Creative Commons Publishes Study of “Noncommercial Use”

---------- Forwarded message ----------
From: Richard Forno <rforno@infowarrior.org>
Date: 2009/9/15
Subject: [Air-L] Creative Commons Publishes Study of "Noncommercial Use"
To: air-l@listserv.aoir.org

Creative Commons Publishes Study of "Noncommercial Use"
Mike Linksvayer, September 14th, 2009
San Francisco, California, USA — September 14, 2009

http://creativecommons.org/press-releases/entry/17721

Creative Commons announces the publication of Defining "Noncommercial": A
Study of How the Online Population Understands "Noncommercial Use." The
report details the results of a research study launched in September 2008
to explore differences between commercial and noncommercial uses of
content found online, as those uses are understood by various communities
and in connection with a wide variety of content. Generous support for the
study was provided by the Andrew W. Mellon Foundation.

The study investigated understandings of noncommercial use and the
Creative Commons "NC" license term through online surveys of content
creators and users in the U.S., open access polls of global "Creative
Commons Friends and Family," interviews with thought leaders, and focus
groups with participants from around the world who create and use a wide
variety of online content and media. The research behind Defining
"Noncommercial" was conducted by Netpop Research, under advisement from
academics and a working group consisting of several Creative Commons
jurisdiction project members as well as Creative Commons staff and board
members.

Creative Commons provides free copyright licenses to creators who want to
grant the public certain permissions to use their works, in advance and
without the need for one-to-one contact between the user and the creator.
"Noncommercial" or "NC" is one of four license terms that creators may
choose to apply to CC-licensed content.

Creative Commons noncommercial licenses preclude use of a work "in any
manner that is primarily intended for or directed toward commercial
advantage or private monetary compensation." The majority of respondents
(87% of creators, 85% of users) replied that the definition was
"essentially the same as" (43% of creators, 42% of users) or "different
from but still compatible with" (44% of creators, 43% of users) theirs.
Only 7% of creators and 11% of users replied that the term was "different
from and incompatible with" their definition.

Other highlights from the study include the rating by content creators and
users of different uses of online content as either "commercial" or
"noncommercial" on a scale of 1-100, where 1 is "definitely noncommercial"
and 100 is "definitely commercial." On this scale, creators and users
(84.6 and 82.6, respectively) both rate uses in connection with online
advertising generally as "commercial." However, more specific use cases
revealed that many interpretations are fact-specific. For example,
creators and users gave the specific use case "not-for-profit organization
uses work on its site, organization makes enough money from ads to cover
hosting costs" ratings of 59.2 and 71.7, respectively.

On the same scale, creators and users (89.4 and 91.7, respectively) both
rate uses in which money is made as being commercial, yet again those
ratings are lower in use cases specifying cost recovery or use by
not-for-profits. Finally, both groups rate "personal or private" use as
noncommercial, though creators did so less strongly than users (24.3 and
16.0, respectively, on the same scale).

In open access polls, CC's global network of "friends and family" rate
some uses differently from the U.S. online population—although direct
empirical comparisons may not be drawn from these data. For example,
creators and users in these polls rate uses by not-for-profit
organizations with advertisements as a means of cost recovery at 35.7 and
40.3, respectively—somewhat more noncommercial. They also rate "personal
or private" use as strongly noncommercial—8.2 and 7.8, respectively—again
on a scale of 1-100 where 1 is "definitely noncommercial" and 100 is
"definitely commercial."

"As more people have begun to make, share, and use content online, the
question of what constitutes a 'commercial use' versus a 'noncommercial
use' has become increasingly important to understand," said Josh Crandall,
President of Netpop Research. "With this study, we were particularly
interested to see that—contrary to what many might believe—there is little
variation between creators and users in the perceived 'commerciality' of
particular uses of copyrighted content. Furthermore, where they do differ,
users tend to have a more conservative outlook than creators. This study
provides useful data and perspectives—from both members of the general
public and people who work closely in the world of copyright—that can help
people begin to think more clearly about the issue."

The study report and its associated data are available at
http://wiki.creativecommons.org/Defining_Noncommercial, where members of
the public can contribute feedback about the report. Defining
"Noncommercial" is published under a Creative Commons Attribution license,
and the research data is available under a CC0 public domain waiver.

"We're excited that the results of this important project will be
available for all kinds of uses—including commercial use—by anyone," said
Joi Ito, CEO of Creative Commons. "We encourage researchers and our
community to use what we've done and expand this investigation further,
building upon the data we collected and incorporating more perspectives
from Creative Commons adopters worldwide."

In the next years, possibly as soon as 2010, Creative Commons expects to
formally launch a multi-year, international process for producing the next
version (4.0) of the six main Creative Commons licenses. This process will
include examination of whether the noncommercial definition included in
licenses with the NC term should be modified or if other means of
clarifying noncommercial use under the CC licenses should be pursued. The
results of Defining "Noncommercial" and subsequent research will be an
important thread informing this process.

