3 Matching Annotations
  1. Last 7 days
    1. si on tape Hexagon game et avec mon nom à côté on va trouver plein d'exemples et des modèles pour pouvoir les reproduire 00:02:25 c'est des petits outils très simples on donne aux élèves des hexagones sur lesquels on a ajouté des images on a ajouté des mots on a ajouté des citations et donc on crée une collection 00:02:39 d'hexagones et on affiche un sujet au tableau et on leur dit et ben vous avez ces hexagones vous les utiliser pour répondre à cette question et vous les organisez de la façon qui vous semblera 00:02:52 la plus opportune euh donc voulez vous pouvez faire des flèches vous pouvez faire des titres vous pouvez les coller les un à côté des autres vous pouvez faire des dessins à côté des hexagones mais à la fin je veux le poster le plus 00:03:06 clair et le plus cohérent possible que vous pourrez éventuellement aller présenter au reste de la classe à l'oral
  2. Oct 2021
    1. Peers can help you go from No Open Access to some Open Access.

      It's difficult to spread Open Access and Free cultural work licenses if blog posts about Open Access are not compatible with Open Access. The article by Anne Young has a non-commercial restriction. It would be nice to contact Anne Young to propose to release her blog post under CC BY-SA license or anyway under a Free cultural work license.

  3. Sep 2018
    1. To add to "More scholarship about CC licenses" and to support unit 4.1: Bishop, Carrie. “Creative Commons and Open Access Initiatives: How to Stay Sane and Influence People.” Art Libraries Journal 40.4 (2015): 8–12. Web.

      Bishop presents a cheerful exploration of the Tate’s mammoth enterprise to digitize and release into the public Web 52,000 works of art, many of which are still under copyright. Commonly, galleries and museums would like to broaden exposure to the artwork in their collections, but when artists or their descendants are still actively monitoring use and income, there can be a barrier between connecting the public with the art work and the needs of the artistic community. Bishop describes the Tate’s desire to license the newly digitized images under a Creative Commons license to provide clear guidelines to the public, but at the same time to respond to the fears, hopes, and wishes of their artists. The Tate decided that it could best realize its goal to "democratize access" and to connect the public with British artists through applying the CC-BY-NC-ND license—both making the images available and quelling the concerns of the artists or their estate managing family members. The article provides an interesting perspective to the discussion of “open culture” or “free culture.” Some of this freedom may come about in incremental doses. The CC license might make it possible to allow an artist to connect their work with a larger public, at the same time that it makes them confident that their work won’t be misused or appropriated in an undesired manner. Aart museums seem to have a difficult relationship with open access and Creative Commons licensing. The Getty, for instance, has a fairly complicated statement of terms that make murky all that CC transparency, so there is viewing the material and then there is repurposing the material. The result is that a slow, measured pace, while nurturing the artist along, may be the way to ultimately make CC and Open Access a norm rather than an exception.