Post Creative Commons

Texas Alien Abductions Up After Chunnel Completion

Monday, March 22nd, 2004

Following the Magnatune & Creative Commons party last Thursday I saw a few more bands play at the Blender Balcony at the Ritz and Room 710 SXSW showcases.

I miscalculated and caught a bit of Supagroup. I can’t stand their brand of rock, not since I first heard something similar when a down-the-street playmate put on a Sammy Hagar record. Supagroup seemed to do what they do very well though. If you have atrocious taste, do yourself a favor and check them out.

Joanna Newsom shtick is singing in a little girl voice while playing a harp in such a way that it sounds mysteriously guitar-like. Great for radio, not bad for a short set, would require a very funny mood to want to listen to an entire album.

Faun Fables is Dawn McCarthy, often accompanied by Nils Frykdahl of Sleepytime Gorilla Museum, as she was Thursday evening. I could swear I heard McCarthy sing at the Paradise in San Francisco in the mid-90s, but I can’t find any record of it. At that mythical show (my bad memory has Jad Fair and the Ruins also playing) I was so impressed by the probable-McCarthy’s folk-singing and yodelling that I tried to remember her “name”, but got it wrong, thinking it was Crow-something. Anyway, I was delighted to discover the definite-McCarthy sometime in the more recent past. Her teaming up with Frykdahl is mostly a good thing — Fear March is a nearly perfect song in my book. Sometimes it is almost too much of a good thing, particularly when they sing at the same time. Both have such compelling voices that it is really hard to listen to both at once and hear the beauty of each. Frykdahl ought to do some solo work, even a capella.

Seeing Alice Donut was a real treat. They were on my short list of bands I really wished I had seen, and I’m very happy that they got back together. Singer Tomas Antona is a beautiful person. For star struckers, Jello Biafra was in the audience, the only semi-famous person I noted at SXSW.

Simulacrum playlist for the evening (sans Supagroup) at WebJay.

Also following the Magnatune & CC party, CC’er Glenn Otis Brown attended an MSN party. His account of Microsoft’s tremendous goodwill is a must-read.

Night of Bowed Strings and Cambodian Surf

Thursday, March 18th, 2004

Notes on last night’s SXSW showcase at Emo’s Annex:

Electric cello sololist Erik Friedlander at his best (to my ears) sounded like a Tony ConradKronos Quartet hybrid, i.e., amazing. A couple of plucked pieces were relatively boring, in particular a Carlos Santana piece, and to a lesser extent one by John Zorn. The amazing pieces, which should’ve inspired a miniature mosh pit (as opposed to total destruction of the venue, which is what should’ve happened at the one Conrad show I’ve had the pleasure of attending — I’ll have to write about that sometime), more than made up for the uninteresting interludes. Friedlander’s set was the best of the evening, and I plan on checking out more of his music.

Dengue Fever, billed as a “six-piece Cambodian Psychedelic rock band” was decent. Lyrics were all in Cambodian, mostly sung by a Camobdian woman. One sax player worked well with the sound, which is pretty hard to do in my listening experience. Asides: I note that the Dengue Fever site lists among related projects Brazzaville, a band I’m familiar with via their use of Joe Frank, my spiritual guru, on a track called Ocean. Check out L.A.’s Brazzaville found its audience in Russia via downloads and pirated CDs from the December 1, 2003 Los Angeles Times.

Estradasphere played jammy exotica, heavy metal and banjo-led bluegrass, none of it all that effectively to my ears (actually the banjo sounded OK). Each musician played at least two instruments. They’re obviously talented, but the implementation just didn’t work for me.

I’ve seen Sleepytime Gorilla Museum a bunch of times in San Francisco. They played mostly new material I hadn’t heard before, some of it more explicitly political than their previous work, including a song about Rome introduced with a dedication to “the American Empire at its greatest extent” and another intro’d with (to the best of my memory) “a man who saw many things wrong with the world and attempted to fix them by sending little wooden boxes to strong people” about the Unabomber. They closed with the track they used to always open with, Sleep is Wrong, which made everyone very sad there was no time for an encore.

Secret Chiefs 3 consisted of all of the members of Estradasphere less the drummer, plus four other musicians, including two different drummers. They got into some OK multi-ethnic mish-mash grooves. Just OK.

(Apart from Dengue Fever, all of the bands last night employed at least one amplified bowed string instrument.)

For a hint at what the show was like, listen to my 2004-03-17 Emo’s Annex Simulacrum playlist at WebJay. Most of the songs on the playlist are just recent tracks from the artists involved and probably weren’t the ones played last night. I also didn’t make any attempt to choose representative or superior tracks — this post has already taken far too much time, apologies.

Tonight following the Magnatune & Creative Commons party I’m hoping to catch two acts to die for — experimental yodeller Faun Fables and out-of-retirement sardonic-hard-punk-rock band Alice Donut.

Hello Austin

Monday, March 15th, 2004

I’m in Austin, Texas now for SXSW, where Creative Commons has two panels, two parties, and an exhibitor booth. Check the Creative Commons weblog for info and updates.

