Thursday, June 22, 2006

The Creative Archive project is a BBC led initiative which aims to make archive audio and video footage available to be freely downloaded, distributed, and ‘remixed’. The project is still in a pilot stage, and is only available to UK residents, but the long-term future of the project could have a major impact on the way audiences interact with BBC content.

The project is partly inspired by the Creative Commons movements, and also by a general move within the BBC to be more open with its assets. Additionally, educational audiences such as schools have expressed an interest in using BBC content within the classroom, both to watch and to create multimedia content from.

So far, clips made available under the licence have included archive news footage, nature documentary footage, and video clips content designed for educational uses. “It’s done very well with the audiences we’ve directed them towards – heavy BBC users,” says Paul Gerhardt, project leader. Users downloading the clips are also prompted to fill in a questionnaire, and so far 10-15% of people seem to be doing something with the material, although the BBC can’t be sure what exactly that is.

One of the biggest limitations within the licence as it currently stands during the pilot scheme is that the material is only available for use by people resident in the UK. The BBC’s Creative Archive sites use ‘geo-IP filtering’ to limit downloads to the UK, but there is some confusion over whether people who create their own content using the material can upload their creations to their own websites. A question within the FAQs for one of the more recent selections of clips suggests that this isn’t possible, saying “during this pilot phase material released under the terms of the Creative Archive Licence cannot be used outside the UK – therefore, unless a website has its use restricted to the UK only, content from the ‘Regions on Film’ archive cannot be published on it.”

“We want people to make full use of this content, whether they cut and paste it or whether they share it, and we completely accept that we’ve got a bit of a contradiction at the moment by saying UK-only and yet encouraging people to put it on their sites to share it with others, because you can’t expect people to have geo-IP restriction technology,” admits Mr Gerhardt. “We’re thinking hard about how to deal with this after the pilot – at the moment it’s quite likely that we’re probably going to need to find a distribution partner outside of the UK, so that if you’re outside of the UK you’ve got roughly the same experience as in the UK, but the content could be surrounded by sponsorship messages or advertising or whatever. Once we’ve done that then leakage from one to the other won’t really matter very much.”

The Creative Archive project has not been without critics from the commercial sector, worried that the BBC giving away their content for free would make it difficult for them to be able to make money from their own content. The BBC has explained to some of the commercial players that the content would be limited during the pilot, would not be available in broadcast quality, and that watermarking technologies would be trialled so that content could be recognised when it crops up elsewhere. The BBC is also investigating a business model for the future where there would be a “close relationship between public access to low-resolution content and a click through to monetising that content if you want to buy a high-resolution version”. People who want to play around with the material might discover they have a talent and then find they need to get a commercial license to use it properly, Mr Gerhardt explains, and the project wants to make it easy for this to happen.

Before the project can go ahead with the full scale launch, it will have to go through a ‘public value test’ to assess its overall impact on the marketplace, and commercial media companies will have a chance to input at this point.

For ease in clearing the rights, all of the content available under the pilot project is factual, but in the future the project could include drama and entertainment content. The BBC may also, in the future, work the Creative Archive licences into the commissioning process for new programmes. “This raises some really interesting ideas – if you have a documentary series, you could use the Creative Archive to release the longer form footage, for instance – that would create a digital legacy of that documentary series,” Mr Gerhardt explains. “The other interesting thought in the longer term would be for the BBC, or another broadcaster, to contribute to a digital pool of archive material on a theme, and then invite people to assemble their own content out of that. We could end up broadcasting both the BBC professionally produced programme accompanied by other programmes that other people had made out of the same material.”

One of the ways that the Creative Archive licence differs from the other ‘copyleft’ licences like Creative Commons, aside from the UK-only limitation, is that the licence currently allows the BBC to update and modify the licence, which may worry those using the licence that their rights could suddenly become more restricted. “The licence at the moment is a draft, and we’ve given warning that we may well improve it, but we wouldn’t do that more than once or twice. The ambition is that by the time we scale up to the full service we would have a fixed licence that everyone was comfortable with, and it wouldn’t change after that.”

“The ambition is to think about creating a single portal where people can search and see what stuff is out there under the same licence terms, from a range of different suppliers. The idea is that if we can create something compelling like that, we will attract other archives in the UK to contribute their material, so we’d be aggregating quite a large quantity.”

The Creative Archive project has captured the interest of many Internet users, who are growing increasingly, used the idea of being able to ‘remix’ technologies and content. Some groups have been frustrated with the speed at which the project is developing though, and with some of the restrictions imposed in the licence. An open letter to the BBC urges the dropping of the UK-only limitation, the use of ‘open formats’, and to allow the material to be usable commercially.