About Creative Commons

Creative Commons is a not-for-profit organization, founded in 2001, that
promotes the creative re-use of intellectual and artistic works, whether
owned or in the public domain. Through its free copyright licenses,
Creative Commons offers authors, artists, scientists, and educators the
choice of a flexible range of protections and freedoms that build upon the
"all rights reserved" concept of traditional copyright to enable a
voluntary "some rights reserved" approach. Creative Commons was built with
and is sustained by the generous support of organizations including the
Center for the Public Domain, Google, the John D. and Catherine T.
MacArthur Foundation, the Mozilla Foundation, Omidyar Network, Red Hat,
and the William and Flora Hewlett Foundation, as well as members of the
public. For more information about supporting Creative Commons, please
contact development@creativecommons.org.

About Netpop Research, LLC

Netpop Research, LLC is a San Francisco-based strategic market research
firm that specializes in online media, digital entertainment and
user-generated content trends. Netpop Research has fielded numerous
studies for major profit and nonprofit entities, and is the creator of the
Netpop tracking study of Internet usage among broadband consumers in the
United States and China.

Contact

Mike Linksvayer
Vice President
Creative Commons
ml@creativecommons.org
+1 415 369 8480

Press Kit

http://creativecommons.org/about/press/
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Rise of the Professional Blogger & increasingly mythical - pajama-wearing classes.

The Rise of the Professional Blogger
by Benjamin Carlson
The Atlantic
September 11, 2009
http://www.theatlantic.com/doc/200909u/professional-bloggers

[excerpt]

In a recent essay in the New York Review of Books,
Michael Massing articulates a point made so often about
the Web that it's nearly catechismal. Blogs, he says,
have torn down the power structure of old media.
"Decentralization and democratization" are the law of
the land, offering "a podium to Americans of all ages
and backgrounds to contribute." This is a notion that
bloggers and web gurus have been touting for years. In
his 2006 book, An Army of Davids, for example,
"Instapundit" blogger Glenn Reynolds argued that
"markets and technology" empowered "ordinary people to
beat big media." And this June, internet sage Clay
Shirky assured an audience at a TED event that the old
model, where "professionals broadcast messages to
amateurs," is "slipping away."

But is this really true? Among some of the biggest
bloggers, this notion is increasingly seen as suspect.
In early July, Laura McKenna, a widely respected and
longtime blogger, argued on her site, 11D, that blogging
has perceptibly changed over the six years she's been at
it. Many of blogging's heavy hitters, she observed, have
ended up "absorbed into some other professional
enterprise." Meanwhile, newer or lesser-known bloggers
aren't getting the kind of links and attention they used
to, which means that "good stuff" is no longer "bubbling
to the top." Her post prompted a couple of the medium's
most legendary, best-established hands to react: Matthew
Yglesias (formerly of The Atlantic, now of
ThinkProgress), confirmed that blogging has indeed
become "institutionalized," and Ezra Klein (formerly of
The American Prospect, now of The Washington Post)
concurred, "The place has professionalized." Almost
everyone weighing in agreed that blogging has become
more corporate, more ossified, and increasingly
indistinguishable from the mainstream media. Even Glenn
Reynolds had a slight change of heart, admitting in a
June interview that the David-and-Goliath dynamic is
eroding as blogs have become "more big-media-ish." All
this has led Matthew Hindman, author of The Myth of
Digital Democracy, to declare that "The era when
political comment on the Web is dominated by solo
bloggers writing for free is gone."

[...]

Blogging, then, seems to be an industry on the cusp of
maturity. Nick Carr compares its evolution to that of
ham radio in the early twentieth century. Out of the
amateur hubbub emerged self-made stars, who were then
hired by fledgling networks that eventually grew into
CBS, NBC and ABC. In much the same way, blogging
celebrities have been snatched up by old and new
conglomerates, while a sudden heart attack in the old-
media world has put commercial blogging enterprises into
a startlingly advantageous position. To wit, in the
midst of a major downturn in advertising profits across
most media, revenue to Gawker's network of eight blogs
jumped 45% in the first half of this year.

Clearly, a new establishment is taking shape. It seems
ever more likely that the next media kingpins will come
from the proverbial - and increasingly mythical -
pajama-wearing classes.

Call For Submissions / New Adventures in Sound Art / HOME - Deep Wireless, Sound Travels & SOUNDplay Festivals

Call For Submissions / New Adventures in Sound Art / HOME - Deep Wireless,
Sound Travels & SOUNDplay Festivals / Toronto, ON / Deadline Date:
Wednesday, September 30, 2009

New Adventures in Sound Art invites artists of all ages and nationalities
to submit works on the theme HOME for consideration in 2010 future
programming for the annual Deep Wireless, Sound Travels, and SOUNDplay
festivals, produced by New Adventures in Sound Art in Toronto, Canada.

Artists may submit works in one or all of the following four categories:
1) Radio Art,
2) Electroacoustic Music & Sound Art,
3) Videomusic and
4) Installation Art (Note: please send separate submission forms for each
entry).

Individual interpretations or variations on the theme HOME are encouraged,
but should be realized with sound as the primary component.

All submitted works must respond in some way to the theme HOME in order to
be considered for 2010 NAISA programming.

1) Radio Art (for Deep Wireless)
The Radio Art category is for works conceived for radio or that use radio
and other wireless technology in their creation and that play with the
medium. Works submitted to this category must be less than 60 minutes in
duration. Special consideration will be given to 1 minute radio art pieces
for broadcast as well as 1 page proposals for collaboration on translocal
broadcast performances.

