{{ feature.description }}
+
+ 
+ 
{{ page.title }} (Team Open) was written by {{ page.writer }} for Creative Commons. This work is licensed under a Creative Commons Attribution 4.0 International License.
+ + {% if page.drawingby %} +
The illustration of {{ page.title }} was created by {{ page.drawingby }}. To the extent possible under the law, {{ page.drawingby }} has waived all copyright and related or neighboring rights under the CC0 Public Domain Declaration.
+ {% endif %} + +Creative Commons is a nonprofit organization that enables the sharing and use of creativity and knowledge through free legal tools.
+Team Open is a project to collect and share stories of the power of Creative Commons licenses.
+If you donate $25 (US) or more to Creative Commons, we’ll send you a complete set of Team Open trading cards.
+The Team Open website, interviews, and trading cards are licensed under Creative Commons Attribution 4.0 International.
+The Team Open caricatures were created by Luke Surl. To the extent possible under the law, Luke has waived all copyright and related or neighboring rights under the CC0 Public Domain Declaration.
+The Team Open logo is set in Mexcellent. This website and the Team Open trading cards are set in Roboto Slab.
+ +LayerVault projects:
+ +The world has changed a lot in the past year, but has it changed enough? Blah blah blah...
\ No newline at end of file diff --git a/ar-aboutcc.html b/ar-aboutcc.html new file mode 100644 index 0000000..a168e3a --- /dev/null +++ b/ar-aboutcc.html @@ -0,0 +1,17 @@ +--- +layout: annualreport +order: 9 +ar-banner-bg: /images/ar-copyrightreform.jpg +bgcolora: "#5C8091" +bgcolorb: "#7ABBE2" +title: About Creative Commons +menu-image: /images/ar-trees.jpg +permalink: /ar/aboutcc/ +published: true +--- + +Creative Commons is a nonprofit organization that enables the sharing and use of creativity and knowledge through free legal tools.
+ +Our free, easy-to-use copyright licenses provide a simple, standardized way to give the public permission to share and use your creative work — on conditions of your choice. CC licenses let you easily change your copyright terms from the default of “all rights reserved” to “some rights reserved.”
+ +Creative Commons licenses are not an alternative to copyright. They work alongside copyright and enable you to modify your copyright terms to best suit your needs.
diff --git a/ar-cc4.html b/ar-cc4.html new file mode 100644 index 0000000..420899d --- /dev/null +++ b/ar-cc4.html @@ -0,0 +1,27 @@ +--- +layout: annualreport +order: 2 +ar-banner-bg: /images/ar-copyrightreform.jpg +bgcolora: "#5C8091" +bgcolorb: "#7ABBE2" +menu-image: /images/ar-trees.jpg +title: A new license for a new era +permalink: /ar/version4/ +published: true +--- + +
We proudly introduce our 4.0 licenses, now available for adoption worldwide. The 4.0 licenses -- more than two years in the making -- are the most global, legally robust licenses produced by CC to date. We have incorporated dozens of improvements that make sharing and reusing CC-licensed materials easier and more dependable than ever before.
+ +We had ambitious goals in mind when we embarked on the versioning process coming out of the 2011 CC Global Summit in Warsaw. The new licenses achieve all of these goals, and more. The 4.0 licenses are extremely well-suited for use by governments and publishers of public sector information and other data, especially for those in the European Union. This is due to the expansion in license scope, which now covers sui generis database rights that exist there and in a handful of other countries.
+ +Among other exciting new features are improved readability and organization, common-sense attribution, and a new mechanism that allows those who violate the license inadvertently to regain their rights automatically if the violation is corrected in a timely manner.
+ +You can find highlights of the most significant improvements on our website, track the course of the public discussion and evolution of the license drafts on the 4.0 wiki page, and view a recap of the central policy decisions made over the course of the versioning process.
+ +The 4.0 versioning process has been a truly collaborative effort between the brilliant and dedicated network of legal and public licensing experts and the active, vocal open community. The 4.0 licenses, the public license development undertaking, and the Creative Commons organization are stronger because of the steadfast commitment of all participants.
+ +With the 4.0 licenses published, we will be turning our attention to official translations of the legal code in partnership with our affiliate network and larger community. Translations of our new deeds are also underway, with a significant number already completed.
+ +Thank you and congratulations to everyone who participated in making 4.0 a reality!
\ No newline at end of file diff --git a/ar-global.html b/ar-global.html new file mode 100644 index 0000000..cb06ddd --- /dev/null +++ b/ar-global.html @@ -0,0 +1,12 @@ +--- +layout: annualreport +order: 3 +ar-banner-bg: /images/ar-copyrightreform.jpg +bgcolora: "#5C8091" +bgcolorb: "#7ABBE2" +title: Global license, global movement +menu-image: /images/ar-trees.jpg +permalink: /ar/global/ +published: true +--- + diff --git a/ar-home.html b/ar-home.html new file mode 100644 index 0000000..24e23af --- /dev/null +++ b/ar-home.html @@ -0,0 +1,24 @@ +--- +layout: annualreport +ar-banner-bg: /images/ar-copyrightreform.jpg +bgcolora: "#5C8091" +bgcolorb: "#7ABBE2" +title: The future is open +permalink: /ar/ +published: true +--- + + {% for i in (1..9) %} + {% for page in site.pages %} + {% if page.layout == 'annualreport' %} + {% if page.order == {{i}} %} + + + + {% endif %} + {% endif %} + {% endfor %} + {% endfor %} \ No newline at end of file diff --git a/ar-letter.html b/ar-letter.html new file mode 100644 index 0000000..5334a2b --- /dev/null +++ b/ar-letter.html @@ -0,0 +1,23 @@ +--- +layout: annualreport +order: 1 +ar-banner-bg: /images/ar-copyrightreform.jpg +bgcolora: "#5C8091" +bgcolorb: "#7ABBE2" +title: A letter from Paul Brest +permalink: /ar/letter/ +menu-image: /images/ar-trees.jpg +published: true +--- + +The future is open.
+ +At its heart, Creative Commons is a simple idea. It’s the idea that when creators build on each other’s work, something amazing happens. And amazing things have been happening.
+ +When CC was founded ten years ago, the law wasn’t keeping up with the potential for creativity on the Internet. But today, the community of CC users is changing the world so quickly that it’s hard for anyone to keep up. Thanks to you, the Internet’s potential is vastly greater today than it was when we started.
+ +In this report, you’ll find out about Creative Commons the organization. You’ll learn where our funding is coming from, what we’re doing with it, and how you can help. But more importantly, you’ll discover how creators, educators, researchers, and governments are using Creative Commons licenses to change their respective corners of the world.
+ +You’ll learn about UNESCO member states’ commitment to making education more accessible to everyone, and find out how new laws in California and British Columbia are making it easier for university students to afford an education. You’ll meet a musician who started selling his music when he started giving it away. You’ll see how scientists are moving from isolation and competition into a culture of sharing and collaboration.
