![Carolina Botero [email_address] www.karisma.org.co/carobotero http://altair.udea.edu.co/cc/media/caroboteropasto1.jpg](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)
Recomendados
Más contenido relacionado
La actualidad más candente
La actualidad más candente (19)
Destacado
Similar a Editores musicales sxxi
Similar a Editores musicales sxxi (20)
Más de Carolina Botero
Más de Carolina Botero (20)
Editores musicales sxxi
- 1. Derecho de Autor en Colombia, realidad y perspectivas
- 2. Carolina Botero [email_address] www.karisma.org.co/carobotero http://altair.udea.edu.co/cc/media/caroboteropasto1.jpg
- 14. Dominio Público Muerte +80 años
- 16. + Obras de folclore de autor desconocido
- 21. Las excepciones legales exigen condiciones de modo, tiempo y lugar que no se ajustan a cualquier tipo de uso por altruista o… que parezca. Atención
- 33. $ =
- 34. átomos bits “ Being Digital” Nicholas Negroponte
- 36. Contexto
- 42. La cadena productiva (Reproducciòn y Comunicaciòn Pùblica) AUTOR/ COMPOSITOR EDITOR PRODUCTOR DISTRIBUIDOR RADIO & TV ESTABLECIMIENTOS PUBLICOS EMPRESARIOS DE CONCIERTOS ENTORNO DIGITAL ARTISTA SOCIEDADES DE GESTION COLECTIVA xºxº
- 43. Esta cadena deja muchas cosas por fuera - El propio marco editorial que ustedes manejan involucra no solo editores dentro de la cadena de producción musical sino también de textos... - Además supone un modelo ideal industrial
- 46. Producto
- 47. Prácticas
- 49. CONSUMIR vs CREAR / PARTICIPAR 64% http://blogs.zdnet.com/ITFacts/?p=13693
- 50. 4 a 8 años
- 52. http://www.flickr.com/photos/cdell/548548453/ http://www.flickr.com/photos/darwinbell/2382912185/
- 53. Potencial democratizador de las TIC reproducción, publicación, difusión… puede estar en manos de cualquiera http://www.flickr.com/photos/cdell/548548453/ BLOGS, o en youtube se suben 20 horas de video por minuto…
- 54. Nueva economía: uso intensivo de información y conocimiento como factores de producción , caracterizada por un rápido progreso científico y tecnológico que ha generado un volumen sin precedentes de innovaciones industriales y que ha logrado transformar el contexto mundial en el que vivimos. 2004- Colombia Digital y Universidad del Rosario http://www.colombiadigital.net/informacion/docs/G_Conocimiento01.pdf http://www.flickr.com/photos/darwinbell/2382912185 / ¿Nuevos modelos de negocios también respecto de derecho de autor?
- 55. Cambio
- 56. Las TIC y la Web 2.0 nos permiten hoy hacer las cosas en forma diferente y más eficiente, pero también significan un importante CAMBIO en la forma como vivimos y trabajamos y nos obliga a generar nuevas capacidades y paradigmas . Traducido de http://www.slideshare.net/andreasmeiszner/beyond-the-open-educational-resource-move-towards-open-and-participatory-learning-ecosystems El pasado El futuro Cerrado Abierto Expertos dirigen Todos tenemos algo que decir Individual Colaborativo El conocimiento es poder, agárrate a él El conocimiento es inútil si no se comparte Protege lo tuyo, no compartas El todo es más importante que la suma de las partes “ Copyright” (Derecho de Autor) “ Copyleft” Existe un costo para la reproducción El costo de reproducción es casi “cero” Mercados de masa Nichos de mercados Orientado al producto Orientado al servicio
- 57. ¿Cuál es la función del editor en este entorno?
- 58. CONTROLAR DEJAR DE CONTROLAR
- 60. Aquí entra Creative Commons Busca que el contenido esté más libremente accesible ofreciendo licencias gratis y libres que los creadores pueden usar para dar autorizaciones previas
- 61. Acceso Abierto
- 62. 4 elementos: Atribución– Reconoce al autor NoComercial – Uso no comercial NoObrasDerivadas– no modificar LicenciarIgual– modificar solo si se permite a otros modificar la nueva Licencias
- 63. Atribución- Licenciar Igual Atribución- No Comercial- Licenciar Igual Atribución- No Comercial – No Derivadas Licencias Atribución Atribución -No Comercial Atribución –No Derivadas
- 67. ¿y, qué papel cumple el editor en un mundo en el que el autor tiene capacidad de reproducción, publicación y difusión ?