Pieces will be selected for broadcast within Canada and on several
international radio stations in May 2010 as part of the Deep Wireless
Festival of Radio and Transmission Art.

Both Canadian and International radio art submissions will be considered
for inclusion in the following:

-The Deep Wireless 7 radio art compilation CD
-The Radio Art Interventions (1 minute pieces played guerilla-style on
radio stations during the Deep Wireless festival)
-The Radio Art Salon - a listening gallery of radio art works exhibited
for the month of May.

2) Electroacoustic Music & Sound Art (for Sound Travels)
The Electroacoustic Music & Sound Art category is for multi-channel and
stereo works less than 20 minutes in duration and conceived for concert
performance or presentation in the Sound Travels festival of sound art.
Preferred formats for performance presentation include 5.1, octaphonic, 12
and 16-channel formats in both acousmatic (tape), live and mixed formats.
Please indicate in the notes the intended format of presentation and any
required instrumentation or specialized equipment.

3) Videomusic (for SOUNDplay)
The Videomusic category is for works that explores non-narrative
abstraction with equal emphasis on sound and image. Submitted works will
be considered for video screenings with either stereo or multi-channel
playback. Submitted works will be considered for screenings in either a
performance venue or a small-size gallery alongside other works selected
from this call for submissions.

4) Installation Art (for Deep Wireless, Sound Travels or SOUNDplay)
Installation proposals of previously realized works for site-specific and
gallery installations with no fixed duration will be considered for
presentation as part of Deep Wireless, Sound Travels or SOUNDplay.
Site-specific works can be for indoor or outdoor locations. Works can use
multichannel or single channel playback and may incorporate any number of
media, but must feature original sound as a primary element. Preference
will be given to small to medium scale interactive works that appeal to
all ages. Please attach a list of the necessary equipment required to
mount the installation and which of these items can be supplied by the
artist. Submissions should include audio, video or audio-video
documentation of previously realized versions of the work.

Submission Guidelines

Please submit a completed submission form (in digital format if possible)
along with the proposed works on CD or DVD.

For multichannel works, please include a stereo reduction for reference
purposes only. For video works, please include a DVD copy for reference
only. Screening and multi-channel masters will be requested later if the
work is to be programmed. For installation works or performance proposals,
please attach a list of required equipment with indications of equipment
that can be supplied by the artist.

Materials will not be returned. Please don't send original copies.

Submissions must be postmarked no later than September 30, 2009 and mailed
to: New Adventures in Sound Art
601 Christie Street #252
Toronto ON M6G 4C7

Visit http://www.naisa.ca for more information.

Web-tracking tool provides datasets of web-browsing activities for researchers

Web-tracking tool provides datasets of web-browsing activities for
researchers

------------

A group at the MIT Computer Science and Artificial Intelligence Lab has
launched a new project, eyebrowse <http://eyebrowse.csail.mit.edu/>, which
allows you to record, visualize and share your web browsing history in
real-time.

Eyebrowse is a Firefox plug-in that records visits to websites that you
choose to track on an individual basis. Your data is presented on your
eyebrowse profile in the form of interesting and insightful visualizations,
allowing you to gain personal and social insights and catch a glimpse of what
Google knows about
you<http://www.computerworld.com/s/article/337791/What_Google_Knows_About_You>.

Currently, most web browsing data is collected by search engine companies
(Google, Microsoft, Alexa…), which is hardly available for public domain
research. Eyebrowse seeks to fill this gap by providing a public repository
of web trails. By making this data available, we hope to support the
creation of open public services that analyze and report major trends on the
web, services that support personalization of the web through collaborative
filtering and other crowd-sourcing techniques, and other as-yet unimagined
services that require a mass of data about the world's interaction with the
web.

Check out some real <http://eyebrowse.csail.mit.edu/profile/emax/>
live<http://eyebrowse.csail.mit.edu/graphs/zamiang/>
profiles <http://eyebrowse.csail.mit.edu/users/> and our page
stats<http://eyebrowse.csail.mit.edu/search/>graphs, which are
accessible from any page via the plug-in
.

Eyebrowse is an open source project
hosted<http://code.google.com/p/list-it/>on Google Code implemented
using Django, Javascript and HTML5. It is
actively seeking users for feedback and beta testing.

happy surfing!
eyebrowse team
http://eyebrowse.csail.mit.edu/

UbuWeb ... great audio files & more... it's the polar opposite of MySpace

UbuWeb

Via http://www.ubu.com/

What is your philosophy?
See our manifesto.
http://www.ubu.com/resources/index.html
[Version française]
http://www.ubu.com/resources/index_fr.html
[Versione Italiana]
http://www.ubu.com/resources/index_ital.html

http://www.ubu.com/resources/podcast.html

[excerpt]

Produced by The Poetry Foundation http://poetryfoundation.org/ , UbuWeb is
pleased to announce the latest in its podcast series, focusing on a dozen
of Ubu's hidden treasures, highlighting audio works that you really should
know about about but most likely don't. With this podcast, we kick off a
series focusing on the sounds of different regions. Here the focus is on
the very rich scene emerging out of Los Angeles. Blending genres such as
punk rock, visual art, performance art, experimental music and innovative
poetry, we focus mostly on the late 1970s. Featured here are Chris Burden,
Paul McCarthy, The Kipper Kids, Mike Kelley with Sonic Youth, John
Baldessari, David Antin, Eleanor Antin, the Los Angeles Free Music
Society, and Benjamin Weismann. You can subscribe to our podcast here.