+ +These stories are the lifeblood of Creative Commons. On the surface, this report is about an organization, but it really describes a global network, community, and movement that’s catalyzing massive change. It’s a movement we’re proud to be a part of.
diff --git a/ar-whatyoudid.html b/ar-whatyoudid.html new file mode 100644 index 0000000..bd54055 --- /dev/null +++ b/ar-whatyoudid.html @@ -0,0 +1,12 @@ +--- +layout: annualreport +order: 5 +ar-banner-bg: /images/ar-copyrightreform.jpg +bgcolora: "#5C8091" +bgcolorb: "#7ABBE2" +title: What you did with CC licenses +menu-image: /images/ar-trees.jpg +permalink: /ar/whatyoudid/ +published: true +--- + diff --git a/ar-wherenext.html b/ar-wherenext.html new file mode 100644 index 0000000..585f0dd --- /dev/null +++ b/ar-wherenext.html @@ -0,0 +1,12 @@ +--- +layout: annualreport +order: 7 +ar-banner-bg: /images/ar-copyrightreform.jpg +bgcolora: "#5C8091" +bgcolorb: "#7ABBE2" +title: Where we're going next +menu-image: /images/ar-trees.jpg +permalink: /ar/wherenext/ +published: true +--- + diff --git a/ar-wherethemoneygoes.html b/ar-wherethemoneygoes.html new file mode 100644 index 0000000..513f6bd --- /dev/null +++ b/ar-wherethemoneygoes.html @@ -0,0 +1,20 @@ +--- +layout: annualreport +order: 8 +ar-banner-bg: /images/ar-copyrightreform.jpg +bgcolora: "#5C8091" +bgcolorb: "#7ABBE2" +title: Where the money goes +menu-image: /images/ar-trees.jpg +permalink: /ar/finance/ +published: true +--- + +
In April of 2012, the World Bank adopted an open access policy, requiring that all outputs and knowledge published by the Bank be licensed under Creative Commons licenses, which allow others to use and republish the research. Since then, the World Bank’s Open Knowledge Repository has released thousands of publications freely and openly and become one of the most important hubs for economic scholarship in the world.
+ +Research produced in-house is licensed under the CC Attribution (CC BY) license, and works produced by third parties are under the more restrictive Attribution-NonCommercial-NoDerivatives (CC BY-NC-ND) license. No matter which license it’s under, all of the research is openly available and free to read and download. There are now over 13,200 publications available for free download in the repository.
+ +Carlos Rossel, publisher at the World Bank and leader of the Bank’s open access initiative, says that the reaction from staff and researchers to the open access policy has been very positive. “There have been over two million downloads since the launch of the repository,” says Carlos. “And the open access repository itself has been a benefit for authors, who can see how many times — and from where — their research articles have been downloaded.”
+ +Carlos said that he recently took a look at the Open Knowledge Repository collection in preparation for a talk. He noticed that one of the books available there — a microfinance handbook — had been downloaded over 30,000 times from the repository. Since he was curious about how else the book might be distributed or used, he decided to do a Google search on the book, and noted within the first two pages of results that the book was also being hosted on another website. Carlos was pleased to see that the book is just getting out there via another channel — the point of research in the first place.
+ +The Bank recently conducted a worldwide survey that asked several questions related to the its open access policy and Open Knowledge Repository. The results showed that 71% of academics surveyed had assigned resources from the repository as reading materials for their classes. Carlos assumes that these professors are creating course packs or otherwise directing their students to the free, openly-licensed materials on the Bank’s website, since they’re high-quality and free of charge. More generally, 74% of all respondents said they were more likely to use the content in the repository knowing that it was available for free under open licenses.
+ +Simply providing free public access to publications is a huge benefit to the populations served by the Bank. Creative Commons licenses are making it easier for the publications to spread across the web and inform the work of future researchers.
\ No newline at end of file diff --git a/daniel.html b/daniel.html new file mode 100644 index 0000000..5d80161 --- /dev/null +++ b/daniel.html @@ -0,0 +1,43 @@ +--- +layout: profiles +bgcolora: "#5C8091" +bgcolorb: "#C73E6B" +title: Daniel Branan +writer: David Kindler +drawingby: Luke Surl +drawingbyurl: http://www.lukesurl.com/ +order: 5 +headshoturl: /images/daniel.gif +navurl: /images/navdaniel.gif +blurb: Using remote access and free content to open doors for science students. +twitterhandle: wcet_info +facebookshare: https://www.facebook.com/photo.php?fbid=10152019297362777 +newsletter: https://docs.google.com/forms/d/1-_Z8q6XdCyXWZU3k-ogoy7TrPxhSN7nYHPvjj0MwogA/viewform?entry.239708838=Team+Open+-+Daniel&entry.1860916380&entry.1017428125&entry.1257771276 +source: daniel +permalink: /daniel/ +published: true +--- + +A pioneering group of science educators is using open source software and Creative Commons–licensed courses to allow students to robotically control lab equipment and conduct scientific experiments online. Their ingenuity is increasing access to high-quality educational experiences for online science students.
+ +The North American Network of Science Labs Online (NANSLO) is a collaborative partnership among postsecondary institutions in the U.S. and Canada. The collaborative’s open approach offers enormous opportunities for students, faculty, and participating educational institutions. Open-source software enables remote web control of lab equipment and the courseware developed to support online lab experiments carries a Creative Commons license.
+ +“Open licensing has made it easier to get partnerships on the road,” said Albert Balbon, Supervisor of Distributed Learning, North Island College, Vancouver Island, BC, Canada, and one of the NANSLO leadership team. “There are no roadblocks to us sharing, and nothing stopping other institutions from joining us and feeling more a part of the overall project.”
+ +Daniel Branan, from the Colorado Community College System and NANSLO Lab Director, agrees. “Having this project openly licensed as an upfront condition takes the stress off of all of us. It sets the stage nicely so that everyone knows that everything will be open for sharing. That lowers a lot of barriers.”
+ +Lowering barriers is especially important when your mission explicitly addresses the need to engage “low-income, first generation college students who are at risk of failing from completing their degrees or pursuing science-based careers due to challenges such as work and family obligations or living in rural areas that limit their access to traditional classes.”
+ +A persistent barrier for low-income, first-generation college students has been cost. “One of the main benefits of open licensing is that we don’t have to pass any costs for licensing content to students,” said Albert. While some of the software is proprietary, all of the curriculum and code written by NANSLO to enable remote access to their servers is open and free.
+ +According to Daniel, “All of the curriculum that references remote lab activities is licensed with a Creative Commons CC BY license. While we write it for our labs, it provides useful content that anyone can use for free.”
+ +These same financial benefits extend to host institutions. NANSLO makes access to scientific instruments like spectrometers and sophisticated telescopes possible without each institution needing to invest in their own. Faculty similarly benefit because they can run labs on equipment that might not be available in their own classrooms, and according to Albert, “they don’t have as much curriculum development to do on their part, and we’ll keep the courseware up to date for technology they are using.” Because this courseware is CC-licensed, they not only can use it, but adapt it to fit the needs of their own students and their own teaching style.
+ +Another advantage of the inclusive nature of NANSLO collaborative is the work of discipline panels. Representatives from each of the participating institutions decide together which are the best labs to develop. Previous similar efforts that did not utilize open licensing and collaborative decision making lacked the inclusive nature that this design has accomplished.
+ +As impressive as the direct benefits to students, faculty, and participating institutions are now, Albert and Daniel light up when discussing the potential. “I’m looking at the possibilities for delivering science labs to high school and elementary classrooms, even to home schooled students,” said Albert. “Another area that I’ve thought about for many years is using the technology for people with disabilities who would not be able to accomplish these experiments in a traditional science lab.”
+ +Daniel has his sights set a little further from home. “We don’t have any grant funding for this now, but can you imagine moving into international educational areas where they might not have access to some of this equipment? Once you are on the web, you have the potential to reach anyone anywhere where they have a computer and internet connection.”
+ +NANSLO has harnessed the power of open source software and CC-licensed content to lower the cost, increase the accessibility, and ensure the quality of remote science labs and online science classes. By removing barriers, they have created opportunities for science education previously beyond the reach of many students.
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100644 index 0000000..bd4bbec Binary files /dev/null and b/images/uparrow.png differ diff --git a/index.html b/index.html new file mode 100644 index 0000000..b5238d6 --- /dev/null +++ b/index.html @@ -0,0 +1,42 @@ +--- +layout: none +--- + + + +As a high-school student building a science fair project, Jack Andraka developed a highly innovative method for detecting a rare type of pancreatic cancer. Like all scientific discoveries, Jack’s research built on the progress of other researchers. But without an institutional affiliation, he didn’t have access to the expensive scholarly databases that many scientists have. Therefore, he’s quick to extol the value of free and open access to scientific research. “Access to knowledge is, you know, a basic human right,” Jack says. “Knowledge should not be commoditized; it wants to be free.”
