να αντιγραφεί, να διανεμηθεί, να επεξεργαστεί, να αναμιχθεί και να αξιοποιηθεί, όλα αυτά μέσα στο πλαίσιο του νόμου περί πνευματικών δικαιωμάτων. Έχουμε συνεργαστεί με ειδικούς των πνευματικών δικαιωμάτων σε όλο τον κόσμο για να βεβαιωθούμε ότι οι άδειες μας είναι νομικά ευσταθείς, εφαρμόσιμες σε παγκόσμιο επίπεδο και να ανταποκρίνονται στις ανάγκες των χρηστών μας. Για εκείνους τους δημιουργούς που επιθυμούν να εξαιρεθούν από το σύνολο των πνευματικών δικαιωμάτων και να μεγιστοποιήσουν τη διαλειτουργικότητα των δεδομένων τους, το Creative Commons παρέχει επίσης εργαλεία που τους επιτρέπουν να διαθέσουν την εργασία τους όσο πιο ξεκάθαρα γίνεται στο δημόσιο τομέα. |
| 5 | OUR MISSION | ΑΠΟΣΤΟΛΗ ΜΑΣ |
| 5 | Creative Commons develops, supports and stewards legal and technical infrastructure that maximizes digital creativity, sharing and innovation. | Το Creative Commons αναπτύσσει, υποστηρίζει και διαχειρίζεται την νομική και τεχνική υποδομή που μεγιστοποιεί την ψηφιακή δημιουργικότητα, την ανταλλαγή και την καινοτομία. |
| 6 | Our vision is nothing less than realizing the full potential of the Internet – universal access to culture, education and research – to drive a new era of development, growth and productivity. | Το όραμά μας δεν είναι τίποτα λιγότερο από την πλήρη συνειδητοποίηση του δυναμικού του Διαδικτύου - η καθολική πρόσβαση στον πολιτισμό, την εκπαίδευση και την έρευνα - να οδηγεί σε μια νέα εποχή ανάπτυξης και παραγωγικότητας. |
| 6 | WHERE WE’RE GOING | ΠΟΥ ΚΑΤΕΥΘΥΝΟΜΑΣΤΕ |
| 6 | We build infrastructure at Creative Commons. Our users build the commons itself. We are working to increase the adoption of our tools, to support and listen to our users, and to serve as a trusted steward of interoperable commons infrastructure. | Χτίζουμε υποδομές στο Creative Commons. Τα μέλη μας κατασκευάζουν τα Commons οι ίδιοι. Εργαζόμαστε για να αυξήσουμε την υιοθέτηση των εργαλείων μας, να υποστηρίξουμε και να ακούσουμε τους χρήστες μας, και να παίξουμε τον ρόλο ενός αξιόπιστου διαχειριστή των κοινών διαλειτουργικών υποδομών. |
| 6 | YOUR SUPPORT | Η ΥΠΟΣΤΗΡΙΞΗ ΣΑΣ |
| 6 | In order to achieve the vision of an Internet full of open content, where users are participants in innovative culture, education and science, we depend on the backing of our users and those who believe in the potential of the Internet. We are alive and thriving thanks to the generous support of people like you. Spread the word about CC to your friends and family, and donate to help maintain Creative Commons as a robust, long-lived, and stable organization. Creative Commons is a Massachusetts-chartered 501©(3) tax-exempt charitable corporation. | Για την επίτευξη του οράματος για ένα Διαδίκτυο γεμάτο με ανοικτό περιεχόμενο, όπου οι χρήστες συμμετέχουν σε μια κουλτούρα καινοτομίας, παιδείας και επιστήμης, βασιζόμαστε στην υποστήριξη των χρηστών μας και σε εκείνους που πιστεύουν στις δυνατότητες του Διαδικτύου. Είμαστε ακόμα ζωντανοί και ακμάζουμε χάρη στη γενναιόδωρη υποστήριξη ανθρώπων όπως εσείς. Διαδώστε το CC στους φίλους και την οικογένειά σας, και κάνε μια δωρεά για να βοηθήσετε να διατηρήσουμε το Creative Commons ως έναν ισχυρό, μακρόβιο και σταθερό οργανισμό. Η Creative Commons είναι μια αναρτημένη στην Μασαχουσέτη 501©(3) απαλλαγμένη από φόρους κοινωφελής εταιρεία. |
| 7 | Creative Commons LICENSES | ΑΔΕΙΕΣ Creative Commons |
| 7 | Creative Commons licenses give everyone from individual creators to large companies and institutions a simple, standardized way to grant copyright permissions and get credit for their creative work while allowing others to copy, distribute and make specific uses of it. Licensors have a wide range of options for choosing which permissions to grant and uses to allow. Creative Commons licenses incorporate a unique and innovative three-layer design. The first layer is the “legal code,” consisting of traditional legal tools applicable around the world. This is supplemented with a “human-readable” explanation in more user-friendly language accessible to most creators. The final layer is a “machine-readable” description that software systems, search engines and other technology can understand and use to make searching for and utilizing CC-licensed works more convenient. Taken together, the licenses’ three layers ensure that the spectrum of rights covered by our tools isn’t something only lawyers can understand. It’s something that the creators of works can understand, their users can understand, and even the Web itself can understand. | Οι άδειες Creative Commons δίνουν στον οποιονδήποτε από μεμονωμένους δημιουργούς μέχρι μεγάλες εταιρείες και οργανισμούς ένα απλό, τυποποιημένο τρόπο χορήγησης δικαιωμάτων πνευματικής ιδιοκτησίας ώστε να πάρουν την κυριότητα της δημιουργική δουλειά τους, καθώς επιτρέπουν σε τρίτους να την αντιγράψουν, να την διανέμουν και να κάνουν συγκεκριμένη χρήση τσς. Οι δικαιοπάροχοι έχουν ένα ευρύ φάσμα επιλογών για την επιλογή των δικαιώματα που θα χορηγήσουν και τις χρήσεις που θα επιτρέψουν. Οι άδειες Creative Commons ενσωματώνουν ένα μοναδικό και καινοτόμο σχεδιασμό τριών επιπέδων. Το πρώτο στρώμα είναι ο “νομικός κώδικας”, που αποτελείται από παραδοσιακά νομικά μέσα που ισχύουν σε όλο τον κόσμο. Αυτό συμπληρώνεται με μια “αναγνώσιμη από τον άνθρωπο” εξήγηση σε πιο φιλική προς το χρήστη γλώσσα προσιτή στους περισσότερους δημιουργούς. Το τελικό στρώμα είναι μια “αναγνώσιμη από μηχάνημα” περιγραφή που τα συστήματα λογισμικού, οι μηχανές αναζήτησης και άλλες τεχνολογίες μπορούν να κατανοήσουν και να χρησιμοποιήσουν για να κάνουν την αναζήτηση και αξιοποίηση CC-αδειοδωτημένων έργων πιο βολικη. Στο σύνολό τους, τα τρία στρώματα των αδειών διασφαλίζουν ότι το φάσμα των δικαιωμάτων που καλύπτεται από τα εργαλεία μας δεν είναι κάτι που μόνο δικηγόροι μπορούν να καταλάβουν. Είναι κάτι που οι δημιουργοί των έργων μπορούν να καταλάβουν, οι χρήστες τους μπορούν να καταλάβουν, και ακόμη και το ίδιο το Διαδίκτυο μπορεί να καταλάβει. |
| 7 | Attribution CC BY This license lets others distribute, remix, tweak and build upon your work, even commercially, as long as they credit you for the original creation. This is the most accommodating of licenses offered. Recommended for maximum dissemination and use of licensed materials. | Attribution CC αυτή η άδεια επιτρέπει σε τρίτους να διανέμουν, να διασκευάζουν, να πειράζουν και να χτίζουν πάνω στο έργο σας, ακόμα και με εμπορικό όφελος, όσο σας αναφέρουν ως τον αρχικό δημιουργό. Αυτή είναι η πιο συμβιβαστική άδεια που μπορεί να προσφερθεί. Προτείνεται για μέγιστη διάδοση και χρήση αδειοδοτημένο υλικού. |
| 7 | Attribution-ShareAlike CC BY-SA This license lets others remix, tweak and build upon your work even for commercial purposes, as long as they credit you and license their new creations under identical terms. This license is often compared to “copyleft” free and open source software licenses. All new works based on yours will carry the same license, so any derivatives will also allow commercial use. This is the license used by Wikipedia, and is recommended for materials that would benefit from incorporating content from Wikipedia and similarly licensed projects.Attribution-ShareAlike | Αναφορά-Παρόμοια Διανομή CC BY-SA Αυτή η άδεια επιτρέπει σε τρίτους να διασκευάζουν, να πειράζουν και να χτίζουν πάνω στο έργο σας, ακόμα και με εμπορικό όφελος, όσο σας αναφέρουν ως τον αρχικό δημιουργό και αδειοδοτούν τις νέες τους δημιουργίες με τους ίδιους ακριβώς όρους. Αυτή η άδεια συχνά συγκρίνεται με το “copyleft” των αδειών του ελεύθερου και ανοιχτού κώδικα λογισμικού. Όλα τα νέα έργα που βασίζονται στο δικό σας, θα φέρουν την ίδια άδεια, έτσι οποιαδήποτε παράγωγο θα επιτρέπει επίσης εμπορική χρήση. Αυτή είναι η άδεια που χρησιμοποιείται από την Wikipedia, και συνιστάται για υλικά που θα ωφεληθούν από την ενσωμάτωση περιεχομένου από τη Wikipedia και παρόμοια αδειοδοτημένα έργα. Αναφορά-Παρόμοια Διανομή |
| 7 | Attribution-NoDerivs CC BY-ND This license allows for redistribution, commercial and non-commercial, as long as it is passed along unchanged and in whole, with credit to you. | Αναφορά-Όχι Παράγωγο Έργο CC BY-ND Αυτή η άδεια επιτρέπει την αναδιανομή, εμπορική και μη εμπορική, για όσο περνά αμετάβλητη και ακέραια στο σύνολο της, με αναφορά σε σας. |
| 8 | Attribution-NonCommercial CC BY-NC This license lets others remix, tweak and build upon your work non-commercially, and although their new works must also acknowledge you and be non-commercial, they don’t have to license their derivative works on the same terms. | Αναφορά-Μη-Εμπορική Χρήση CC by-nc Αυτή η άδεια επιτρέπει στους άλλους να διασκευάζουν, να πειράζουν και να χτίζουν πάνω στην εργασία σας, για μη-εμπορική χρήση, τα νέα έργα τους πρέπει επίσης να σας αναφέρουν και να μη είναι εμπορικά, δεν είναι υποχρεωμένοι να αδειοδωτήσουν τα παράγωγα έργα τους με τους ίδιους όρους. |
| 8 | Attribution-NonCommercial-ShareAlike CC BY-NC-SA This license lets others remix, tweak and build upon your work non-commercially, as long as they credit you and license their new creations under the identical terms. | |
| 8 | Attribution-NonCommercial-NoDerivs CC BY-NC-ND This license is the most restrictive of our six main licenses, only allowing others to download your works and share them with others as long as they credit you, but they can’t change them in any way or use them commercially. | |
| 8 | Creative Commons also provide tools that work in the “all rights granted” space of the public domain. Our CC! tool allows licensors to waive all rights and place a work in the public domain, and our Public Domain Mark allows any Web user to “mark” a work as being in the public domain. | |
| 8 | CC0 Public Domain Dedication CC0 enables owners of copyright-protected content to waive copyright interests in their works and thereby place them as completely as possible in the public domain, so that others may freely build upon, enhance and reuse the works for any purposes without restriction under copyright. In contrast to Creative Commons licenses that allow copyright holders to choose from a range of permissions while retaining their copyright, CC! empowers yet another choice altogether — the choice to opt out of copyright and the exclusive rights it automatically grants creators. | |
| 8 | Public Domain Mark Public Domain Mark (PDM) is a tool that allows works already in the public domain to be marked and tagged in a way that clearly communicates the work’s public domain status, and allows it to be easily discoverable. The PDM is not a legal instrument like CC! or the CC licenses — it can only be used to label a work with information about its public domain status, not change a work’s current status under copyright. However, just like CC! and CC licenses, PDM has a metadata-supported deed and is machine-readable, allowing works tagged with PDM to be findable on the Internet. | |
| 10 | June Cohen/TED Talks – Free to Spread Ideas (New York) | June Cohen/Ομιλίες TED – Ελεύθερες προς διάδοση Ιδέες (Νέα Υόρκη) |
| 10 | Now a mainstay of the online ecosystem, TED Talks started at exclusive seminars attended by only by a select few. Five years after publishing all TED Talks online under Creative Commons licenses, more than 200 million viewers have experienced the innovative thinking of TED speakers. | Τώρα, ένας πυλώνας του online οικοσυστήματος, οι ομιλίες του TED ξεκίνησαν ως αποκλειστικά σεμινάρια που παρακολουθούσαν μόνο λίγοι επίλεκτοι. Πέντε χρόνια μετά τη δημοσίευση όλων των ομιλιών του TED στο διαδίκτυο υπό άδειες Creative Commons, περισσότεροι από 200 εκατομμύρια τηλεθεατές έχουν βιώσει την καινοτόμο σκέψη των ομιλιτών του TED. |
| 10 | “This phenomenal growth is entirely driven by free and open distribution,” said June Cohen, Executive Producer, TED Media. “CC licensing has enabled sharing in ways well beyond what we could have done on our own.” | “Αυτή η εντυπωσιακή ανάπτυξη είναι εντελώς οδηγούμενη από την ελεύθερη και ανοικτή διανομή», δήλωσε η June Cohen, Executive Producer, TED Media. “η CC αδειοδότηση έχει επιτρέψει την ανταλλαγή με τρόπους πολύ πιο πέρα από ότι θα μπορούσαμε να είχαμε κάνει μόνοι μας.” |
| 10 | “When we decided to open our library, we had one single goal, to spread ideas,” said Cohen. Every decision we made was based on that goal. Creative Commons was the most efficient way to empower the growth of our product and free us from conversations about what could or couldn’t be done with our videos.” | “Όταν αποφασίσαμε να ανοίξουμε την βιβλιοθήκη μας, είχαμε ένα μοναδικό στόχο, να διαδώσουμε ιδέες”, ανέφερε η Cohen. Κάθε απόφαση που πήραμε βασιζόταν σε αυτό τον στόχο. Το Creative Commons είναι ο πιο αποδοτικός τρόπος να ενδυναμώσουμε την ανάπτυξη των προϊόντων μας και να απελευθερωθούμε από συζητήσεις για τι θα μπορούσε η δεν μπορούσε να γίνει με τα βίντεο μας.” |
| 10 | “Sharing online was a very controversial decision,” said Cohen. “People feared it would capsize our business, discourage people from paying for our conference, and be rejected by speakers.” | “Το διαδικτυακό μοίρασμα ήταν μια αμφιλεγόμενη απόφαση”, αναφέρει η Cohen. “Οι άνθρωποι φοβήθηκαν ότι αυτό θα ανέτρεπε την δουλειά μας, θα αποθάρρυνε τους ανθρώπους από το να πληρώσουν για τα συνέδρια μας και θα απέρριπταν τους ομιλητές μας.” |
| 10 | “The first year after releasing videos of talks for free, we raised the cost of the conference by 50% and sold out in one week with a 1,000 person waiting list,” Cohen says. “Not only do speakers lobby for the talks to be posted as soon as possible, but paying conference participants are anxious to share talks they just heard with family, friends and colleagues.” | “Τον πρώτο χρόνο μετά την έκδοσης των βίντεο των ομιλιών δωρεάν, αυξήσαμε το κόστος του συνεδρίου κατά 50% και έγινε sold out σε μία εβδομάδα με 1.000 άτομα σε λίστα αναμονής», λέει η Cohen. “Όχι μόνο οι ομιλητές ζητούσαν οι ομιλίες τους να αναρτηθούν το συντομότερο δυνατόν, αλλά συμμετέχοντες που πλήρωσαν για το συνέδριο ανυπομονούσαν να μοιραστούν τις ομιλίες που μόλις άκουσαν με την οικογένεια, τους φίλους και τους συναδέλφους τους.” |
