Post Creative Commons

Freedom Lunches

Monday, June 19th, 2006

Another excellent post from Tim Lee (two of many, just subscribe to TLF):

The oft-repeated (especially by libertarians) view that there’s no such thing as a free lunch is actually nonsense. Civilization abounds in free lunches. Social cooperation produces immense surpluses that have allowed us to become as wealthy as we are. Craigslist is just an extreme example of this phenomenon, because it allows social cooperation on a much greater scale at radically reduced cost. Craigslist creates an enormous amount of surplus value (that is, the benefits to users vastly exceed the infrastructure costs of providing the service). For whatever reason, Craigslist itself has chosen to appropriate only a small portion of that value, leaving the vast majority to its users.

As a political slogan I think of as applying only to transfers though perhaps others apply it overbroadly. Regardless the free lunches of which Lee writes are vastly underappreciated.

The strategy has another advantage too: charging people money for things is expensive. A significant fraction of the cost of a classified ad is the labor required to sell the ads. Even if you could automate that process, it’s still relatively expensive to process a credit card transaction. The same is true of ads. Which means that not only is Craigslist letting its users keep more of the surplus, but its surplus is actually bigger, too!

Charging money also enables taxation and encourages regulation. Replacement of financial transaction mediated production with peer production is a libertarian (of any stripe — substitute exploitation for taxation and regulation if desired) dream come true.

Put another way, that which does not require money is hard to control. I see advocacy of free software, free culture and similar as flowing directly from my desire for free speech and freedom and individual autonomy in general.

In the long run, then, I think sites that pursue a Craigslist-like strategy will come to dominate their categories, because they simply undercut their competition. That sucks if you’re the competitor, but it’s great for the rest of us!

Amen, though Craigslist, Wikipedia and similar do far more than merely undercut their competition.

Creative legacy insurance

Thursday, June 1st, 2006

Aaron Swartz has a provocative post on creating a legacy. I think it almost impossible to leave a real (by Swartz’s test — leaving the world in a significantly different state than if you had not acted) and good legacy.

Swartz cites simultaneous discovery as evidence that Darwin did not leave an impactful legacy. I think this vastly understates the value of multiple confirmations of a discovery and of arriving at a discovery sooner rather than later. Consider discoveries made or nearly made once, but not widely known nor used for many years. If more people had been working in the relevant fields perhaps the knowledge would not have languished and the world would, right now, be a different place, even if only shifted forward in time. (So perhaps I should not continue to say it is almost imposible to leave a good legacy.)

I do not have a compelling example right now, but countering Swartz’s argument is not even why I’m making this post…

Rather, having been spurred to think about legacy, another reason to add one’s creative output to the commons (e.g., by releasing it under a Creative Commons license) occurs to me: one’s creative legacy.

If you were to die tomorrow your heirs would own exclusive rights to your creative works, possibly forever. If not immediately (likely), then sooner or later your heirs will be unreachable or disagree over the disposition of your copyrights, annihilating your creative legacy. For without permission, your works may not be legally displayed, performed, reproduced, distributed, translated, repurposed, or otherwise used (excepting narrow and increasingly constrained fair use).

Due to unknown or recalcitrant owners your work will go to the grave with you like so much rotting celluloid … unless you choose to give the public permission in advance to use your work, now.

Long tail of metadata

Monday, May 29th, 2006

Ben Adida notes that people are writing about RDFa, which is great, and envisioning conflict with microformats, which is not. As Ben says:

Microformats are useful for expressing a few, common, well-defined vocabularies. RDFa is useful for letting publishers mix and match any vocabularies they choose. Both are useful.

In other words RDFa is a technology.

Evan Prodromou thinks the future is bleak without cooperation. I like his proposed way forward (strikeout added for obvious reasons):

  1. RDFa gets acknowledged and embraced by microformats.org as the future of semantic-data-in-XHTML
  2. The RDFa group makes an effort to encompass existing microformats with a minimum of changes
  3. microformats.org leaders join in on the RDFa authorship process
  4. microformats.org becomes a focus for developing real-world RDFa vocabularies

I see little chance of points one and three occuring. However, I don’t see this as a particularly bad thing. Point three will occur, almost by default: the simplest and most widely deployed microformats (e.g., , and rellicense) are also valid RDFa — the predicate (e.g., tag, nofollow, license) appearing in the default namespace to a RDFa application. More complex microformats may be handled by hGRDDL, which is no big deal as a microformat-aware application needs to parse each microformat it cares about anyway. From an RDF perspective any well-crafted metadata is a plus (and the microformats group do very careful work) as RDF’s killer app is integrating heterogenous data sources.