+ +While collecting background information for his project, Jack spent hours searching for journal articles to guide his work, and often found it difficult or impossible to get them. He explains how access to research findings is essential for other discoveries like his: “I’ve seen so many great ideas get killed in the lab when my peers are stopped by closed access [to research articles].”
+ +Jack spent close to a thousand dollars to view journal articles and regretted paying for many articles that ended up not being useful after he’d purchased them. In some cases, he had to reach out to researchers by email to ask them if they could send him copies. Jack is quick to point out that that for scientists around the world who aren’t affiliated with research institutions, these costs and other barriers to access are stalling new discoveries. “We need the best and most recent research to be available to everyone,” says Jack.
+ +He relied heavily upon the free articles archived on the National Institute of Health’s PubMed Central research archive, whose Creative Commons–licensed holdings make up over one-third of a million articles. CC licenses act like grease in the gears of scientific progress, allowing important innovations like his to be shared between researchers and spread throughout the community more quickly.
+ +Since then, Jack has become a vocal advocate for the open access movement, which seeks to give the public free, immediate access to publicly-funded research. He continues to look to open access research to guide his future work, and is developing his award-winning project into an invention that may save lives and lead to other advancements in science and healthcare technology. Jack’s story is a reminder of what’s possible when motivated young people can get their hands on knowledge, which is only possible if researchers and journals share their work with everyone.
\ No newline at end of file diff --git a/john.html b/john.html new file mode 100644 index 0000000..86fb7d7 --- /dev/null +++ b/john.html @@ -0,0 +1,39 @@ +--- +layout: profiles +bgcolora: "#626C72" +bgcolorb: "#626FA9" +title: John Wetzel +writer: David Kindler +drawingby: Luke Surl +drawingbyurl: http://www.lukesurl.com/ +order: 3 +headshoturl: /images/john.gif +navurl: /images/navjohn.gif +blurb: When he openly licensed his test prep course, his customers became his collaborators. +twitterhandle: creativecommons +facebookshare: https://www.facebook.com/photo.php?fbid=10152019297492777 +newsletter: https://docs.google.com/forms/d/1-_Z8q6XdCyXWZU3k-ogoy7TrPxhSN7nYHPvjj0MwogA/viewform?entry.239708838=Team+Open+-+John&entry.1860916380&entry.1017428125&entry.1257771276 +source: john +permalink: /john/ +published: true +--- + +When John Wetzel offered his WikiPremed course freely to students preparing for the MCAT, he was not primarily addressing the high cost of MCAT preparatory services. He offered his highly integrated approach to reviewing science classes as a way to overcome what he saw as the compartmentalization of science education. The fact that it was free was a bonus.
+ +Thanks to science fiction writer and open advocate Cory Doctorow, John shares WikiPremed content under the Creative Commons Attribution (CC BY) license, which allows anyone to reuse the content for any purpose, commercial or noncommercial. John credits Cory’s advocacy with his move to CC licenses.
+ +Aside from the fact that it’s free and openly licensed, what makes WikiPremed different from other premed curriculum? According to John, premed students are constantly getting ready for the “test of the week,” meaning that the takeaways from each unit aren’t very well contextualized. He first noted this gap while tutoring med school students. “Even the straight-A students didn’t get the connections between the biological sciences and chemistry and physics.”
+ +Wetzel set out to create a new approach that not only prepared students for the MCAT, but also connected the dots in their science education. “I started creating a curriculum that taught the traditional subjects out of order to provide the basic knowledge needed to understand the interrelationships that were not evident when the subjects were taught alone.”
+ +The WikiPremed MCAT Course was launched online in 2009 and now has 2,000 visitors a day. Students appreciate both the approach and that it is openly licensed and free to use. John keeps messages from students who contact him with their gratitude. Andrew Winegarner’s note captures their spirit of gratefulness:
+ +I just wanted to thank you for doing this entire series. I suggested this site to everyone in the premed club at my university, and we now all use it as the main means to study for the MCAT. So, thank you so much for putting all of this online and for free as well. Many of my classmates were unable to afford Kaplan courses and so on, so this is a life saver to them, and several of the ones who have already taken the Kaplan course agree that this site provides a better and more robust study schedule.+ +
John sees open licensing as an invitation for others to get involved and suggest improvements. The CC licenses let other experts poke around and suggest improvements that have made it a stronger product and curriculum. “Just making it open makes the world your editor,” said Wetzel. “People see that you are trying to help students and they value that, and it makes them happy to help you.” Because WikiPremed is CC-licensed, it also allows use of other CC-licensed work. “The biggest benefit in this regard is the availability of the biology images from Wikimedia Commons,” he says.
+ +John has also managed to create a business model that draws on the same content to create products like MCAT flash cards, crossword puzzles, and even an MCAT board game. These products support him and his family and allow him to continually improve the content.
+ +Cory Doctorow’s philosophy also inspired John to structure his business in “the most open way possible.” In John’s words, “Improving science education seems so important to our collective future that if you have something valuable to add, you should, and then allow people to take advantage of it by making it openly available.”
+ +Someday soon, the world will be full of doctors with a better understanding of science because John Wetzel shared his knowledge in the most open way possible.
\ No newline at end of file diff --git a/jonathan.html b/jonathan.html new file mode 100644 index 0000000..ada603d --- /dev/null +++ b/jonathan.html @@ -0,0 +1,37 @@ +--- +layout: profiles +bgcolora: "#786D6B" +bgcolorb: "#7F608B" +title: Jonathan Mann +writer: Elliot Harmon +drawingby: Luke Surl +drawingbyurl: http://www.lukesurl.com/ +order: 12 +headshoturl: /images/jonathan.gif +navurl: /images/navjonathan.gif +blurb: The most prolific songwriter we know is also the most generous with his music. +twitterhandle: songadaymann +facebookshare: https://www.facebook.com/photo.php?fbid=10152019297482777 +newsletter: https://docs.google.com/forms/d/1-_Z8q6XdCyXWZU3k-ogoy7TrPxhSN7nYHPvjj0MwogA/viewform?entry.239708838=Team+Open+-+Jonathan&entry.1860916380&entry.1017428125&entry.1257771276 +source: jonathan +permalink: /jonathan/ +published: true +--- + +Songwriter Jonathan Mann was in the mood for a fun challenge. He decided that he’d write a new song every day for one month. Nearly five years later, he hasn’t stopped.
+ +Jonathan’s songs are often goofy, but they can be heart-wrenching too, like the one that he and his ex-girlfriend Ivory King wrote together to announce that they were breaking up or his song based on the controversial Torture Memos. But the real gems are when he covers topics that most songwriters wouldn’t think to cover — when he was trying to sell his bed, he wrote a song to advertise it. He also wrote one addressing complaints about the iPhone 4 antenna, and Steve Jobs used it in one of his keynote presentations.
+ +Jonathan uploads his music videos to YouTube every day, and offers downloads on his Bandcamp and SoundCloud pages. And every song — 1780 and counting — is available to share, remix, and reuse under a Creative Commons license.
+ +“It’s kind of a no-brainer to me,” Jonathan says. “I don’t even really understand why anyone would do anything different. It makes such simple sense. You’re not losing the rights to your music. You’re not giving up control; you’re actually gaining control by making it so that more people can discover your music.
+ +“When I find a new band I like, after I’ve listened to them for a couple weeks online, I’m so psyched to jump onto their Bandcamp page and pay them a hundred dollars or however much the most I can pay them is, to buy whatever they have to sell me. And to me, that’s the right model. When you find somebody that you’re totally into, you’ll want to give them lots of money.”
+ +And that’s the philosophy that Jonathan has built his career on: give people the music for free, and more than a few of them will come back to pay for it. “If somebody stumbles across me and they start listening to songs and they keep clicking and they keep clicking, I want them to feel so excited by what I’m doing that they want to pay me.”
+ +What gets Jonathan excited is encouraging people to spend a little more time working on the creative projects they love. “So many people, when they hear what I do, they tell me that they wish that they could be making more of whatever it is they make. They wish that they were more tapped into their creativity.”
