Creative Commons - User contributions [en]

LicenseChooser.js/Security

2013-12-02T06:42:19Z

Mediaprizm: /* cc-license.js */

This page lists security considerations for the LicenseChooser.js. By exposing the design's use of input and the way it generates output and soliciting feedback on this, we hope to avoid correctness errors that can lead to vulnerabilities in our servers or the web applications of those who use our LicenseChooser.js.

'''Warning''': This might be boring.

== Generally ==

The LicenseChooser.js only creates DOM objects and CSS styles that begin with cc_js_, so they cannot overwrite your objects or styles unless you use the cc_js_ "namespace".

== Input validation ==

=== complete.js ===

complete.js is implemented as a PHP file. It reads in the prerequisite JavaScript files from the filesystem, never the network, and sends them to the user.

It also sends a reference to the desired localized template. This is based on the $_SERVER['SCRIPT_PATH'] and $_SERVER['HTTP_HOST'] header. The SCRIPT_PATH header is created by PHP and cannot be forged as far as I know. HTTP_HOST is taken from the user's Host: header, which in a normal HTTP/1.1 user agent is the domain of the web site the user is requesting the file from (in our case, it should always be api.creativecommons.org).

Spoofing the HTTP Host: header would cause Apache to dispatch to a different virtual host, so in effect it must be correct.

=== cc-license.js ===

On page load, cc_js_init() examines the DOM to look for elements you can set that control the actions of LicenseChooser.js. If there is a cc_js_seed_uri attribute, it calls cc_js_license_url_to_attributes(). All data in this URL ([http://www.executivegroupholdings.co.uk/site_security.html Static Security Manchester]) is either validated before it controls code flow or the input will be so malformed that execution will stop abruptly.

First that function verifies that the beginning of the URL indicates that it is a CC license. If the URL is malformed, the split("/") operation could fail, or access to elements of the resulting parts array could fail. If they succeed, then cc_js_set_version() is called which sets the license_array to have a particular version. This is validated by consulting the jurisdiction_array later on. cc_js_set_attribs ignores any text it does not know about, and again the choices are validated for validity against the jurisdiction_array when cc_js_rest_of_modify() is called. The jurisdiction is handled just like the version.

This is the only part of code flow that depends on values in the DOM that are intended to be controlled. If you modify cc_js_* attributes in other ways, you could perhaps make the code do unexpected things, but such access also includes the abilty override the cc_js_* functions, so we have no way to defend against that.

== Output generation ==

The complete.js file adds a <script> tag to the document it is included into, which causes the browser to request a static file, template.js (perhaps localized). This file document.write()s HTML to the page, but the validity of that HTML as XML has already been checked by the Python program that generated template.js.

The cc-jurisdictions.js file is generated nightly by Python. Only one section of the file is updated, and it is validated to be a single JSON object so the process by which the file is generated precludes it from modifying more than one variable. The variable it does modify is decoded from JSON and validated for equality to the Python object that generated it before the file is modified. That way, any invalid input during the generation of the jurisdiction array is caught before they are saved into a file that is served to web clients.

== Client interaction and network activity ==

All LicenseChooser.js DOM calls start with references to the cc_js_$() function, which ensures that it only modifies DOM elements prefixed by cc_js_. By verifying this, you can see that we do not have access to user data other than the forms created by us. Relatedly, all CSS styles are prefixed with this, and all created DOM objects' class or ID values if present are prefixed with cc_js_. By verifying this, you can ensure that we do not create conflicts with your styles or elements.

The LicenseChooser.js JS files do no network activity once they have been downloaded to the client. By verifying this, you can see that we do not send any information (personally identifiable or otherwise) any CC.org servers except as part of downloading the widget.

complete.js takes an input variable of ?locale= in the query string. It matches this against the regex /^([a-zA-Z-_]+)$/ to ensure only alphanumeric characters and hyphens and underscores are part of the value (as well as that the value is not empty), and if that is true, it asks the client to requests a file with these characters suffixed onto a URL. The chosen characters do not need to be escaped, so no escaping is done.