This is my first time in Austin (and Texas, and “the South”). I probably won’t have much time to explore, but I’m curious — I very nearly moved to Austin after finishing school eleven years ago. As far as I could tell San Francisco has a better live music scene for the types of music I’m interested in (at that time Thinking Fellers Union Local 282 and frequent visits from Japanoise bands in particular), among other things. I should’ve moved to New York or Tokyo instead, but I didn’t even consider them, which I now find inexplicable. No, I don’t. Lack of knowledge.

So far: I’m grateful for the non-stop SJC-AUS nerd bird, and that I found out about a four hour delay before leaving home for SJC. AUS was shiny, clean and empty (excepting the sound of some fiddling country music) at 2:15AM. My cheap hotel has WiFi and ethernet ($9.95/day or $39.95/week).

クリエイティブ・コモンズ

Wednesday, March 3rd, 2004

Creative Commons license ports to Japanese law are now available. Note the “2.0” version (e.g., Attribution 2.0 Japan). These ports are based on the upcoming version 2.o licenses. Japan gets them first.

What I learned: Perl text-mangling one-liners work great on utf8, too!

Creative Commons Search, useful to me

Tuesday, March 2nd, 2004

Yesterday on the Creative Commons weblog:

Today we announce a search engine prototype exclusively for finding Creative Commons licensed and public domain works on the web.

Indexing only pages with valid Creative Commons metadata allows the search engine to display a visual indicator of the conditions under which works may be used as well as offer the option to limit results to works available licenses allowing for derivatives or commercial use.

This prototype partially addresses one of our tech challenges. It still needs lots of work. If you’re an interested developer you can obtain the code and submit bugs via the cctools project at SourceForge. The code is GNU GPL licensed and builds in part upon Nathan Yergler’s ccRdf library.

We also have an outstanding challenge to commercial search engines to build support for Creative Commons-enhanced searches.

And it hasn’t melted down yet.

Ben Adida wrote most of the code that needed to be written in Python (not much — PostgreSQL with tsearch2 full-text indexing does all of the heavy lifting). Former government employee Justin Palmer wrote an earlier prototype in AOLserver/Tcl, also using PG/tsearch2. (Turns out we needed the flexibility of running under Apache. I’ll miss AOLserver/Tcl when I last touch it, but I’ll also be glad to be rid of it.) I did a PHP hack job on the front end, and Matt Haughey made it look good (for end users, not code readers) in a matter of minutes.

Although everything possible sucks about this implementation, it is already a valuable tool for finding CC-licensed and public domain content — stuff you can reuse with permission already granted. Neeru Paharia was the visionary here, seeing that it would be valuable even if it sucked in every way technically.

Stephen Downes is exactly right about the long term goal:

Of course, this is only a step – such a search engine would not be useful for many purposed; copyright information needs, in the long run, to define a search field or a type of search, not a whole search engine.

With great justification major search enginges have ignored pure metadata for a long time, at least five years. Pure metadata, with no visibility, is nearly universally ill-maintained or fraudulent. I hope that this Creative Commons prototype inspires some people at major search engines to think again about metadata, but I think semantic HTML is what will finally prove useful to such folks, in no small part because it isn’t pure metadata. I’ll post on incremental semantic search engine features in the near future.

Creative Commons Moving Image Contest Winners

Saturday, February 28th, 2004

Announced today. Copied from the Creative Commons home page:

We’re very happy to announce the winners of the GET CREATIVE! Moving Images Contest: First Place goes to Justin Cone, for the inspired and powerful short film “Building on the Past,” which uses all sorts of Prelinger Archives footage to great effect. Second Place: Sheryl Seibert, for “Mix Tape,” which perfectly captures the found-art ethos of Creative Commons and uses the Creative Commons-licensed song “Mix Tape” by Jim’s Big Ego. Third Place: Kuba and Alek Tarkowski, for “CCC,” a historical look at free culture. Check them out, download them, mirror them, share them with friends. Thanks to all of you who made submissions!

The first place entry is really good, though my favorite scene is midway through the third placer — “a mutation of the system, if you will.”

MAGNET/Bitzi links for easy sharing and info:

Justin_Cone_-_Building_On_The_Past.mov (7.0MB)
Sheryl_Seibert_-_Mix_Tape.mov (31.8MB)
Kuba_and_Alek_Tarkowski_-_CCC.mpg (14.9MB)

Real world 5emantic 3eb

Saturday, February 28th, 2004

Tantek �elik comments on Creative Commons use of rel="license", citing my small-s semantic web and CC post to cc-metadata (reproduced below).

I agree with Tantek’s comments, though I wouldn’t advise removing admittedly ugly and potentially redundant RDF-in-HTML-comments, at least not until mozCC and ccRdf and consequently some dependent code go case insensitive.

There are currently at least two Creative Commons metadata cases where a simple rel="license" attribute won’t do, requiring RDF:

In my view, metadata-enabled web tools will do well to include a RDF model layer, whether the statements be gleaned from semantic [X]HTML, parsed from human language, or mainlined from some RDF encoding, and whatever the tool’s internal knowledge representation. Content creators will do well to produce the simplest, most utilitarian metadata possible.