+ +Why do people lose touch with their creativity? If you ask Jonathan, it’s because they worry too much about making it perfect. “The mindset that people need to get away from is this idea that every time you sit down to make something, it has to be great. People put themselves under tremendous pressure to make something good. As soon as you let go of that pressure to make something good, you open the floodgates. Some of it isn’t going to be good, and that’s totally cool. Maybe even get excited about the crap, just let it be crappy.”
+ +Jonathan’s just-do-it approach to creativity is contagious — “A lot of my YouTube followers are teenage songwriters,” he says with obvious pride. But his music is contagious too. He doesn’t just let people download and share his songs; he writes songs that you have to share as soon as you hear them.
\ No newline at end of file diff --git a/kasyoka.html b/kasyoka.html new file mode 100644 index 0000000..f3ba025 --- /dev/null +++ b/kasyoka.html @@ -0,0 +1,37 @@ +--- +layout: profiles +bgcolora: "#67776E" +bgcolorb: "#4457A4" +order: 11 +title: Kasyoka Mutunga +writer: Jane Park +drawingby: Luke Surl +drawingbyurl: http://www.lukesurl.com/ +headshoturl: /images/kasyoka.gif +navurl: /images/navkasyoka.gif +blurb: How open educational resources brought running water to a community in Kenya. +twitterhandle: kasysalim +facebookshare: https://www.facebook.com/photo.php?fbid=10152019297497777 +newsletter: https://docs.google.com/forms/d/1-_Z8q6XdCyXWZU3k-ogoy7TrPxhSN7nYHPvjj0MwogA/viewform?entry.239708838=Team+Open+-+Kasyoka&entry.1860916380&entry.1017428125&entry.1257771276 +source: kasyoka +permalink: /kasyoka/ +published: true +--- + +At Mwiruti High School in Eldoret, Kenya, a group of students complained of having to carry water in from the well every day to take showers, and wished there were a way of making the water flow to them automatically. Through Twitter, the students discovered a resource that turned out to be a person — a plumber from the Netherlands who was able to walk them through the steps needed for a do-it-yourself plumbing system. Through tweets, video tutorials, and additional resources that the plumber linked them to, the students built a makeshift system that allowed them to take showers without having to make the daily trip to their water source.
+ +Another student, Papa Samba Dieng Diallo from El Hadji Malick Sy High School in Senegal, wanted to tackle a social problem: How do you bring Africans together to share knowledge when they are dispersed over so many regions and with so many languages? Papa Samba searched online and found MIT OpenCourseWare and YouTube videos — first on science, and then on various other subjects. He was inspired; if these world-renowned universities were sharing their knowledge, what was stopping him and other Africans from sharing their own? Because Senegal and most of West Africa is French-speaking, Papa Samba thought that if people in his region learned more English, they could communicate better with Africans from other regions. So in collaboration with the English club at his school and two faculty members, he created videos and text resources for teaching English. They uploaded the videos and resources online under a CC license to encourage other Africans to adapt it for their regions. The more Africans who learned English, the more united the continent would become under a common language.
+ +Both groups of students were part of an after-school program that introduced the concepts of Open Educational Resources and Creative Commons licensing. A School of Open initiative, it is led by volunteers Kasyoka Mutunga, a 19-year old law student, and Simeon Oriko, a 24-year old developer.
+ +In each case, it wasn’t always immediately obvious that CC licenses were playing a role, but Kasyoka says that by the second week of the School of Open program, the students definitely got it.
+ +First, we wanted to let them realize the value of open materials online. Then [in the second week] we asked them, ‘What do you think enables all this stuff to happen? For example, videos from MIT, document templates from X institution or university? How do these things exist?’ This is the point where we introduce them to the CC licenses. Then we go back to copyright; if these materials were copyrighted, would they have been able to achieve their goals?’ And they answer, ‘No, because I wouldn’t have been able to use MIT OpenCourseWare materials the same way. I would have had to ask so-and-so for permission. These videos enable me to experience the classroom without having to fly across the world.’+ +
Access to resources is only the beginning; all of the students’ projects involve remixing and building on CC-licensed resources. Students create their own videos, drawing from a variety of CC-licensed media, and in the process of uploading and sharing their final projects, they have to think about what CC license they will choose for their own work.
+ +Kasyoka and Simeon have designed the program around the students’ needs and interests, which Kasyoka finds is a proven working model. This way, “OER [open educational resources] have a direct impact on their personal mission, which gets them receptive to the idea of openness. So once they are familiar with open resources based on their personal effort, they will explore how open resources relate to their ambition. Then they become active participants in open culture.”
+ +So how did Kasyoka get into all this? Well, when she was a student at Precious Blood High School, Simeon was running Digital Camps at her school through Jamlab, a community of peers providing mentorship, and she was one of his mentees. Upon graduating, she heard about the School of Open and wanted to combine the two efforts to teach about open educational resources and Creative Commons licensing, so they started School of Open Kenya, which Simeon has taken over since Kasyoka started her graduate studies.
+ +When asked to describe the impact of CC licensing on her and her students lives, Kasyoka said, “To most people, CC is a legal tool — this thing that [builds on] copyright. But when you actually go out in the field and you see it influencing students’ lives (and me personally), it stops becoming a legal thing. It becomes an instrument that people are using to advance themselves. It’s not just a legal thing that was invented in an ivory tower; it is actually changing lives. It’s huge.”
\ No newline at end of file diff --git a/khalid.html b/khalid.html new file mode 100644 index 0000000..7f81fed --- /dev/null +++ b/khalid.html @@ -0,0 +1,40 @@ +--- +layout: profiles +bgcolora: "#67776E" +bgcolorb: "#3A8964" +title: Khalid Albaih +writer: Meryl Mohan +drawingby: Luke Surl +drawingbyurl: http://www.lukesurl.com/ +order: 2 +headshoturl: /images/khalid.gif +navurl: /images/navkhalid.gif +blurb: He wanted his cartoons to empower his region, so he empowered people to share them. +twitterhandle: khalidalbaih +facebookshare: https://www.facebook.com/photo.php?fbid=10152019297577777 +newsletter: https://docs.google.com/forms/d/1-_Z8q6XdCyXWZU3k-ogoy7TrPxhSN7nYHPvjj0MwogA/viewform?entry.239708838=Team+Open+-+Khalid&entry.1860916380&entry.1017428125&entry.1257771276 +source: khalid +permalink: /khalid/ +published: true +--- + +Khalid Albaih initially wanted to lock away his art from those who didn’t credit him. “As an artist, I want my work out there, but I want my name out there as well,” explains Khalid. When Bilal Randeree, a CC Qatar affiliate member, introduced Khalid to CC licenses in 2010, he had a solution to both problems. With the requirement of attribution on all of the Creative Commons licenses, it was the easiest way for Khalid to share his art freely, reach a mass audience, and retain his name on his art.
+ +Khalid is a Sudanese political cartoonist based in Qatar. He self-publishes Khartoon! — its name a twist on the capital city of his home country, Sudan. His cartoons are a frank social and political commentary on life in Sudan, the Arab world, and the whole globe.
+ +As a political cartoonist based online, sharing is essential for Khalid. As a region undergoing massive social change, sharing is essential for the Arab world.
+ +“Breaking down the misunderstanding and bridging the gap between east and west and creating a dialogue is my main focus with creating my art. I try to push boundaries with my art and try to reach new people.”
+ +Khalid’s ultimate goal is for his messages to be heard. And after releasing his works under CC, his messages were heard. Khalid’s work spread around the world — instantly. “I’m very surprised that it happened so quickly. I didn’t know what to make of it. Other artists see how successful it is right now, and how far it has spread. I don’t think I need to say much more [about CC licenses]. It shows for itself.”