| 10 | TED Talks featuring Swedish medical doctor and statistician Hans Rosling and his presentations on developing countries provide an example of how CC licenses can help popularize a subject. “Hans told me that posting his first TED Talk online did more to impact his career than all of the other things he had done previously,” Cohen says. “It opened up a whole new world for him.” | Οι ομιλίες TED παρουσιάζουν τον Σουηδό γιατρό και στατιστικολόγο Hans Rosling και τις παρουσιάσεις του πάνω στις αναπτυσσόμενες χώρες που αποτελούν παράδειγμα του πως οι άδειες CC μπορούν να βοηθήσουν ένα θέμα να γίνει δημοφιλές. “Ο Hans μου είπε ότι η ανάρτηση της πρώτης του ομιλία στο διαδίκτυο είχε μεγαλύτερο αντίκτυπο όσο τίποτε άλλο στην καριέρα του μέχρι τώρα,” είπε η Cohen. “Αυτό δημιούργησε έναν εντελώς καινούριο κόσμο για αυτόν.” |
| 10 | “Our unintended consequences have been explosively positive,” Cohen says. “It is not just the growth, but the way that our global audience has become a global team, embracing our brand and encouraging further innovation. A Creative Commons license clearly communicates that you are really serious about the spread of ideas.” | “Οι απρόβλεπτες συνέπειες μας ήταν εκρηκτικά θετικές”, λέει η Cohen. “Δεν είναι μόνο η ανάπτυξη, αλλά ο τρόπος με τον οποίο το κοινό μας έγινε μια παγκόσμια ομάδα, που αγκάλιασε το όνομα μας και ενθάρρυνε περισσότερη καινοτομία. Μια Creative Commons άδεια δηλώνει καθαρά ότι κάποιος παίρνει σοβαρά την διάδοση των ιδεών.” |
| 10 | “This phenomenal growth is entirely driven by free and open distribution, CC licensing has enabled sharing in ways well beyond what we could have done on our own.” | “Αυτή η φαινομενική ανάπτυξη είναι εντελώς οδηγούμενη από την ελεύθερη και ανοιχτή διανομή, η αδειοδότηση CC επέτρεψε το μοίρασμα με τρόπους πολύ πιο πέρα από αυτούς που θα μπορούσαμε να είχαμε κάνει μόνοι μας.” |
| 11 | Jonathan Worth: Picturing a New Model for Professional Photographer (London) | Jonathan Worth: Απεικονίζοντας ένα νέο πρότυπο για επαγγελματία φωτογράφο (Λονδίνο) |
| 11 | British photographer Jonathan Worth’s work hangs in the National Portrait Gallery in London. He teaches photography at Coventry University in the UK. He has photographed Colin Firth, Rachel Hunter, Jude Law and Heath Ledger. He is also one of an emerging group of photographers experimenting with sustainable working practices for professional image makers in the digital age. | Τα έργα του Βρετανού φωτογράφου Jonathan Worth κρέμονται στην Εθνική Πινακοθήκη Πορτρέτων του Λονδίνου. Διδάσκει φωτογραφία στο Coventry University του Ηνωμένου Βασιλείου. Έχει φωτογραφίσει τους Colin Firth, Rachel Hunter, Jude Law και Heath Ledger. Είναι επίσης ένας από την ομάδα ανερχόμενων φωτογράφων που πειραματίζεται με βιώσιμες πρακτικές εργασίας για επαγγελματίες δημιουργούς εικόνων στην ψηφιακή εποχή. |
| 11 | Worth, like almost all working pros used to spend hours scouring the Internet to protect his images from theft. He was angry about the amount of time he was wasting pursuing breaches of his copyright. “Then I ran into science-fiction writer Cory Doctorow who was giving his book away and making money from it,” Worth says. “I photographed him once and asked him what the deal was. He proposed an experiment.” | Ο Worth, όπως σχεδόν όλοι οι επαγγελματίες συνήθιζε να περνά ώρες καθαρίζοντας το Διαδίκτυο προστατεύοντας τις φωτογραφίες του από κλοπή. Ήταν θυμωμένος για το χρόνο που σπαταλούσε διώκοντας τις παραβιάσεις των πνευματικών του δικαιωμάτων. “Τότε ανακάλυψα τον συγγραφέα επιστημονικής φαντασίας Cory Doctorow, ο οποίος έδινε δωρεάν το βιβλίο του και έβγαζε λεφτά από αυτό.” λέει ο Worth. “Σε μια φωτογράφηση που του έκανα τον ρώτησα τι συμβαίνει με αυτό. Και πρότεινε ένα πείραμα.” |
| 11 | Worth signed on. They put a Creative Commons BY license on the image and shared high-resolution copies for free online while selling signed prints at various prices and levels of exclusivity. “The most expensive sold first,” said Worth. “No one had ever heard of me, but they were paying good money for my prints.” | Ο Worth δέχτηκε. Έβαλαν μια άδεια Creative Commons BY στη φωτογραφία και μοιράστηκαν αντίγραφα υψηλής ανάλυσης δωρεάν ενώ είχαν προς πώληση υπογεγραμμένες εκτυπώσεις σε διάφορες τιμές και επίπεδα αποκλειστικότητας. “Οι πιο ακριβές πουλήθηκαν πρώτες,” είπε ο Worth. “Κανείς δε με ήξερε, αλλά πλήρωναν καλά για τις εκτυπώσεις μου.” |
| 11 | Doctorow had given Worth a lesson in his new way of seeing the digital world and people’s digital habits. “Now I can understand how to leverage the forces of people using my images for free,” says Worth. “It’s like putting a message in a bottle and the tides can take it anywhere under its own steam and you can take advantage of those forces.” | Ο Doctorow έδωσε στον Worth ένα μάθημα για έναν νέο τρόπο στο πώς να βλέπει τον ψηφιακό κόσμο και τις ψηφιακές συνήθειες των ανθρώπων. “Τώρα μπορώ να καταλάβω πως να αυξήσω τη δυναμική των ανθρώπων που χρησιμοποιούν τις φωτογραφίες μου δωρεάν,” λέει ο Worth. “Είναι σαν να βάζεις ένα μήνυμα σε ένα μπουκάλι και η παλίρροια να το παίρνει και να το πάει οπουδήποτε θελήσει και μπορείς να επωφεληθείς από αυτή τη δύναμη.” |
| 11 | “Creative Commons enables me to use existing architecture really smoothly and to address the digital natives’ social media habits,” Worth says. “The mode of information is the same, but the mode of distribution has changed. We don’t have all the answers, but CC lets me choose my flavor and helps me take advantage of the things working against me.” | “Η Creative Commons μου επιτρέπει να χρησιμοποιώ υπάρχουσες αρχιτεκτονικές πραγματικά ομαλά και να αντιμετωπίζω τις ψηφιακές συνήθειες των όσων χρησιμοποιούν τα μέσα κοινωνικής δικτύωσης,” λέει ο Worth. “Η μορφή της πληροφορίας είναι η ίδια, αλλά έχει αλλάξει ο τρόπος με τον οποίο διανέμεται. Δεν έχουμε όλες τις απαντήσεις, αλλά η CC με αφήνει να επιλέξω τι μου ταιριάζει και με βοηθάει να επωφεληθώ από όλα αυτά που λειτουργούν εναντίον μου.” |
| 11 | “We don’t have all the answers, but CC lets me choose my flavor and helps me take advantage of the things working against me.” | “Δεν έχουμε όλες τις απαντήσεις, αλλά η CC με αφήνει να επιλέξω τι μου ταιριάζει και με βοηθάει να επωφεληθώ από όλα αυτά που λειτουργούν εναντίον μου.” |
| 12 | Nina Paley Sings the Praises of Open New York | Η Nina Paley τραγουδώντας επαινεί το Ανοιχτό Νέα Υόρκη |
| 12 | “Being on the same side as my fans feels great” says Nina Paley, a New York City filmmaker, cartoonist and champion of open licensing. While many artists have become antagonistic with their fans, she can only see the benefits to artists from sharing their work. And yes, one benefit is money. | “Είναι υπέροχο το να βρίσκομαι δίπλα στους θαυμαστές μου” λέει η Nina Paley, σκηνοθέτης απο την Νέα Υόρκη, σκιτσογράφος και πρωταθλήτρια της ανοικτής άδειοδότησης. Ενώ πολλοί καλλιτέχνες έγιναν ανταγωνιστικοί με τους θαυμαστές τους, η ίδια βλέπει μόνο το όφελος που έχουν οι καλλιτέχνες μοιράζοντας την δουλειά τους. Πράγματι, ένα από τα οφέλη είναι τα λεφτά. |
| 12 | Paley’s conversion to openness was gradual. As a young cartoonist, the notion of creating intellectual property was flattering and constantly reinforced. “Everyone told me how copyright provided protection and status,” she says. “Imagining a world without it was nearly impossible.” | Η μεταστροφή της Paley προς το ανοικτό λογισμικό ήταν σταδιακή. Ως νεαρή σκιτσογράφος, η ιδέα της δημιουργίας πνευματικής ιδιοκτησίας ήταν κολακευτική και συνεχώς ενισχυμένη. “Όλοι μου έλεγαν πως η πνευματική ιδιοκτησία προσέφερε προστασία και θέση,” λέει. “Το να φανταστείς έναν κόσμο χωρίς αυτήν ήταν σχεδόν αδύνατον.” |
| 12 | In 2008, the release of her self-produced, animated movie Sita Sings the Blues was delayed by the prohibitive cost of licensing several 80-year-old songs from little know singer Annette Hanshaw. “When my film was still illegal and hemorrhaging money to legal and licensing costs, I joked that if the film were free, I could sell t-shirts,” Paley recalls. The idea lingered and she researched how people made a living giving away free software. “I realized that merchandise and voluntary support is actually where the money comes from,” says Paley. | Το 2008 η κυκλοφορία της ταινίας κινουμένων σχεδίων,δικής της παραγωγής, Η Sita τραγουδάει τα Μπλουζ, καθυστέρησε λόγω του απαγορευτικού κόστους της αδειοδότησης πολλών τραγουδιών, 80 χρονών, από την ελάχιστα γνωστή τραγουδίστρια Annette Hanshaw. “Όταν η ταινία μου ήταν ακόμα παράνομη και αιμοραγούσε χρήματα σε κόστη νομικά και αδειοδότησης, αστειευόμουν πως αν η ταινία ήταν δωρεάν, θα μπορούσα να πουλήσω μπλουζάκια”, θυμάται η Paley. Η ιδέα παρέμεινε και άρχισε να ερευνά πως οι άνθρωποι βγάζαν τα προς το ζειν δίνοντας ελέυθερο λογισμικό. “Συνειδητοποίησα πως η εμπορευματοποίηση και η εθελοντική υποστήριξη είναι εκεί από όπου έρχοναι τα χρήματα,” λέει η Paley. |
| 12 | Sita Sings the Blues was finally released to critical acclaim from Roger Ebert and others. It is available under a Creative Commons BY-SA license for anyone to download for free; it is also available for purchase on DVD, and theatrically through other distributors. It has been viewed millions of times worldwide through archive.org, youtube, and innumerable torrent sites. | Η Sita τραγουδάει τα Μπλουζ τελικά κυκλοφόρησε σε κριτική αναγνώριση από τον Roger Ebert κα. Είναι διαθέσιμη υπό την άδεια Creative Commons BY-SA για οποιονδήποτε να την κατεβάσει δωρεάν. Είναι επίσης διαθέσιμη για αγορά σε DVD, και θεωρητικά μέσω άλλων διανομέων. Την έχουν δει εκατομμύρια φορές παγκοσμίως μέσω των archive.org, youtube, και αναρίθμητων ιστοσελίδων με torrent. |
| 12 | Paley takes issue with how money is used to value art. “When an artist is broke, you start thinking that it has to do with the value of their work, which it doesn’t,” she says. “I have also seen artists who refused to create unless they got paid.” For Paley, the opposite is true. “I’ve never had more money coming at me than when I started using Creative Commons BY-SA. I have a higher profile. I don’t spend anything on promotion. My fans are doing it for me and buying merchandise. Sharing put me on the map.” | Η Paley διαφωνεί με τον τρόπο που χρησιμοποιούνται τα χρήματα για να κρίνουν την τέχνη. “Όταν ένας καλλιτέχνης δεν έχει λεφτά, αρχίζεις να σκέφτεσαι ότι αυτό έχει να κάνει με την αξία της δουλειάς τους, αλλά δεν είναι έτσι,” λέει. “Έχω δει επίσης καλλιτέχνες που αρνούνται να δημιουργήσουν, αν δεν πληρωθούν.” Για την Paley, ισχύει το αντίθετο. “Ποτέ δεν είδα λεφτά να έρχονται μέχρι που άρχισα να χρησιμοποιώ την Creative Commons BY-SA. Έχω υψηλότερο προφίλ. Δεν ξοδεύω τίποτα σε προβολή. Οι φανατικοί θαυμαστές μου το κάνουν αυτό για μένα και αγοράζουν το εμπόρευμα. Το ότι μοιράστηκα με τοποθέτησε στο χάρτη.” |
| 12 | “I’ve never had more money coming at me than when I started using Creative Commons BY-SA. I have a higher profile. I don’t spend anything on promotion. My fans are doing it for me and buying merchandise. Sharing put me on the map.” | “Ποτέ δεν είδα λεφτά να έρχονται μέχρι που άρχισα να χρησιμοποιώ την Creative Commons BY-SA. Έχω υψηλότερο προφίλ. Δεν ξοδεύω τίποτα σε προβολή. Οι φανατικοί θαυμαστές μου το κάνουν αυτό για μένα και αγοράζουν το εμπόρευμα. Το ότι μοιράστηκα με τοποθέτησε στο χάρτη.” |
| 13 | ProPublica – Making News by Sharing the Story (New York) | ProPublica - Δημιουργώντας Ειδήσεις μέσω Κοινής Χρήσης της Ιστορίας (Νέα Υόρκη) |
| 13 | Pulitzer prize-winning investigative news organization ProPublica launched in 2007 with a clear mission to pursue stories that made an impact. According to General Manager Richard Tofel, “We knew that the more people who saw our stories the better off we would be, and the better we would fulfill our mission.” What was not so clear was how to easily allow others to reprint their work. | Η βραβευμένη με Πούλιτζερ οργάνωση έρευνας ειδήσεων ProPublica ξεκίνησε το 2007 με μια ξεκάθαρη αποστολή να επιδιώξει τις ιστορίες που έχουν αντίκτυπο. Σύμφωνα με τον Γενικό Διευθυντή Richard Tofel, “Ξέραμε ότι όσο περισσότεροι άνθρωποι βλέπαν τις ιστορίες μας, τόσο καλύτεροι θα ήμασταν, και τόσο καλύτερα θα εκπληρώναμε την αποστολή μας.” Αυτό που δεν ήταν τόσο ξεκάθαρο ήταν, πως να επιτρέψουμε εύκολα σε άλλους να ανατυπώσουν την δουλειά τους. |
| 13 | “Two of our early hires were familiar with Creative Commons and suggested it as the best way to accomplish our sharing goal,” said Tofel. “It has worked very well and saves us an enormous amount of time.” | “Δυο από τους πρώτους προσληφθέντες μας ήταν εξοικειωμένοι με την Creative Commons και την πρότειναν ως τον καλύτερο τρόπο για να επιτύχουμε τον κοινό μας στόχο,” είπε ο Tofel. “Πήγε πολύ καλά και μας έχει εξοικονομήσει ένα μεγάλο μέρος χρόνου.” |
| 13 | Scott Klein, Editor of News Applications for ProPublica, was one of those early CC promoters. “Our website is our platform,” said Klein. “We are not worried about sharing our stories if it helps them get impact.” Creative Commons licensing provides the ability for others to republish ProPublica stories without negotiations. “Otherwise, they would have to call in, ask about the story and have us explain the uses,” says Klein. “That would be much too cumbersome.” | Scott Klein, συντάκτης των Ειδησιογραφικών Εφαρμογών για την ProPublica, ήταν ένας από τους πρώτους υποστηρικτές της CC. “Ο ιστότοπός μας είναι η πλατφόρμα μας,” είπε ο Klein. “Δεν ανησυχούμε για την κοινή χρήση των ιστοριών μας, αν τους βοηθάει να αποκτήσουν αντίκτυπο.” Η αδειοδότηση της Creative Commons παρέχει τη δυνατότητα σε άλλους να αναδημοσιεύσουν ιστορίες της ProPublica χωρίς διαπραγματεύσεις. “Διαφορετικά, έπρεπε να τηλεφωνήσουν, να ρωτήσουν για την ιστορία και να μας εξηγήσουν τις χρήσεις,” λέει ο Klein. “Αυτό θα ήταν πολύ δυσκίνητο.” |
