|
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| Line 11: |
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| | |Country=New Zealand, United States | | |Country=New Zealand, United States |
| | }} | | }} |
| − | == Motivations ==
| + | 3 |
| − | | + | 3 |
| − | Following Alexis West producer Brian Boyko says that he accepts Creative
| + | 3 |
| − | 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.
| |