Building Institutions for Sustainable Scientific, Cultural and genetic Resources Commons

2013-10-26T07:43:45Z

Mediaprizm:

{{Event
|Event Name=Building Institutions for Sustainable Scientific, Cultural and genetic Resources Commons
|Mainurl=http://biogov.uclouvain.be/iasc/index.php
|date=2012/09/12
|end_date=2012/09/14
|Location=Louvain-la-Neuve, Belgium
|EventType=Conference,
|EventCategory=public domain, Open Access
}}
[http://www.carpenter-surveyors.com/ building survey]

Building Institutions for Sustainable Scientific, Cultural and genetic Resources Commons

2013-10-26T07:40:30Z

Mediaprizm:

{{Event
|Event Name=Building Institutions for Sustainable Scientific, Cultural and genetic Resources Commons
|Mainurl=http://biogov.uclouvain.be/iasc/index.php
|date=2012/09/12
|end_date=2012/09/14
|Location=Louvain-la-Neuve, Belgium
External Link
[http://www.carpenter-surveyors.com/ building survey]
|EventType=Conference,
|EventCategory=public domain, Open Access
}}

2012 Global Congress on Intellectual Property and the Public Interest

2013-10-26T07:30:51Z

Mediaprizm:

{{Event
|Event Name=2012 Global Congress on Intellectual Property and the Public Interest
|Mainurl=http://infojustice.org/public-events/globalcongress2012
|date=2012/12/15
|end_date=2012/12/17
|Location=Rio De Janeiro, Brazil
|EventType=Conference
|EventCategory=Intellectual Property, Copyright, positive agenda
}}
We are pleased to announce the Second Global Congress on Intellectual Property and the Public Interest. The theme for this year’s Congress will be “Setting the positive agenda in motion.” This note invites applications to attend the Congress, including proposals to chair workshops or deliver a paper or presentation related to the Congress’s theme.

APPLICATION AND COST INFORMATION

The application form is available now at http://infojustice.org/globalcongress2012/registration. Due to generous support from our sponsors, the Congress will cover the registration fees and all on-site costs for all attendees, including lunches and dinner receptions. Limited travel grants to cover accommodation and/or travel to the Congress will be available, with priorities for those from developing countries.

DEADLINES

Priority applications for travel assistance and to present or chair a workshop at the Congress will be due by August 1, 2012.
Final applications for travel grants, subject to funding availability, as well as applications to present at the Congress, will be due by September 1, 2012.
Applicants not seeking travel assistance or presentation opportunities may apply to attend the Congress by November 1, 2012.
BACKGROUND AND EXPLANATION OF THE THEME

The First Global Congress on Intellectual Property and the Public Interest was convened in 2011 to define a positive agenda for policy reform, build a global network of scholars and advocates to promote the agenda and provide opportunities for the sharing of research and strategies. The nearly 200 inaugural participants from over 30 countries and 6 continents deliberated over three days through in-person meetings and web-based collaboration to produce the Washington Declaration on Intellectual Property and the Public Interest (http://infojustice.org/washington-declaration) — an action agenda for promoting the public interest in intellectual property and information law reform around the world.

Sixteen months later, we come together to measure our progress and expand the positive agenda. To this end, we invite applications to attend the Congress and contribute to its deliberations identifying forums where policy is being developed, proposing policies or actions that promote public interest goals and principles, and identifying and planning to respond to research and analysis needs.

PRESENTATION OPPORTUNITIES

Because the primary purpose of the Congress is to promote deliberation and action planning, the opportunities for formal presentation will be somewhat limited. We will, however, have spaces for keynote presentations or panel discussions for each session (see below). In addition, as in the inaugural year, the Congress will host small works-in-progress workshops to allow participants to share their own work and solicit feedback from peers.