| 13 | As one of the largest investigative newsrooms in the United States, ProPublica has consistently succeeded in influencing subjects it investigates. Collaborating with large national news organizations, ProPublica exposed deep flaws in the licensing of nurses in California and focused attention on officer-involved shootings in post-Katrina New Orleans. A story with Time Magazine on triage decisions in New Orleans hospitals in the days following Katrina was awarded a Pulitzer Prize in investigative reporting. . More recently, ProPublica’s Jesse Eisinger and Jake Bernstein won a 2011 Pulitzer Prize for national affairs reporting for their coverage of the financial industry. | Ως ένα από τα μεγαλύτερα ερευνητικά γραφεία ειδήσεων στις Ηνωμένες Πολιτείες, η ProPublica διαρκώς πετυχαίνει να επηρεάζει τα θέματα που ερευνά. Σε συνεργασία με μεγάλους εθνικούς οργανισμούς ειδήσεων, η ProPublica εξέθεσε βαθιά ελαττώματα στην αδειοδότηση νοσοκόμων στην Καλιφόρνια και εστίασε την προσοχή στους πυροβολισμούς που εμπλέκονταν αστυνόμοι στην Νέα Ορλεάνη, μετά την Κατρίνα. Μια ιστορία με το Time Magazine πάνω σε αποφάσεις διαλογής περιστατικών στα νοσοκομεία της Νέας Ορλεάνης στις μέρες που ακολούθησαν την Κατρίνα, βραβεύτηκε με βραβείο Πούλιτζερ για την ερευνητική αναφορά.. Πιο πρόσφατα, οι Jesse Eisinger και Jake Bernstein της ProPublica κέρδισαν ένα βραβείο Πούλιτζερ το 2011 για αναφορά εθνικών υποθέσεων κάλυψης της οικονομικής βιομηχανίας. |
| 13 | “We don’t see the information as a valuable object, it’s the impact that matters,” says Klein. “We aren’t building a copyright library. We have a culture of sharing and CC is a big part of it.” | “Δεν βλέπουμε την πληροφορία σας πολύτιμο αντικείμενο, είναι ο αντίκτυπος που έχει σημασία,” λέει ο Klein. “Δεν χτίζουμε μια βιβλιοθήκη πνευματικής ιδιοκτησίας. Έχουμε την κουλτούρα της κοινής χρήσης και η CC είναι ένα μεγάλο μέρος της.” |
| 13 | Tofel agrees. “Creative Commons helps us to get the stories out which broadens our readership and deepens the impact of individual stories,” he says. “But it also helps build awareness of who we are, and that works to the benefit of both the individual story and the future of ProPublica.” | Ο Tofel συμφωνεί. “Η Creative Commons μας βοηθάει να εκδόσουμε ιστορίες, το οποίο διευρύνει την αναγνωσιμότητά μας και εμβαθύνει τον αντίκτυπο των επιμέρους ιστοριών,” λέει.”Αλλά μας βοηθά επίσης να συνειδητοποιήσουμε ποιοι είμαστε, κι αυτό λειτουργεί προς όφελος και της επιμέρους ιστορίας και του μέλλοντος της ProPublica.” |
| 13 | “We aren’t building a copyright library. We have a culture of sharing and CC is a big part of it.” | “Δεν χτίζουμε μια βιβλιοθήκη πνευματικής ιδιοκτησίας. Έχουμε την κουλτούρα της κοινής χρήσης και η CC είναι ένα μεγάλο μέρος της.” |
| 14 | Yunyu – A Basket of Nice Surprises New South Wales, Australia | Yunyu - Ένα Καλάθι Όμορφων Εκπλήξεων στη Νέα Νότια Ουαλία, Αυστραλία |
| 14 | For Australian songwriter and musician Yunyu, mixing media comes naturally. Sharing work with other artists and fans isn’t something she fears, but a productive extension of her creative process. | Για την Αυστραλέζα στιχουργό και μουσικό Yunyu, η μίξη μέσων έρχεται φυσικά. Η κοινή χρήση δουλειάς με άλλους καλλιτέχνες και θαυμαστές δεν είναι κάτι που φοβάται, αλλά μια παραγωγική προέκταση της δημιουργικής της διαδικασίας. |
| 14 | Yunyu credits openly licensing her music for a successful collaboration with science fiction author Marianne de Pierres, for which Yunyu wrote and recorded a song to accompany a young adult novel. “The publicity around my release of music for free with a Creative Commons license brought us together in the spirit of art,” she said. | Η Yunyu πιστώνει ανοιχτή αδειοδότηση της μουσικής της για μια επιτυχή συνεργασία με την συγγραφέα επιστημονικής φαντασίας Marianne de Pierres, για την οποία η Yunyu έγραψε και κατέγραψε ένα τραγούδι για να συνοδεύσει τη νουβέλα ενός νεαρού ενήλικα. “Η δημοσιότητα γύρω από τη δωρεάν διανομή της μουσικής μου με την άδεια της Creative Commons μας ένωσε στο πνεύμα της τέχνης,” είπε. |
| 14 | The original decision to use CC licenses was part of a musical exploration. “I mostly wanted to see what was possible with my music, where you could take it,” said Yunyu. “I wondered if I set things free what people would do with them.” | Η αρχική απόφαση να χρησιμοποιήσει τις άδειες CC ήταν μέρος της μουσικής εξερεύνησης. “Κυρίως ήθελα να δω τι ήταν δυνατόν με τη μουσική μου, που μπορούσες να την πάρεις,” είπε η Yunyu. “Αναρωτήθηκα, αν άφηνα τα πράγματα δωρεάν, τι θα κάναν οι άνθρωποι με αυτά.” |
| 14 | “I had no idea what to expect, but what I got was a whole basket of nice surprises,” she said. Fans began making their own videos of her songs and posting them on YouTube. One young woman from Detroit used several lyrics from a song to create a portrait that ended up on a popular science fiction website. An all-female French band has recorded one of her songs and video game designers have shown interest in licensing her music. | “Δεν είχα ιδέα τι να περιμένω, αλλά ήταν ένα ολόκληρο καλάθι από όμορφες εκπλήξεις,” είπε. Οι θαυμαστές άρχισαν να φτιάχνουν τα δικά τους βίντεο από τα τραγούδια της και να τα ποστάρουν στο YouTube. Μια νεαρή γυναίκα από το Ντιτρόιτ χρησιμοποίησε πολλούς στίχους από ένα τραγούδι για να δημιουργήσει ένα πορτρέτο που κατέληξε σε έναν δημοφιλή ιστότοπο επιστημονικής φαντασίας. Μια Γαλλική γυναικεία μπάντα έχει καταγράψει ένα από τα τραγούδια της και σχεδιαστές video games δείξαν ενδιαφέρον στην αδειοδότηση της μουσικής της. |
| 14 | “From a songwriter’s perspective, it is difficult to discuss open licensing with the music industry which still has concerns about the full meaning and repercussions of Creative Commons licenses. I’d like to see a conversation with the industry about that to see how we can move the spirit of Creative Commons forward,” she says. “Trying to control how your work’s to be interpreted and enjoyed on a noncommercial level is a lot like trying to kill a hydra. You are going to fail spectacularly.” | “Από την οπτική γωνία μιας στιχουργού είναι δύσκολο να συζητήσεις την ανοιχτή αδειοδότηση με μια μουσική βιομηχανία, η οποία ακόμη έχει ανησυχίες για το πλήρες νόημα και τις επιπτώσεις των αδειών της Creative Commons. Θα ήθελα να δω μια συζήτηση με τη βιομηχανία για αυτό, για να δω πως μπορούμε να προωθήσουμε το πνεύμα της Creative Commons,” λέει. “Προσπαθώντας να ελέγξεις πως η δουλειά σου πρέπει να ερμηνευεται και να απολαμβάνεται σε ένα μη-εμπορικό επίπεδο, είναι σαν να προσπαθείς να σκοτώσεις μια ύδρα. Πρόκειται να αποτύχεις θεαματικά. |
| 14 | She adds: “Artists need some basic protections and need to be reimbursed for the use of their music commercially, but I really can’t imagine needing any more protection beyond that. I can’t see going after a fan who enjoys your work enough to share and remix it and attacking them for it. That doesn’t seem to make sense.” | Προσθέτει: “Οι καλλιτέχνες χρειάζονται κάποιες βασικές προστασίες και πρέπει να επιστραφούν για τη χρήση της μουσικής τους εμπορικά, αλλά πραγματικά δεν μπορώ να φανταστώ οτι χρειάζομαι περισσότερη προστασία πέρα από αυτή. Δε βλέπω να κυνηγάω ένα θαυμαστή, ο οποίος απολαμβανει τη δουλειά σου αρκετά, ώστε να τη μοιραστεί και να την κάνει remix, και να τους επιτεθώ για αυτό. Αυτό δε φαίνεται να έχει νόημα.” |
| 14 | “I’d like to see a conversation with the industry to see how we can move the spirit of Creative Commons forward.” | “Θα ήθελα να δω μια συζήτηση με τη βιομηχανία για αυτό, για να δω πως μπορούμε να προωθήσουμε το πνεύμα της Creative Commons.” |
| 15 | DJ Vadim – Mixing it Up Around the Globe (Berlin; from Russia, grew up in London) | DJ Vadim - Μιξάροντάς το σε όλη την Υφήλιο (Βερολίνο: από Ρωσία, μεγάλωσε στο Λονδίνο) |
| 15 | Born in Leningrad, and raised in London, DJ Vadim has become a hip-hop and electronic music force around the globe. He has worked as a producer and performed with legendary artists including Stevie Wonder, The Roots, Prince, and Public Enemy. He’s also released many albums of his own under various monikers. | Γεννημένος στο Λένινγκραντ και μεγαλωμένος στο Λονδίνο, ο DJ Vadim έχει γίνει μια δύναμη της hip-hop και ηλεκτρονικής μουσικής σε όλη την υφήλιο. Έχει δουλέψει ως παραγωγός κι έχει εκτελέσει κομμάτια μαζί με θρυλικούς καλλιτέχνες, συμπεριλαμβανομένων των Stevie Wonder, The Roots, Prince, και Public Enemy. Έχουν, επίσης, κυκλοφορήσει πολλά άλμπουμς του με πολλά αναγνωριστικά. |
| 15 | When he looks for inspiration and new talent, Vadim uses ccMixter, a community remix site, to allow other producers to download his Creative Commons-licensed tracks and remake them to their own liking. | Όταν ψάχνει για έμπνευση και νέο ταλέντο, ο Vadim χρησιμοποιεί την ccMixter, μια ιστοσελίδα της κοινότητας μίξεων, ώστε να επιτρέψει σε άλλους παραγωγούς να κατεβάσουν τα κομμάτια του, αδειοδοτημένα από την Creative Commons, και να τα ανακατασκευάσουν με τις δικές τους προτιμήσεις. |
| 15 | 3,000 people downloaded the tracks from Vadim’s ccMixter contests and created more than 500 remixes. According to Ben Dawson, who works for DJ Vadim’s record label, Organically Grown Sounds, “People were uploading their remixes and then sharing them with their friends, which brought a lot of attention to the music. This is a great way to let people get involved in the music and put some emotion, heart and soul into it rather than just listening on the radio.” | 3,000 άνθρωποι κατέβασαν κομμάτια από τους διαγωνισμούς ccMixter του Vadim και δημιούργησαν περισσότερες από 500 μίξεις. Σύμφωνα με τον Ben Dawson, που δουλεύει για τη δισκογραφική εταιρία του DJ Vadim, την Organically Grown Sounds, “Οι άνθρωποι ανέβαζαν τις μίξεις τους και μετά τις μοιράζονταν με τους φίλους τους, γεγονός που τράβηξε πολύ προσοχή στην μουσική. Αυτός είναι ένας σπουδαίος τρόπος να επιτρέψεις του ανθρώπους να εμπλακούν με τη μουσική και να βάλουν λίγο συναίσθημα, καρδιά και ψυχή σε αυτή, αντί απλά να την ακούν στο ραδιόφωνο.” |
| 15 | “Vadim travels around the world constantly, collaborating and chatting with vocalists, musicians and other DJs and giving them feedback,” said Dawson. “Now the internet provides ways for us to do this in more and more ways, from our use of ccMixter and other great music platforms.” | “Ο Vadim ταξιδεύει γύρω από τον κόσμο συνεχώς, συνεισφέροντας και κουβεντιάζοντας με τραγουδιστές, μουσικούς και άλλους DJs και δίνοντάς τους ανατροφοδότηση,” είπε ο Dawson. “Τώρα το διαδίκτυο μας παρέχει τρόπους για να το κάνουμε αυτό με όλο και περισσότερους τρόπους, με την χρήση του ccMixter και άλλων σπουδαίων μουσικών πλατφόρμων.” |
| 15 | Collaboration like this is critical according to Vadim. “OGS is all about collaboration, writing the songs with people we meet on our journeys around the world. Music is a conversation, between creators and listeners, each bringing their own experiences to the melting pot.” | Συνεργασία σαν αυτή είναι κρίσιμη σύμφωνα με τον Vadim. “Η OGS έχει να κάνει με τη συνεργασία, τη σύνθεση των τραγουδιών με ανθρώπους που συναντάμε στα ταξίδια μας σε όλο τον κόσμο. Η μουσική είναι μια συζήτηση ανάμεσα στους δημιουργούς και τους ακροατές, όπου ο καθένας φέρνει τις δικές του εμπειρίες στο χωνευτήρι.” |
| 15 | “Music is a conversation, between creators and listeners, each bringing their own experiences to the melting pot.” | “Η μουσική είναι μια συζήτηση ανάμεσα στους δημιουργούς και τους ακροατές, όπου ο καθένας φέρνει τις δικές του εμπειρίες στο χωνευτήρι.” |
| 16 | Global Voices Spreading the News (The Netherlands, with affiliates all over the world) | Οι Global Voices Διαδίνουν τα Νέα (Ολλανδία, με θυγατρικές σε όλο τον κόσμο) |
| 16 | Big media often falls short in delivering in-depth information on world events – local bloggers and citizen journalists are often much more tuned into the communities they write about. Global Voices, a nonprofit started by journalist Rebecca MacKinnon, provides a platform for 350 editors, volunteer authors, and translators around the world to bring news from their communities to one place. These journalists provide detailed, timely coverage of everything from the earthquake in Haiti to protests in Iran. All the content is licensed under the Creative Commons BY license, so that the information can be translated and disseminated freely to those who seek more than just the snapshots provided in the evening news. | Μεγάλα μέσα ενημέρωσης συχνά υστερούν στην παροχή εις βάθους πληροφοριών για παγκόσμια γεγονότα - τοπικοί μπλόγκερς και πολίτες δημοσιογράφοι είναι συχνά πολύ πιο συντονισμένοι στις κοινότητες για τις οποίες γράφουν. Οι Global Voices, ένας μη-κερδοσκοπικός οργανισμός που ιδρύθηκε από την δημοσιογράφο Rebecca MacKinnon, παρέχουν μια πλατφόρμα από 350 συντάκτες, εθελοντές συγγραφείς και μεταφραστές από όλο τον κόσμο για να συλλέξουν νέα από όλες τις κοινότητες σε ένα μέρος. Αυτοί οι δημοσιογράφοι παρέχουν λεπτομερή και χρονική κάλυψη για οτιδήποτε, από το σεισμό στην Αϊτή μέχρι τους διαδηλωτές στο Ιράν. Όλο το περιεχόμενο αδειοδοτείται με την άδεια Creative Commons BY, έτσι ώστε η πληροφορία να μπορεί να μεταφράζεται και να διανέμεται ελεύθερα σε όσους αναζητούν κάτι περισσότερο από απλά στιγμιότυπα που παρέχονται στις βραδινές ειδήσεις. |
| 16 | When protests against joblessness caused riots in Tunisia last December, Global Voices contributors put up dozens of posts detailing the related suicides, eyewitness accounts from ordinary citizens translated from Arabic, and tweets that broke news from the ground way before anyone else did. Thanks to the CC license, Global Voices has had its stories republished in The New York Times, Reuters, AlterNet, and the Oprah Winfrey Network. | Όταν οι διαδηλώσεις ενάντια στην ανεργία προκάλεσαν ταραχές στην Τυνησία τον περασμένο Δεκέμβρη, οι συντελεστές των Global Voices ανέβασαν ντουζίνες από ποστς περιγράφοντας με λεπτομέρεια τις σχετικές αυτοκτονίες, μαρτυρίες από απλούς πολίτες που μεταφράζονταν από τα Αραβικά, και tweets που έφερναν ειδήσεις από τη γέννησή τους πριν κάποιος άλλος το κάνει. Χάρη στην άδεια CC, οι Global Voices έχουν αναδημοσιεύσει τις ιστορίες τους στους The New York Times, Reuters, AlterNet, και το Oprah Winfrey Network. |