From a microformats perspecitve RDFa might well be ignored. While transformation of any microformat to RDF is relatively straightforward, transformation of RDF (which is a model, not a format) to microformats is nonsensical (well, I suppose the endpoint of such a transformation could be , though I’m not sure what the point would be). Microformats, probably wisely, is not reinventing RDF (as many do, usually badly).

So why would RDFa be of interest to developers? In a word, laziness. There is no process to follow for developing an RDF vocabulary (ironic), you can freely reuse existing vocabularies and tools, not write your own parsers, and trust that really smart people are figuring out the hard stuff for you (I believe the formal background of the Semantic Web is a long-term win). Or you might just want to, as Ben says “express metadata about other documents (embedded images)” which is trivial for RDF as images have URIs.

Addendum 20060601: The “simplest” microformats mentioned above have a name: elemental microformats.

RDFa.info

Wednesday, May 24th, 2006

I’ve mentioned a couple times in passing.

Ben Adida has been doing an awesome job leading the standards effort the last year and a half, which will pay off handsomely over the next six months. A few days ago he launched RDFa.info, the place to watch for interoperable web metadata tools, examples, and news.

Tiananmen Sex Trends

Wednesday, May 10th, 2006

It looks like Google Trends ranks overrepresentation of cities, regions, and languages for specific queries. Arabic browsers are most likely to search for sex, Chinese most likely to search for Tiananmen. Past posts on Islamic sex and Tiananmen.

A term needs pretty heavy search volume to be trended, which is probably good — massive will not be revealed, much to their disappointment.

Prediction market doesn’t make the cut, though I predict it will soon.

Creative Commons confirms the success of CC-Spain (of which I’ve seen other indicators), particularly in the Catalan-speaking region.

Google Trends doesn’t seem to do nor does it suggest spelling alternatives.

May S-events

Tuesday, May 9th, 2006

This month’s Creative Commons Salon San Francisco is tomorrow and a short walk from my new abode.

Saturday is the Singularity Summit at Stanford. I’ve seen 12 of the 14 speakers previously but it could still be a fun event. Probably not as fun as the similar Hofstadter symposium six years ago.

Sunday I’m on a panel at the “Sustainable World Symposium & Festival” on “Leveraging the Internet–Maximizing Our Collective Power.” I’ll seek to entertain and educate, given the probable granola audience.

May 25 I hope to attend the Future Salon on The Sustainability of Material Progress with who has a rather different (and correct) take “sustainability” than I suspect the the “Sustainable World” people above. I haven’t attended a Future Salon in a year, maybe two. I hear they’re large events now.

Update 20060517: May 30 I’ll be speaking at Netsquared Conference session on Turning Communications Technologies Into Tools For Free Speech And Free Culture.

Post May 10 CC Salon SF followup.

Peach of Immortality

Tuesday, May 9th, 2006

has been called a seminal album for many genres, but it was for me personally too. I discovered it while browsing the library’s LP collection for strange music, probably in 1985 or 1986. Having been exposed to the Talking Heads (which I grew to love despite hearing Take Me To The River first) and Brian Eno in prior year, I borrowed the record and immediately decided I liked it enough to tape it (a big investment at the time). It is one of the few listenings from that time period that I still indulge. Most of the tracks hold up very well.

This success led me shortly after to pick up Talking Heads ’77 by Peach of Immortality at a used record store. It was unclear whether it had anything to do with the Talking Heads (it doesn’t) but the store owner said it was very strange. It was the first noise album in my possession and is probably the only recording I own manufactured copies of in two formats (LP and CD). I still love it.

