Open Content

Immer mehr Musiker nutzen das Internet als Verbreitungsmedium für ihre Musik. Dort werden sie mit dem Umstand konfrontiert, dass Musik heute in vielerlei Form für den Konsumenten kostenlos im Internet verfügbar ist. Diese Praxis steht im Kontext eines durch digitale Distribution und Kommunikationsnetzwerke ausgelösten, grundlegenden Wandels der Kulturproduktion, in dessen Verlauf Nutzer zu Produzenten werden und viele Produzenten auf potentielle Einnahmen verzichten. Auf der anderen Seite befinden sich Popmusiker schon lange in prekären Verhältnissen und können nur zum Teil von ihrer Musik leben.
Mit Creative-Commons-Lizenzen liegen für digitale Netzwerke entwickelte Werkzeuge vor, die Kreative bei der Selbstvermarktung unterstützen sollen und die auch von Musikern verwendet werden. Sie ermöglichen Urhebern die Steuerung der Verwendungsmöglichkeiten ihrer Werke beispielsweise in Form der Vergabe von Rechten für entgeltfreie Nutzung, die Veränderung von Werken und bieten gleichzeitig die Option der kommerziellen Auswertung. Eine umfassende genealogische Darstellung der Ideengeschichte von Open Source bis zu den Creative-Commons- Lizenzen und deren Einsatz am Musikmarkt wird in dieser Publikation erstmalig geleistet.
Wie nutzen unabhängig tätige Musiker digitale Netzwerke für die Distribution von populärer Musik und wie sind kostenlose Angebote und Existenzsicherung zueinander gewichtet? Spielen die Creative-Commons-Lizenzen hierbei eine besondere Rolle? Diese Fragen werden zunächst mit Hilfe einer umfangreichen Auswertung der Debatten zu digitalen Märkten sowie zum Selbstmanagement in der populären Musik der 1970er Jahre bis zur Gegenwart untersucht. Den Befunden wird eine empirische Studie zum Selbstmanagement von Musikern, die selbständig im Internet und auf Online-Plattformen Musik veröffentlichen, gegenübergestellt.
Dabei zeigt sich, dass die Selbstmanagementstrategien und Karriereziele von Creative- Commons-Lizenzen nutzenden Musikern und Anderen sehr ähnlich sind. Unterschiede gibt es in Bezug auf die kostenlose Musikdistribution, sie wird von den Creative-Commons-Musikern aktiv einbezogen. Im Gegensatz zur BRD nutzen CC-Musiker in den USA die CC-Lizenzen und die Verwertungsgesellschaften parallel. Insgesamt herrscht unter Musikern ein pragmatischer und oft rechtlich nicht konsistenter Umgang mit dem Urheberrecht vor.
Die ökonomische Situation zeigt sich im Vergleich zur Zeit vor dem Internet gleichbleibend prekär. Zwar hat die Digitalisierung Produktionsmittel und Vertriebswege für einen großen Kreis von Musikern erschlossen. Im Bereich des Marketing sind jedoch weiterhin Kontakte und Werbebudgets notwendig, über die unabhängige Musiker nicht verfügen. Unter dem Strich neutralisieren sich erleichterter Marktzugang und erhöhte Konkurrenz.

Blender can be used as a 3D scene modeler, editor, animator, renderer and Game Engine. This paper describes how it can be linked to a 3D sound plat- form working within the CLAM framework, making special emphasis on a specic application: the re- cently launched Yo Frankie! open content game for the Blender Game Engine. The game was hacked to

This article seeks to introduce the complex world of open-content licences against the backdrop of the massive expansion of copyright in recent years and the increasing threat posed by copyright licences to the world of cultural production. The world of open content has been inspired by the free software movement and hence this article begins with an overview of the conceptual challenges posed to copyright by free software movement. It then moves into an analysis of the ways in which the terms of free software may be understood for the purposes of cultural production and what such a translation may entail. We then go through a brief survey of the history of open- content licences and discuss a few routes through which we may read licences not only as legal documents but also as cultural documents.

Kefalonia is an island in the Ionian Sea, on the west coast of Greece. Along with the other islands of the "Heptanese", the island's culture has been influenced by centuries of Venetian rule: words of Italian origin are often used among locals, although their use is declining with each passing generation. In the capacity of Computer Science Teacher at a High School for adults, and recipient of an IEG grant to train mentally ill patients to edit the Wikimedia projects, I will present the ideas that helped us contribute to preserving our cultural heritage: from the edits of a 55-year-old assistant nurse being warmly received on Greek Wiktionary, to a user-friendly programming environment being used to develop a language quiz app for Android devices, to getting the Wikitherapy participants actively involved in joining forces with the students... and presenting our achievements at an event in the local Municipal Library last June. The highlight of the event was a live demonstration of the language quiz by a volunteer from the audience; I will be making a quiz based on the same CC-BY-SA code especially for the Celtic Knot conference (volunteer from the audience will be needed :-)