| 16 | Global Voices is a virtual nonprofit with no office, but its impact is felt in a very real way in myriad locations. “Creative Commons gives us the liberty to facilitate translations into more than a dozen languages daily,” says Solana Larsen, Global Voices’ Managing Editor. “Whenever we’ve been commissioned to write posts for nonprofit organizations or even mainstream media, we’ve stuck with our CC clause and that has enabled us to republish, translate, and open up conversations to the world.” | Οι Global Voices είναι ένας εικονικός μη κερδοσκοπικός οργανισμός χωρίς γραφεία, αλλά ο αντίκτυπός του είναι αισθητός με πολύ πραγματικό τρόπο σε μυριάδες τοποθεσίες. “Οι Creative Commons μας δίνουν την ελευθερία να διευκολύνουμε τις μεταφράσεις σε πάνω από μια ντουζίνα γλώσσες καθημερινά”, λέει η Solana Larsen, αρχισυντάκτης των Global Voices. “Όποτε μας έχουν αναθέσει να γράψουμε μηνύματα για μη κερδοσκοπικούς οργανισμούς ή ακόμα για κύρια μέσα μαζικής ενημέρωσης, έχουμε κολλήσει στη ρήτρα μας CC κι αυτό μας έχει καταστήσει ικανούς να αναδημοσιεύσουμε, μεταφράσουμε και να ανοίξουμε συζητήσεις σε όλο τον κόσμο.” |
| 16 | “Creative Commons gives us the liberty to facilitate translations into more than a dozen languages daily,” | “Οι Creative Commons μας δίνουν την ελευθερία να διευκολύνουμε τις μεταφράσεις σε πάνω από μια ντουζίνα γλώσσες καθημερινά” |
| 17 | Pratham Books – Small Publisher Making a Large Difference (Bangalore + New Dehli, India) | |
| 17 | Pratham Books, a small not-for-profit book publisher in India, has the simple but ambitious mission of placing “a book in every child’s hand.” Aware that this was a “huge and audacious goal” impossible to accomplish by itself due to limitations of size, Pratham began sharing its books and illustrations under Creative Commons licenses on Flickr and Scribd in 2008. Gautam John, New Projects Manager at Pratham Books, says, “As a small publisher, we do not have the bandwidth to customize licenses every time a concerned party wants to use our content in a certain manner. What the Creative Commons licenses have allowed us to do is engage with multiple partners without the attendant overhead of legal negotiations and the time and money that it would take for such negotiations to run their course.” Instead, Pratham Books simply sends users a link to the book download and license page, which John says takes them “all of one minute to do.” | |
| 17 | Using CC has resulted in novel reuses and increased community engagement. “Our communities have created multiple derivative works ranging from iPad and iPhone applications, to porting our works to OLPC laptops, to creating entirely new books from existing illustrations,” John says. “Organizations and individuals have converted our books to audio books, Braille and DAISY that has allowed the visually impaired access to our content – something that would not have been possible without the Creative Commons licenses. To our mind, all the derivative works were outcomes specifically linked to our Creative Commons license model. Without the Creative Commons license, we would not have engaged with communities because of the internal overhead required to support these multiple efforts.” | |
| 17 | This also means increased visibility for Pratham Books, making it easier for the small book publisher to achieve its mission. As more communities reuse Pratham’s content, it matters less whether the organization is directly involved or not. By CC-licensing its work on Flickr and other platforms, Pratham Books ensures access to its books no matter what happens to the organization: “Our books are now hosted in multiple repositories so there is no single point of failure and does not depend on our continued existence, allowing communities to work on our content and books without needing or having to wait for our approval,” says John. | |
| 17 | Pratham Books can concentrate its saved resources and outreach efforts on increasing its archive of CC-licensed work, and on its plan to build a new platform for reuse and remix. “In a small organization, such as ours, time really is a valuable commodity and in our case, Creative Commons licenses have helped us save time, money and effort amongst the myriad other benefits that have accrued to us.” | |
| 17 | “In a small organization, such as ours, time really is a valuable commodity and in our case, Creative Commons licenses have helped us save time, money and effort.” | |
| 18 | Open University: Uploading Education (Milton Keynes, UK) | Ανοιχτό Πανεπιστήμιο: Ανεβάζοντας τη Μόρφωση (Μίλτον Κέινς, Ηνωμένο Βασίλειο) |
| 18 | The Open University admits students of all backgrounds regardless of their academic achievements or social circumstances. It was the world’s first successful distance learning university, and is one of the largest, with more than a quarter of a million students in 40 countries. | Το Ανοιχτό Πανεπιστήμιο δέχεται φοιτητές από κάθε υπόβαθρο, ανεξαρτήτως ακαδημαϊκών επιτευγμάτων ή κοινωνικών περιστάσεων. Ήταν το πρώτο επιτυχημένο πανεπιστήμιο εξ’ αποστάσεως εκπαίδευσης και είναι ένα από τα μεγαλύτερα, με περισσότερους από 250.000 φοιτητές σε 40 χώρες. |
| 18 | In 2005, the Open University took its openness one step further with a new website, OpenLearn, giving the public access and reuse permissions to its course materials under Creative Commons licenses. By opting to use CC licenses over developing its own set of permissions, the university saved a bundle in lawyer’s fees. | Το 2005, το Ανοιχτό Πανεπιστήμιο πήγε το ανοικτό πνεύμα του ένα βήμα παραπέρα, με τον νέο ιστοχώρο του, OpenLearn, παρέχοντας ανοιχτή πρόσβαση και άδεια επαναχρησιμοποίησης του υλικού των προγραμμάτων σπουδών του, υπό τις άδειες Creative Commons. Επιλέγοντας να χρησιμοποιήσει τις άδειες CC αντί να αναπτύξει τις δικές του άδειες, το πανεπιστήμιο εξοικονόμησε αρκετά από τις αμοιβές των δικηγόρων. |
| 18 | “We had originally put aside £100,000 for legal fees to write a viable license for Open Learn, but none of that was spent as we adopted CC,” says Patrick McAndrew, Associate Director of Learning & Teaching. CC licenses also helped the university save costs when developing course training materials and dealing with third party providers. “Using a recognized license helped us to support others getting involved. Essentially we could point people at the independent CC information rather than asking them to adopt a license developed in-house.” | “Αρχικά είχαμε δεσμεύσει 100.000 λίρες Αγγλίας για νομικά έξοδα προκειμένου να συγγραφεί μία βιώσιμη άδεια για το OpenLearn, αλλά τελικά δεν ξοδέψαμε τίποτε από αυτά, καθώς υιοθετήσαμε τις άδειες CC”, λέει ο Patrick McAndrew, Βοηθός Διευθυντή Μάθησης και Διδασκαλίας. Οι άδειες CC επίσης βοήθησαν το πανεπιστήμιο να περικόψει έξοδα όταν ανέπτυσσε υλικό εκπαίδευσης και συνεργαζόταν με τρίτους παροχείς. “Η χρήση αναγνωρισμένης άδειας μας βοήθησε να υποστηρίξουμε τους άλλους στην εμπλοκή τους. Ουσιαστικά μπορούσαμε να κατευθύνουμε τους συνεργάτες μας στις ανεξάρτητες πληροφορίες των CC αντί να τους ζητούμε να υιοθετήσουν μία δική μας άδεια.” |
| 18 | Since launch, OpenLearn has seen more than two million visitors, and Open University course materials have been downloaded more than 20 million times on iTunes U, making it the most downloaded university on the Apple service. | Από την εκκίνησή του, το OpenLearn είχε περισσότερους από 2 εκατομμύρια επισκέπτες και το εκπαιδευτικό υλικό του Ανοιχτού Πανεπιστημίου έχει κατέβει περισσότερες από 20 εκατομμύρια φορές στο iTunes U, καθιστώντας το, το πιο δημοφιλές πανεπιστήμιο στη σχετική υπηρεσία της Apple. |
| 18 | CC has enabled reuse of university materials across platforms and localization of content, such as translations. “The power of open educational resources lies in its openness,” says McAndrew. “This gives it great flexibility so that material that we might release in the Moodle-based OpenLearn environment can be used on WordPress or Slideshare or YouTube or whatever. OpenLearn material can be exported and transferred in many ways in terms of technology and format. However that transferability also needs a license that can be interpreted and carried with the material. CC gives us that.” | Οι άδειες CC επέτρεψαν την επαναχρησιμοποίηση πανεπιστημιακού υλικού σε διαφορετικές πλατφόρμες καθώς και τοπικές τροποποιήσεις περιεχομένου, όπως μεταφράσεις. “Η δύναμη ανοιχτών εκπαιδευτικών πόρων έγκειται στην ανοιχτή φύση τους”, λέει ο McAndrew. “Αυτό δίνει μεγάλη ευελιξία, καθώς υλικό που μπορεί να διανεμηθεί μέσω του βασιζόμενου σε Moodle περιβάλλοντος του OpenLearn, μπορεί τελικά να χρησιμοποιηθεί στο WordPress το Slideshare το YouTube ή οπουδήποτε αλλού. Το υλικό του OpenLearn μπορεί να εξαχθεί και να μεταφερθεί με πολλούς τρόπους και διαφορετικές τεχνολογίες ή μορφές. Όμως η μεταφερσιμότητα χρειάζεται επίσης και μία άδεια χρήσης που μπορεί να μεταφραστεί και να μεταφερθεί μαζί με το υλικό. Οι άδειες CC μας παρέχουν αυτή τη δυνατότητα. |
| 19 | Epic Fu – Opening up Pop Culture (Los Angeles) | |
| 19 | Started in 2006, the popular web video show Epic Fu began providing viewers with weekly episodes full of fun music, art, and culture news. From the beginning, Creative Commons was a big part of the Epic Fu plan—producers Zadi Diaz and Steve Woolf use CC licensed music and video content on the site regularly and all episodes are released under the Creative Commons BY-NC-SA license. | |
| 19 | “My personal favorite episode was called Your Copyright Can Kiss My Ass,” Woolf says. “It was about how slow traditional media has been to adapt to the modern way of delivering media. We took a very strong point of view on extending copyright as much as possible.” | |
| 19 | Fans have taken advantage of the show’s CC licensing by uploading and sharing episodes with friends, as well as making remixes that Diaz and Woolf have used to promote the program. “We had mashups that provided us with content for many months, instead of having to create promos ourselves.,” Woolf says. “It was an amazing way to involve the audience in supporting us.” | |
| 19 | “We had mashups that provided us with content for many months [...] It was an amazing way to involve the audience in supporting us.” | |
| 20 | Bloomsbury Academic: Publishing Openly (London) | |
| 20 | Academic journals are treasure troves of information, yet they’re often hard to access and very expensive. London-based publisher Bloomsbury is hoping to change that by distributing online versions of its research publications for free non-commercial use under Creative Commons licenses. The company’s website lets users search content by discipline, theme, place, or date with additional features like relevance rankings and social networking share tools. | |
| 20 | Bloomsbury Academic currently carries ten titles under CC licenses across a variety of disciplines, including a series called Science, Ethics, and Innovation edited by Nobel Laureate Sir John Sulton. The free versions are available via social publishing site Scribd. The company continues to sell hard copies and other e-content. | |
| 20 | “Publishers are worried that making content available for free will cannibalize print sales, but we believe that for certain types of books, the free promotes the print,” says Frances Pinter, the publisher at Bloomsbury. “As a start-up, we needed to get to critical mass quickly to justify. Publishers are worried that making available the free will ‘cannibalize’ the print sales but we believe that, for certain types of books, the free promotes the print.” | |
| 20 | “Publishers are worried that making content available for free will cannibalize print sales, but we believe that for certain types of books, the free promotes the print” | |
| 21 | Indaba Music – Tracks Without Borders (New York) | |
| 21 | “People have been sending music tracks back and forth across borders for a long time,” says Dan Zaccagnino, a songwriter and guitarist. “We wanted to make this possible in an organized setting.” | |
| 21 | So in February 2007, he and four other musicians launched a global networking site and collaboration platform called Indaba Music. Members can upload their own tracks under Creative Commons licenses or use stems from other members to create remixes or collaborate on projects together. An “Opportunities” section lists free and paying requests for artists to contribute tracks to works in progress. | |
| 21 | Indaba also hosts contests that allow people to experiment with tracks by famous artists like Peter Gabriel, Weezer, Snoop Dogg, and Yo-Yo Ma. The remixes that result from these projects are made available to the public under the Creative Commons Attribution-NonCommercial-NoDerivs (CC BY-NC-ND)license, allowing the collaborations between upstarts and established artists to spread widely. | |
| 21 | Indaba’s 540,000 users from 200 countries have proven that, when given the right tools, freedom can help expand creativity. In late 2010, alternative rock band Marcy Playground licensed all of the components of every track from its last album, Leaving Wonderland... In a Fit of Rage, under a Creative Commons license, a maneuver which yielded enough content to create a second album–called Indaba Remixes from Wonderland–with the same tracks remixed by Indaba users. | |
| 21 | All the contributors are getting royalties on the album, which is pretty revolutionary thing for a major record label to do. “There was a lot of pushback in the beginning,” Zaccagnino admits, “but we’ve proven to musicians and record labels that that there’s so much benefit to licensing with CC.” | |
| 21 | “There was a lot of pushback in the beginning, but we’ve proven to musicians and record labels that that there’s so much benefit to licensing with CC.” | |
| 22 | Curt Smith - Halfway Pleased, Fully Open (Los Angeles) | |