My Life in the Bush of Ghosts was recently reissued on its 25th anniversary. This would be unremarkable but for the release of sources for two of the album tracks today under a Creative Commons BY-NC-SA license, which is great and very satisfying.

Of course I wish they had used a more liberal license and that the remix site wasn’t Flash-based or at least did not require Flash 8, which renders it inaccessible to Linux clients. Small complaints and a reminder to throw some money at , which seems to have made its first alpha release a few days ago.

Update: bush-of-ghosts.com claims to require Flash 8, bush-of-ghosts.com/remix does not and does work on Linux. Can’t say I’m sorry to miss whatever “interface” is on the home page.

Wikitravel and World66 both win

Friday, April 21st, 2006

A little over two years ago I wrote about copying content between and (they’re both using the same Creative Commons license that allows this). Wikitravel “won more” from the operation due to permitting more flexible editing.

Now they’ve both won through simultaneously announced acquisition by .

An Alexa traffic rank graph of Wikitravel, World66, and carsdirect.com, I believe the most popular Internet Brands site:

Congratulations again to Wikitravel cofounder Evan Prodromou. It’s fantastic to see projects and people like this get some commercial recognition after years of dedication to the “commons” (very broadly speaking) — see also Webjay and MusicBrainz.

Ross Mayfield has a short post on the acquisitions the best part of which is this:

Terms of the deal are not disclosed, but if you find them you could add them to this wiki page.

CCSSF2 with Gonze & Ostertag

Tuesday, April 11th, 2006

The first Creative Commons Salon San Francisco was good, tomorrow’s should be great. Bob Ostertag and Lucas Gonze (who I’ve cited many times) are presenting. I could hardly ask for a better lineup.

Event details.

Update 20060417: Followup post on the CC blog.

It was a pleasure talking to Ostertag before the presentations got underway. Among other things I learned that Pantychrist vocalist Justin Bond has become extremely sucessful. During the presentation he said he had wanted to put his recordings in the public domain but Creative Commons seemed like a good thing to support, so he chose a license rather arbitrarily. Argh! (CC does offer a public domain dedication.) Ostertag pushed the idea that thinking in terms of “copies” is completely obsolete and more or less encouraged “piracy” — in response to a naive questioner asking if streaming and DRM together could stop copying (smiles all around). It was evident during Q&A that he had much more to say coming from a number of different angles. I look forward to reading more of his thoughts.

I thoroughly enjoyed Lucas Gonze’s presentation, though it may have been too much too fast for some people. I found the things he left out of a talk about how the net is changing music notable — nothing about DRM, streaming, P2P, music stores, or podcasting. Hear, hear!

Bob Ostertag

Saturday, March 25th, 2006

Today avant garde musician released digital downloads of all of his recordings that he holds the rights to under a Creative Commons Attribution-NonCommercial license. There will doubtless be a post on the CC weblog about this, but I write here as a fan of Ostertag’s music. To my taste this is the best music to be made available under a CC license so far. It’s too bad he didn’t choose Attribution-ShareAlike instead of Attribution-NonCommercial, but I can’t have everything I want. (Via Steev Hise.)

On a slightly related (see below) note, I’m really looking forward to the performance with April 21 at Yerba Beuna. My review of a Kronos/Asha Bhosle concert last fall, also at YB.

(Ostertag performed with Kronos on All the Rage, unfortunately not one of the recordings he holds the rights to and Matmos was a contributor to the .)

Addenda 20060326: The CC blog post.

On second read I noticed this in Ostertag’s mini-essay (emphasis added):

Saying goodbye to record royalties is in any event no great sacrifice for a musician such as myself, whose music has always been too adventurous to be valued by the mass market anyway. Strangely, many musicians I know whose work lies outside the mainstream remain much more invested in the idea of selling their recordings than their actual experience in the market would seem to justify.

This rings true to me. I’ve often been surprised at just how proprietary some artists are — many being generally suspicious of capitalism and in no position to make more than a pittance selling their art under any regime. Double or triple irony.

Ostertag’s release (but not the above quote) reminds me of a concert he gave February 25, 1998 at Venue 9 in San Francisco. I found myself sitting next to Don Joyce of and tried to convince him to be more radical about IP, in addition to expressing appreciation for his work.