DRAFT WORKSHOP SESSIONS

Six main tracks will include a half day workshop introduced by a lecture or panel discussion on one or more of the themes noted below. The keynote introduction will be followed by deliberation in which participants will, first, review progress and opportunity in existing or potential policy forums and, second, review the current state of research and identify policy and empirical research needs and resources. Tracks will also have opportunities to draft statements or action plans for adoption at the closing plenary of the Congress or for discussion and online after the Congress ends.

We encourage applicants to identify specific sessions in which they would like to contribute.

Regulating Intellectual Property

This session will survey recent developments and proposals to regulate uses of intellectual [http://www.carpenter-surveyors.com/ property examination] through other legal doctrines that express and safeguard human values, including human rights, consumer protection, competition and privacy laws.

Valuing Openness and the Public Domain: This session will survey recent developments and proposals to ensure that creative and innovative works ultimately become free for all to use as part of the public domain, including through open licensing, open access, open educational resources, open data, open standards, open government, and related open information policies.

Strengthening Limitations and Exceptions as Enabling Tools for Innovation and Expression: This session will survey recent developments and proposals to use limitations and exceptions as positive enabling doctrines to ensure that intellectual property law fulfills its ultimate purpose of promoting essential aspects of the public interest.

Setting Public Interest Priorities for Patent and Research and Development Reform: This session will survey recent developments and proposals to ensure that patent and other research and development policies serve all segments of society, and particularly the most disadvantaged, and accommodate the diverse needs of a complex world with a more diverse structure of incentives for innovation.

Supporting Cultural Creativity: This session will survey recent developments and proposals to maximize opportunities for creativity while increasing access to creative works and helping to end disputes over practices like non-commercial file-sharing.

Checking Enforcement Excesses: This session will survey recent developments and proposals to ensure that intellectual property enforcement policies and practices respect the human rights principle of proportionality and are not used as a diversion from the difficult task of tailoring intellectual property norms to their social contexts.

Implementing Development Agendas: This session will survey recent developments and proposals to fully integrate the development dimension into intellectual property policy and norm-setting at all levels of international and national intellectual policy making.

Targeted Research: Given the spectrum of issues described above, what are the key research needs? Given academic incentive structures, what kinds of research fall through the cracks? Given the funding crisis in this field, how can we meet research needs on the cheap? Given the international scope of many policy issues, how can we work collaboratively and comparatively? Given the Internet, how can we develop and leverage new software tools for data collection?

In addition to the above sessions, we invite presentations on other topics relevant to the positive agenda the Washington Declaration promotes, including:

the role of mobilisation and activism.
collaboration between ISPs and governments in enforcement
the ecology of access to educational materials
designing copyright from scratch
updates and lessons from specific forms, e.g. WIPO, national legislatures, trade negotiations, etc.
The application form is available now at http://infojustice.org/globalcongress2012/registration. Please forward this invitation to interested lists and individuals. For more information or questions, you may contact globalcongress2012@gmail.com.

GLOBAL CONGRESS PLANNING COMMITTEE:

Centro de Tecnologia e Sociedade – CTS | FGV DIREITO RIO, 2012 Chair
American Assembly, Columbia University, New York
International Centre for Trade and Sustainable Development, Geneva
Centre for Internet and Society, India
Open African Innovation Research and Training (Open AIR) initiative
Program on Information Justice and Intellectual Property, American University, Wash. D.C.

Case Studies/Watching Cars

2013-10-26T06:53:41Z

Mediaprizm: /* Media */

{{Case Study
|Description=Watching Cars is an independent band who licenses all of their music under Creative Commons.
|Mainurl=http://www.watching-cars.com
|Author=Watching Cars
|User_Status=Creator
|Tag=watching-cars music cc folk pop indie
|Format=Sound
|Country=United States
|importance=Medium
|quality=B-Class
|License_short_name=CC BY-NC
|License=http://creativecommons.org/licenses/by-nc/3.0/us/
}}
== Overview ==

The brainchild of brothers David and Collin, Watching Cars is a unique blend of homespun roots and understated pop that will have its listener unknowingly whistling melodies the next day. Both boys, Texas born and bred, grew up on a steady diet of Beach Boys, Beatles, Chicago, and James Taylor, paving the way for their love of indie pop artists such as Death Cab for Cutie, Iron & Wine, and Pedro the Lion. Out of influences like these and a rigorous background of classical and jazz training came the duo’s characteristic sound.