| 22 | At its peak in the 1980s, rock band Tears for Fears quickly moved from college radio favorites to mainstream success. They sold 22 million albums and their songs “Shout” and “Everybody Wants to Rule the World” become incredibly familiar and popular rock anthems. | |
| 22 | Today, lead singer and bassist Curt Smith isn’t much concerned with selling his work. In 2007, Smith released his semi-autobiographical solo album, Halfway, pleased under a Creative Commons license. “Under full copyright, we were inundated with requests from people who need permission to use Tears For Fears songs,” he says. “Now, as long as they’re not making money off my material and they credit me, they can do what they like with it without asking.” | |
| 22 | As a result, Smith spends no time fielding licensing requests and is able to focus on what he does best: making music. Smith is currently working on an album-length collection of tracks—one song at a time—as free MP3 downloads. It’s truly an album of the times: called the “social media project,” each track is a collaboration with someone that Smith met through Facebook or Twitter. | |
| 22 | “CC is a smart way to go for any artist. Why would anyone want to go around suing their fans? I’m quite happy for people to do what they like with my music. I want it to be heard.” | |
| 22 | “CC is a smart way to go for any artist. Why would anyone want to go around suing their fans?” | |
| 23 | Fiat Mio – Opening Doors for New Car Design (Rio de Janeiro, Brazil) | |
| 23 | Rather than letting designers decide what its next concept car should look like, auto manufacturer Fiat sent out a public call for ideas. In a little over a year, more than two million people from 160 countries visited the Mio design site and contributed ten thousand unique ideas for key features like propulsion, safety, design, materials, and entertainment. All ideas were published and made available to the rest of the world under a Creative Commons license. | |
| 23 | “We are taking interaction to the highest degree, and revolutionizing our way of thinking about future projects so we can understand their needs and change the conservative way of thinking of the automobile industry,” said João Batista Ciaco, director of Publicity and Relationship Marketing at FIAT Automotive. | |
| 23 | The result of this openness and collaboration is a very unique concept car. The Mio is a Smart Car-sized vehicle with wheels that turn 90 degrees, windshields that adjust to various weather conditions, and solar, wind, and kinetic energy recovery capabilities. Because the prototype design is also Creative Commons-licensed, anyone from fine artists to designers from competing car companies can incorporate these ideas in their own future work. | |
| 23 | Like most concept cars, the Mio may never go into production, but the innovations and direction that it suggests will likely be incorporated in future Fiat designs. Because of CC licensing, these good ideas are also now free to spread across the entire auto industry. | |
| 23 | “We are taking interaction to the highest degree, and revolutionizing our way of thinking about future projects” | |
| 24 | Vincent Moon – Living CC Style (Paris, France) | |
| 24 | Award-winning filmmaker Vincent Moon is a something of a nomad. He has no home and hardly any possessions: just some clothes, books, a few hard drives, recording equipment, and a beat-up laptop. He also has an unparalleled talent for making dreamy, musical films. | |
| 24 | All of Moon’s original works are released under a Creative Commons BY-NC-SA license, meaning anyone can share or remix them as long as due credit is given and as long as the use is noncommercial. | |
| 24 | “I sort of live my life under a Creative Commons license,” he says, emphasizing that he is an active participant in the sharing economy that CC helps facilitate. “I make films in exchange for a place to stay and something to eat. My films are a pretext to meet people, travel, and learn; the camera is my social tool.” | |
| 24 | Since he started this lifestyle two years ago, the 31-year old’s life has taken the opposite trajectory from the failed romance that first put him on the road. His 2009 film La Faute Des Fleurs won the Sound & Vision Award at the Copenhagen International Documentary Festival, and his Take Away Show series—which candidly documents musicians from around the world—is a huge hit on YouTube. | |
| 24 | Moon is currently working on a new project, Petites Planetes, a compilation of his audiovisual recordings from around the world. “I am on a quest around the world to try to redefine the position of the ‘maker’ in our generation. The CC license is a very important part of this.” | |
| 24 | “I sort of live my life under a Creative Commons license.” | |
| 25 | Dan Gillmor – Getting Ideas Out Into the World (San Jose, CA) | |
| 25 | When journalist Dan Gillmor wrote We the Media: Grassroots Journalism by the People, for the People in 2004, he decided to publish the book in its entirety under a Creative Commons BY-NC-SA license. Gillmor didn’t think that holding on to all of his book’s copyright rights exclusively would be in his best interest. “I thought the larger risk was in not getting the ideas out in to the world,” he says. | |
| 25 | Gillmor is also a prolific blogger who finagled an arrangement with news commentary site Salon.com so that, one week after his blog posts appear there, he can repost them under CC license on his own site. “The more people understand what CC does, the more people will recognize that, contrary to what some people say, it’s a great supporter of copyright in a way that honors the founders in having this kind of system.” | |
| 25 | In December 2010, Gillmor published his second book, Mediactive. The bound version is available for $14 on Amazon, but because it’s licensed under CC BY-NC-SA, anyone can freely download the full content on his website. 1,500 people downloaded the book in its entirety in the first three days after it was released. | |
| 25 | Gillmor says that if CC didn’t exist, neither, probably, would We the Media. “Given the fact that newspapers and magazines in the US ignored the book at first, it’s pretty safe to say that the whole thing would have sunk without a trace if I had not done it this way.” And contrary to what people might expect, distributing the book for free has brought Gillmor financial success. “I still get royalty checks every quarter. For a book that’s six years old, that’s not bad.” | |
| 25 | “I thought the larger risk was in not getting the ideas out in to the world.” | |
| 26 | Riot Cinema Collective – Distribution First, Then Profits (Madrid, Spain) | |
| 26 | When Spanish independent film company Riot Cinema Collective started working on a science fiction film called Cosmonaut, it wanted to prioritize wide distribution over profit making. So the group released all aspects of the film’s trailer under the Creative Commons BY-SA license. | |
| 26 | As a result, Riot Cinema saw the potential of releasing content under CC. One fan sent in original art that became the official movie poster. Another fan remixed some of the script, which then became part of the final screenplay. A remix contest of the trailer had over 90 entries from all around the world, and Riot Cinema Collective uses these fan creations to present Cosmonaut at conferences. A similar collaboration with the photo web site Lomography yielded more than 400 photos. | |
| 26 | When completed, every aspect of the film will also be released under two different CC licenses: BY-SA-NC for the high-resolution version, and BY-SA for the low-resolution. “We assume that if you are a movie theater, an on-demand platform, a newspaper, or TV, you will need the high-quality version and reach an agreement with us,” says founder Nicolás Alcalá. “But if you’re a small amateur cineclub or a theater in a third world country and you don’t have the money to showcase the film, you can do it with the low-quality version for commercial purposes.” | |
| 26 | Alcalá has seen the benefits of licensing film under CC in other ways, too. “A music company owner from Berlin told us he was going to ask some of his bands to make a song inspired by The Cosmonaut, license them under CC, and edit a very cool record in a USB drive with merchandising of the movie. He’s paying for it, but is sharing the profits with us.” | |
| 26 | “If you don’t have the money to showcase the film, you can do it with the low-quality version for commercial purposes.” | |
| 27 | Isabella Stewart Gardner Museum – Classical Music for the Masses (Boston, MA) | |
| 27 | The Isabella Stewart Gardner Museum in Boston is more than a century old and carries more than 2,500 works of art, but it’s also home to one of the most progressive movements in classical music distribution. In addition to its expansive art collection, the museum houses hundreds of hours of live performances stored on CDs. For many years, this music was not being listened to at all. So in September 2006, the museum’s curator of music, Scott Nickrenz, launched The Concert, a classical music podcast. “As soon as I heard about the Creative Commons license, I knew it was something we had to do,” Nickrenz says. “Making these high quality recordings free and shareable was really important to us from the beginning.” | |
| 27 | The Concert airs for 45 minutes every two weeks, and its success has been driven, in large part, because of its open availability. “In the first six weeks of the podcast and music library’s existence, we had more than 40,000 downloads from 83 countries, which was unprecedented for a classical music podcast, and we’re currently averaging around 50,000 total downloads per month,” says Nickrenz. | |
| 27 | As of December 2010, The Concert has been downloaded more than 1.8 million times by listeners in 190 countries, from Azerbaijan to Croatia. “Perhaps most memorably, we were contacted by nuns from The Philippines who run a non-profit radio station. Thanks to CC, they’re able to share great classical music from the Gardner with their listeners.” | |
| 27 | “As soon as I heard about the Creative Commons license, I knew it was something we had to do, making these high quality recordings free and shareable was really important to us from the beginning.” | |
| 28 | Ficly – Collaborative Storytelling (Washington, DC) | |
| 28 | In 2007, Kevin Lawver, a system architect at AOL, built an open source storytelling web site called Ficlet on AOL’s platform. AOL’s lawyers were hesitant at first. “Once they started looking at the Creative Commons Attribution-ShareAlike license (CC BY-SA), they realized it was perfect and wouldn’t require any other user terms for content other than simply agreeing to this license.” | |
| 28 | At Ficlet, anyone could contribute to a literary mashup project by adding prequels or sequels to short, 1024-byte CC-licensed story chunks built by other users. In just under two years, 12,000 users wrote 48,000 stories; it even attracted celebrity contributors like author John Scalzi and Star Trek: The Next Generation actor Wil Wheaton. | |
| 28 | But in January 2009, AOL took Ficlet offline and scrapped all of the user-generated content hosted there. Fortunately, Since everything was CC BY-SA licensed, Lawver was able to rescue and legally republish most of it to a new site. | |
| 28 | Today, Lawver has a new literary mashup site called Ficly with more than 21,000 CC-licensed stories written by 3,000 collaborative users. Since May 2009, Ficly users all over the world have contributed new content, leading to more than two million page views. One user took several hundred stories selected by other users and self-published a Ficly compilation book. “I love building things that inspire people to be creative,” Lawver says. | |
| 28 | “Once they started looking at the CC BY-SA, they realized it was perfect and wouldn’t require any other user terms for content other than simply agreeing to this license.” | |
| 29 | IntraHealth – Building a Healthy Collaboration (Washington, DC) | |
| 29 | It’s hard to keep track of community healthcare workers in Africa – they are constantly on the move, and the lack of a good data system to monitor their mobility often causes chaos. So, in 2009, IntraHealth International launched IntraHealth Open, an initiative aimed at developing open source technology to support communications for and between health care workers. | |
| 29 | Through this project, community health care providers will be able to share instructions via SMS, provide training and testing, and track diseases and medical supplies. The availability of supplies will be monitored via text message using a central data map linked to the Ministries of Health, and doctors will be able to share health tips across state borders using Google Health. | |
| 29 | “We’re hoping for a hybridization of technology and global health so that technological advances can be created with greater local relevance, impact, and efficiency and be put to better use in real world applications,” says Heather LaGarde, the Partnerships Advisor for IntraHealth International. “We use open source as a base because it maximizes collaboration and builds local capacity. It allows new innovations to be shared with others and tailored for each country with minimal support from IntraHealth.” | |
| 29 | To announce the release of this product, IntraHealth partnered with Grammy-winning Senegalese singer Youssou N’Dour and other artists including Nas, Duncan Sheik, Toubab Krewe, DJ Equal, Peter Buck, Estelle, and Beef Wellington to create Creative Commons-licensed remixes of the N’Dour song Wake Up (It’s Africa Calling). A subsequent remix contest resulted in more than 500 entries from around the world, all also available under CC licenses. Through the use of Creative Commons tools, the songs were able to spread freely and raise awareness about and support for IntraHealth and its mission. | |
| 29 | “We use open source as a base because it maximizes collaboration and builds local capacity.” | |