- 68. Licenciar libre ¿Nuevo negocio? Mito– si publica su material bajo licencias de acceso abierto nunca recibirá pago por él Se decía eso mismo sobre todo lo que se publicaba en internet. AUSTRALIA part of the Creative Commons international initiative CRICOS No. 00213J
- 69. Pagar por CC free as in speech, not as in beer AUSTRALIA part of the Creative Commons international initiative CRICOS No. 00213J
- 73. Herramienta promocional AUSTRALIA part of the Creative Commons international initiative CRICOS No. 00213J
- 74. Soportada por Publicidad AUSTRALIA part of the Creative Commons international initiative CRICOS No. 00213J
- 75. Cargos por servicios premium AUSTRALIA part of the Creative Commons international initiative CRICOS No. 00213J +
- 76. Innovación AUSTRALIA part of the Creative Commons international initiative CRICOS No. 00213J
- 85. Nuevas
- 86. formas
- 87. de producción
- 88. de aprendizaje
- 89. de difusión
- 91. Gracias A menos que se informe de otra manera esta presentación está licenciada CCBYSA 2.5 Colombia http://creativecommons.org/licenses/by-sa/2.5/co/ Carolina Botero Cabrera, mayo 2010 www.karisma.org.co/carobotero [email_address] www.slideshare.com/carobotero
Notas del editor
- Recordar Simpson bailando cumbia
- So why is the NLA using the CC licences? There is, of course, the obvious ideological reasoning – PictureAustralia is, after all, part of the national collection, and the more freely available the photographs are, the better. It also provides benefits to the users of PictureAustralia, by creating a pool of photos on the website that can be re-used without needing to get additional permission. Currently, users have to get permission from the host organisation if they want to reproduce most of the photos in the archive But most significantly, the NLA also chose to use CC licences because of the benefits content management benefits that provides to them If anyone has worked in a library, they know that one of the biggest problems with maintaining a collection is making sure that the library has all the permissions it needs to preserve and manipulate the individual works – particularly where the copyright owner may be difficult or impossible to locate By getting the work under a CC licence, the NLA is able to give people a choice over how their material may be used, whilst still being sure that it has the rights it needs to deal with the work from the outset This includes making it available on the library’s website, or in a catalogue
- So why is the NLA using the CC licences? There is, of course, the obvious ideological reasoning – PictureAustralia is, after all, part of the national collection, and the more freely available the photographs are, the better. It also provides benefits to the users of PictureAustralia, by creating a pool of photos on the website that can be re-used without needing to get additional permission. Currently, users have to get permission from the host organisation if they want to reproduce most of the photos in the archive But most significantly, the NLA also chose to use CC licences because of the benefits content management benefits that provides to them If anyone has worked in a library, they know that one of the biggest problems with maintaining a collection is making sure that the library has all the permissions it needs to preserve and manipulate the individual works – particularly where the copyright owner may be difficult or impossible to locate By getting the work under a CC licence, the NLA is able to give people a choice over how their material may be used, whilst still being sure that it has the rights it needs to deal with the work from the outset This includes making it available on the library’s website, or in a catalogue
- So why is the NLA using the CC licences? There is, of course, the obvious ideological reasoning – PictureAustralia is, after all, part of the national collection, and the more freely available the photographs are, the better. It also provides benefits to the users of PictureAustralia, by creating a pool of photos on the website that can be re-used without needing to get additional permission. Currently, users have to get permission from the host organisation if they want to reproduce most of the photos in the archive But most significantly, the NLA also chose to use CC licences because of the benefits content management benefits that provides to them If anyone has worked in a library, they know that one of the biggest problems with maintaining a collection is making sure that the library has all the permissions it needs to preserve and manipulate the individual works – particularly where the copyright owner may be difficult or impossible to locate By getting the work under a CC licence, the NLA is able to give people a choice over how their material may be used, whilst still being sure that it has the rights it needs to deal with the work from the outset This includes making it available on the library’s website, or in a catalogue