Mr Gerhardt has publicly welcomed debate of the licence, but makes it clear to me that the whole BBC archive will never all be available under the Creative Archive terms. “We will make all our archive available, under different terms, over the next five to ten years, at a pace to be determined. There would be three modes in which people access it – some of the content would only be available commercially, for the first five year or so after broadcast, say. The second route is through a ‘view again’ strategy where you can view the programmes, but they’d be DRM-restricted. And the third mode is Creative Archive. Over time, programmes would move from one mode to another, with some programmes going straight to the Creative Archive after broadcast.”

Others who disagree with the ‘UK-only’ restriction within the licence include Suw Charman, from the Open Rights Group, who has said “it doesn’t make sense in a world where information moves between continents in seconds, and where it is difficult for the average user to exclude visitors based on geography.” On the project generally, though, she said “I think that it is a good step along the way to a more open attitude towards content. It is a toe in the water, which is far preferable to the attitude of most of the industry players, who are simply burying their heads in the sand and hoping that lawsuits and lobbying for new legislation will bolster their out-dated business plan.”

Other organisations currently participating in the Creative Archive scheme include the British Film Institute, the Open University and Teachers’ TV. Two artists have been awarded scholarships to create artworks using BBC archive material, and BBC Radio 1 has held a competition asking people to use the footage in creative ways as backing visuals to music. The process of making the BBC’s archive material fully available may be a long one, but it could end up changing the way that people interact with the UK’s public service broadcaster.

Thursday, November 8, 2007

What you are about to read is an American life as lived by renowned author Edmund White. His life has been a crossroads, the fulcrum of high-brow Classicism and low-brow Brett Easton Ellisism. It is not for the faint. He has been the toast of the literary elite in New York, London and Paris, befriending artistic luminaries such as Salman Rushdie and Sir Ian McKellen while writing about a family where he was jealous his sister was having sex with his father as he fought off his mother’s amorous pursuit.

The fact is, Edmund White exists. His life exists. To the casual reader, they may find it disquieting that someone like his father existed in 1950’s America and that White’s work is the progeny of his intimate effort to understand his own experience.

Wikinews reporter David Shankbone understood that an interview with Edmund White, who is professor of creative writing at Princeton University, who wrote the seminal biography of Jean Genet, and who no longer can keep track of how many sex partners he has encountered, meant nothing would be off limits. Nothing was. Late in the interview they were joined by his partner Michael Caroll, who discussed White’s enduring feud with influential writer and activist Larry Kramer.

Sunday, October 9, 2005

Canada’s federal government has announced a new program that plans to share unexpected budget surpluses with ordinary citizens. It should be introduced in Ottawa as early as Friday.

The Surplus Allocation Act would share any surplus equally between tax cuts, new spending and debt relief. It would not replace Canada’s $3 billion emergency fund. Under existing law any surplus is funneled completely into debt relief.

The benefit would come as an amount added on to the income tax returns of that year. It would then be added on to the amount a person can earn tax-free for each subsequent year.

Along with the new home heating oil rebate program are considered to be pre-election maneuvering from the liberals. Paul Martin has promised an election within 30 days of the Gomery Commission Report’s release. The report is expected in February.

Sunday, September 12, 2010

The Finnish communications corporation Nokia announced that its Head will change on September 21. The previous chief executive Olli-Pekka Kallasvuo will continue to chair in non-executive capacity. The head of Microsoft Business division Stephen Elop will take the position. It is the first time a non-Finn becomes Nokia president and chief executive.

The change follows Nokia’s fall in world markets. It includes a decrease in Nokia’s American market share to less than ten percent after failed negotiations with a number of leading American phone providers. An analyst at a market analyst company Canalys, Pete Cunningham, said, “Despite holding 38 percent market share of the smartphone market, Nokia’s failure to compete with the iPhone and high-tier Android devices, combined with its lack of progress in gaining significant traction in the United States, has led to press and investor dissatisfaction.”

Some commenters suggested that Nokia chose Mr. Elop partly because he is a Canadian, following criticism of American candidates by the Finnish press. However a Nokia spokesman rejected this, saying, “Nationality was not a selection criteria.”

Stephen Elop was president and CEO of the graphics and web-development software house Macromedia prior to its acquisition by Adobe in 2005. He then joined Microsoft as President of Microsoft’s Business Division in January, 2008. Commenting on his new role he said, “Nokia has a unique global position as well as a great brand upon which we can build. The Nokia slogan clearly states our key mission: Connecting People, which will acquire new dimensions as we build our portfolio of products, solutions and services.”

In the announcement the Chairman of the Nokia Board of Directors Jorma Ollila stressed an expected shift of focus from hardware to software. “His [Stephen Elop’s] strong software background and proven record in change management will be valuable assets as we press harder to complete the transformation of the company. We believe that Stephen will be able to drive both innovation and efficient execution of the company strategy in order to deliver increased value to our shareholders”.

Nokia stated in an official blog post, “Nokia is transitioning from a hardware manufacturer of mobile devices to a software and solutions business. …Stephen’s background in the software industry is one of his key strengths.”