"The digital era has brought major changes to the music business, on the production side
as well as to matters of distribution. Both illegal and legal platforms were created which are being used for free-of-charge music distribution. A debate has been going on about the practical and theoretical implications of the development of digital cultural markets and on the relationships between making money and giving things away for free.
The debate either focuses on the situation of the user or on the future of the music in- dustry. In both cases the musician is being thought of as a subset of one of those groups. This does not at all do justice to the position of the musicians. My study focuses on the situation of independent musicians in popular culture and their use of Free Culture licenses compared to traditional copyright use. “Independent musician” here means those who compose their own music and distribute it by means of self- management. Potentially they are deeply influenced by the developments on the digital market; yet only a few studies examine their situation.
In this article I'll give a brief description of the current state of research and debate and I will present my approach to examining the situation of musicians today in the course of my PhD project. This includes some initial hypothesis. Furthermore I'll integrate some first hints to possible results from the research I am presently undertaking for this study."

Blender can be used as a 3D scene modeler, editor, animator, renderer and Game Engine. This paper describes how it can be linked to a 3D sound plat- form working within the CLAM framework, making special emphasis on a specic application: the re- cently launched Yo Frankie! open content game for the Blender Game Engine. The game was hacked to

Blender can be used as a 3D scene modeler, editor, animator, renderer and Game Engine. This paper describes how it can be linked to a 3D sound plat- form working within the CLAM framework, making special emphasis on a specic application: the re- cently launched Yo Frankie! open content game for the Blender Game Engine. The game was hacked to

Purpose 
This paper situates the activity of digitisation to increase access to cultural and heritage content alongside the objectives of the Open Access movement. It demonstrates that increasingly open licensing of digital cultural heritage content is creating opportunities for researchers in the arts and humanities for both access to and analysis of cultural heritage materials.
Design/methodology/approach.  
The paper is primarily a literature and scoping
review of the current digitisation licensing climate, using and embedding examples from ongoing research projects and recent writings on open access and digitisation to highlight both opportunities and barriers to the creation and use of digital heritage content from Galleries, Libraries, Archives and Museums.
Findings.  
The digital information environment in which digitised content is created and delivered has changed phenomenally, allowing the sharing and reuse of digital data and encouraging new advances in research across the sector, although issues of
licensing persist. There remain further opportunities for understanding how to: study use and users of openly available cultural and heritage content; disseminate and
encourage the uptake of open cultural content; persuade other institutions to publish their content in an open and accessible manner; build aggregation and search facilities to link across information sources to allow resource discovery; and how best to use high performance computing facilities to analyse and process the large amounts of content we are now seeing being made available throughout the sector.
Research limitations/implications (if applicable).  
It is hoped that by pulling together this discussion, the benefits to making material openly available have been made clear, encouraging others in the GLAM sector to consider making their
collections openly available for reuse and repurposing via publishing with open licenses.
Practical implications (if applicable).
This paper will encourage others in the GLAM sector to consider licensing their collections in an open and reusable fashion.
By spelling out the range of opportunities for researchers in using open cultural and heritage materials it makes a contribution to the discussion in this area.
Social implications (if applicable).  
Increasing the quantity of high quality open access resources in the cultural heritage sector will lead to a richer research
environment which will increase our understanding of history, culture, and society.
Originality/value.
This paper has pulled together, for the first time, an overview of
the current state of affairs of digitisation in the cultural and heritage sector seen through the context of the Open Access movement. It has highlighted opportunities
for researchers in the arts, humanities and social and historical sciences in the embedding of open cultural data into both their research and teaching, whilst scoping the wave of cultural heritage content which is being created from institutional
repositories which are now available for research and use. As such, it is a position paper that encourages the open data agenda within the cultural and heritage sector, showing the potentials that exists for the study of culture and society when data is
made open.

The Siddur is an aggregate of thousands of years of creatively inspired work by hundreds of authors. The innumerable variations in Jewish liturgy evidenced in so many siddurim witness the diversity of customs embraced by Jewish communities the world over. As much as we may value the import of tradition and the value of our diverse heritage, the degree to which any one mass-produced siddur suits the individual using it, is a question which has long been left as a consumer rather than as a creative choice. What if Jewish children could design and craft their own siddur over a span of years, familiarizing themselves with Jewish spiritual practice while becoming increasingly attuned to their own creative voice and those of others? Imagine one's own siddur growing organically through one's own edits, journaling, and artwork as one further refines and develops their spiritual practice, sharing portions of it with friends, family, teachers, and students.