http://poetryfoundation.org/podcast_avantgarde.xml

Frequently Asked Questions

http://www.ubu.com/resources/faq.html

[excerpt]

1. When did UbuWeb Start?
2. How is UbuWeb funded?
3. Can I get involved?
4. Can I use something posted on UbuWeb on my site, in a paper, in a
project, etc.
5. How do I purchase something from your site?
6. What is your policy concerning posting copyrighted material?
7. How do I download MP3s?
8. I only have RealPlayer. How come you mostly have MP3s?
9. Are you affiliated with a university?
10. Why are your pages in English? / Why are your pages not in English?
11. Who are you?
12. Where are you located?
13. Why don't you respond to my emails?
14. I'm interested in advertising on UbuWeb. How do I go about this?
15. Why isn't new content posted every day?
16. I'd like to receive notices of UbuWeb updates. How do I do this?
17. Do you have an UbuWeb listserve?
18. What system do you design UbuWeb on? What browser is UbuWeb optimized
for?
19. What is your philosophy?
20. Why is there no Alfred Jarry on UbuWeb?
21. What happened to the image of the nude woman at the top of the Artist
Index page?
22. Why won't you look at my MySpace page?
[...]
Why won't you look at my MySpace page?
It's ugly, crowded, filled with ads, blares music at you, and nine times
out of ten, crashes our browser. Really, it's the polar opposite of
UbuWeb. Just as in meatspace there are certain streets you never walk
down, so in cyberspace, we assidiously avoid the MySpace mall. No ifs ands
or buts. Sorry.

When did UbuWeb Start?
UbuWeb was founded in November of 1996, initially as a repository for
visual, concrete and, later, sound poetry. Over the years, UbuWeb has
embraced all forms of the avant-garde and beyond. Its parameters continue
to expand in all directions.

[...]

I'm interested in advertising on UbuWeb. How do I go about this?
You don't. UbuWeb is completely commercial-free and it will always stay
that way.

Why isn't new content posted every day?
UbuWeb is an archive, not a blog. It has accumulated slowly and steadily
and shall continue to far into the future.

I'd like to receive notices of UbuWeb updates. How do I do this?
UbuWeb refuses to advertise or promote itself. Most of all, we detest the
idea of filling inboxes with more unwanted material. A few times a year,
we post our updates to select mailing lists; that's what they're for,
aren't they? For UbuWeb updates, best to just keep checking back on the
homepage, where notices of all new content appears.

[...]

What is your philosophy?
See our manifesto.
http://www.ubu.com/resources/index.html
[Version française]
http://www.ubu.com/resources/index_fr.html
[Versione Italiana]
http://www.ubu.com/resources/index_ital.html

[...]

ABOUT UBUWEB

Concrete poetry's utopian pan-internationalist bent was clearly
articulated by Max Bense in 1965 when he stated, "…concrete poetry does
not separate languages; it unites them; it combines them. It is this part
of its linguistic intention that makes concrete poetry the first
international poetical movement." Its ideogrammatic self-contained,
exportable, universally accessible content mirrors the utopian
pan-linguistic dreams of cross-platform efforts on today's Internet;
Adobe's PDF (portable document format) and Sun System's Java programming
language each strive for similarly universal comprehension. The pioneers
of concrete poetry could only dream of the now-standard tools used to make
language move and morph, stream and scream, distributed worldwide
instantaneously at little cost.

Essentially a gift economy, poetry is the perfect space to practice
utopian politics. Freed from profit-making constraints or cumbersome
fabrication considerations, information can literally "be free": on
UbuWeb, we give it away and have been doing so since 1996. We publish in
full color for pennies. We receive submissions Monday morning and publish
them Monday afternoon. UbuWeb's work never goes "out of print." UbuWeb is
a never-ending work in progress: many hands are continually building it on
many platforms.

[...]

China Google boss departure reignites debate over censorship

China Google boss departure reignites debate over censorship
They were never going to be the easiest of bedfellows. When Google, the
modern face of Western freedom, first decided to launch a censored version
of its search engine inside communist China, civil liberties campaigners
were appalled.

[excerpt]

http://www.telegraph.co.uk/news/worldnews/asia/china/6143553/China-Google-boss-departure-reignites-debate-over-censorship.html

That was in 2006. Yesterday the sudden and unexpected resignation of
Kai-Fu Lee, the head of Google China, reignited the debate about how a
business model built on providing unfettered access to information can
possibly thrive in a regime that thrives on control - and whether it
should try to.

Mr Lee, 47, who was born in Taiwan but educated in the US, is seen in
China as an Alan Sugar-type business celebrity - and after four years at
the helm was said yesterday to be leaving to start a venture capital fund
to help young Chinese entrepreneurs start new web-based businesses.

But his surprise departure from a high-flying role in one of the world's
most influential companies has led inevitably to new questions about the
tensions between Google and China's communist leadership.

It follows 12 months in which Google China, despite its decision to accept
restrictions on its search engine to conform with communist censorship,
has come under increasingly hostile fire from the Beijing government.