Watching Cars is not the first musical endeavor on which the Gouldin brothers have embarked. For years the two enjoyed playing together in the rock band Ben Zephyr. As David puts it, “there’s nothing quite like being in a band with a member of your family. We have this unspoken musica l connection between us that I haven’t been able to find with anybody else.” So it just made sense that after Ben Zephyr, the two would come back together to work on their own project. While David revisited ideas constructed in styles less suited for a full rock band, Collin began to add his own personal creative touch to the material. The result is a well crafted set of tunes which highlight both the brothers’ unspoken musical bond and the quirks of their individual personalities.

The music, however, is not the only thing on their minds. Faced with a rapidly changing music business and a corporate environment where fans are just as easily pegged as the sole cause of the industry’s demise, Watching Cars has decided to go an altogether different route. Every song, photo, and video produced by the band has been licensed under Creative Commons. Fans are encouraged to freely make and distribute copies of the works and even use the material to make derivative works of their own. “We’re more concerned about building an active, enthusiastic community around what we’re doing as artists. We want people to be involved, participate, feel as though they have some ownership in our music. The restrictive modern interpretation of copyright was limiting our ability to connect with the people around us. Creative Commons gives us a way to enjoy the control and protection of our work we desire while at the same time fostering the kind of creative environment we feel is so vital to the artistic fabric of our society.”

As David and Collin continue to develop new material and hone their live performance, Watching Cars’ reputation as captivating songwriters and performers has already begun to spread. Soon their infectious brand of honest, melodic music will have reached the ears of fans across the world who just can’t help but sing along.

{{Incomplete|Overview|formedit}}

== License Usage ==

All of Watching Cars' music is licensed under a Creative Commons Attribution-Noncommercial 3.0 United States license. They also encourage (but do not require) all those who create content for us to license their materials the same way.

{{Incomplete|License Usage|formedit}}

== Motivations ==

The following except was taken from a blog post explaining Watching Cars' choice to use Creative Commons for their music:

Big business i.e. the RIAA i.e. "The Big 4" have ruined the community and creativity of our musical culture. And we, the docile apathetic consumerist American, have allowed it to happen. Copyright was originally created to foster creativity and progress in the arts and sciences. But as it is now being exploited to herd consumers like scared cattle, copyright is doing the exact opposite of what it was intended for. It is stifling expression and stamping out creativity with a steel toed legal boot. It's clear that the interests of consumers and those of the music industry are becoming more and more misaligned. It's clear that our judiciary system's modern interpretation of copyright is failing.

Wikipedia has been accused of killing traditional repositories of information such as encyclopedias. Openly available consumer tools like craigslist have been accused of killing traditional real estate agencies and print media classified ads. Priceline, Hotwire, and the like have been accused of killing travel agencies. Yet all of these things are a win for society because they get better information and tools in the hands of people who need them. This is clearly progress, and anybody who would speak out against it is simply unable or unwilling to adapt. Don't believe me? Take a look at the [http://www.wired.com/entertainment/music/magazine/15-12/mf_morris?currentPage=all perspective of Doug Morris, CEO of Universal Music Group]. So the MP3 and broadband connections may very well kill the CD. So what? That, too, is progress.

Of course all of these conflicts are short-lived. The dinosaurs will eventually die and we'll continue to move closer to a free information culture. But your actions as a consumer have and will continue to be the primary force in shaping that trend. It's up to you to demand that freedom of information. As artists, it's really what most of us want too. We don't want gold plated pools and fancy cars. We just want to be able to support our families doing what we love. Some of us are just too afraid our fans won't provide the financial backing that will allow us to keep creating music. In fact, it's a basic tenet of traditional economics that consumers will only pay the lowest price possible for a good or service.