+ +Just a few years after starting to use CC licenses, Khalid’s work has been shared by journalists, organizations, and even graffiti’d in Tahrir Square during the Arab Spring revolution. He has been featured worldwide in publications like The Economist, New York Times, Al Jazeera, BBC, and The Atlantic, as well as the Edge of Arabia gallery in London, and done art exhibits in countries like Sudan, Austria, Egypt, and Italy — just to name a few. Next up, Khalid is working on a graphic novel about the history of Sudan, its identity, culture, and traditions.
+ +“In spite of all the censorship [in the Arab world], I still manage to be here, and I think CC is a big part of that. My biggest accomplishment is being where I am today, even with the surroundings that I have.”
+ +Despite this success, Khalid must continue to work full-time in order to stay in Qatar and works as the Head of Multi-Media in Qatar Museum Authority’s Public Art and Exhibitions. His cartoons are a side project. “If anything happens to my residency here, I have to go back to Sudan where I could be dead in a week […] Every time I enter Sudan, I don’t know what’s going to happen. It’s something you come to terms with,” says Khalid. “I see it happening every day.”
+ +It’s this stark reality — and love for his region — that keeps Khalid in Qatar, even though in another country, perhaps a different region, Khalid could easily pursue cartoons full-time with his stream of offers and commissions. But Khalid isn’t keen on moving:
+ +“We’re trying to fight in this region. They’re trying to keep all the power and knowledge to themselves. People should support Creative Commons if they care about what they’re doing, and they want to get their work to as many people as possible; if they care about collaborating with people all over the world together and coming up with something beautiful… this is what we’re supposed to be doing — what the internet was made for.“
+ diff --git a/miyoung.html b/miyoung.html new file mode 100644 index 0000000..d739cfe --- /dev/null +++ b/miyoung.html @@ -0,0 +1,41 @@ +--- +layout: profiles +bgcolora: "#786D6B" +bgcolorb: "#C7393C" +order: 4 +title: Miyoung Yi +writer: Meryl Mohan +drawingby: Luke Surl +drawingbyurl: http://www.lukesurl.com/ +headshoturl: /images/miyoung.gif +navurl: /images/navmiyoung.gif +blurb: When she shared her art for free, more Korean artists followed her lead. +twitterhandle: netstrolling +facebookshare: https://www.facebook.com/photo.php?fbid=10152019297622777 +newsletter: https://docs.google.com/forms/d/1-_Z8q6XdCyXWZU3k-ogoy7TrPxhSN7nYHPvjj0MwogA/viewform?entry.239708838=Team+Open+-+Miyoung&entry.1860916380&entry.1017428125&entry.1257771276 +source: miyoung +permalink: /miyoung/ +published: true +--- + +Everyone is an artist — according to Miyoung Yi.
+ +Miyoung is an independent artist and Creative Commons activist. She grew up in South Korea, studying engineering at university and sociology in graduate school. Those attributes don’t often lead to becoming an independent artist. Yet, when Miyoung began working at CCKorea in 2008, she met artists, government officials, and businesspeople who all had one thing in common: the desire to use free content.
+ +In South Korea, like many other countries, sharing content and creative works for free is not the norm. “Connecting artists to the sharing culture needed more help,” says Miyoung. It was difficult for Miyoung to find good success stories of CC license use to persuade people to try CC, especially since most of the case studies came from abroad and left little inspiration for creators in Korea. To show fellow Koreans the power of sharing their creativity, Miyoung resolved to make herself a success story.
+ +Drawing and traveling are Miyoung’s passions, and CC licenses are now an integral part of that dream. In 2012, she published a crowd-funded paper book of sketch travel from Eastern Europe and the Mediterranean and placed the drawings under CC licenses, later releasing the eBook under the Creative Commons Attribution (CC BY) license, which allows anyone to reuse or remix the book as long as they attribute her.
+ +On top of selling over 400 copies of her paper book and acquiring over 4,000 readers of her eBook, companies also started to pay attention. As her art spread and curiosity about Miyoung grew, organizations began contacting her to feature her art in various projects, such as magazines, mobile eBook readers, eBook publishers, cafes, and major advertisements, including one by CJ E&M, the largest promotion company for music and theatre in Korea.
+ +With these successes, Miyoung is now able to earn income from presentations and drawing workshops to promote the sharing culture. Ultimately, Miyoung’s goal is to to introduce CC activists and artists to the general public so Koreans have tangible cases from which to draw inspiration. And Miyoung has become one of those tangible cases. Everyone from individual artists to commercial publishers, advertisers, and broadcasters are able to remix Miyoung’s art — even though she is an amateur, says Miyoung.
+ +Miyoung also collects these cases of remix and reuse on her blog. It’s a symbiotic sharing relationship: as other artists are able to use works for free, Miyoung is in turn introduced to new individuals, artists’ groups, and companies — each one furthering the success of the other.
+ +In one example, Miyoung wanted to draw her home country of Korea, as “there is not enough free content of Korean scenery on the internet.” Soon after, the CEO of kozaza.com, a Korean service similar to Airbnb, suggested she draw hanoks — traditional Korean houses. In a collaborative project with other independent artists, they archived Korean traditional culture through hanok illustrations that were used as souvenirs and sold by the guesthouses on Kozaza.
+ +“I can see people are inspired by me, and they are moving forward,” says Miyoung. New artists are springing up and releasing their own works and publishing their own books under CC licenses; others are engaging in collaborative art projects with tangible benefits. In the end, Miyoung feels her biggest accomplishments are simply being able to embody the messages that “open works really works” and “anyone can be an artist.”
+ +“[Creative Commons] can pave an alternate path to success outside of big capital, big companies, and big industries.”
+ +Next, look out for Miyoung’s crowd-funding project for the second CC art book of traveling in South America.
diff --git a/openbydefault.html b/openbydefault.html new file mode 100644 index 0000000..00fca2d --- /dev/null +++ b/openbydefault.html @@ -0,0 +1,33 @@ +--- +layout: annualreport +ar-banner-bg: /images/ar-copyrightreform.jpg +bgcolora: "#5C8091" +bgcolorb: "#7ABBE2" +title: Open by default +menu-image: /images/ar-trees.jpg +permalink: /ar/openbydefault/ +order: 4 +published: true +--- + +At its core, Creative Commons is rooted in the broader work to reform copyright. The founders of Creative Commons believed that copyright law was out of sync with how people share content on the Internet, and they developed the CC licenses as one way to address that problem. But we'd like to see copyright law itself better aligned to its original purpose--to enable and reward creative participation in culture and society.
+ +From time to time, people in our community bring up the question of whether Creative Commons should be only a steward of the CC licenses, or also a steward of the broader participatory culture that the licenses are meant to promote.
+ +Creative Commons affiliates, board, and staff have worked together over the past year to develop the policy statement above. The need for a statement like this became apparent at the 2012 Global Congress on Intellectual Property and the Public Interest in Rio de Janeiro. Several CC affiliates attended, many who work on copyright reform initiatives alongside their CC outreach. In Rio, affiliates described the dual nature of their work, which they feel sometimes requires removing their “CC Affiliate hat” when involved with reform efforts. They argued that developing tools for sharing creative content and arguing that outdated copyright laws be changed to better support legal sharing were two different sides of the same coin. Affiliates asked for clarification of the organization's policies on affiliates engaging directly in copyright law reform proposals.
+ +Over the next several months, Creative Commons drafted a statement that re-emphasizes the many benefits that CC licenses bring to society. But it also acknowledges the limitations of CC and expresses the need for reform of the current copyright system. CC affiliates came together in Buenos Aires in August 2013 to discuss the position of Creative Commons in relation to copyright reform. Over 100 affiliates and supporters participated in a day-long pre-conference event. The policy position was drafted and reviewed by the board of directors, affiliates, and staff.