The company denied that Mr Lee's departure was a sign of anything other
than his desire to embark on something new. But on his blog he wrote that
he wanted to be "actively involved in the work and to have full control
over it" - a hint, some suspect, that he did not feel completely in charge
of events.

Mathew McDougall, the chief executive of SinoTech Group, China's largest
independent digital marketing agency, told The Sunday Telegraph: "He seems
like a guy who tried very hard and in the end got frustrated in the role.

"Since he arrived at Google he's had a difficult job - and myriad bad
publicity in the last quarter. None of that has made his life easier and
it looks as if he's gone off to do something for himself that is free of
the constraints that come with trying to do business in the Chinese
internet market."

In January, three years after Google China (Google.cn) was launched,
Beijing authorities fired a warning shot.

As part of an initiative "to purify the internet's cultural environment"
the government accused the search engine of failing to use effective
measures to block searches for "vulgar, pornographic sites".

In June, state censors went further, announcing "punitive measures" over
the same concern, and blocking all access to the site for several hours. A
spokesman for the Chinese foreign ministry accused the search engine of
spreading "large amounts of vulgar content that is lascivious and
pornographic, seriously violating China's relevant laws and regulations".

Google, which had been careful to heavily self-censor during the 20th
anniversary of the Tiananmen Square massacre a few weeks earlier,
swallowed the ticking off.

TRAILER: Michael Moore's 'Capitalism: A Love Story' - OPENS NATIONWIDE OCTOBER 2nd!

'CAPITALISM: A LOVE STORY' - In Theaters October 2nd

"It's a crime story. But it's also a war story about class warfare. And a vampire movie, with the upper 1 percent feeding off the rest of us. And, of course, it's also a love story. Only it's about an abusive relationship.

"It's not about an individual, like Roger Smith, or a corporation, or even an issue, like health care. This is the big enchilada. This is about the thing that dominates all our lives — the economy. I made this movie as if it was going to be the last movie I was allowed to make.

"It's a comedy." — Michael Moore

Check back for updates at http://www.michaelmoore.com

Learn From Rogue Tweeters...

Learn From Rogue Tweeters:
7 Steps to Promoting Your Organization in Twitter
By Lisa Gualtieri, Editor-in-Chief, eLearn Magazine

[excerpt]

http://www.elearnmag.org/subpage.cfm?section=articles&article=91-1

1. Try Twitter to learn about it. Follow Mark's lead at NIOSH and try
Twitter for yourself. Forrester Research CEO George Colony agrees: "You
can't understand Twitter, Facebook, or blogging by reading an article in a
magazine [even here]… you won't be able to truly understand how they could
change your business unless you actually use them."

2. Become a bit of a rogue. Forget policies and guidelines and instead
bring to your own Twitter use the initiative and conscientiousness that
Mark brings to his.

3. Commit the time required to tweet regularly. David Armano blogged for
Harvard Business Review that the "economics of using social media in
business requires the participation of people to fuel it. It is not simply
enabled by technology that maintains itself." Mark's production and
sustained use is undoubtedly greater if his Twitter time is considered
part of his job.

4. Tweet about information that is relevant and timely to attract and
retain followers. Good tweets come from multiple sources and it takes
diligence to locate them. Setting Google Alerts can help. Have a topic mix
that appeals to your current and desired constituency; topical articles
are much more likely to be retweeted than what you ate for lunch!

5. Pace your tweets. Tweet too often, and you'll lose followers. Tweet too
infrequently and risk being overlooked. Mark's experience is that multiple
times each day works. Also be sensitive to when your potential and
existing followers are online.

6. Use other channels to get more followers. Promote your Twitter
participation widely.

7. Consider how Twitter fits into your overall social media strategy.
Exploit Twitter's unique capabilities; Mark could follow the lesson of
many businesses that monitor customer reactions on Twitter to identify
safety topics that NIOSH doesn't currently address. Finally, Twitter, like
other social media, is constantly evolving, so adapt with it.

How Teens Use Media

How Teens Use Media
This June 1 2009 report highlights research by The Nielsen Company about
how to reach the "wired" teenager. It gives data on media being used by
youth (primarily on United States (US) youth ages 10-19) and recommends
reaching them "for everything from consumer packaged goods marketing to
the democratic process" through media used to reach adults. As stated
here: "The notion that teens are too busy texting and Twittering to be
engaged with traditional media is exciting, but false....To best engage
this segment in marketing, civic and cultural pursuits, you must...examine
the nuances of their media behavior as you would any demographic
segment... it could mean the terms of engagement they so often want: to be
treated more like adults."
http://www.comminit.com/en/node/297837

FYI - Fwd: Two Theatre Arts Workshops at The Banff Centre

---------- Forwarded message ----------
From: Boris Atamanenko
Date: 2009/8/24
Subject: Theatre Arts Workshops at The Banff Centre
To:


The Banff Centre [arts_info@banffcentre.ca] has issued the following
program announcement:

Theatre Arts Workshops at The Banff Centre:
Banff Stage Combat Intensive

Program dates: October 10 - October 12, 2009
Registration deadline: September 25, 2009

Engage in a rigorous exploration of stage combat techniques required for a professional performing career. Designed for artists working in theatre, participants will learn fundamental skills needed to perform violent action in a credible fashion by working with 35-year veteran fight master Jean-Pierre Fournier.

