Difference between revisions of "Case Studies/Following Alexis West"
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| − | == | + | == Motivations == |
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| − | + | Following Alexis West producer Brian Boyko says that he accepts Creative | |
| + | Commons as a normal, ordinary part of the day-to-day functioning of the web. | ||
| + | Inspired by the release of Cory Doctorow’s writing under Creative Commons, | ||
| + | and the Flickr license integration, Boyko believes his work should be open to | ||
| + | anyone who is willing to use it fairly. “If a kid wants to remix Sir Geoffrey Palmer into a rap battle with Eminem, | ||
| + | best of luck to him. Creative Commons is great because I don’t have to | ||
| + | say up front who -can- use the material. Anyone can use the material with | ||
| + | the guidelines provided; if you want to step outside the guidelines, well, it’s | ||
| + | possible, but we need to talk about that.” (Email interview with Brian Boyko by Rachel Cobcroft, 28 December 2007) | ||
| − | + | On the issue of the implementation of Creative Commons licenses, Boyko | |
| − | + | believes that their structure is simple and straightforward. If problems arise, | |
| − | + | he believes, it is due to education: ‘People often labour under the delusion that | |
| − | + | everything is “all rights reserved” or anyone can take it and use it, and that | |
| − | of | + | there’s no middle ground.’ |
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| − | + | Importantly, Boyko believes that Creative Commons greatly increases the | |
| − | + | utility of a creator’s works: ‘There’s a chance Following Alexis West might rot in my attic, unloved and | |
| − | + | unsold. But even if the main work is a failure (and it’s my first movie, so it | |
| − | + | might well be!) if there is a derivative utility to which my work can be used, | |
| − | + | I want people to be able to do so.’ Further information about the documentary can be found on the film’s blog at | |
| − | + | http://www.blogphilo.com/main/?cat=4. | |
| − | + | == Motivations == | |
| − | + | Following Alexis West producer Brian Boyko says that he accepts Creative | |
| − | + | Commons as a normal, ordinary part of the day-to-day functioning of the web. | |
| − | + | Inspired by the release of Cory Doctorow’s writing under Creative Commons, | |
| − | + | and the Flickr license integration, Boyko believes his work should be open to | |
| − | + | anyone who is willing to use it fairly. “If a kid wants to remix Sir Geoffrey Palmer into a rap battle with Eminem, | |
| + | best of luck to him. Creative Commons is great because I don’t have to | ||
| + | say up front who -can- use the material. Anyone can use the material with | ||
| + | the guidelines provided; if you want to step outside the guidelines, well, it’s | ||
| + | possible, but we need to talk about that.” (Email interview with Brian Boyko by Rachel Cobcroft, 28 December 2007) | ||
| − | + | On the issue of the implementation of Creative Commons licenses, Boyko | |
| − | + | believes that their structure is simple and straightforward. If problems arise, | |
| − | + | he believes, it is due to education: ‘People often labour under the delusion that | |
| − | + | everything is “all rights reserved” or anyone can take it and use it, and that | |
| − | + | there’s no middle ground.’ | |
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| − | |||
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| + | Importantly, Boyko believes that Creative Commons greatly increases the | ||
| + | utility of a creator’s works: ‘There’s a chance Following Alexis West might rot in my attic, unloved and | ||
| + | unsold. But even if the main work is a failure (and it’s my first movie, so it | ||
| + | might well be!) if there is a derivative utility to which my work can be used, | ||
| + | I want people to be able to do so.’ Further information about the documentary can be found on the film’s blog at | ||
| + | http://www.blogphilo.com/main/?cat=4. | ||
== Motivations == | == Motivations == | ||
| + | |||
Following Alexis West producer Brian Boyko says that he accepts Creative | Following Alexis West producer Brian Boyko says that he accepts Creative | ||
Commons as a normal, ordinary part of the day-to-day functioning of the web. | Commons as a normal, ordinary part of the day-to-day functioning of the web. | ||
Revision as of 05:19, 10 April 2008
I like trees. —
Motivations
Following Alexis West producer Brian Boyko says that he accepts Creative Commons as a normal, ordinary part of the day-to-day functioning of the web. Inspired by the release of Cory Doctorow’s writing under Creative Commons, and the Flickr license integration, Boyko believes his work should be open to anyone who is willing to use it fairly. “If a kid wants to remix Sir Geoffrey Palmer into a rap battle with Eminem, best of luck to him. Creative Commons is great because I don’t have to say up front who -can- use the material. Anyone can use the material with the guidelines provided; if you want to step outside the guidelines, well, it’s possible, but we need to talk about that.” (Email interview with Brian Boyko by Rachel Cobcroft, 28 December 2007)
On the issue of the implementation of Creative Commons licenses, Boyko believes that their structure is simple and straightforward. If problems arise, he believes, it is due to education: ‘People often labour under the delusion that everything is “all rights reserved” or anyone can take it and use it, and that there’s no middle ground.’
