Look, employers are always free to – and should! – evaluate the work product produced by employees. But they don’t have to surveil someone’s every move or screenshot their computer every five minutes to do so. That’s monitoring the inputs. Monitor the outputs instead, and you’ll have a much healthier, saner relationship.
If you hire smart, capable people and trust them to do good work – surprise-surprise – people will return the sentiment deliver just that! The irony of setting up these invasive surveillance regimes is that they end up causing the motivation to goof off to beat the very systems that were setup to catch such behavior.
The transcript of David Heinemeier Hansson keynote from last year’s RailsConf is well worth reading. It’s ostensibily about open source software but it delves into much larger questions.
Mike pours his heart out on Ev’s blog.
I’m not entirely sure if I agree with him about licensing or certification for designers (and developers?), but I absolutely 100% agree on the need for unionisation.
We need to be held accountable for our actions. We’ve been moving fast. We’ve been breaking things. Sometimes on purpose. Sometimes out of ignorance. The effects are the same. The things we’re building are bigger than they used to be, and have more reach. The moment to slow down is here. Because what we’re breaking is too important and too precious. Much of it is irreplaceable.
When Aaron talks, I listen. This time he’s talking about digital (and analogue) preservation, and how that can clash with licensing rules.
It is time for the sector to pick a fight with artists, and artist’s estates and even your donors. It is time for the sector to pick a fight with anyone that is preventing you from being allowed to have a greater — and I want to stress greater, not total — license of interpretation over the works which you are charged with nurturing and caring for.
It is time to pick a fight because, at least on bad days, I might even suggest that the sector has been played. We all want to outlast the present, and this is especially true of artists. Museums and libraries and archives are a pretty good bet if that’s your goal.
Images, videos, sounds, and 3D models are now available from the European Space Agency under a Creative Commons Attribution Share-alike license.
The history of the GIF—a tale of licensing, compression, and standards.
This is a superbly-written, empathetic, nuanced look at the issues around Creative Commons licensing, particularly the danger of inferring a “spirit” in a legal agreement.
“Spirit” as it’s being used in this conversation is a relative term. You have the spirit of the user, the spirit of the license, the spirit of the community, the spirit of the service, and the spirit of the law. All these can align and all these can diverge and that’s OK. It is also the reason we have a legal system that sets clear parameters for how things can be interpreted: Spirit is relative, legal decisions and documents are not (at least in theory). The whole idea of a legal contract (under which we can find CC licenses) is that there is no room for interpretation. The meaning of the document is singular, unambiguous, and not up for debate. Of course this is purely theoretical, but that’s the idea anyway.
The problem arises when the spirit – or intent – of the user when applying a license differs from the actual legal interpretation of that same license.
The title is harsh, but this is a good summation of the issues involved in choosing a Creative Commons licence.
Open licensing is about giving up control so that other people can benefit. That’s all it will cost you: control. Having control feels nice. But you should ask yourself what it really gets you. And you should think about what others might gain if you were able to let go.
Think carefully and decide what you need. No one is going to make you tick that Creative Commons box. But when you do, it’s a promise.
This is a wonderful addition to the already-wonderful Flickr Commons: over one million pictures from the British Library, available with liberal licensing.
Y’know, I’m worried about what will happen to my own photos when Flickr inevitably goes down the tubes (there are still some good people there fighting the good fight, but they’re in the minority and they’re battling against the douchiest of Silicon Valley managerial types who have been brought in to increase “engagement” by stripping away everything that makes Flickr special) …but what really worries me is what’s going to happen to Flickr Commons. It’s an unbelievably important and valuable resource.
The document that officially put the World Wide Web into the public domain on 30 April 1993. - CERN Document Server
Earlier today, thanks to Robert Cailliau, I held the only notarised copy of this document. That was quite a feeling.
A repository of liberally-licensed fonts to link to with @font-face.
The official website of the Obama-Biden presidential transition team is switching over to using a Creative Commons attribution licence. This bodes very well indeed.
A wonderful example of why the patent system is so totally b0rked and completely unsuited to software. Someone patent Ajax (or Remote Scripting, if you prefer) back in 2001. Un. Bel. Eeeevable.
A wiki for tracking which fonts have licenses that allow for @font-face embedding with CSS.
John has come to the same conclusion as Richard with regards to font embedding. In short, the font foundries are missing a huge revenue stream. They could be offering fonts on a per-domain basis (a la Google Maps or any other third-party API). Remâ€¦
Kevin points out why you might want to keep your pictures on Flickr rather than Facebook. Like you needed a reason.
Tantek talks about the importance of open media for the longevity of data.
This is a tool for embedding licensing information in files (like MP3s). I'm going to try this out and see how it goes.