I’m turning a bit sour on the phrase “lowercase semantic web”. I like semantic [X]HTML. I like RDF. All in the service of our near-term goals. All in the service of the Semantic Web, which will surely be a superset of the RDF web. I dig real world semantics in any case.

As I mentioned
<http://lists.ibiblio.org/pipermail/cc-metadata/2003-December/000243.html>
I find "semantic HTML" very interesting — it keeps the metadata close
to the presentation, militating against "metacrap" and can be used to
populate the big-S Semantic Web through RDF generation.

Since then the RDF-in-XHTML proposal that builds on semantic HTML has
moved ahead and generalized, see <http://www.w3.org/2004/01/rdxh/spec>
"Gleaning Resource Descriptions from Dialects of Languages" is a pretty
good description.

Also, Kevin Marks and Tantek Celik headed up a very nice BoF at Etech
<http://wiki.oreillynet.com/etech/hosted.conf?RealWorldSemantics> in
which they discussed current small-semantic web implementations. See
that URL for some good links.

Largely, people are using the "rel" attribute of "a" elements
<http://www.w3.org/TR/xhtml1/dtds.html#dtdentry_xhtml1-strict.dtd_a>
to describe "the relationship from the current document to the URI
referred to by the element. The value of this attribute is a
space-separated list of link types."

<http://www.w3.org/TR/xhtml2/mod-attribute-collections.html#col_Hypertext>
(I can’t find the equivalent documentation for XHTML1, but rel is
supported, per the DTD above).

A neat thing on the presentation side is that CSS selectors can actually
change the document rendering based on rel attributes — making the
metadata not just close to the presentation, but part of it.

Anyway, a rel attribute on anchors removes the big problem with assuming
that a link to a license indicates that a page is available under that
license — the page could be linking to the license for any reason. <a
rel="license" href="http://creativecommons.org/licenses/by/1.0/"/> on
the other hand, is no more ambiguous than the following RDF snippet

<Work about="">
<license rdf:resource="http://creativecommons.org/licenses/by/1.0/"/>
</Work>

and can be used to generate the same.

The upshot is that I’m planning to recommend adding a rel="license"
attribute to links to CC licenses where the license applies to the
current page, have <http://creativecommons.org/license/> spit that out,
and encourage other apps to support the same.

Note that this is all entirely complementary with RDF. All apps should
continue to use/generate/support RDF, and RDF is required for making
license (or any metadata) statements about resources other than the
enclosing one.

Get creative, remix culture

Thursday, February 26th, 2004

As posted on the Creative Commons weblog:

The source materials for both “Get Creative” and “Remix Culture” are now available. Download the .fla file for either and you can get creative and remix “Get Creative” or “Remix Culture” with ease.

Quicktime versions of both movies are also now available. Now it’s easier than ever to download, display and share “Get Creative” and “Remix Culture” (right-click on links to download and save).

Thanks to Ibiblio for hosting all of these files. The Quicktime movies are also available at the Internet Archive here and here. The Internet Archive will also host your Creative Commons-licensed movies and music free of charge. Get started.

MAGNET and Bitzi links:

Creative_Commons_-_Get_Creative.fla (46.1MB)
Creative_Commons_-_Get_Creative.mov (6.9MB)
Creative_Commons_-_Get_Creative.swf (5.5MB)
Creative_Commons_-_Remix_Culture.fla (94.9MB)
Creative_Commons_-_Remix_Culture.mov (6.8MB)
Creative_Commons_-_Remix_Culture.swf (6.8MB)

CC Etech BoF points

Tuesday, February 10th, 2004

Points mentioned at the Etech Creative Commons participant session (it’s a BoF!):

One Year Launch Anniversary

Watch Reticulum Rex AKA Remix Culture for an update.

License Versioning

International Commons

iCommons is porting licenses to multiple jurisdictions.

Content

New (and newly packaged) Licenses

Technology

Standards

Technology Challenges

The list

Hero Nathan Yergler, who created:

POTOTYPE RDF-enhanced Creative Commons search

See Yous at Etech

Wednesday, February 4th, 2004

Posted on the Creative Commons weblog:

Creative Commons will be an exhibitor at the O’Reilly Emerging Technology Conference in San Diego next week.

Etech is regarded by many as the best tech conference of the year, always in step with the latest creations and aspirations of the alpha geeks, having evolved from the Peer-to-Peer Conference in early 2001 and P2P & Web Services in late 2001 to the current multi-tracked annual conference starting two years ago. (Incidentally, the Creative Commons concept was introduced at ETCon 2002. How time flies.)

Matt Haughey and Mike Linksvayer will be attending. Stop by the Creative Commons booth, or better yet our participant session (time and location yet to be announced). We’ll be introducing a new CC metadata-enhanced application. Hint: it’s described in one of our tech challenges, heretofore unmet.

If you’re in the area but not an attendee, you can still register for a free exhibits pass, or an exhibits plus keynotes and birds-of-a-feather (participant sessions) pass for only $50. Hope to see you there!