+ +There are several reasons that we feel such a position is useful--and necessary. First, there have been several proposed laws (like SOPA/PIPA) and trade agreements (ACTA/TPP) that if enacted would be detrimental to user rights to access and use information. And, we’ve heard that in some policy discussions the success of CC as a voluntary licensing scheme is being used by incumbent interests as evidence that fundamental copyright reform is unnecessary. This is incorrect. As we wrote in March,
+ +[The] existence of open copyright licenses shouldn’t be interpreted as a substitute for robust copyright reform. Quite the contrary. The decrease in transaction costs, increase in collaboration, and massive growth of the commons of legally reusable content spurred on by existence of public licenses should drastically reinforce the need for fundamental change, and not serve as a bandage for a broken copyright system.+ +
The passage of increasingly harsh copyright regulations has the potential to render CC licenses and tools ineffective. The aim of these laws are counter to CC’s mission and vision. Second, it’s clear there are some areas of copyright where open licensing won’t solve the problem. One example is increasing access to copyrighted works for the visually impaired. Paul Keller explains this well:
+ +Take the WIPO treaty for the visually impaired: There had to be a treaty because a voluntary or market driven solution to end the book famine for visually impaired people in the developing world did not emerge even though the problem had been known for a long time. Quite clearly the problem cannot not be solved by encouraging publishers to license their works openly and, instead, it required a tailored legislative approach that builds on new limitation and exemptions that address this specific issue.+ +
Third, many CC affiliates are already deeply embedded in copyright reform activities as a part of their broader legal, policy, and digital rights advocacy work. It makes sense for those affiliates engaged in reform efforts to be able to speak and engage wearing their “CC Affiliate hat,” instead of trying to maintain the ambiguous and sometimes arbitrary separation between their “CC work” and the work they do supporting user rights and the public interest.
+ +While we think this policy statement is noncontroversial, we must proceed with care. Historically, our organization has not been heavily involved in copyright reform efforts. Instead, we’ve been focused on the development and stewardship of the licenses and public domain tools. And this will certainly continue to be the case. Direct advocacy supporting more fundamental copyright reform has taken a backseat, for several reasons. First, we recognize and appreciate the value of neutrality, and acting as a responsible and impartial steward of our licenses, no matter who wishes to use them. Making our tools the best they can be and educating about how to use them are our core tasks. Second, as a U.S. based 501(c)(3) nonprofit corporation, we are constrained in our ability to engage in lobbying activities. Any lobbying conducted by CC headquarters staff will continue to be carefully tracked and reported. And lobbying by CC Affiliates will continue to be on behalf of the jurisdiction team in accordance with our MOU and established guidelines. Finally, there are groups that are well-positioned for advocacy activities, such as the Electronic Frontier Foundation, Open Rights Group, Open Knowledge Foundation, and La Quadrature du Net. We support and promote the crucial, timely work of these and other groups.
+ +We reaffirm that the mission of Creative Commons will sometimes call for our involvement in reform efforts. At the Creative Commons Global Summit in Buenos Aires, Lawrence Lessig gave a talk entitled, “Laws that Choke Creativity”. Lessig said he supports the fundamental freedom to remix. “We need to share more, and share more legally,” he said. “But in order to do so, the law must change.” He said that Creative Commons is not the complete solution. “We need real change in real law if these freedoms are to be secured.”
diff --git a/piya.html b/piya.html new file mode 100644 index 0000000..5d3327d --- /dev/null +++ b/piya.html @@ -0,0 +1,51 @@ +--- +layout: profiles +bgcolora: "#5C8091" +bgcolorb: "#4281C0" +title: Piya Sorcar +writer: Meryl Mohan +drawingby: Luke Surl +drawingbyurl: http://www.lukesurl.com/ +order: 1 +headshoturl: /images/piya.gif +navurl: /images/navpiya.gif +blurb: Disseminating free HIV/AIDS education to millions of people around the world. +twitterhandle: TeachAIDS +newsletter: https://docs.google.com/forms/d/1-_Z8q6XdCyXWZU3k-ogoy7TrPxhSN7nYHPvjj0MwogA/viewform?entry.239708838=Team+Open+-+Piya&entry.1860916380&entry.1017428125&entry.1257771276 +facebookshare: https://www.facebook.com/photo.php?fbid=10152019297617777 +source: piya +permalink: /piya/ +published: true +--- + +Dr. Piya Sorcar is the founder and CEO of TeachAIDS. At TeachAIDS, Piya leads a team of world experts in medicine, public health, and education to develop innovative, deeply researched, and culturally appropriate software for HIV/AIDS prevention around the world. All of these materials are under a Creative Commons Attribution-NonCommercial-NoDerivatives (BY-NC-ND) license, making it possible for individuals and organizations to disseminate education to those who need it the most — for free.
+ +To date, the material is available in 15 languages and has reached over 70 countries and numerous educators, governments, and NGOs, impacting millions of lives for the better.
+ +TeachAIDS developed its first fully customized versions of the TeachAIDS animated software in 2010 in the state of Andhra Pradesh, India, featuring the voices and likenesses of some of the state's most renowned cultural icons. With a population of 84 million, the highest stigma against those who are HIV positive in India, and with India having the third highest number of HIV-positive people in the world, Andhra Pradesh was a prime area for TeachAIDS to distribute its product.
+ +A few years ago, the stigma was so high in this area that HIV-positive children were expelled from schools for fear that the virus would spread to other children. The expulsion resulted in a strong public outcry, with parents and educators coming together for public debates in late 2009. Eventually, parents conceded that they didn’t know enough about HIV and asked the government to provide more information — leaving government officials at a loss. There were no appropriate, existing HIV educational materials available for distribution.
+ +Working with the state government and local entities, TeachAIDS was prepared to fill that void in health education. In 2010, TeachAIDS launched their materials in the state, and by 2011, the Andhra Pradesh State AIDS Control Society distributed 25,000 copies of TeachAIDS materials to schools and hospitals around the state and actively use the program to this day.
+ +Coming full circle — the same HIV positive children that sparked a public outcry in Andhra Pradesh were eventually let back into schools. In a state where sex education is taboo, TeachAIDS material has catalyzed a governmental, societal, and cultural change. By making the materials free and available, it has spread to the millions of people in Andhra Pradesh. “It’s because of CC that these materials reached thousands of schools in a location where the education was desperately needed,” says Piya. “The only reason people can use what we have is because of Creative Commons. They can make as many copies as they want, which they couldn’t do otherwise.”
+ +Once TeachAIDS produces those free resources, anyone can use them for free, without even asking for permission. Those same resources that Piya’s team developed for Andhra Pradesh helped another community on the other side of the globe.
+ +In Kenya, Lena Koh tells her story about using TeachAIDS as a Health Program Development Director at Maasai Wilderness Conservation Trust in the Chyulu Hills.
+ +Lena first came across TeachAIDS during an internship designing an HIV/AIDS health education program in India. As an intern, there was no budget to spend on gathering materials. “If TeachAIDS wasn’t for free, I would not have been able to use it. I feel it is essential for the materials to be free. I don’t think I would’ve ‘discovered’ this material if it wasn’t,” says Lena.
+ +When Lena started her position in Kenya, she turned to TeachAIDS once again — this time to its Swahili language version. “I think free access to TeachAIDS has garnered interest from different organizations and individuals that are willing to help translate the material for free, resulting in TeachAIDS being able to roll out the video in so many languages, so quickly.”
+ +Armed with the tools to aid in HIV prevention, Lena presented the material to Maasai’s youth and teachers during its annual sports tournament. In a video interview, Elijah and Moses, two teachers from the local primary school, commented on HIV awareness in their community and the TeachAIDS material: “The challenge we face is the dissemination of information. The community lacks the [education] on this [illness],” says Elijah.
+ +This lack of information often leads to stigma, and the perpetuation of misinformation. TeachAIDS material was able to break down myths and misconceptions about how HIV is transmitted, some of which Elijah and Moses had up until watching the videos.
+ +“We are now able to go on teaching our peers about HIV. [Right now] they don’t have the [knowledge] of how they can prevent themselves against HIV,” says Moses.
+ +According to Lena, “As teachers, [Elijah and Moses] are in the best position to disseminate the information they have learned to their students. The most wonderful thing about [TeachAIDS] being free is that I can share it with others! […] Many comment that they’ve never seen anything like it before and appreciate the easy access to such a valuable teaching tool.”