Monday, August 26, 2013

German non-profit organization Definetz announced on Friday the development of the ‘Defikopter’: a medical drone, launched by smartphone app, designed to be able to fly defibrillators to heart attack victims in remote areas quicker than an ambulance.

The Defikopter is to be launched by an app that sends out the GPS coordinates of the victim. With the ability to fly at 70km per hour in all weather conditions, the eight-armed octocopter could reach any patient within a ten kilometre radius.

The invention has received cautious praise from German medical services; the drone is still in the development and testing stage. Definetz and collaborating drone builder Height Tech have not issued any information about the release of the smartphone app or about when the drone will be available for medical services to purchase.

“We’ll have to see how much these drones can help,” German emergency services union representative Marco König told The Local. German news site Mittelbayerische reports a price tag of €20,000 (US$26,000) apiece.

One major problem Definetz faces is the law that requires all unmanned flying vehicles in Germany to be supervised. Another is that only members of the public who downloaded the app ‘just in case’ of an emergency, plus emergency workers with the app, could summon a drone.

Wednesday, March 9, 2005File:Plastic bag stock sized.jpg

They are cheap, useful, and very plentiful, and that is exactly the problem, according to researchers. A report issued on Feb. 23 by a cadre of environment and economics researchers suggested that Kenya should ban the common plastic bag that one gets at the checkout counter of grocery stores, and place a levy on other plastic bags, all to combat the country’s environmental problems stemming from the bags’ popularity.

Friday, August 19, 2005

Russian and Chinese armed forces began their first ever joint military exercises since the Korean War, when Russia was still part of the Soviet Union, on Thursday. The exercises are expected to last for eight days.

10,000 troops — about 1800 Russians, the rest Chinese — are participating in the war games. The exercises simulate United Nations-mandated police action to restore order in a fictitious country torn by ethnic unrest. They began in the eastern Russian port-city of Vladivostok and are supposed to culminate in a mock invasion involving beach landings and paratrooper drops off the coast of the Jiaodong peninsula in eastern China.

Russian and Chinese officials have framed the exercises as promoting international cooperation, but some in the US and elsewhere see the exercises as preparation for a possible future invasion of Taiwan, and as a challenge to US dominance in Asia — particularly in Afghanistan. The exercises come amid increasing speculation in the US that China may come to replace the US as the world’s greatest superpower.

Russia and China are working together to help form of a world order that will be based on multipolarity, respect for international law, and a leading role for the UN, Deputy Foreign Minister Alexander Alexeyev said on Monday, August 15, 2005.[1]

“The exercise will be carried out in the framework of the fight against international terrorism and extremism, to respond to new threats and challenges,” said Liang Guanglie, chief of staff of China’s armed forces.[2]

But others citing the use in the operation of advanced aircraft atypical of a peacekeeping operation, say the countries have ulterior motives. “The main target is the US. Both sides want to improve their position for bargaining in terms of security, politics and economics,” said Jin Canrong, professor of international relations at the People’s University of China.[3]

A Taiwanese official quoted by Mosnews.com said, China’s involvement in the operations represents “the biggest security threat in the Asiatic-Pacific region.” [4]

However other analysts speculate that Russia’s motivations for using the aircraft, including Tu-95 strategic bombers and Tu-22M long-range bombers, in the exercises may be to promote their sale to the Chinese.

“Military cooperation is linked with political and economic cooperation as part of a bigger package,” said Robert Karniol, Asia-Pacific editor for Jane’s Defence Weekly. “It’s not an adversarial posture.”[5]

Many have noted that the joint exercises are an emblem of increasingly warm relations between China and Russia since the dissolution of the Soviet Union. But writing In an editorial for the International Herald Tribune, Phillip Bowring disagrees, saying that the primary purpose of the operations is as a warning to the US. “The current Russia-China joint military exercises are not so much a symbol of trust and friendship between the two as a symptom of American overstretch. The two are reminding the United States of the limits of its unilateral global power.”[6]

Despite speculation into the motives of Russia and China, the US has given at least token support to the idea that the exercises could promote international interests. “We are following the exercises,” U.S. State Department spokesman Sean McCormack said this week. “We expect that they will be conducted in a manner that supports some mutual goal of regional stability shared by the United States, China and Russia.”[7]

Others say the operations are mainly a response to separatism and Islamic extremism in Russian Chechnya and the Chinese Xinjiang.

“The exercises are the logical continuation of the first signs of cooperation between Russia and China in the struggle against ‘orange revolutions,’ separatism and the dominant influence of the U.S. in the Euroasiatic sphere,” the Gazeta.ru news website wrote Thursday. Orange was the color adopted by supporters of last year’s revolution in Ukraine, which along with mass demonstrations in Georgia and Kyrgyzstan, brough pro-Western administrations to power. [8]

The war games have been called “Peace Mission 2005“.