- So why is the NLA using the CC licences? There is, of course, the obvious ideological reasoning – PictureAustralia is, after all, part of the national collection, and the more freely available the photographs are, the better. It also provides benefits to the users of PictureAustralia, by creating a pool of photos on the website that can be re-used without needing to get additional permission. Currently, users have to get permission from the host organisation if they want to reproduce most of the photos in the archive But most significantly, the NLA also chose to use CC licences because of the benefits content management benefits that provides to them If anyone has worked in a library, they know that one of the biggest problems with maintaining a collection is making sure that the library has all the permissions it needs to preserve and manipulate the individual works – particularly where the copyright owner may be difficult or impossible to locate By getting the work under a CC licence, the NLA is able to give people a choice over how their material may be used, whilst still being sure that it has the rights it needs to deal with the work from the outset This includes making it available on the library’s website, or in a catalogue
- So why is the NLA using the CC licences? There is, of course, the obvious ideological reasoning – PictureAustralia is, after all, part of the national collection, and the more freely available the photographs are, the better. It also provides benefits to the users of PictureAustralia, by creating a pool of photos on the website that can be re-used without needing to get additional permission. Currently, users have to get permission from the host organisation if they want to reproduce most of the photos in the archive But most significantly, the NLA also chose to use CC licences because of the benefits content management benefits that provides to them If anyone has worked in a library, they know that one of the biggest problems with maintaining a collection is making sure that the library has all the permissions it needs to preserve and manipulate the individual works – particularly where the copyright owner may be difficult or impossible to locate By getting the work under a CC licence, the NLA is able to give people a choice over how their material may be used, whilst still being sure that it has the rights it needs to deal with the work from the outset This includes making it available on the library’s website, or in a catalogue
- As well as the CC website, you can also download the generator to your desktop, as part of the ccPublisher This helps you automatically label your material as CC, and publish it online In an interesting development, Microsoft has also recently released an plugin that allows you to label any work created in an Office as CC. A number of sites also let you licence your material as cc – including flickr, and blip.tv
- As well as the CC website, you can also download the generator to your desktop, as part of the ccPublisher This helps you automatically label your material as CC, and publish it online In an interesting development, Microsoft has also recently released an plugin that allows you to label any work created in an Office as CC. A number of sites also let you licence your material as cc – including flickr, and blip.tv
- As well as the CC website, you can also download the generator to your desktop, as part of the ccPublisher This helps you automatically label your material as CC, and publish it online In an interesting development, Microsoft has also recently released an plugin that allows you to label any work created in an Office as CC. A number of sites also let you licence your material as cc – including flickr, and blip.tv
- As well as the CC website, you can also download the generator to your desktop, as part of the ccPublisher This helps you automatically label your material as CC, and publish it online In an interesting development, Microsoft has also recently released an plugin that allows you to label any work created in an Office as CC. A number of sites also let you licence your material as cc – including flickr, and blip.tv
- Revver’s still in its early days, but it does already have a success story in the “extreme diet coke and mentos experiment” video hopefully at least some of you have already seen this online But just in case you haven’t here it is By June this year this video has been downloaded more than 6 million times, and earned its makers over US$30,000 in revenue It’s hosted a number of ads - first for the movie “Kiss Kiss Bang Bang” – and then for mentos. Strangely, coke wasn’t interested This has encouraged other popular online videos, such as “ask a ninja”, to put themselves on Revver
- Revver’s still in its early days, but it does already have a success story in the “extreme diet coke and mentos experiment” video hopefully at least some of you have already seen this online But just in case you haven’t here it is By June this year this video has been downloaded more than 6 million times, and earned its makers over US$30,000 in revenue It’s hosted a number of ads - first for the movie “Kiss Kiss Bang Bang” – and then for mentos. Strangely, coke wasn’t interested This has encouraged other popular online videos, such as “ask a ninja”, to put themselves on Revver
- So why is the NLA using the CC licences? There is, of course, the obvious ideological reasoning – PictureAustralia is, after all, part of the national collection, and the more freely available the photographs are, the better. It also provides benefits to the users of PictureAustralia, by creating a pool of photos on the website that can be re-used without needing to get additional permission. Currently, users have to get permission from the host organisation if they want to reproduce most of the photos in the archive But most significantly, the NLA also chose to use CC licences because of the benefits content management benefits that provides to them If anyone has worked in a library, they know that one of the biggest problems with maintaining a collection is making sure that the library has all the permissions it needs to preserve and manipulate the individual works – particularly where the copyright owner may be difficult or impossible to locate By getting the work under a CC licence, the NLA is able to give people a choice over how their material may be used, whilst still being sure that it has the rights it needs to deal with the work from the outset This includes making it available on the library’s website, or in a catalogue