+ +TeachAIDS is making a true impact in the lives of millions. The correct knowledge combined with open licensing and access to the materials continue to allow Piya, Lena, Elijah, and Moses to help others in the fight against HIV.
+ +“With basically all of our stories, the only reason people can use what we have is because of Creative Commons. It’s 100% due to the way CC licenses work,” says Piya.
\ No newline at end of file diff --git a/ramzi.html b/ramzi.html new file mode 100644 index 0000000..ea1e79f --- /dev/null +++ b/ramzi.html @@ -0,0 +1,41 @@ +--- +layout: profiles +bgcolora: "#626C72" +bgcolorb: "#E5B33F" +order: 6 +title: Ramzi Jaber +writer: Meryl Mohan +drawingby: Luke Surl +drawingbyurl: http://www.lukesurl.com/ +headshoturl: /images/ramzi.gif +navurl: /images/navramzi.gif +blurb: He shared data visualizations on social injustices to increase equality in Palestine. +twitterhandle: visualizingpal +facebookshare: https://www.facebook.com/photo.php?fbid=10152019297807777 +newsletter: https://docs.google.com/forms/d/1-_Z8q6XdCyXWZU3k-ogoy7TrPxhSN7nYHPvjj0MwogA/viewform?entry.239708838=Team+Open+-+Ramzi&entry.1860916380&entry.1017428125&entry.1257771276 +source: ramzi +permalink: /ramzi/ +published: true +--- + +Visualizing Palestine describes itself as the intersection of communication, social sciences, technology, design, and urban studies for social justice — an apt description. It is a data visualization project by Visualizing Impact that tells powerful, rights-based narratives of Palestine/Israel using data and creative visuals; stories such as the unfit drinking water in Gaza, the ongoing displacement of Palestinians, and the imprisonment of Palestinian civilians without charge or trial.
+ +There are many reports and documents that outline these injustices, but what the reports don’t provide is an understandable, accessible form of communication for the public. Visualizing Palestine is changing this — making this information more available, digestible, and compelling.
+ +“The problem is in our part of the world, there’s not much content creation — it’s appalling,” explains Ramzi Jaber, cofounder of Visualizing Palestine. “It’s incredibly difficult to gather data, especially when it’s so opaque in the Arab world.” While injustices in Palestine are comparatively well documented, other areas in the Arab world are more murky — making the sharing of this data all the more important. “I’m actually surprised CC licenses are not as prevalent as they should be,” continues Ramzi. “It’s a difficult concept to understand at first, but then it becomes intuitive.”
+ +All of Visualizing Palestine’s work is licensed under Creative Commons Attribution-NonCommercial-NoDerivatives (BY-NC-ND), and used by individuals and organizations to inform, educate, stimulate communication, and effect change. The organization — which includes a full-time staff of eight and a network of volunteers — has seen a lot of demand. According to Ramzi, it was always his intent for people to spread this work. “Many people have been using our work, and for it to even be used offline is quite great. The wonderful thing about Creative Commons is people use it without telling us so we can’t know how many people are using our work.”
+ +The visualizations have been used in books, online publications, universities, subway billboards, and even used in classes to help design curriculums. They have been featured in The Guardian, Al Jazeera, Huffington Post, Fast Company, Daily Beast, and recently was awarded at the Ars Electronica Festival in Austria. In addition, many requests have come their way offering to pay for more visualizations, including by Amnesty International, Oxfam, and the United Nations.
+ +But beyond that, Visualizing Palestine has seen something even more substantial and tangible: it’s seen real change. After its first infographic on prison hunger strikes, awareness spread. Campaigns for the release of prisoners held without charge or trial increased. In the end, Khader Adnan, one of the individuals featured on the infographic, was freed.
+ +“We want to be part of the ecosystem that uses tools like Creative Commons to stop discriminatory and racist policies against a community seeking equality and dignity,” says Ramzi. “We’re the first and largest in the Arab world doing what we’re doing. Creative Commons is quite important for our work and we appreciate it. There is awareness because of it,” says Ramzi.
+ +It’s this type of effective, impactful change that is at the root of Visualizing Palestine. In this shift, Ramzi is noticing more and more qualitative effects — such as the difference in terminologies and words people use to describe the situations in Palestine. Ultimately, there is a growing understanding and transformation of Palestine in a different context.
+ +Down the road, the organization is looking to expand its work to include a Visualizing Egypt project and features such as interactive visualization, animation, and embedding questionnaires into its visual downloads so it can learn more about its users.
+ +According to Ramzi, “This system of building on other people’s work is beautiful and is what will take us further — it’s a collective, collaborative work.”
+ + diff --git a/sofya.html b/sofya.html new file mode 100644 index 0000000..8049b40 --- /dev/null +++ b/sofya.html @@ -0,0 +1,41 @@ +--- +layout: profiles +bgcolora: "#67776E" +bgcolorb: "#8DB769" +order: 8 +title: Sofya Polyakov +writer: Elliot Harmon +drawingby: Luke Surl +drawingbyurl: http://www.lukesurl.com/ +headshoturl: /images/sofya.gif +navurl: /images/navsofya.gif +blurb: She built a community of professional designers by helping them give away their designs. +twitterhandle: nounproject +facebookshare: https://www.facebook.com/photo.php?fbid=10152019297822777 +newsletter: https://docs.google.com/forms/d/1-_Z8q6XdCyXWZU3k-ogoy7TrPxhSN7nYHPvjj0MwogA/viewform?entry.239708838=Team+Open+-+Sofya&entry.1860916380&entry.1017428125&entry.1257771276 +source: sofya +permalink: /sofya/ +published: true +--- + +If you’re not familiar with The Noun Project, your life is about to get a lot easier. The Noun Project is a huge archive of downloadable icons — simple, concise drawings representing everything from toothbrushes to Scotland. The icons are available in vector formats, meaning that it’s easy to adapt, resize, or color them without sacrificing image quality. The quality of the design work has made The Noun Project the first place to look for icons for software, signs, infographics, and much more. And every image is free to use.
+ +Sofya Polyakov is cofounder of The Noun Project. She explains how her team discovered Creative Commons licensing: “We came to a point where we realized that we needed to decide what license to apply to icons. We knew that we needed a license that would be applicable worldwide, and that we had to maximize usability of the icons themselves.”
+ +According to Sofya, The Noun Project wouldn’t work if there were a lot of complicated rules and restrictions on how the icons could be used. “It’s so easy for somebody to go to a website and rip off its designs. We can’t compete with that. We had to make The Noun Project as easy as possible, or no one would use it. We needed a license that was as liberal as possible. That led us to Creative Commons.”
+ +If you design an icon for The Noun Project, you have two choices: the CC0 public domain declaration, which waives your copyright as completely as possible under the law; and the Creative Commons Attribution license (CC BY), which lets others use it for any purpose, commercial or noncommercial, as long as they attribute you.
+ +Sofya sees CC BY as the perfect sweet spot: keeping the icons as free as possible while maintaining the recognition that designers need. “For a lot of our designers, this isn’t just their passion; it’s their job. They donate high-quality work because when that work gets used, it means free marketing and advertising for them.”
+ +And The Noun Project isn’t just Sofya’s passion; it’s her job too. Because users can pay a small fee to have the attribution requirement for an icon waived, and those fees go to keeping both The Noun Project and the designers in business.
+ +“The local department of transportation can’t exactly attribute a designer on the side of a bus,” Sofya says. “Or people in the advertising world, who don’t want the attribution to distract from the ad. There was clearly a need for an option to pay not to have to attribute.”
+ +And Noun Project designers jumped at the opportunity. According to Sofya, 98% of Noun Project contributors have opted in to the feature. “And every month, we pay out a nice chunk of money to the designers. Everyone wins.”
+ +And therein lies The Noun Project’s secret. Permissive licensing has made its designs extremely popular, and that ubiquity has created a market and revenue stream for designers.