So it's also up to you to prove that a system of patronage not only works but is the only real solution for the sustainability of a culture of creativity. Personally, I'm not worried about it. We're not ultimately after you buying into us with your wallets. That's a one time transaction and a fickle river that could dry up at any moment. We want you to buy into us with your minds, your interest and enthusiasm. Those things are infinitely more valuable.

In that spirit, feel free to distribute, copy, and burn our music as much as you'd like. Chop it up and make your own mixes. Use it in your youtube videos. Plaster a life sized print of our photo on the ceiling above your bed. (Ok, that's kind of creepy, but also completely within your rights to do.) Inspire us with your creativity and let us inspire you with ours. And, most importantly, spend your time enjoying what we've created for you instead of worrying about what you can or can't do with it.

{{Incomplete|Motivations|formedit}}

== Media ==
[http://watching_cars.s3.amazonaws.com/Promo_Disc_1/Watching_Cars_-_Promo_Disc_1_-_Audio_-_256kbps_vbr_lame_MP3.zip Promo Disc 1]
[http://watching_cars.s3.amazonaws.com/Promo_Disc_2/Watching_Cars_-_Promo_Disc_2_-_Audio_-_lame_extreme_MP3.zip Promo Disc 2]

{{Incomplete|Media|formedit}}

External Links
* [http://www.sbtjapan.com/ SBT Japan Vehicles]
* [http://www.sbtjapan.com/japanese-used-vehicles-cn0-rhd Right Hand Vehicles]

* [http://www.carjunction.com/ japanese used cars]
* [http://www.carjunction.com/ japan used cars]
[[Category:USA]]

Case Studies/Watching Cars

2011-02-01T12:13:13Z

Mediaprizm: /* Media */

{{Case Study
|Description=Watching Cars is an independent band who licenses all of their music under Creative Commons.
|Mainurl=http://www.watching-cars.com
|Author=Watching Cars
|User_Status=Creator
|Tag=watching-cars music cc folk pop indie
|Format=Sound
|Country=United States
|importance=Medium
|quality=B-Class
|License_short_name=CC BY-NC
|License=http://creativecommons.org/licenses/by-nc/3.0/us/
}}
== Overview ==

The brainchild of brothers David and Collin, Watching Cars is a unique blend of homespun roots and understated pop that will have its listener unknowingly whistling melodies the next day. Both boys, Texas born and bred, grew up on a steady diet of Beach Boys, Beatles, Chicago, and James Taylor, paving the way for their love of indie pop artists such as Death Cab for Cutie, Iron & Wine, and Pedro the Lion. Out of influences like these and a rigorous background of classical and jazz training came the duo’s characteristic sound.

Watching Cars is not the first musical endeavor on which the Gouldin brothers have embarked. For years the two enjoyed playing together in the rock band Ben Zephyr. As David puts it, “there’s nothing quite like being in a band with a member of your family. We have this unspoken musica l connection between us that I haven’t been able to find with anybody else.” So it just made sense that after Ben Zephyr, the two would come back together to work on their own project. While David revisited ideas constructed in styles less suited for a full rock band, Collin began to add his own personal creative touch to the material. The result is a well crafted set of tunes which highlight both the brothers’ unspoken musical bond and the quirks of their individual personalities.

The music, however, is not the only thing on their minds. Faced with a rapidly changing music business and a corporate environment where fans are just as easily pegged as the sole cause of the industry’s demise, Watching Cars has decided to go an altogether different route. Every song, photo, and video produced by the band has been licensed under Creative Commons. Fans are encouraged to freely make and distribute copies of the works and even use the material to make derivative works of their own. “We’re more concerned about building an active, enthusiastic community around what we’re doing as artists. We want people to be involved, participate, feel as though they have some ownership in our music. The restrictive modern interpretation of copyright was limiting our ability to connect with the people around us. Creative Commons gives us a way to enjoy the control and protection of our work we desire while at the same time fostering the kind of creative environment we feel is so vital to the artistic fabric of our society.”