- So why is the NLA using the CC licences? There is, of course, the obvious ideological reasoning – PictureAustralia is, after all, part of the national collection, and the more freely available the photographs are, the better. It also provides benefits to the users of PictureAustralia, by creating a pool of photos on the website that can be re-used without needing to get additional permission. Currently, users have to get permission from the host organisation if they want to reproduce most of the photos in the archive But most significantly, the NLA also chose to use CC licences because of the benefits content management benefits that provides to them If anyone has worked in a library, they know that one of the biggest problems with maintaining a collection is making sure that the library has all the permissions it needs to preserve and manipulate the individual works – particularly where the copyright owner may be difficult or impossible to locate By getting the work under a CC licence, the NLA is able to give people a choice over how their material may be used, whilst still being sure that it has the rights it needs to deal with the work from the outset This includes making it available on the library’s website, or in a catalogue
- So why is the NLA using the CC licences? There is, of course, the obvious ideological reasoning – PictureAustralia is, after all, part of the national collection, and the more freely available the photographs are, the better. It also provides benefits to the users of PictureAustralia, by creating a pool of photos on the website that can be re-used without needing to get additional permission. Currently, users have to get permission from the host organisation if they want to reproduce most of the photos in the archive But most significantly, the NLA also chose to use CC licences because of the benefits content management benefits that provides to them If anyone has worked in a library, they know that one of the biggest problems with maintaining a collection is making sure that the library has all the permissions it needs to preserve and manipulate the individual works – particularly where the copyright owner may be difficult or impossible to locate By getting the work under a CC licence, the NLA is able to give people a choice over how their material may be used, whilst still being sure that it has the rights it needs to deal with the work from the outset This includes making it available on the library’s website, or in a catalogue
- So why is the NLA using the CC licences? There is, of course, the obvious ideological reasoning – PictureAustralia is, after all, part of the national collection, and the more freely available the photographs are, the better. It also provides benefits to the users of PictureAustralia, by creating a pool of photos on the website that can be re-used without needing to get additional permission. Currently, users have to get permission from the host organisation if they want to reproduce most of the photos in the archive But most significantly, the NLA also chose to use CC licences because of the benefits content management benefits that provides to them If anyone has worked in a library, they know that one of the biggest problems with maintaining a collection is making sure that the library has all the permissions it needs to preserve and manipulate the individual works – particularly where the copyright owner may be difficult or impossible to locate By getting the work under a CC licence, the NLA is able to give people a choice over how their material may be used, whilst still being sure that it has the rights it needs to deal with the work from the outset This includes making it available on the library’s website, or in a catalogue
- So why is the NLA using the CC licences? There is, of course, the obvious ideological reasoning – PictureAustralia is, after all, part of the national collection, and the more freely available the photographs are, the better. It also provides benefits to the users of PictureAustralia, by creating a pool of photos on the website that can be re-used without needing to get additional permission. Currently, users have to get permission from the host organisation if they want to reproduce most of the photos in the archive But most significantly, the NLA also chose to use CC licences because of the benefits content management benefits that provides to them If anyone has worked in a library, they know that one of the biggest problems with maintaining a collection is making sure that the library has all the permissions it needs to preserve and manipulate the individual works – particularly where the copyright owner may be difficult or impossible to locate By getting the work under a CC licence, the NLA is able to give people a choice over how their material may be used, whilst still being sure that it has the rights it needs to deal with the work from the outset This includes making it available on the library’s website, or in a catalogue