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"Home | Collection | Further information | Links | Contact Universitätsbibliothek Bern DigiBern - Bernese Culture and History on the Web DigiBern is a web offer by the University Library of Berne and includes digitized texts and maps pertaining to the history and culture of Berne city and the canton of Berne. Digibern has been online since 2002. So far, the most widely spread and used printed texts have been digitized. The documents are fully searchable for keywords. They can be traced via the index on the DigiBern web site. Moreover, they are indexed and web linked in the online library catalog IDS Basel/Bern. Digibern is freely available worldwide to scholars and the public. "

"2001 * Creative Commons founded. 2002 * Version 1.0 licenses released. 2003 * Approximately 1 million licenses in use. 2004 * Estimated 4.7 million licensed works by the end of the year. * Version 2.0 released. * Licenses ported to 12 international jurisdictions. 2005 * Estimated 20 million works. * Version 2.5 released. * Licenses ported to a further 13 jurisdictions. * Science Commons launches. 2006 * Estimated 50 million licensed works. * Licenses ported to a further 9 jurisdictions. 2007 * Estimated 90 million licensed works. * Version 3.0 released. * 5th birthday of CC licenses. Event featured performance by Gilberto Gil. * Licenses ported to a further 8 jurisdictions. * ccLearn launches. 2008 * Estimated 130 million CC licensed works. * Licenses ported to a further 8 jurisdictions. * Lawrence Lessig steps down as CEO, replaced by Joi Ito. * New Nine Inch Nails album released under CC. * CC launches fundraising campaign with support from Jesse Dylan and Jonathan Coulton. 2009 * CC0 launched. * Esther Wojcicki becomes board chair."

" About RERO DOC About RERO Deposit in RERO DOC: Why? How? RERO Union Catalog News digital library RERO DOC Search 14,036 records for: Search Tips :: Advanced Search Narrow by document type: Books (1,010) Journals (6) Newspapers (1,280) Theses (2,659) Dissertations (872) Master dissertations (183) Bachelor dissertations (634) Continuing education dissertations (55) Postprints (7,755) Preprints (243) Partitions (30) Research reports (181) Focus on: Navigate by site (14,036) Fribourg (3,211) Geneva (1,580) Jura (3,404) Neuchâtel (2,783) Tessin (336) Vaud (1,475) Valais (1,247) Navigate by institution/university (7,632) Universities (5,797) Universities of Applied Sciences (692) Swiss Federal Institutes of Technology (1,120) Research institutes (23) Navigate by domain (11,601) Arts, Architecture, Sport science (240) Exact and natural sciences (6,510) History, Geography (970) Human and social sciences (1,726) Language, Literature (658) Medicine and health (550) Technology, Engineering (840) Specific Collections (2,569) Journal «La Liberté» (591) Journal «Freiburger Nachrichten» (637) Ouvrages de référence fribourgeois (14) Collection Corvey (470) Collection valaisanne (836) Annales valaisannes (740) La pilule (6) Le crétin des Alpes (1) Le Véritable messager boiteux de Neuchâtel pour l'an (19) Revue historique neuchâteloise (16)"

"So, let me make one final plea, to bring you into this battle. You all know, we are in the middle of a war. I don't mean - actually, we are in the middle of many wars - I mean actually one war here, the copyright war. War that the late Jack Valenti, my friend - extraodinary man - used to refer to as his own "terrorist war"? - where apparently , the terrorists in this war are our children. (audience laughs). So we organize and wage war against these terrorists. We talk about this as a war that needs to be waged against these pirates. And the thing that we need to recognize as educators, as scientists, as parents, as people who understand the potential and uses of this technology, is: we can't kill this technology, we can only criminalize it. We're not going to stop our kids from creating the way they create, ways that we couldn't even begin to imagine creating, at least when I was growing up. We can only drive that creativity underground. We can't make our kids passive, the way that, again, I was passive growing up, the way Souza feared. We can only make them "pirates". And the question we, as a culture, need to ask is: Is that any good? Our kids live in this age of prohibitions, in all sorts of contexts of their life. They live life against the law. We tell them they live life against the law and they recognize their behavior is against the law. That recognition is extraordinarily corrosive, extraordinarily corruptive of the rule of law in a democracy. 3571.076838 3590.998233 You, each of you, all of us, have let this insanity happen. You, each of you, all of us, could, if we actually stood up and did something about it, make it stop. Thank you very much."

"The following list sets out some basic things that you should think about before you apply a Creative Commons license to your work. It is not an exhaustive list. If you have additional questions or concerns, feel free to post to one of our email discussion lists, to send us an email at info@creativecommons.org or send an email to one of our country project leads or obtain your own legal advice. "

"Contents * 1 Caveats * 2 Raw search engine query data o 2.1 Linkback data o 2.2 Graphs of the linkback data o 2.3 Flickr data o 2.4 Software + 2.4.1 Data gathering + 2.4.2 Charting * 3 Baseline numbers from specific collections * 4 License property charts * 5 Estimates over time o 5.1 Issues + 5.1.1 Fixed + 5.1.2 Confirmed"

"# 1 Questions about CC0 generally * 1.1 What is CC0? * 1.2 How does it work? * 1.3 Are CC0 and CC's Public Domain Dedication and Certification ("PDDC") the same? * 1.4 Which should I use if I want to dedicate a work to the public domain? CC0 or PDDC? * 1.5 Will the PDDC Change? * 1.6 How is CC0 different from the Public Domain Dedication and License ("PDDL") published by Open Data Commons? # 2 Questions for those thinking about applying CC0 to their work(s) * 2.1 Who can use CC0? * 2.2 How do I apply CC0 to my work? * 2.3 What are the benefits of including the information requested by the CC0 chooser? * 2.4 Does CC0 require others who use my work to give me attribution? * 2.5 Does CC0 really eliminate all copyright and related rights, everywhere? * 2.6 What kinds of rights am I waiving when I use CC0? * 2.7 What are neighboring rights? * 2.8 What are database rights? * 2.9 Can I control how my work is being used once I publish it using CC0? * 2.10 What about other IP related rights, such as trademark and patent rights? # 3 Questions for those thinking about using a CC0'd work * 3.1 Can anyone use a work that is distributed under CC0? * 3.2 Do I have to attribute the person who applied CC0 to their work? * 3.3 Why do some works indicate the jurisdiction from which the work is being published? * 3.4 What rights do I need to use a CC0'd work? * 3.5 How can I be sure that I have all the rights I need to use the work?"

"Approximate Minimum Total CC Licensed Works as of December 2009: ~350 million"

"...If rights remain as tightly controlled and as expensive as they are now, nonfiction will be the province of the entirely new or the overly familiar. Dazzling books with newly created art, text and multimedia will far outnumber works filled with historical materials. Only a few well-heeled companies will have the wherewithal to create gee-whiz multimedia book-like products that require permissions, and these projects will most likely focus on highly popular subjects. History's outsiders and untold stories will be left behind. We treat copyrights as individual possessions, jewels that exist entirely by themselves. I'm obviously sympathetic to that point of view. But source material also takes on another life when it's repurposed. It becomes part of the flow, the narration, the interweaving of text and art in books and e-books. It's essential that we take this into account as we re-imagine permissions in a digital age. When we have a new model for permissions, we will have new media. Then all of us - authors, readers, new-media innovators, rights holders - will really see the stories that words and images can tell. "