Осуществлена попытка систематического обзора наиболее приоритетных академических исследований процесса разработки Википедии, привлекательных для психологической науки. Обобщены и конкретизированы разрозненные факты о личностных и групповых характеристиках волонтерской деятельности авторов Википедии: структурная дифференциация вики-сообщества, динамика феномена «мудрость толпы», альтруистические и мотивационные аспекты просоциального поведения википедистов, а также проблематика вандализма при составлении энциклопедических статей
///
Wikipedia is the fullest online open source encyclopedia, even more, it is multi-language; the work on its content is fundamentally based on principally new methods of distant group cooperation. One of the most characteristic patterns in preparation of new items in encyclopedia is the participation of competent volunteers who are able to describe the knowledge base which is dynamically developing, while the publishers of diverse other encyclopedias traditionally invite acknowledged licensed experts to prepare the items within their narrow fields of competence. Unlike this tradition, the administrators of Wikipedia rely on human capital, namely on the unclaimed (earlier) competence of thousands of people who do not call themselves experts but are eager to share information, work out rules of joint authorship and editing, make technical corrections of the encyclopedia items – and devote significant part of their life to this hobby-like activity. That is why up-to-day analysis of this experience as well as a review of multidisciplinary investigations, held mostly within science studies, sociology or computer studies, is highly important for psychologists. The paper presents a systematic review of the first-priority academic studies related to the experience of wikipedians. For example, the structural differentiation of Wikipedia as a dissipative adhocracy system is shown as a sort of folksonomy: the would-be authors first adapt and after that start their enlightening activity through mechanisms of self-actualization and self transcendence which are believed to characterize the wikipedians’ own values and meanings. The analysis of processes of cumulation, reworking and keeping actual knowledge are profound for studies of the so-called transactive memory. The wisdom of crowd phenomenon is analyzed in the context of gaining a declared consensus while the participating wikipedians are antagonistic from the point of their cognitive dissimilarity. That is why neither quality nor safety of the Wikipedia information are comparable to the most highly qualified encyclopedias, such as the British Encyclopedia which are known to recruit the most well-known experts. We may conclude that to rely on competent volunteers’ participation means to be pragmatic, taking into consideration mechanisms of collective intelligence and collective thinking, which characterize the current state of the modern digital society. The analysis of the wikipedians’ motivation shows that it is often based on reciprocal altruism as well as other intrinsic motives, being opposed to extrinsic ones. When destructive Wikipedia related activity, such as vandalism, is found, it is usually taken as a deviant behavior, neighboring to the elements of the “dark triad” (i.e. psychopathy, narcissism or machiavellianism). The final conclusion says that the study of the specifics of the wikipedians’ personal traits and their prosocial behavior sufficiently enlarges the frontiers of current research in psychology

Currently there are numerous works and research on quality of open learning and LMS. Quality-centered learning has been a model used from the start.
We wonder whether those results and discursive practices imply that what we considered criteria and features of pedagogic quality for learning based in LMS could be equally valid for MOOCs. We also wonder whether all that could also be applied to what has been worked on ubiquitous learning, social learning and instructional design.
We conclude that a continuous line should exist between the features we asked in the traditional form for online learning and MOOCs, and we give the same reasons to support them that held true for the former. We reach this conclusion based on a detailed analysis of arguments and theoretical basis of the original model, of the nature of MOOCs, and in general of the new open higher education.
The reference and precedent of this paper is found in another one dated in 2003 which concluded with some instruments for the evaluation of quality in platforms and learning management systems in higher education. A new system for the evaluation of MOOCs and online open courses has been created as a result.

Resumen en español.-
Desde su inicio hemos realizado numerosos trabajos e investigaciones sobre calidad en la enseñanza abierta on-line  en sistemas de gestión del aprendizaje. Un modelo  utilizado desde el principio ha sido  el de la calidad centrada en el aprendizaje.
Nos planteamos si esos resultados y esa línea discursiva no implican que lo que considerábamos criterios y rasgos de calidad pedagógica para la enseñanza basada en los LMS, no sean igualmente válidos para los MOOC. Y si esto no es aplicable igualmente a lo que se ha trabajado sobre aprendizaje ubicuo, aprendizaje social y diseño instruccional.
En este trabajo concluimos en base a un análisis detallado de argumentos y fundamentos teóricos de aquél modelo, y a la naturaleza de los MOOC y en general de la nueva enseñanza universitaria abierta, que debe existir una línea de continuidad entre los rasgos que pedíamos de forma tradicional para la enseñanza online y la exigible para los MOOC, y lo argumentamos basándonos en las mismas razones que justificaban aquellos.
Este trabajo tiene como referencia y precedente otro de 2003 que concluyó con unos instrumentos para la evaluación de la calidad en plataformas y sistemas de gestión del aprendizaje en educción superior, que fue utilizado por instituciones y en proyectos de investigación para evaluar la calidad y para diseñar investigaciones. Como resultado se ha elaborado un nuevo sistema de evaluación para MOOC y cursos abiertos on-line.

