Main

April 07, 2006

Creative Commons

http://creativecommons.org/

Creative Commons licenses provide a flexible range of protections and freedoms for authors, artists, and educators. We have built upon the "all rights reserved" concept of traditional copyright to offer a voluntary "some rights reserved" approach. We're a nonprofit organization. All of our tools are free.

About Us
"Some Rights Reserved": Building a Layer of Reasonable Copyright

Too often the debate over creative control tends to the extremes. At one pole is a vision of total control -- a world in which every last use of a work is regulated and in which "all rights reserved" (and then some) is the norm. At the other end is a vision of anarchy -- a world in which creators enjoy a wide range of freedom but are left vulnerable to exploitation. Balance, compromise, and moderation -- once the driving forces of a copyright system that valued innovation and protection equally -- have become endangered species.

Creative Commons is working to revive them. We use private rights to create public goods: creative works set free for certain uses. Like the free software and open-source movements, our ends are cooperative and community-minded, but our means are voluntary and libertarian. We work to offer creators a best-of-both-worlds way to protect their works while encouraging certain uses of them -- to declare "some rights reserved."

Luddites

http://en.wikipedia.org/wiki/Luddite

The Luddites were a social movement of English workers in the early 1800s who protested - often by destroying textile machines - against the changes produced by the Industrial Revolution that they felt threatened their jobs. The movement, which began in 1811, was named after a probably mythical leader, Ned Ludd. For a short time the movement was so strong that it clashed in battles with the British Army. Measures taken by the government included a mass trial at York in 1813 that resulted in many death penalties and transportations (deportment to a penal colony).

The English historical movement has to be seen in its context of the harsh economic climate due to the Napoleonic Wars; but since then, the term Luddite has been used to describe anyone opposed to technological progress and technological change. For the modern movement of opposition to technology, see neo-luddism.

E. P. Thompson's view of Luddism
In his work on English history, The Making of the English Working Class, E. P. Thompson presented an alternative view of Luddite history.

Luddites are often characterised, and indeed their name has to some become synonymous with, people opposed to all change--in particular technological change such as that which was sweeping through the weaving shops in the industrial heartland of England. They are often characterised as violent, thuggish, and disorganised.

E. P. Thompson advances many arguments against this view of the Luddites. He shows that the Luddites were not opposed to new technology, but rather to the abolition of set prices and therefore also to the introduction of what we would today call the free market.

Thompson argues that it was this newly-introduced economic system that the Luddites were protesting. For example, the Luddite song, "General Ludd's Triumph":

The guilty may fear, but no vengeance he aims
At the honest man's life or Estate
His wrath is entirely confined to wide frames
And to those that old prices abate

"Wide frames" were the weaving frames, and the old prices were those prices agreed by custom and practice. Thompson cites the many historical accounts of Luddite raids on workshops where some frames were smashed whilst others (whose owners were obeying the old economic practice and not trying to cut prices) were left untouched.

Secondly, Thompson counters the view that the Luddites were thuggish. There were remarkably few Luddite arrests and executions, and yet they operated highly effectively against the forces of the state. Thompson's explanation for this is that they were working with the consent of the local communities (or indeed were part of those communities).

Thirdly, Thompson argues that the Luddites were not disorganised. He notes that some of the largest Luddite activities involved a hundred men.

In short, Thompson feels that in caricaturing the Luddites as 'thugs' who just wanted to smash up new technology we are simply continuing the propaganda of the time. The reality, in Thompson's view, is that the Luddites were normal people who were protesting against changes of which they disapproved.

Evidence for this point of view has been further developed by Prof Kevin Binfield ('Writings of the Luddites' - see [1] ).-

April 06, 2006

Big Box Reuse/Julia Christensen

http://www.bigboxreuse.com/


The Sugar Creek Charter Elementary School
Charlotte, NC
Renovated K-Mart

As superstores abandon buildings in order to move into bigger stores, what will become of the walls that they leave behind? It is within the answer to this question that we are seeing the resourcefulness and creativity of communities dealing with a situation that is happening all over the country: the empty big box. Through travel and the study of buildings, Julia is researching the way people build their towns, creating the context for their own lives.

Julia Christensen began investigating How Communities are Re-Using the Big Box in January of 2004. Since then, she has been traveling around the country in her car, visiting the sites and meeting the people who are making these transformations possible. She has been collecting a growing collection of photographs, interviews, stories, and documents relating to the renovations, and has been giving presentations in these communities about how other towns are dealing with this common situation. While exhibiting photographs and installing video and sound work generated from her travels, she is currently working on a book documenting her research. Julia continues to develop her traveling exhibit of artifacts exploring How Communities are Re-Using the Big Box.

The term "big box" refers to a large, free-standing building with one major room. This model was made very popular by the corporations that created stores with minimal storage space, the stock items simply coming in off the truck and on to the shelves. Because "big box" is a fairly new term, and since there are variations on the concept, there have been several occasions upon which Julia has arrived at a site and the "big box" was not quite what she thought it was going to be. Nevertheless, there has been something important to be learned at each of this locations. Her research has led her down many side streets, as she has learned about the choices people make in order to shape their town in order to accommodate their community.

Supernaturale

http://www.supernaturale.com/

SuperNaturale is an independent site dedicated to the Do It Yourself culture in all its glorious forms. From simple afternoon home improvement projects to radical lifestyle choices- we love them all. We celebrate ingenuity, creativity and the handmade.

Treehugger

http://www.treehugger.com/

TreeHugger is a fast-growing web magazine, dedicated to everything that has a modern aesthetic yet is environmentally responsible. Our influential audience stops by frequently to check out the latest news, reviews and recommendations for modern yet green products and services. Consumers also rely on the directory to help facilitate their buying processes. TreeHugger is the most effective way for them to find well designed products that are also ecologically sensitive.

Counterfeit Chic

http://www.counterfeitchic.com/
by Susan Scaffidi

The history of fashion is a tale of innovation, but also of imitation. Trendsetters create and embrace new styles, but without copycats there would be no trends. This paradox lies at the heart of Counterfeit Chic.

Long before the digital revolution enabled the downloading of music and movies, the industrial revolution enabled the rapid copying of couture garments - and provoked similar public debates. U.S. intellectual property law, however, has traditionally been reluctant to engage the world of fashion. While large luxury retailers have begun to test the power of law enforcement personnel and the courts against blatant counterfeiters, these high profile handbag wars are only part of the story.

This site is about the culture of the copy within the multi-billion dollar global clothing and textile industry. It's about New York's Canal Street and Beijing's Silk Alley, but also about the cognitive and sociological reasons that make us want to buy or reject knock-offs in the first place. It's about political and legal developments, but also about why both technological efforts and the social norms of the fashion industry continue to be more effective than law in supporting creativity. It's about the centuries-long, arguably productive battle between designers and copyists, and also about why the modern world threatens to upset that balance. It's about the universal phenomenon of copying, and about the law's limited response.

Counterfeit Chic is a multivalent concept. Does it imply a false claim of elegance, assert a defiant redefinition of style, or make some other social/legal statement? Rather than begin with an answer, let's start a conversation.

Obsessive Consumption

www.obsessiveconsumption.com
Kate Bingaman

Packard Jennings

http://centennialsociety.com/durham.html

"A Day at the Mall"

"Bible Sticker"