+ +What’s next? The Noun Project is growing into a community of designers setting their sights on big, real-world problems. Through Iconathon events, Noun Project designers are applying their design skills in areas like investigative journalism and healthcare reform. Iconathons are about more than making nice-looking icons, Sofya explains. They’re about making big issues easier to understand. “How do you explain the new healthcare laws to someone who doesn’t know English, or can’t read?” she asks. “How do you make that information truly accessible to everyone?” And of course, all of the designs produced at Iconathons enter the public domain through CC0.
+ +“Creative Commons makes it easier for people to put their ideas out there and share them with the world,” Sofya says. “By sharing your creations and giving others permission to use them, you’re actually expanding global knowledge. And that’s pretty exciting.”
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+ } + +.navface { + width: 75px; + height: 75px; + background-color: inherit; + float: left; + text-indent: -9999px; + } + +.navface:hover { + background-position: -75px 0px; + } + +.bannerleft, .bannerright { + width: 400px; + height: 400px; + float: left; +} + +.arbanner { + width: 900px; + height: 400px; + float: left; + position: relative; + } + +.arbanner h2 { + bottom: 0; + color: white; + position: absolute; + bottom: 0 + margin-left: -200px; + left: 50%; + font-size: 300%; + } + +.feature { + width: 250px; + padding: 10px; + margin: 10px; + border: 1px solid white; + border-radius: 20px; + margin-bottom: 25px; + float: left; + } + +.feature-photo { + margin-left: auto; + margin-right: auto; + width: 200px; + height: 100px; + } + +.feature-photo:hover { + background-position: -200px 0px; + } + +.armenu { + width: 600px; + padding: 10px; + margin: 10px; + border: 1px solid white; + border-radius: 20px; + margin-bottom: 25px; + margin-left: auto; + margin-right: auto; + } + +.armenu h3 { + text-align: center; + } + + +.armenu-photo { + margin-left: auto; + margin-right: auto; + width: 500px; + height: 300px; + } + +.armenu-photo:hover { + background-position: -500px 0px; + } + + + + +#ar-textblock { + width: 350px; + padding-top: 25px; + margin-left: 50px; + padding-bottom: 10px; + margin-right: 50px; + line-height: 150%; + float: left; + background-color: inherit; + } + +.bannerright:hover { + background-position: -400px 0px; + } + +.bannerrightcontent { + margin-top: 125px; + padding-left: 20px; + padding-right: 20px; + } + +.arrow { + width: 50px; + height: 400px; + float: left; + } + +.arrow:hover { + background-position: -50px 0px; + } + +.uparrow { + width: 52; + height: 25px; + margin-left: auto; + margin-right: 200px; + background-image: url(/images/uparrow.png); + } + +.uparrow:hover { + background-position: -52px 0px; + } + +.othercontent { + padding-left: 50px; + padding-right: 200px; + line-height: 150%; + } + +.circle { + float: left; + position: relative; + text-indent: -9999px; + border-radius: 50%; + width: 91px; + height: 91px; + margin-right: 19px; + border: 9px solid #FEFCFF; + background-repeat: no-repeat; + background-position: -5px -5px; + text-align: center; + } + +.circle:hover { + background-position: -105px -5px; + text-indent: 0px; + } + +.circletext { + font-size: 90%; + position: absolute; + top: 50%; + height: 36px; + margin-top: -18px; + } + +.heart { + float: left; + position: relative; + text-indent: -9999px; + width: 114px; + height: 110px; + background-repeat: no-repeat; + background-position: 0px 5px; + text-align: center; + background-image: url(/images/heart.png); + } + +.heart:hover { + background-position: -114px 5px; + text-indent: 24px; + } + +.hearttext { + font-size: 90%; + position: absolute; + top: 50%; + height: 12px; + margin-top: -20px; + } + +.licensebox { + width: 400px; + margin-left: 50px; + margin-right: auto; + padding-bottom: 50px; + font-size: 90%; + } + +.spacer { + height: 100px; + clear: both; + } + +.selector { + width: 900px; + height: 400px; + background-image: url(/images/rightarrow-all.png); + } + +.selector:hover { + background-position: 900px 0px; + } + diff --git a/thefutureisopen.html b/thefutureisopen.html new file mode 100644 index 0000000..e69de29 diff --git a/thomas.html b/thomas.html new file mode 100644 index 0000000..d82304e --- /dev/null +++ b/thomas.html @@ -0,0 +1,35 @@ +--- +layout: profiles +bgcolora: "#626C72" +bgcolorb: "#E5723F" +title: Thomas Bonte +writer: Elliot Harmon +drawingby: Luke Surl +drawingbyurl: http://www.lukesurl.com/ +order: 10 +headshoturl: /images/thomas.gif +navurl: /images/navthomas.gif +blurb: Bringing public domain music to the public. +twitterhandle: musescore +facebookshare: https://www.facebook.com/photo.php?fbid=10152019297872777 +newsletter: https://docs.google.com/forms/d/1-_Z8q6XdCyXWZU3k-ogoy7TrPxhSN7nYHPvjj0MwogA/viewform?entry.239708838=Team+Open+-+Thomas&entry.1860916380&entry.1017428125&entry.1257771276 +source: thomas +permalink: /thomas/ +published: true +--- + +Classical music can be an expensive habit. Sure, the majority of classical works are old enough to be in the public domain, but high-quality, modern recordings aren’t, and sheet music often isn’t either. And if you want to try your hand at composing, notation software can cost you a thousand dollars. Thomas Bonte wants to change that.
+ +Thomas and his colleagues Nicolas Froment and Werner Schweer are the minds behind MuseScore, an open-source notation program. And if you ask Thomas, free is the only choice that makes any business sense at all.
+ +Early on, Thomas and his team realized that the free price tag wasn’t enough to compete with other notation tools on the market; they had to produce the highest quality product. “When we’d visit music schools, we’d always ask, ‘Who is using a legal license for Finale or Sibelius [MuseScore’s two biggest competitors]?’ Often, only the teacher would raise his hand, which means that all of the students were using cracked versions. We realized that we weren’t competing with high-priced software. We were competing with free, pirated software. We had to fight them on the product level.”
+ +Today, MuseScore is the most popular notation software in the world. But more than that, it’s a growing community of people sharing their own compositions as well as their typesettings of public domain ones. People can upload videos of their own performances with a neat app that lets viewers follow along simultaneously with the sheet music. Many of these compositions are Creative Commons–licensed, meaning that anyone can perform, record, or adapt them for free, as long as they obey the terms of the license.
+ +The MuseScore team wanted to encourage even more composers and performers to use open licenses, so they set out to demonstrate what can happen when artists share their music freely and openly. Coincidentally, their friend, pianist Kimiko Ishizaka, had been rehearsing Bach’s The Goldberg Variations. They decided to start a Kickstarter project to record Goldberg.
+ +In discussions with Kimiko, they decided not just to CC-license the recording; they would dedicate it completely to the public domain, using a tool called CC0. When a work has been placed under CC0, anyone can use it for any purpose with no restrictions on use, just like Bach’s original composition. They also released a new typesetting for Goldberg, also under CC0. Why public domain? In Thomas’ words, “You either go all the way or you don’t do it. Kimiko wanted her work to be used by a lot of artists. And yeah, mission accomplished.” The Open Goldberg Variations has been used in films, videos, and even more prosaic purposes like hold music on office phone systems.
+ +Kimiko is going back into the studio soon — this time, to record Bach’s The Well-Tempered Clavier. Once again, all of the recordings and sheet music will be in the public domain under CC0, and this time, it will also be available in braille, for blind musicians. As for Thomas, he’s excitedly planning the future of MuseScore. He wants to take advantage of the community of musicians and composers he’s amassed by crowdsourcing more CC0 typesettings and recordings of public domain compositions.
+ +When he’s talking with musicians and composers, he encourages them to think more about the power of open licensing. “You don’t only speak to your audience through your art,” he says. “You also speak to them by giving them permission to use your art. And that can be just as important as the art itself.”
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