| 30 | Uncensored Interview – Re-Righting Commercial Licensing (New York, NY) | |
| 30 | When Uncensored Interview founder, Melinda Lee, was in charge of business and legal affairs for MTV Networks’ international and new media teams, she realized that a lot of great opportunities were lost because MTV didn’t have rights to particular content. Now she is focused on getting, and giving, rights at Uncensored Interview, a video production and licensing company that offers artist interviews to both fans and producers. | |
| 30 | UI has conducted more than 1,000 interviews with bands and personalities–including Henry Rollins, Margaret Cho, Juliette Lewis, and Moby–cut into 25,000 clips. Most of those clips are available under more standard licensing rules, and those rights are purchased for use in TV shows, podcasts, and commercials. But in March 2009, UI released 2,000 of those clips under the most permissive Creative Commons license, CC BY, which allows anyone to use the content for commercial use. | |
| 30 | “We want to see what people come up with,” Lee says. “We want to take a look at what people are doing and allow for that in our production strategy.” So far, the remixed content is mostly funny mash-ups or different artist profiles pieced together in creative ways, and Lee hopes to eventually gain inspiration from the amateur producers in the social media space that she could then incorporate into her own content creation. | |
| 30 | Getty Images, known for the strict copyright rules applied to its content, has recently become a UI partner. Some of the same clips that are available under CC-BY licenses are also available on Getty’s platform. Lee points out that the two are not mutually exclusive. “Scalable content is really important for us. We want to be able to partner with as many people as possible.” | |
| 30 | Uncensored Interview is expanding beyond just musician interviews to food, sports, and authors, and will continue to release clips under Creative Commons licenses. “It flips the licensing model on its head,” she says, noting that CC has helped reduce her company’s need to spend unnecessary time on clearing basic rights. “It’s a lot less work for me.” | |
| 30 | “We want to take a look at what people are doing and allow for that in our production strategy.” | |
| 31 | Jamendo – Making Musicians More Marketable (Luxembourg) | |
| 31 | When Luxembourg musician Sylvain Zimmer realized there was no good legal way to share music online with his friends, he decided to create one. In 2004, he and two partners founded Jamendo, a unique web platform that allows musicians to make their music available under Creative Commons licenses to anyone who wants to listen to it. The company uses a freemium model, providing all content for free to the public, then charging for access to rights that are not already permitted by the CC licenses. Jamendo splits its revenue 50/50 with musicians. | |
| 31 | Today, more than 40,000 albums are available on Jamendo as free, legal, downloadable tracks under Creative Commons licenses. Musicians upload hundreds of new tracks every day. Jamendo boasts more than 5,000 customers worldwide, including commercial clients who pay for licenses to use the music in movies, ads, and TV shows. | |
| 31 | The results for some musicians have been very impressive. Barcelona-based instrumental artist Roger Subirana Mata joined Jamendo in 2008. Since then, his tracks have been listened to more than 600,000 times and he’s entered into more than 300 licenses with commercial clients. “Although it may seem a contradiction, having music licensed under Creative Commons has made my music more marketable, commercial, and known than when it was within the normal business cycle,” Mata wrote on the Jamendo blog. | |
| 31 | Jamendo co-founder Pierre Gerard says that Creative Commons is the basis for the company’s success. “We want musicians to see Creative Commons licenses, Jamendo, and the idea of free music as a real and beneficial alternative for music distribution.” | |
| 31 | “We want musicians to see Creative Commons licenses, Jamendo, and the idea of free music as a real and beneficial alternative for music distribution.” | |
| 32 | Dublab - Creatively Blurring Lines (Los Angeles, CA) | |
| 32 | At its core, Dublab is a non-profit Internet radio collective, but it has found its calling as the instigator of phenomenally creative audiovisual remix projects. For instance, in August 2008, Dublab and Creative Commons collaborated on a project called Into Infinity. Artists from around the world were invited to create art on 12” card stock circles or create eight-second audio loops and submit their creation to a pool of Creative Commons-licensed content. Those submissions became part of a global art exhibition, Into Infinity, which now includes the work of more than 150 visual artists and 110 musicians from Portland to Berlin. | |
| 32 | Into Infinity has been especially popular in Japan. An artist in the northern city of Sapporo pulled content from the pool of submissions to create a Ping-Pong paddle with audio-visual controls and sensors that would trigger different audio loops every time it hit the ball. A Tokyo band called Coffee and Cigarettes created a 30-minute live performance using Into Infinity’s eight-second sound loops and visual mashups and cutups. Since its launch in summer of 2010, the Into Infinity iPhone and iPad app has been downloaded more than 10,000 times. More than 3,000 remixes have been generated through Twitter and email using 155 of the audio loops and submitted graphics. | |
| 32 | Dublab’s latest project is a film called Light from Los Angeles that features 10 different musicians and bands playing CC-licensed material. All the footage will be shot using the Superheadz Digital Harinezumi, a tiny low-resolution toy camera that produces slightly blurred dreamlike images. The footage and music will all be CC-licensed, and the book, DVD, and record will be available for sale. “It’s an exciting exploration of how you can have a money-making venture supported by CC-licensed material,” says Dublab co-founder Mark “Frosty” McNeill. | |
| 32 | “It’s an exciting exploration of how you can have a money-making venture supported by CC-licensed material.” | |
| 33 | Tiago Serra and Radiohead’s Head (Lamego, Portugal) | |
| 33 | In July 2008, the Grammy award-winning alternative rock band Radiohead released a music video for the song House of Cards. It was produced without cameras. Instead of a traditional video, they asked digital media artist Aaron Koblin to produce a data set of 3-D images that looked like they came from an old TV. They released the code for the visual data on the Google code site under the Creative Commons BY-NC-SA license. | |
| 33 | Providing access to the open source code yielded unexpected results. Tiago Serra, an interaction designer based in Portugal, took it and created a set of coordinates using Blender and used them to print a sculpture of Thom Yorke’s head out of ABS plastic using a 3D printer. | |
| 33 | Serra—who co-founded a Hackerspace in the town of Coimbra, and is a fan of both Radiohead and Koblin—uploaded photos and a video of the manufacturing process onto Flickr and Vimeo. He posted the 3D design onto Thingiverse, a website where users share digital designs for real physical objects. Because the code for the original visual data was licensed under CC BY-NC-SA, so was Serra’ s derivative work. | |
| 33 | In the two years since he first experimented with Yorke’s head, Serra has watched as people toyed with his work. “I always record my working process with photos and videos because I think it’s important to share. I learned a lot with others who do the same and feel I should give back.” | |
| 33 | “I always record my working process with photos and videos because I think it’s important to share. I learned a lot with others who do the same and feel I should give back.” | |
| 34 | Al Jazeera - Sharing Content for a Richer Understanding of Global News (Doha) | |
| 34 | In 2009, Al Jazeera launched the world’s first repository of broadcast-quality video footage released under a Creative Commons license. The news network made select video footage available for free under CC BY to be downloaded, shared, remixed, subtitled and even rebroadcast by users and TV stations across the world, under the condition that they attribute the material to Al Jazeera. | |
| 34 | “A large part of embracing free culture is accepting the fact that you are forsaking control in exchange for something greater – the empowerment of the creative community,” says Mohamed Nanabhay, head of online at Al Jazeera English. Soon after the network posted thefirst CC videos, “surprising and delightful” things started happening. “Educators, filmmakers, videogame developers, aid agencies and music video producers all used and built upon our footage,” says Nanabhay. | |
| 34 | While the content has proven valuable to others, what has its openness meant for Al Jazeera? Nanabhay says that increasing the availability and usability of Al Jazeera’s content has resulted in more viewers, especially ones from parts of the world that aren’t able to watch the network’s programming on TV. The numbers have been impressive. According to Nanabhay, traffic on Al Jazeera’s CC video repository increased 723 percent after footage of the Egyptian uprising was made available under Creative Commons. | |
| 34 | “A large part of embracing free culture is accepting the fact that you are forsaking control in exchange for something greater.” | |
| 35 | Salman Khan, Khan Academy - Tutoring the World | Salman Khan - Διδάσκοντας τους πάντες |
| 35 | In 2004, Salman Khan was managing a hedge fund in Boston when he began virtual tutoring sessions with his 12-year-old cousin in New Orleans using Yahoo’s Doodle. She liked them, so he began putting them on YouTube so others could learn from them. Within two years, his videos had gained so much traction online that Khan registered as a nonprofit, quit his job, and decided to make short educational videos full-time. | Το 2004 ο Salman Khan, ενώ διαχειριζόταν ένα κερδοσκοπικό κεφάλαιο στη Βοστόνη, ξεκίνησε να κάνει εικονικά μαθήματα στη 12χρονη ξαδέρφη του στη Νέα Ορλεάνη χρησιμοποιώντας το Doodle της Yahoo!. Τα μαθήματα της άρεσαν, κι έτσι ο Khan άρχισε να τα “ανεβάζει” στο YouTube, ώστε κι άλλοι να μπορούν να μαθαίνουν απ’ αυτά. Μέσα σε δυο χρόνια, τα βίντεό του είχαν αποκτήσει τόση δημοτικότητα, ώστε ο Khan αποφάσισε να δηλωθεί ΜΚΟ, να παρατήσει τη δουλειά του και να έχει ως κύρια απασχόληση τη δημιουργία μικρών εκπαιδευτικών βίντεο. |
| 35 | Khan made all of the original videos himself and published them under the Creative Commons BY-NC-SA license. Today, the Khan Academy hosts more than 1,600 instructional videos that teach everything from chemistry to algebra to the reasons for the housing crisis, to more than a million unique users a month. Khan’s not a formal educator, but the impact of his teachings has spread across state borders – 40 percent of his viewers are overseas. The Khan Academy is funded mostly by donations, and it’s growing about threefold every year. A recent infusion of support from the Bill & Melinda Gates Foundation has allowed the staff to grow to six, and vocal support from Bill Gates has raised its profile considerably. | Ο Khan δημιούργησε όλα τα αυθεντικά βίντεο μόνος του και τα δημοσίευσε με την άδεια Creative Commons BY NC SA. Σήμερα, η Ακαδημία Khan φιλοξενεί περισσότερα από 1600 εκπαιδευτικά βίντεο που διδάσκουν τα πάντα, από χημεία και άλγεβρα μέχρι τους λόγους της οικιακής κρίσης, σε πάνω από ένα εκατομμύριο διαφορετικούς χρήστες το μήνα. Ο Khan δεν είναι επίσημος δάσκαλος, αλλά το αντίκτυπο των διδασκαλιών του έχει εξαπλωθεί εκτός συνόρων – 40% των ανθρώπων που παρακολουθούν τα βίντεο βρίσκονται εκτός Αμερικής. Η Ακαδημία Khan χρηματοδοτείται κυρίως από δωρεές, που τριπλασιάζονται ετησίως. Μια πρόσφατη οικονομική ενίσχυση από το ίδρυμα των Bill & Melinda Gates έδωσε τη δυνατότητα να αυξηθεί ο αριθμός του προσωπικού σε έξι, και η προφορική υποστήριξη απ’ τον Bill Gates έχει εξυψώσει αισθητά το προφίλ της Ακαδημίας. |
| 35 | Khan still gets letters every day from middle school students, college kids, and adults raving about the good grades and knowledge obtained through the Khan Academy’s lessons. And because the videos are free to remix and share, people are translating them into other languages and some of the lessons have gone viral. | Ο Khan εξακολουθεί να δέχεται γράμματα καθημερινά από μαθητές δημοτικού, πανεπιστημίων αλλά και ενήλικες που παινεύονται για τους καλούς βαθμούς, αλλά και για τις γνώσεις που απέκτησαν από τα μαθήματα της Ακαδημίας Khan. Και επειδή τα βίντεο επιτρέπεται να διασκευάζονται και να διαμοιράζονται ελεύθερα, ο κόσμος τα μεταφράζει σε άλλες γλώσσες και κάποια από αυτά έχουν γίνει ανάρπαστα. |
| 35 | “By every measure we have so far, they’re definitely better than what many are getting in the classroom,” Khan says. “And the neatest thing about it is, if I get hit by a bus tomorrow, I could still continue to teach a million people a year. You get to scale yourself up to the present and to the future, even if you’re not around.” | «Από τα αποτελέσματα των μετρήσεων που έχουμε μέχρι τώρα, προκύπτει ότι τα άτομα αποκομίζουν περισσότερα οφέλη συγκριτικά με όσα θα είχαν αν παρακολουθούσαν το μάθημα στην τάξη,» λέει ο Khan. «Και το καλύτερο είναι ότι, ακόμα και αν εμένα αύριο με πατήσει λεωφορείο, θα μπορώ να συνεχίσω να διδάσκω ένα εκατομμύριο ανθρώπους το χρόνο. Καταφέρνεις να εδραιώσεις την παρουσία σου στο παρόν και στο μέλλον, ακόμα και αν δεν υπάρχεις.» |
