creative commons

On Creative Commons II

The notion that poetry is primarily self-expression has often seemed to me a seductive (but conveniently commodifiable) mistake. We all like to think that we are makers of language, but anyone poking around in the engine of poetry uneasily realises that it is just as likely to be the other way around, that just as DNA shapes our morphology, language is the shaper of our consciousness.

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On Creative Commons

Welcome to Creative Commons, the thirty-third issue of Cordite Poetry Review! With this issue we celebrate ten years online!

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103 Product Searches for Poetry …

POETRY SEARCH (PART 3): 103 Product Searches for Poetry Characterized Differently by an Assortment of Commonly Associated Adjectives Task: Search for the word “poetry” preceded by various adjectives that are often used in conjunction with it. Technique: The images of …

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Jonathan Ball, Ryan Fitzpatrick and Jay Millar: Ex Machina and the Creative Commons

Ex Machina (BookThug, 2009) is a long poem written as a series of poetic and philosophical statements. Each page contains a titular number, and each line of the poem refers the reader to another page through a footnote. The book thus resembles the Choose-Your-Own-Adventure books of yesteryear, only instead of developing a progressive narrative, the system recurs and loops endlessly. If one attempts to read the book as directed, not only will one never reach a terminal position, but certain pages that exist outside of the system will remain forever unread.

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The Call to the Creative Commoner: The Digital Humanities and Flexible Copyright

If you try and stand in the way of the open source movement, then you are a counter-revolutionary. You may find yourself blindfolded and up against a crumbling wall, waiting for the collective report that will remove you from the picture and allow the future utopia of free knowledge to inch that little bit closer to reality. Like the hard-liners of the FOSS (Free Open Source Software) movement[ii], the Digital Humanities army marches proudly forward waving its banners and imagining a bright, free future for the Humanities.

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Creative Licences and CCMixter

Do you remember a time when you completed the written draft of a poem and signed it with the © symbol beside your name? By including the copyright symbol you probably thought you were asserting your ownership of the poem and establishing yourself as the creator, as well as protecting your exclusive right to publish, perform or otherwise deal with your creation. However, you do not need to include this symbol in order to be protected by copyright law; in Australia, this protection is automatic when an original work is written and you retain control of your work unless you sell or transfer the exclusive rights.

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All Rights Relinquished: Permapoesis

While writing this work I have been eating wild foods, vegetables from my garden and a small amount of transported agricultural product. I am in transition, along with my family and some community friends, to relocalise food and energy resources and address the degree to which our participation in a hyper-mediated society degrades the ecologies that support us.

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Zoe Rodriguez: The Danger of Copyleft

Where I work, at Copyright Agency Limited, which collects and distributes over $100 million a year for its 17,000 authors and publisher members, we sometimes say when it all gets too hard, ‘nobody ever died because of copyright’. So, it was chastening to see the agony Tolstoy endured late in his life over whether to offer his works to the commons or retain copyright acted out with such passion in The Last Station.

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The Poetic Commons

Poetry is a kind of creative commons of the culture. These days we inhabit different microcultures and that complicates matters, but there remains a kind of substratum that most members of say, one country, understand.

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Laurie Duggan: Cover Me [borrowed title]

It's in the nature of poetry that sampling, covering, or borrowing, conscious or unconscious happens all the time. We all try to write like people we admire. In the case of satire we may try to write like people we don't like at all. In language there are only so many riffs there for the taking and what makes a poem interesting is the manner in which it performs its little (or big) thefts.

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Rebecca Cannon: Detritus – Copyleft In Action

For five years Steev Hise has been collecting cultural fall out which certain detrivores would have us call art. Passionately cataloguing, nurturing and studying these oft discarded remnants of society, Hise runs the web site, a minefield for corporate …

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A Message To BardsterTM Users

The BardsterTM community is as you know the largest & fastest growing community on the internet & we have you to thank for that. Since BardsterTM's launch last year poetry lovers have downloaded more than eight billion poems from our …

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