This chapter explains to business people, administrators, and educator/trainers what plagiarism is and is not, and explores authorship ambiguities such as ghostwriting, templates, boilerplate language, collaborative/team writing, and open content. It argues that two key features of plagiarism are the intent to deceive and lack of consent from the original author(s). Furthermore, whether the environment is an academic or work environment plays an important part in determining whether plagiarism has occurred, because academic settings impose stricter standards on borrowing. However, if both the original author and the borrowing author are aware of the origination of words and consent to their re-use, and the issue involves template or boilerplate language, or incorporates acknowledgement of influences, help, or collaborative contributions, it does not constitute plagiarism. Clarifying differences in standards and expectations of the academic and workplace environment will help business people better understand the ethical boundaries for practices of acknowledgement and attribution.

This paper focuses on work undertaken through the European Commission funded Bazaar project to establish a community of practice for researchers and practitioners in open source software and open content. The paper considers the use of social software to support such a communitty of practice. It consiers some of the theories and ideas behind supporting communities before going on to outline the design of an Architecture of Participation.

Today there is an increasing importance and demand for spatial information with rising tendency. Staying abreast of technical changes we have the need to undertake the creation of apprenticeship, dealing with Geographic Information Studies and Cartography. The laptop is a quasi standard for today's students. Taking this into account we can also benefit from new web technologies in the apprenticeship. With this prevision we started generating a multimedia enriched course in 2001, named GITTA [Geographic ...

Un défi a été très populaire sur le réseau social Instagram, lors de la période de confinement, au début de l’année 2020. Nommé Tussen Kunst & Quarantaine (« entre art et quarantaine »), il a consisté à imiter la représentation graphique d’œuvres au moyen de mises en scène photographiques, de manière à en faire deviner le nom aux autres participants. Cet article interroge les facteurs de son succès, mais aussi les reconfigurations sémantiques et spatiales qui lui sont inhérentes. Il questionne également la façon dont le défi a permis aux participants de s’exprimer sur leur vie durant le confinement et enfin ce qu’il dit des stratégies communicationnelles des musées, qui ont largement invité les personnes suivant leurs réseaux à y participer.

During the lockdown period at the start of 2020, a particular social media challenge on Instagram became very popular. Known by the name Tussen Kunst and Quarantaine (between art and quarantine), it consists of imitating the graphics of a work of art through photographic staging, so that the other participants can guess the name. This article examines the factors of the challenge’s success and also the spatial and semantic reconfigurations that are inherent to it. It also questions how this challenge allowed its participants to speak about their lives during the confinement, and finally, what it says about the communicational strategies of the museums, which have largely invited people following their pages to participate.

"Wikimedia Italy which is nothing for me that bringing the values of Wikipedia out of the computer, to make people understand that we can work together to do wonderful things, that do not always need money to build something beautiful, that you can do beautiful things but also useful, that open is better than closed, transparent is better than opaque, together is better than alone." Andrea Zanni , President of WMI

Abstract. According to Dr. BR Ambedkar's definition, Open Educational Resources (OER) are based on the philosophical view of knowledge as a collective, social product. In consequence, it is also desirable to make it a social property. Terry Foote, one of the Wikipedia project's chairperson emphasize this:“Imagine a world in which every single person is given free access to the sum of all human knowledge”. The importance of open educational resources (OERs) has been widely documented and demonstrated and a ...

This paper focuses on mapping information, ideas and arguments in virtual learning environments, as part of ongoing research into how this can contribute to distance education, open content learning communities, and distance research training. We introduce the idea of cartographic representations for learning, before describing the freely available Compendium hypermedia knowledge mapping tool developed at the UK's Open University (OU), which provides an open architecture, information management environment ...

Open-source religions employ open-source methods for the sharing, construction, and adaptation of religious belief systems, content, and practice.[1] In comparison to religions utilizing proprietary, authoritarian, hierarchical, and change-resistant structures, open-source religions emphasize sharing in a cultural Commons, participation, self-determination, decentralization, and evolution. They apply principles used in organizing communities developing open-source software for organizing group efforts innovating with human culture. New open-source religions may develop their systems of beliefs through a continuous process of refinement and dialogue among participating practitioners. Organizers and participants often see themselves as part of a more generalized open-source and free-culture movement.

ECOSENSUS*(Electronic/Ecological Collaborative Sensemaking Support System) investigates the socio-technological issues around developing collaboration tools for participatory environmental decision making amongst (a) marginalised natural resource users,(b) professional'experts' from different countries, and (c) key decision makers associated with managing ecosystems. An integral activity is the production of open content learning resources to support stakeholders in facilitating distributed environmental ...