Play Finding with Daniel MacIvor
Theatre Arts Master Class Series

Program dates: December 11 – December 13, 2009
Application deadline: October 23, 2009

Join celebrated playwright Daniel MacIvor and investigate the process of creating and developing original text — whether it be a monologue, dialogue, a fully-formed idea, or a vague notion. Through specially designed conversations and exercises, MacIvor will lead and inform playwrights and actors on how to take their work to the next level.

View more information on these and other Theatre Arts programs:
http://www.banffcentre.ca/theatre/programs/

For more information and to apply:
The Banff Centre, Office of the Registrar
107 Tunnel Mountain Drive, Box 1020
Banff, Alberta T1L 1H5, CANADA
1-800-565-9989 or 1-403-762-6180
arts_info@banffcentre.ca
www.banffcentre.ca

Giving Voice: Oral Testimony

Oral Traditions Manual

The Oral Traditions Manual is a very useful tool for teachers and students interested in conducting oral history research and interviews. This detailed manual is available as a printable pdf download.

http://www.pwnhc.ca/teach/teachers/online_resources.asp

Welcome to oral traditions research!

"GETTING STARTED IN ORAL TRADITIONS RESEARCH"

Text: Elisa Hart - Illustrations: Wally Wolfe

http://www.pwnhc.ca/research/otm/index.asp

There are many people in the Northwest Territories who want to try to save the knowledge that is part of the oral tradition of their culture. People are realizing that if they do not do this, then much of this information will be lost forever. This manual was written for adults and students in the Northwest Territories who want to do their own research, but need help getting started. There is a lot to learn. This manual provides you with an outline of how it can be done using audio recording equipment.

http://www.pwnhc.ca/research/downloads/OralTraditionsManual.pdf

Prince of Wales Northern Heritage Centre:

Main Phone #: (867) 873-7551
Main Fax #: (867) 873-0205

Mailing Address:
Prince of Wales Northern Heritage Centre
PO Box 1320
Yellowknife, NT
X1A 2L9

Street Address:
4750 48th Street
Yellowknife, NT

NWT Archives Phone #: (867) 873-7698
NWT Archives Fax #: (867) 873-0660

[ - - - - - - - - ]



Giving Voice:
A Practical Guide to the Implementation of Oral Testimony Projects
by Olivia Bennett

http://www.panos.org.uk/?lid=320

Published in 1999, this manual from Panos is meant for those implementing community-based oral testimony projects in the development context. Drawing on several years' fieldwork with grassroots and community-based organisations, it covers all aspects of such projects - from the initial planning to reviewing and evaluating the process and the products.

Designed to help those with little or no previous experience of such work, it also contains ideas for running a training workshop. Throughout the manual there are checklists, summaries of key points, and ideas for discussion which have been designed to be used or adapted as handouts for interviewers, and/or during a training workshop.
http://www.comminit.com/en/node/177094
---

GEORGE LESSARD
Information, Communications and Media Specialist
451 Norseman Dr.
Yellowknife, Northwest Territories
X1A 2J1, Canada

Yellowknife Land Line # (867) 873-2662
Yellowknife Cell # (867) 445-9193
SKYPE: themediamentor

Online Business Card:
http://lessardcard.notlong.com
http://mediamentor.ca

Developing Asia Journalism Training and Awards

---

Developing Asia Journalism Training and Awards

Background

This year's Developing Asia Journalism Awards (DAJA) will include a short
training course for a group of 20 journalists from ADB DMCs across Asia
and the Pacific. The program is designed not only to enhance participating
journalists' knowledge on various development issues, but more
importantly, to recognize and emphasize their crucial role in fostering
greater awareness of key development issues, and providing sound
information to the public that they may be empowered to make better
socio-economic choices.

The poverty impact of the global financial crisis and government responses
to the crisis, as well as the role of development journalism in promoting
greater economic and financial literacy will be the main issues of
discussion for the 4-day workshop. The program will also profile ADB and
ADBI's work on adaptation to climate change and public private
partnerships (PPPs) for infrastructure development. Practical sessions
designed to help journalists prepare clear, accessible stories that will
provide ordinary citizens with a better understanding of the economic
realities and development issues facing their countries are also included
in the program.

The objectives of this training course and the awards are to: i) enhance
the understanding and further develop the skills of journalists in Asia by
equipping them with sound and current knowledge on key economic and
development issues, and; ii) to enable and encourage them to actively
promote public awareness through informative, responsible, and empowering
journalism.

An announcement has been made to call for submission of articles related
to four issues/categories, namely,
i) poverty impact of the global financial crisis;
ii) government responses to the global financial crisis;
iii) infrastructure development;
and
iv) climate change adaptation.
The top 20 articles will be selected by a panel of judges and their
authors/writers will be invited to the four day training program that will
be concluded with an awards ceremony.

Winners and runners up of each of the four categories
including two special prizes for
- Best Development Journalist of the Year
and
- Best Young Development Journalist of the Year
will be selected and awarded at the dinner
at the Foreign Correspondents Club.

