The Power of Open

The Power of Open ist eine Sammlung von Statements mehr oder weniger prominenter Kreativer zu freien Inhalten im Allgemeinen und Creative Commons im Speziellen, unter anderem von DJ Vadim oder Vincent Moon. Das Statement von Mark Patterson (PloS) zu „Research as a public resource“:

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.

“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.”

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.”

Patterson now sees a very strong movement toward open access in the publishing field. “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.”

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.”

(CC: BY)

An einer Übertragung ins Deutsche wird gearbeitet.

[via CC-Blog]

Nina Paley: Credit is Due (The Attribution Song)

Urheberrechtlich einwandfreier Ohrwurm von Nina Paley. Hintergrund und Entstehungsgeschichte kann man hier und hier nachlesen.

Movie and song by Nina Paley
Performed by Evanescent (Vocals & Ukele: Bliss Blood, Guitar: Al Street)
Sound effects design by Greg Sextro

Always give credit where credit is due
if you didn’t write it, don’t say it’s by you
just copy the credit along with the work
or else you’ll come off as an arrogant jerk

Always give credit where credit belongs
we know that you didn’t write Beethoven’s songs
pretending you did makes you look like a fool
unless you’re Beethoven — in that case, it’s cool

A transparent system makes cheating unwise
the simplest web search exposes your lies
no one wants their reputation besmirched
which happens to liars when they are web-searched

Proper citation will make you a star
it shows that you know that we know who you are
Plagiarization will only harm you
so always give credit where credit is due!

Lizenz: CC-BY-SA

Geräusche und Sounds aller Art zum freien Download

Wer Geräusche, Sounds oder Samples jeglicher Art sucht und auch weiterverwenden möchte, ist beim Freesound Project definitiv richtig.

Beispiele:

Wie in der Wikipedia gibt es auch hier die höchst unterhaltsame Funktion, sich einfach zufällig irgendeine Seite vorschlagen zu lassen. Und hier geht’s zum Random Sample. Alle Geräusche sind lizenziert unter der Creative Commons Sampling Plus License.

Live in the library 17: Oberpichler – Erika

The next song in the famous and amazingly popular series „live in the library“ was performed last june at the Bezirksbibliothek Rheinhausen. The artists Oberpichler seem to be bookish people. They also played in three book stores this year.

If you find nice clips of live gigs in libraries please tell me in the comments! All songs will be tagged with „live in the library„.

Get it loud in the libraries

The Museums, Libraries and Archives Council (MLA) presents a toolkit for libraries that want to organize concerts in their rooms.

This March sees the national roll-out of Get It Loud In Libraries. The award
winning programme of live music in public libraries, which has witnessed incendiary
performances from critically acclaimed artists as Adele, Bat For Lashes and Florence
+ The Machine, reverberate amongst the traditionally quiet bookshelves. Kicking off
the month of music will be the talented 16 year old pop starlet, Daisy Dares You,
who is seen as the perfect act to launch the UK franchise.

Get It Loud In Libraries originates from libraries in Lancashire, where the tiny
stage has showcased the talents of The Blackout, British Sea Power and Juliette
Lewis. The project was conceived by Stewart Parsons of Lancashire Libraries to
allow more relevant cultural access to libraries for young people who love music
but don’t necessarily use libraries, and is proving a popular original format for
delivering the traditional library brief to entertain, inform and educate.

Get it Loud in Libraries encourages everyone to get involved, so if you or your
library would like to take part, the Get it Loud in Libraries toolkit offers a
step-by-step guide to staging live music events in public libraries.

In the Get it Loud guide there’s plenty of information about booking and all the other things a live venue should know about.

[Thanks to Peter Alsbjer!]

Live in the library 16: Dennis Plutalov

Most of the clips of live music in libraries have been pop and rock music so far. Now, here’s something different. It’s piano player Dennis Plutalov, who performs at the Orlando Public Library.

If you find nice clips of live gigs in libraries please tell me in the comments! All songs will be tagged with „live in the library„.

Live in the library 15: Dave McIntyre

Only semi-live, but:

Enjoy the soft rock stylings of Dave McIntyre as the singer/songwriter performs live at the Orlando Public Library in Orlando, Florida. For more information, videos, and events, visit http://www.ocls.info and visit Dave McIntyre on the web at http://myspace.com/davemcintyremusic

If you find nice clips of live gigs in libraries please tell me in the comments! All songs will be tagged with „live in the library„.

HTML 5 vs. Flash, H.264 vs. Theora

HTML 5 ist (oder wird?) eine Weiterentwicklung von HTML. Eine der Zielsetzung bei der Entwicklung war es, „Schnittstellen zur Arbeit mit verknüpften Multimediainhalten zu schaffen“ (Wikipedia). ReadWriteWeb sagt nun schon etwas vollmundig den Untergang von Flash voraus.

Fakt ist: Videos können mit HTML 5 einfacher eingebunden werden als zuvor. Wer sich für die Technik interessiert, mag sich mal den Quelltext dieses Demos ansehen.

Ein anderes schönes Anwendungsbeispiel für HTML 5 ist die HTML 5 Drum Machine von Random Thinking. Damit kann man mit ein bißchen herumklicken zum Beispiel sowas komponieren. Eigenkompositionen werden in den Kommentaren gerne entgegen genommen!

Auch Youtube setzt auf HTML 5. Leider zeitgleich auch auf auf den proprietären (und kostspieligen) Video-Codec H.264 statt eines offenen Formats wie z.B. Theora. Daher bleibt der Firefox erst einmal ausgeschlossen. Dies widerspricht übrigens der offiziellen Google-Politik in Sachen „offene Standards“:

Open will win. It will win on the Internet and will then cascade across many walks of life: The future of government is transparency. The future of commerce is information symmetry. The future of culture is freedom. The future of science and medicine is collaboration. The future of entertainment is participation. Each of these futures depends on an open Internet.

File under „Sonntagsrede“? Mal sehen, was sich nun entwickelt. Die Reaktionen der Youtube-Fans scheinen größtenteils nicht besonders begeistert auszufallen. Ich kann mir nicht vorstellen, dass Youtube freiwillig auf geschätzte 25-30% der Surfer verzichten möchte. Verbreitung = Werbung = Geld. Eine einfache Rechnung, die den Google-Verantwortlichen auch schon durch den Kopf gegangen sein wird.