Importantly, Boyko believes that Creative Commons greatly increases the utility of a creator’s works: ‘There’s a chance Following Alexis West might rot in my attic, unloved and unsold. But even if the main work is a failure (and it’s my first movie, so it might well be!) if there is a derivative utility to which my work can be used, I want people to be able to do so.’ Further information about the documentary can be found on the film’s blog at http://www.blogphilo.com/main/?cat=4.
Motivations
Following Alexis West producer Brian Boyko says that he accepts Creative Commons as a normal, ordinary part of the day-to-day functioning of the web. Inspired by the release of Cory Doctorow’s writing under Creative Commons, and the Flickr license integration, Boyko believes his work should be open to anyone who is willing to use it fairly. “If a kid wants to remix Sir Geoffrey Palmer into a rap battle with Eminem, best of luck to him. Creative Commons is great because I don’t have to say up front who -can- use the material. Anyone can use the material with the guidelines provided; if you want to step outside the guidelines, well, it’s possible, but we need to talk about that.” (Email interview with Brian Boyko by Rachel Cobcroft, 28 December 2007)
On the issue of the implementation of Creative Commons licenses, Boyko believes that their structure is simple and straightforward. If problems arise, he believes, it is due to education: ‘People often labour under the delusion that everything is “all rights reserved” or anyone can take it and use it, and that there’s no middle ground.’
Importantly, Boyko believes that Creative Commons greatly increases the utility of a creator’s works: ‘There’s a chance Following Alexis West might rot in my attic, unloved and unsold. But even if the main work is a failure (and it’s my first movie, so it might well be!) if there is a derivative utility to which my work can be used, I want people to be able to do so.’ Further information about the documentary can be found on the film’s blog at http://www.blogphilo.com/main/?cat=4.
Motivations
Following Alexis West producer Brian Boyko says that he accepts Creative Commons as a normal, ordinary part of the day-to-day functioning of the web. Inspired by the release of Cory Doctorow’s writing under Creative Commons, and the Flickr license integration, Boyko believes his work should be open to anyone who is willing to use it fairly. “If a kid wants to remix Sir Geoffrey Palmer into a rap battle with Eminem, best of luck to him. Creative Commons is great because I don’t have to say up front who -can- use the material. Anyone can use the material with the guidelines provided; if you want to step outside the guidelines, well, it’s possible, but we need to talk about that.” (Email interview with Brian Boyko by Rachel Cobcroft, 28 December 2007)
On the issue of the implementation of Creative Commons licenses, Boyko believes that their structure is simple and straightforward. If problems arise, he believes, it is due to education: ‘People often labour under the delusion that everything is “all rights reserved” or anyone can take it and use it, and that there’s no middle ground.’
Importantly, Boyko believes that Creative Commons greatly increases the utility of a creator’s works: ‘There’s a chance Following Alexis West might rot in my attic, unloved and unsold. But even if the main work is a failure (and it’s my first movie, so it might well be!) if there is a derivative utility to which my work can be used, I want people to be able to do so.’ Further information about the documentary can be found on the film’s blog at http://www.blogphilo.com/main/?cat=4.