Outputs

Enhanced monitoring, analytical, and reporting skills on economic and
other development issues for Asian journalists
Greater public awareness of economic and other development issues through
the work of the participating journalists
Better public and corporate governance in Asia and the Pacific

Participants

Journalists from ADB's developing member countries

Partners

Asian Development Bank headquarters
and
ADB Japanese Representative Office.

Event Details

Event: Developing Asia Journalism Training and Awards
Venue: ADBI, Tokyo
Start date: 20 October 2009
End Date: 23 October 2009

For more information:
http://www.adbi.org/event/3263.daja.awards.2009/

[via / thanks to:]

Bazlu
_______________________
AHM. Bazlur Rahman-S21BR
Chief Executive Officer
Bangladesh NGOs Network for Radio and Communication(BNNRC)
&
Member, Strategy Council
UN-Global Alliance for ICT and Development (UN GAID)

House: 13/1, Road:2, Shaymoli, Dhaka-1207
Post Box: 5095, Dhaka 1205 Bangladesh

Phone: 88-02-9130750, 88-02-9138501
01711881647 Fax: 88-02-9138501-105

E-mail: ceo@bnnrc.net, bnnrc@bd.drik.net
www.bnnrc.net

___________________
[and]
____________________________
Asiapacific-general mailing list
Asiapacific-general@lists.amarc.org
http://lists.amarc.org/mailman/listinfo/asiapacific-general

-30-

"...How many own your name as a domain name? ... Your online presence ..."

"...How many own your name as a domain name? ... Your online presence
should show who you are, your interests and background, and showcase your
best professional work. ..."

The Need to Develop Their Personal Brand

http://www.pbs.org/mediashift/2009/08/journalism-students-need-to-develop-their-personal-brand231.html

[excerpt]

As a journalism professor, I have found there is one thing guaranteed to
set off a flurry of frenzied activity in the classroom. It has nothing to
do with exams or story deadlines. Rather, it is prompted by a simple
question to students: How many own your name as a domain name?

This seemingly innocuous question acts as a trigger, sending students
online to see if someone else with the same name has snatched up the web
address. A lesson on online research methods turns into "how to buy a
domain name," or more often, "what do I do if someone else has my domain
name?"

This is no trivial matter. Having a website that reflects your
professional identity is your digital calling card. Your online presence
should show who you are, your interests and background, and showcase your
best professional work. Or to put it another way, your personal brand as a
journalist.

In the journalism of today, the personal brand is becoming increasingly
central to the prospects of a young person starting out on a life of
reporting. So it is important for students at journalism school, and those
starting in the fall, to develop the professional brand that will set them
apart come graduation.

Some reporters may bristle at the idea of thinking of themselves as a
brand, considering it the equivalent of selling out. This overlooks the
fact that a journalist's identity has always been a part of the job,
otherwise why have bylines?

"60 Minutes” creator Don Hewitt died today

"60 Minutes" creator Don Hewitt died today

** REMEMBERING DON HEWITT

"60 Minutes" creator Don Hewitt died today at his home in Bridgehampton,
N.Y., after a battle with pancreatic cancer. He joined CBS in 1948,
directing the first network television newscast in May of that year.
Hewitt also produced the first televised presidential debate between
then-candidates John F. Kennedy and Richard Nixon in 1960.

Hewitt later went to CBS and gained permission to try his idea for a
one-hour broadcast that mixed hard news and feature stories, which debuted
in September 1968 as "60 Minutes." He ran the broadcast until 2004, which
under Hewitt won 73 Emmys and nine Peabody awards.

Tonight on the NewsHour with Jim Lehrer, we will air an excerpt of a 2004
NewsHour interview between Hewitt and former NewsHour correspondent
Terence Smith.

Visit http://www.pbs.org/newshour/topic/media after 9:00 PM Eastern time
tonight for more information on this segment.

EDITOR'S NOTE: Segments highlighted on Media Watch Alert are scheduled to
air but subject to change.

Research on Flickr / Biblio on Flickr Research

A. Cox from U. Sheffield wrote a couple of papers
(http://www.sheffield.ac.uk/is/staff/cox.html);
Cox, A. (2008) "Flickr: A case study of Web2.0" Aslib Proceedings 60 (5)
493-516.

Cox, A., Clough, P. & Marlow, J.(2008) "Flickr: a first look at user
behaviour in the context of photography as serious leisure." Information
Research 13 (1)
http://informationr.net/ir/13-1/paper336.html.

Julia Davies wrote also a couple of papers
(http://www.shef.ac.uk/education/staff/academic/davies.html)
Davies, J (2007) `Display; Identity and the Everyday: self-presentation
through digital image sharing.´ In: Discourse, Studies in the Cultural
Politics of Education. 28:4

Davies, J. (2006) `Affinities and beyond!! Developing ways of seeing in
online spaces´. In e-learning- Special Issue: Digital Interfaces. Vol.3
issue 2. Pages 217-234. A

Edgar Gómez – doing a PhD on Flickr at Open University of Catalonia -
Internet Interdisciplinary Institute and visiting research at Oxford
Internet Institute:
http://tesisantitesis.wordpress.com/
http://www.facebook.com/profile.php?id=530370679

Rachel Cobcroft – doing PhD on Flickr at Queensland State Archives /
Creative Commons Australia
http://www.flickr.com/people/felix42/
http://www.facebook.com/rachel.cobcroft

Eric Meyer wrote an article on Flickr:
http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1353879

Ingrid Erickson (http://www.ssrc.org/staff/erickson-ingrid/) her
dissertation integrated quite a bit of research on Flickr.