| 35 | But what drove a high-earning hedge fund guy to drop his day job and just make YouTube videos? “I got a letter from a student one day,” Khan says. “He was from a poor family with no college graduates and hated math. Then he found the Khan Academy videos and watched them all summer before his placement exam, and got every question right. That had never happened before at this community college, and he ended up an honors student. That was what made me quit my job.” | Αλλά τι ώθησε έναν υψηλά αμειβόμενο άνδρα να παρατήσει την καθημερινή δουλεία του για να κάνει απλά βιντεάκια για το YouTube; «Έλαβα ένα γράμμα από ένα μαθητή μια μέρα,» λέει ο Khan. «Προερχόταν από μια φτωχή οικογένεια, χωρίς απόφοιτους πανεπιστημίων, που μισούσαν τα μαθηματικά. Έπειτα ανακάλυψε τα βίντεο της Ακαδημίας Khan, τα παρακολούθησε όλο το καλοκαίρι πριν τις εισαγωγικές του εξετάσεις και απάντησε σε όλες τις ερωτήσεις σωστά. Αυτό δεν είχε ξανασυμβεί στο συγκεκριμένο δημόσιο κολέγιο, και έτσι κατέληξε να γίνει ένας φοιτητής με επαίνους. Αυτό με έκανε να παρατήσω τη δουλεία μου». |
| 35 | “If I get hit by a bus tomorrow, I could still continue to teach a million people a year.” | «Αν αύριο με πατήσει λεωφορείο, θα συνεχίσω να διδάσκω ένα εκατομμύριο ανθρώπους το χρόνο» |
| 36 | Grace Choi HUMAN RIGHTS WATCH (Global) - Changing the World with Facts | |
| 36 | Since the 1980s, Human Rights Watch has been uncovering rights violations around the world and publicizing them in thorough, unbiased reports read by millions. The non-governmental organization’s researchers spend months at a time on field missions that gather information about rights abuses, whether it’s the detention and torture of terrorism suspects in India or discrimina- tion against sexual minorities in Iran. “We provide accurate accounts of what goes on in the world, unfiltered through the media and unbiased, to put pressure on governments and organizations to effect change,” says Grace Choi, publications director at Human Rights Watch. | |
| 36 | The group’s reports are available as free downloads under the Creative Commons BY-NC-ND license. “We were getting regular requests from universities and libraries to use our work,” Choi says. “We felt that using Creative Commons was a good way to provide the legal framework for letting them do that. It’s a way to disseminate our reports in the easiest way possible.” | |
| 36 | HRW publishes between 90 and 100 reports every year, and recently launched an iPad app that offers the same content for free. The organization is an example of how real positive change in the world is made, and its use of CC licensing is an integral part of its proliferation to parts of the world where the bound copies might not easily be distributed. | |
| 36 | “!Creative Commons] a way to disseminate our reports in the easiest way possible.” | |
| 37 | Massimo Banzi ARDUINO (Milan) - Opening Hardware | Massimo Banzi ARDUINO (Μιλάνο) - Ανοίγοντας το Υλικό |
| 37 | In 2005, two interaction designers in Italy, Massimo Banzi and David Cuartielles, decided to try something new: they took the Creative Commons BY-SA license and applied it to hardware design. They called their open source physical computing platform Arduino. It’s a simple micro- controller with a circuit board that easily accommodates switches and sensors – a dream come true for DIY hardware geeks who like to build things from scratch. | Το 2005, δύο σχεδιαστές αλληλεπίδρασης από την Ιταλία, οι Massimo Banzi και David Cuartielles, αποφάσισαν να δοκιμάσουν κάτι νέο: πήραν την άδεια Creative Commons BY-SA και την εφάρμοσαν στη σχεδίαση υλικού. Ονόμασαν την υπολογιστική πλατφόρμα ανοιχτού κώδικα Arduino. Πρόκειται για έναν απλό μικροελεγκτή με μία πλακέτα κυκλωμάτων που εύκολα υποδέχεται διακόπτες και αισθητήρες - ένα όνειρο που έγινε πραγματικότητα για τους αυτοδημιούργητους σχεδιαστές υλικού, που αρέσκονται να φτιάχνουν πράγματα από το μηδέν. |
| 37 | Over the next few years, Massimo watched as many creative and highly successful projects spawned from the Arduino platform – from synthesizers to guitar amplifiers to voice-over IP phone routers. Wired editor-in-chief Chris Anderson started a DIY Drones project that flies unmanned aerial vehicles built with Arduino. Makerbot, a popular open-source 3-D printer, built its more heavy-duty design on the Arduino base model. | Μες στα επόμενα χρόνια, ο Massimo παρακολουθούσε καθώς πολλές δημιουργικές και πολύ επιτυχημένες εργασίες γεννήθηκαν από την πλατφόρμα του Arduino - από συνθεσάιζερ σε ενισχυτές κιθάρας ως και σε VOIP δρομολογητές. Ο αρχισυντάκτης του περιοδικού Wired, Chris Anderson, ξεκίνησε μία εργασία αυτοσχέδιων κλώνων, αυτοκινούμενα μη επανδρωμένα ιπτάμενα οχήματα κατασκευασμένα με το Arduino. Το Makerbot, ένας δημοφιλής τρισδιάστατος εκτυπωτής ανοιχτού κώδικα, κατασκευάζει τα πιο απαιτητικά σχέδια βασιζόμενος στο μοντέλο του Arduino. |
| 37 | Because Arduino’s circuit designs are licensed with CC BY-SA, so too are these derivative projects. Banzi has sold more than 208,000 Arduino boards and sales are escalating every year. And because Arduino is open source, the team doesn’t have to provide heavy tech support. “People are much more inclined to help us and be forgiving,” Banzi says. “It’s a nice chain reaction.” | Επειδή τα σχέδια κυκλωμάτων του Arduino συνοδεύονται από την άδεια CC BY-SA, το ίδιο ισχύει και για τα παράγωγά τους. Ο Banzi πούλησε περισσότερες από 208.000 πλακέτες Arduino και οι πωλήσεις αυξάνονται κάθε χρόνο. Και επειδή το Arduino είναι ανοιχτού κώδικα, η ομάδα του δε χρειάζεται να παρέχει επιτόπια υποστήριξη. “Ο κόσμος είναι περισσότερο διατεθειμένος να μας βοηθά παρά να μας κατηγορεί”, λέει ο Banzi. “Πρόκειται για μία καλή αλυσιδωτή αντίδραση”. |
| 37 | Banzi initially chose to make the foundations of Arduino open source when the design school where he was teaching lost its funding. Seeing the imminent apocalypse, Banzi uploaded his circuit diagrams onto Berlios, a German website similar to Google Code, releasing the software under the GPL license and the hardware design under CC BY-SA. Today, the implications of this reach far beyond just a bunch of free-to-use drawings. | Ο Banzi αρχικά επέλεξε να βάλει τα θεμέλια του ανοιχτού κώδικα του Arduino, όταν η σχολή σχεδίασης όπου δίδασκε έχασε τη χρηματοδότησή της. Βλέποντας την επικείμενη αποκάλυψη, ο Banzi “ανέβασε” τα διαγράμματα κυκλωμάτων στο Berlios, ένα γερμανικό ιστοχώρο παρόμοιο με το Google Code, παραχωρώντας το λογισμικό υπό την άδεια GPL και το σχέδιο του υλικού υπό την άδεια CC BY-SA. Σήμερα, οι επιπτώσεις φτάνουν πολύ πιο μακρυά από μία συλλογή σχεδίων, που είναι ελεύθερα προς χρήση. |
| 37 | “By putting the Creative Commons stamp on circuit designs and board layouts, we were able to turn hardware design into a piece of culture that people can build upon,” Banzi says. “Whatever happens to us, the project will always survive.” | “Βάζοντας τη στάμπα Creative Commons, σε σχέδια κυκλωμάτων και διατάξεις πλακετών, μας δόθηκε η δυνατότητα να μετατρέψουμε τη σχεδίαση υλικού σε μία κουλτούρα στην οποία ο κόσμος μπορεί να συνεισφέρει το δικό του λιθαράκι”, λέει ο Banzi. “Οτιδήποτε και να μας συμβεί, το έργο μας πάντα θα συνεχίσει να ζει”. |
| 38 | James Patrick Kelly (Boston) - Out of the File Drawer, Onto the Reader | |
| 38 | Acclaimed Hugo- and Nebula-Award-winning science fiction author James Patrick Kelly is planning to give away his upcoming novel for young adults one chapter at a time as a Creative Commons-licensed podcast. Based on the success of his last novel, !”#$, he has every reason to believe in this strategy. | |
| 38 | Before Kelly won his Nebula Award, he was publishing !”#$%with a small traditional publisher and on his website in the form of a free podcast, in hopes that his readership would grow. Then he discovered CC licenses. | |
| 38 | “I was giving away fiction on my website long before Creative Commons started. So when my friend Cory Doctorow turned me on to what CC was doing, it was a tremendous relief to know I had lots of company in creating the new digital culture and that we now had some legal ground to stand on,” says Kelly. | |
| 38 | After thousands more listened to the CC-licensed !”#$%than read it, the podcast was nominated for a Nebula Award in 2007 and became the first CC-licensed sci-fi publication to win. At times, the podcast was so popular that it crashed the servers of Kelly’s website: “My recollection was that the number of downloads was in excess of 15,000. Would my little novel have gotten this kind of recognition had I not given it away for free? I don’t think so.” | |
| 38 | Ultimately, using Creative Commons licensing has helped Kelly make a name for himself in the digital world. “I believe that the most insidious enemies of writers today are not the publishers or the plagiarists or the pirates – my enemy, at least, is obscurity. Creative Commons is a way for me to get stories that I’m proud to have written out of the darkness of my file drawer and under the light of readers’ eyes. Name recognition and reputation are the coin of the new digital age.” | |
| 38 | “Creative Commons is a way for me to get stories that I’m proud to have written out of the darkness of my file drawer and under the light of readers’ eyes.” | |
| 39 | Robin Sloan (San Francisco) - Diffusion Is the Name of the Game | |
| 39 | Robin Sloan knows the traditional route to getting published is laden with obstacles, not the least of which is obscurity. So the San Francisco-based writer of short fiction and the culture blog Snarkmarket took an alternate path. He crowd-funded his first novella,!”“#$%&’()*%+%, by calling for donations on Kickstarter, a website that helps artists and other creatorsfind backers for their projects. | |
| 39 | In order to increase support, and so that others could copy and redistribute his book in both digital and physical form, he promised to release his book under a Creative Commons license.!”Annabel Scheme ended up raising $10,000 more than Sloan’s initial goal and was named the best Kickstarter project of 2009. | |
| 39 | Sloan actively encourages people to make derivative works. “I wanted people to appropriate the characters and setting and do creative things with them. The CC license was more than passive permission, I treated it very much as an active summons to remix. Sort of like a blinking light that says ‘remix this please!’” | |
| 39 | Sloan called on his fans to take advantage of his book’s permissive license and produce the most interesting remixes they could think of. This resulted in an !”“#$%&’()*%+% theme song and a stunning 3-D image of the novella’s alternate San Francisco. | |
| 39 | Without Creative Commons, Sloan says his remix challenge would have been more complicated: “I would have had to spend more time figuring out how to frame and explain it. There would have been more questions along the lines of ‘uh, wait, so when I do a remix, who owns it?’” | |
| 39 | More than just a license, CC helps Robin communicate directly with “a posse of potential allies,” creative people who continue to share the book and remixes with others. “For a writer at the stage that I’m at, diffusion is the name of the game. Every extra copy of my work that gets into a new pair of hands, by any means whatsoever, is a win.” | |
| 39 | Sloan’s strategy seems to be working. “Anabel Scheme” continues to grow an audience online,” he says. “Every week there are tweets about it, and I see more people download the PDF. They buy the Kindle edition, too!” | |
| 39 | “The CC license was more than passive permission, I treated it very much as an active summons to remix.” | |
| 40 | Mark Petterson PUBLIC LIBRARY OF SCIENCE (San Francisco) - Research as a public resource | |
| 40 | When the open access publisher Public Library of Science (PLoS) launched its first scientific journal, PLoS Biology, in 2003, it faced a serious uphill climb. Academics are judged not only by the quality of their work, but also by where that work is published. With career advancement, funding opportunities and reputations on the line, researchers are understandably selective. | |
| 40 | “We had many conversations with scientists supportive of openness, but who had concerns about our lack of prestige and standing in the publishing world at that stage,” recalls Mark Patterson, PLoS director of publishing. “Because of our start as an advocacy organization for openness, we had a base of supporters. Eventually, their energy carried the day and soon a few researchers took the leap and published a great piece of their research in our open journal. That gave us the foundation to get to where we are today – a sustainable and growing source of high-quality open access research, publishing hundreds of articles a month.” | |
| 40 | The core principle behind open access journals is impact. “We set out to remove all barriers to reusing research and transforming research literature into a resource for further research,” says Patterson. “Open access provides the maximum possible impact for both funders and researchers.” | |
| 40 | Patterson now sees a very strong movement toward open access in the publishingfield. “There are more open access journals being started, more content being published, and new policies are being developed at funding agencies and within institutions which are driving open access,” he said. “There is movement amongst all stakeholders. The question now is just how quickly can we make it happen.” | |
| 40 | Creative Commons licensing has been an integral part of the success of open access publishing, and PLoS publishes all of its journals under the CC BY license. “CC has provided a strong, consistent signal that you can use openly published research to do with what you want,” says Patterson. “Because CC licenses are created by experts and have a solid legal foundation, they have become the gold standard in open access publishing.” | |
| 40 | “Open access provides the maximum possible impact for both funders and researchers.” | |
| 41 | Other Voices TESTIMONIALS | |
| 41 | “You’ve helped us build something important and valuable, that is supporting a much bigger and much more valuable ecology of creativity that everyone should be celebrating. Creative Commons will be an even bigger part of a much saner future. A world is beginning to recognize the place for reasonableness and balance. They are beginning to practice that using our tools.” | |