As David and Collin continue to develop new material and hone their live performance, Watching Cars’ reputation as captivating songwriters and performers has already begun to spread. Soon their infectious brand of honest, melodic music will have reached the ears of fans across the world who just can’t help but sing along.

{{Incomplete|Overview|formedit}}

== License Usage ==

All of Watching Cars' music is licensed under a Creative Commons Attribution-Noncommercial 3.0 United States license. They also encourage (but do not require) all those who create content for us to license their materials the same way.

{{Incomplete|License Usage|formedit}}

== Motivations ==

The following except was taken from a blog post explaining Watching Cars' choice to use Creative Commons for their music:

Big business i.e. the RIAA i.e. "The Big 4" have ruined the community and creativity of our musical culture. And we, the docile apathetic consumerist American, have allowed it to happen. Copyright was originally created to foster creativity and progress in the arts and sciences. But as it is now being exploited to herd consumers like scared cattle, copyright is doing the exact opposite of what it was intended for. It is stifling expression and stamping out creativity with a steel toed legal boot. It's clear that the interests of consumers and those of the music industry are becoming more and more misaligned. It's clear that our judiciary system's modern interpretation of copyright is failing.

Wikipedia has been accused of killing traditional repositories of information such as encyclopedias. Openly available consumer tools like craigslist have been accused of killing traditional real estate agencies and print media classified ads. Priceline, Hotwire, and the like have been accused of killing travel agencies. Yet all of these things are a win for society because they get better information and tools in the hands of people who need them. This is clearly progress, and anybody who would speak out against it is simply unable or unwilling to adapt. Don't believe me? Take a look at the [http://www.wired.com/entertainment/music/magazine/15-12/mf_morris?currentPage=all perspective of Doug Morris, CEO of Universal Music Group]. So the MP3 and broadband connections may very well kill the CD. So what? That, too, is progress.

Of course all of these conflicts are short-lived. The dinosaurs will eventually die and we'll continue to move closer to a free information culture. But your actions as a consumer have and will continue to be the primary force in shaping that trend. It's up to you to demand that freedom of information. As artists, it's really what most of us want too. We don't want gold plated pools and fancy cars. We just want to be able to support our families doing what we love. Some of us are just too afraid our fans won't provide the financial backing that will allow us to keep creating music. In fact, it's a basic tenet of traditional economics that consumers will only pay the lowest price possible for a good or service.

So it's also up to you to prove that a system of patronage not only works but is the only real solution for the sustainability of a culture of creativity. Personally, I'm not worried about it. We're not ultimately after you buying into us with your wallets. That's a one time transaction and a fickle river that could dry up at any moment. We want you to buy into us with your minds, your interest and enthusiasm. Those things are infinitely more valuable.

In that spirit, feel free to distribute, copy, and burn our music as much as you'd like. Chop it up and make your own mixes. Use it in your youtube videos. Plaster a life sized print of our photo on the ceiling above your bed. (Ok, that's kind of creepy, but also completely within your rights to do.) Inspire us with your creativity and let us inspire you with ours. And, most importantly, spend your time enjoying what we've created for you instead of worrying about what you can or can't do with it.

{{Incomplete|Motivations|formedit}}

== Media ==
[http://watching_cars.s3.amazonaws.com/Promo_Disc_1/Watching_Cars_-_Promo_Disc_1_-_Audio_-_256kbps_vbr_lame_MP3.zip Promo Disc 1]
[http://watching_cars.s3.amazonaws.com/Promo_Disc_2/Watching_Cars_-_Promo_Disc_2_-_Audio_-_lame_extreme_MP3.zip Promo Disc 2]

{{Incomplete|Media|formedit}}

External Links
* [http://www.sbtjapan.com/ Japanese used cars]
* [http://www.sbtjapan.com/japanese-used-vehicles-cn0 Japanese used vehicles]