Jean Burgess (Queensland University of Technology, Australia)' work on
vernacular creativity and Flickr. Look at CreativityMachine
http://creativitymachine.net/ for some of her work, including a
significant part of her dissertation project that focused on Flickr.

Mor Naaman studies it. A list of his publications in which you can find a
few about Flickr is avaleble at:
http://infolab.stanford.edu/~mor/research.html

Liza Potts <odu.edu> conducted research on Flickr. Published articles
include:
Potts, L. (2009). "Using Actor Network Theory to Trace and Improve
Multimodal Communication Design." Technical Communication Quarterly, 18
(3).
Potts, L. (2009). "Designing for Disaster: Social Software Use in Times of
Crisis." International Journal of Sociotechnology and Knowledge
Development. 1 (2), 33-46.
Potts, L. (2009). "Peering into Disaster: Social Software Use from the
Indian Ocean Earthquake to the Mumbai Bombings." Proceedings of the
International Professional Communication Conference. Hawaii: IEEE.
Potts, L. (2008). "Designing with Actor Network Theory: A New Method for
Modeling Holistic Experience." Proceedings of the International
Professional Communication Conference. Montreal: IEEE.

Collected by
--
Mayo Fuster Morell
E-mail: lilaroja@gmx.net
Skype: mayoneti

http://www.onlinecreation.info
http://www.openelibrary.info
http://www.openesf.net
http://www.networked-politics.info
http://www.euromovements.info

JOB: BBC World Service Trust - Country Director, Nepal

Opportunity Details

http://www.comminit.com/en/node/300321

The BBC World Service Trust is looking for a Country Director to run its
operation in Nepal. The successful candidate will have experience in both
media and international development. You will need to demonstrate a good
understanding of the specific issues facing Nepal, particularly with
reference to governance and health - the two themes in which the Trust is
currently working in the country.

The Trust is the international charity of the BBC. Our record in Nepal is
one of innovation. You will have the skills to lead an award-winning
local team to build on successes in creating programmes with impact for
the people of Nepal.

Giving Voice: A Practical Guide to the Implementation of Oral Testimony Projects

Giving Voice: A Practical Guide to the Implementation of Oral Testimony
Projects
by Olivia Bennett
Published in 1999, this manual from Panos is meant for those implementing
community-based oral testimony projects in the development context.
Drawing on several years' fieldwork with grassroots and community-based
organisations, it covers all aspects of such projects - from the initial
planning to reviewing and evaluating the process and the products.
Designed to help those with little or no previous experience of such work,
it also contains ideas for running a training workshop. Throughout the
manual there are checklists, summaries of key points, and ideas for
discussion which have been designed to be used or adapted as handouts for
interviewers, and/or during a training workshop.
http://www.comminit.com/en/node/177094

Outside the Indigenous Lens: Zapatistas and Autonomous Video-Making

In this article and book chapter on the use of video among the Zapatista
communities of Southern Chiapas, Mexico, the author states that over the
past ten years, CMP/Promedios has trained over 200 indigenous men and
women in basic video production; built and equipped four Regional Media
Centers in Zapatista territory with digital video production,
post-production, audio, and satellite internet access; enabled the
production of 24 videos (as of 2008) for international distribution; and
provided the means for hundreds of videos utilised internally by the
indigenous communities in Chiapas. All of these productions, whether made
for community use or for international distribution, go through some type
of community consensus about topics and content.

http://www.comminit.com/en/node/296049/307

POLL: How central to democracy are newspapers?

Please VOTE in our POLL:

How central to democracy are newspapers - some of which are being lost to
budget cuts and other changes - as opposed to blogs, YouTube, emails, text
messaging, twittering, and the like?

* Pivotal - informed public debate is impossible without this kind of
quality platform and trained journalistic practice.
* Of some importance - we need both traditional newspapers and new media
voices/venues to sustain conversations conducive to transparency.
* Unimportant - the internet and other technologies have enabled
participation on the part of both citizens and journalists by trade,
making open journalistic debate both possible and popular. This is the
essence of democracy.

VOTE and COMMENT at
http://www.comminit.com/en/node/288615/348

~

RESULTS thus far (August 14):

46%: Pivotal - informed public debate is impossible without this kind of
quality platform and trained journalistic practice.

41%: Of some importance - we need both traditional newspapers and new
media voices/venues to sustain conversations conducive to transparency.

14%: Unimportant - the internet and other technologies have enabled
participation on the part of both citizens and journalists by trade,
making open journalistic debate both possible and popular. This is the
essence of democracy.

Commentary: How insurance firms drive debate

Editor's note: Wendell Potter has served since May 2009 as senior fellow
on health care at the Center for Media and Democracy, a nonprofit
organization that says it seeks to expose "corporate spin and government
propaganda." After a 20-year career as a corporate public relations
executive, Potter left his job last year as head of communications for one
of the nation's largest health insurers, CIGNA Corporation.

http://us.cnn.com/2009/POLITICS/08/17/potter.health.insurance/index.html?iref=topnews