| 41 | Lawrence LESSIG Founding Board Member, CREATIVE COMMONS Director, EDMOND J. SAFRA FOUNDATION CENTER FOR ETHICS | |
| 42 | “Creative Commons is a fundamental component in the march toward a new music and media industry, and their stewardship around the licensing of content and raising awareness of free culture is important work that I thoroughly support, and encourage others to do so too.” Jono BACON / CANONICAL | |
| 42 | “Creative Commons provides easy and effective tools for creators to share their creative work when they want to. The resulting ability to share and collaborate enables new forms of creativity and enriches us all.” Mitchell BAKER/ MOZILLA FOUNDATION | |
| 42 | “At Seed, we believe in science’s unique potential to improve the state of the world. Today, this potential is being hindered by the largely closed, restricted, and disorganized nature of the world’s scientific information. Scientists deserve better. Society needs better. Seed is very proud to support and collaborate with Creative Commons in our joint pursuit of innovative solutions to open science.” Adam BLY / SEED MEDIA GROUP | |
| 42 | “The Personal Genome Project is generating an ever-increasing amount of biological data and tissues. To promote discovery and advance science, we are committed to making these resources broadly available. Creative Commons provides us the tools to achieve these goals with clarity and legal rigor.” Jason BOBE / PERSONAL GENOME PROJECT | |
| 42 | “I think Creative Commons licenses, the entire open attitude, is absolutely essential for artists who don’t have huge promotion budgets. Without the money to force advertising and radio play down people’s throats, you have to rely on the good will of your fans spreading your music for you. And if you handcuff them by making it illegal, I think you’re doing yourself a real disservice.” Brad SUCKS / MUSICIAN | |
| 42 | “We collect research work from nonprofit organizations around the world and the majority of that work has no reuse information or a completely restrictive copyright notification. We point folks toward Creative Commons licensing at every opportunity because it is an excellent way to mitigate these extremes, and many of the other copyright issues we experience in between.” Lisa BROOKS / ISSUELAB | |
| 42 | “Creative Commons has played a key role in the success of open access publishing. The widespread adoption of Creative Commons licenses by open access publishers means that open access articles are not only freely readable and downloadable, but they can also be freely redistributed, adapted and reused. This is vital, both for the efficient communication of research results, and for the education of the next generation of researchers.” Matt COCKERILL / BIOMED CENTRAL | |
| 42 | “As a writer, my problem is not piracy, it’s obscurity, and Creative Commons licenses turn my books into dandelion seeds, able to blow in the wind and find every crack in every sidewalk, sprouting up in unexpected places.” Cory DOCTOROW / AUTHOR | |
| 43 | “If we are going to achieve even just the next step in our new exploration of humanity that is Webspace, we’re going to have to make sure that freedom isn’t crushed by media companies with patents trying to prevent the future. Supporting Creative Commons isn’t just something I feel I ought to do; it’s something we all have to do.”” Eben MOGLEN / SOFTWARE FREEDOM LAW CENTER | |
| 43 | “It all started in 2003 when I uploaded a guitar track to Opsound.org called “My Life” and then about 2 months later, I got an email from a 17-year-old violinist in North Carolina named Cora Beth Bridges, who had added to it. She called it ‘My Life Changed.’ I remember being blown away by how beautiful the track was, and also happy to know there were others like me who wanted to collaborate across space and time.” Colin MUTCHLER / MUSICIA | |
| 43 | “I’d like to live in a world where knowledge can grow and be built upon by many. Creative Commons creates the infrastructure to make this information sharing possible.” Jack HERRICK / WIKIHOW | |
| 43 | “Creative Commons provides a framework that allows people to share, mix and reuse content in the same way that TCP/IP and HTTP allows the open Web and a network and application layer. This openness is what makes the Internet special. CC is an important part of the fabric of the open Internet.” Elliot NOSS / TUCOWS | |
| 43 | “Creative Commons brings major value to filmmakers and creators of all kinds. CC’s tools not only make it simple for creators to share their work, they make it easy for any member of the public to find material that they can legally use and build upon. If I need music or imagery for a project, I can turn to the enormous pool of work that CC has helped build — work that is available to literally anyone in the world to share, use and remix. I release a great deal of my work at Brave New Films under Creative Commons licenses because I want to enable other filmmakers to use my material in new and interesting ways.” Robert GREENWALD / BRAVE NEW FILMS | |
| 43 | “Creative Commons plays a critical role in maintaining an open community from which everyone benefits. Nearly a quarter of the videos uploaded to blip.tv are under CC licensing. By allowing for sharing, remixing and resharing on the content creator’s own terms we provide more opportunity for shows to grow and build community.” Justin DAY / BLIP.TV | |
| 43 | “Our culture cannot expand and develop without people willing to share their work with each other and build on each others’ greatness. The use of Creative Commons licensing presents the best way for creative people to share work with each other and through that sharing make the world better for us all. We’re lucky that Creative Commons exists and I’m proud that we’ve supported the group’s work over these many years.” Chris DIBONA/ GOOGLE | |
| 43 | “With Creative Commons, the act of creation becomes not the end, but the beginning of a creative process that links complete strangers together in collaboration. It’s a deeply satisfying and beautiful vision of what art and culture can be.” Jonathan COULTON / MUSICIAN | |
| 44 | “I truly believe that within a generation we can open the world’s knowledge to all of its inhabitants and reduce or eliminate the misery caused by lack of access to informa- tion, and Creative Commons is a crucial part of the cultural compact that makes that revolution possible.” Evan PRODROMOU / STATUSNET | |
| 44 | “Creative Commons advances disruptive innovation by increasing information sharing, access and collaboration. Information and resources need to roam free to fertile minds to take them to the next level. They have that home in Creative Commons.” Sharon TERRY / GENETIC ALLIANCE | |
| 44 | “Creative Commons shows that we can make the world a better and more interesting place without having to pass new laws or amend old ones. We can say we want to share what we create, under terms that express our values. And thanks to the lawyers behind CC, we don’t need lawyers to do it.” Jonathan ZITTRAIN / PBERKMAN CENTER FOR INTERNET & SOCIETY | |
| 44 | “Creative Commons provides an important alternative to assign rights to your content, making it easier to share, create and publish content. We have been a supporter of CC since the start and believe it is critical to open new and creative methods of communications.” Dave TOOLE / OUTHINK MEDIA | |
| 44 | “Lulu works every day to solve problems for authors, educators, researchers and other content creators. We’re proud to support Creative Commons and its innovative solutions to this particularly complex issue. Its goal is the same as ours; to encourage and enable creators to bring their works to the world.” Bob YOUNG / LULU.COM | |
| 44 | “Creative Commons is about building infrastructure for a new kind of culture — one that is both a folk culture, and wildly more sophisticated than anything before it.” Jimmy WALES / WIKIPEDIA | |
| 45 | What Is THE POWER OF OPEN WORTH? | |
| 45 | Measuring the contribution of something that is at once an idea, a movement and a platform – an enabler rather than an industry – is difficult. To give an idea of magnitude, a McKinsey Global Institute study published in May 2011 found that the Internet contributes 2.9% of global GDP, or $1.7 trillion annually.!1” The Internet is fundamentally based on open standards, and largely runs on free and open source software. In 2007 the Computer and Communications Industry Association found that the value added in the United States alone by industries dependent on copyright exceptions and limitations is $2.2 trillion annually, or one sixth of the U.S. economy.!2” | |
| 45 | The power of open embodied in Creative Commons adds a new layer of openness to the open standards and software that run the Internet and creates a voluntary expansion of the default permissions to use knowledge based on copyright exceptions and limitations. How much is this new layer of openness worth? We don’t have a currency-denominated number yet, though economists are studying the issue. One might begin by asking what is the value of Wikipedia? Of open educational resources? Of open access research? Of open government? Of legal sharing and collaboration by millions of artists and other creators such as those presented in this book? | |
| 45 | Doubtless impressive, but answers to these questions would miss something fundamental: the value of open isn’t merely static. The true power of open comes from creating an ecosystem in which innovating does not require asking permission. Some kind of electronic communications platform would exist if the Internet were not based on open standards and software. Collaboration and sharing of culture and knowledge would occur without Creative Commons. However, communications and collaboration would be less democratic, less participatory, more unequal, and innovation and growth would be stunted – the opposite of Creative Commons’ vision. A good first approximation of the value of the power of open: priceless. | |
| 45 | How Has ADOPTION OF CREATIVE COMMONS Grown? | |
| 45 | A difficult question given the decentralized nature of the web, but not as difficult as measuring economic value. Since Creative Commons’ first year, we have tracked the number of web links to Creative Commons licenses reported by search engine queries and the number of works licensed at major repositories. Derived from these a very conservative estimate of the approximate minimum number of licensed works at the end of each year is plotted below – from under 1 million works after the first year, to over 400 million at the end of 2010. | |
| 45 | References: !1” #$$%&’‘((()*+,-./01)2.1’-/’3.201*4$5’62$0678$*5’92:845*;<643⇐.1%64;>84$*/4*$<16$$*/5)%3-? !2” http://creativecommons.org/weblog/entry/7643 | |
| 46 | VISUALIZING THE GROWTH | ΟΠΤΙΚΟΠΟΙΩΝΤΑΣ ΤΗΝ ΑΝΑΠΤΥΞΗ |
| 46 | While this chart shows incredible growth, the absolute number of licensed works is probably far larger. Due to the conservative way we estimate, only numbers from Yahoo! Site Explorer and Flickr are actually reflected. The most significant adoption event in Creative Commons’ history, the migration of Wikipedia and other Wikimedia sites to CC BY-SA starting in June 2009, is not directly reflected in the chart. Furthermore, due to changes at Yahoo!, even relative growth is probably understated starting around May 2010. | Ενώ αυτό το διάγραμμα δείχνει την απίστευτη ανάπτυξη, ο απόλυτος αριθμός των αδειοδοτημένων έργων είναι πιθανώς πολύ μεγαλύτερος. Εξαιτίας του συντηρητικού τρόπου μας να υπολογίζουμε, πήραμε μόνο αριθμούς από το Yahoo! τον Site Explorer και το Flickr που αντικατοπτρίζουν την πραγματικότητα. Το σημαντικότερο γεγονός στην ιστορία των Creative Commons, είναι η μετανάστευση των Wikipedia και των υπόλοιπων σελίδων της Wikimedia στην άδεια CC BY-SA από τον Ιούνιο του 2009, δεν αντικατοπτρίζεται άμεσα στο γράφημα. Επιπλέον, λόγω των αλλαγών στο Yahoo!, ο ρυθμός ανάπτυξης είναι πιθανόν να υποεκτιμάται αρχίζοντας γύρω στο Μάιο του 2010. |
| 46 | As use of Creative Commons licenses has grown, the mix of licenses used has changed. After its first year, only about 20% of works were licensed to permit in advance both remix and commercial use – that is, considered fully “free” or “open.” After 8 years, that proportion had approximately doubled. | Καθώς η χρήση των αδειών Creative Commons έχει αυξηθεί, το μείγμα των αδειών που χρησιμοποιούνται έχει αλλάξει. Μετά το πρώτο έτος λειτουργίας της, μόνο το 20% των έργων είχε άδεια που επέτρεπε την εκ των προτέρων επαναχρησιμοποίηση και εμπορική χρήση - δηλαδή, θεωρήθηκε απολύτως «δωρεάν» ή «ανοιχτή». Μετά από 8 χρόνια, το ποσοστό αυτό έχει σχεδόν διπλασιαστεί. |
| 46 | This change seems to indicate that once creators have experienced the power of open, they want more of it! | Η αλλαγή αυτή φαίνεται να υποδηλώνει ότι μόλις οι δημιουργοί βιώσουν τη δύναμη του ανοιχτού, θέλουν περισσότερη από αυτήν! |
| graph | 400MM+Total CC Licensed Works as of 2010 | 400ΧΙΛ + Σύνολο αδειών CC για Έργα από το 2010 |
| graph | 40% Using a fully open CC license as of 2010 | 40% Χρησιμοποιώντας μια εντελώς ανοικτή άδεια CC από το 2010 |
| graph | Total CC Licensed Works 2003-2010 | Σύνολο αδειών CC για Έργα 2003-2010 |
| graph | CC-BY, BY-SA, Public Domain 20% first year, nearly 40% by 2010 | CC-BY, BY-SA, Στο Public Domain 20% το πρώτο έτος, σχεδόν 40% μέχρι το 2010 |
| graph | 500 Million | 500 Εκατομμύρια |
| graph | 400 Million | 400 Εκατομμύρια |
| graph | 300 Million | 300 Εκατομμύρια |
| graph | 200 Million | 200 Εκατομμύρια |
| graph | 100 Million | 100 Εκατομμύρια |
| 47 | The Power of Open | Η Δύναμη του Ανοιχτού |
| 47 | SUPPORTERS | ΥΠΟΣΤΗΡΙΚΤΕΣ |
Υλοποίηση & συντήρηση από την ερευνητική ομάδα OpenWorks
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