"The purpose of this document is two-fold:
- to offer an online history of the development of the Massive Open Online Course (MOOC)
- to use that history to describe major elements of a MOOC
Each chapter of this guide looks at one of the first MOOCs and some early influences. It contains these parts:
- a description of the MOOC, what it did, and what was learned
- a description of the element of MOOC theory learned in the offering of the course
- practical tools that can be used to develop that aspect of a MOOC
- practical tips on how to be successful
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Submitted by thiru on 23. June 2011 - 3:07
"Back in 2009, Brazil decided to table in this Committee a draft treaty on exceptions and limitations on copyrights for the print disabled guided by two assumptions:
(1) The international treaty we are seeking to conclude must be a useful instrument for persons with print disabilities. This is why we tabled a text originally elaborated by the World Blind Union, by people who know best the reality on the ground;
(2) The international copyright regime is a mature system, with more than 120 years of implementation experience in many countries. It is feasible to craft precise and effective E&L norms without depriving the rights of authors to reap the benefits of their creativity. We all recognize those rights and are fully committed to defend them. Let there be no doubt about it.
Those two assumptions remain the guiding principles underlying Brazil's position.
We are committed to helping bring this negotiating process to a successful outcome. For Brazil, a successful outcome is an international instrument which will be an useful and effective one. An effective instrument which makes clear the firm commitment "on the ground" of all Member States to mitigating the book famine of more than 150 million people world-wide. At the end of the process there must be a treaty. Why shouldn't we aim for a treaty?
This question should be answered against the broader background of all the themes under discussion in this Committee."
Alexis Boisseau - 21 septembre 2011
"Comment sait-on qu'une œuvre fait désormais partie du domaine public et que, tout en restant une création de son auteur original (ce qu'on appelle le «droit moral», qui est éternel), on peut la rééditer ou réinterpréter sans payer de «droits patrimoniaux»?
La loi est un bon premier guide, mais elle est tellement truffée d'exceptions qu'on ne peut se soustraire à des recherches parfois très longues. Dans la situation la plus courante, quand l'œuvre est «individuelle», les droits subsistent pour les ayants droits 70 ans après le 1er janvier qui suit la mort de l'auteur. Cette règle est née d'une directive européenne qui n'a été transposée en droit français qu'en 1997 et remplace, pour les œuvres qui n'étaient pas dans le domaine public au 31 décembre 1995 la durée de 50 ans de protection qui était en vigueur avant."
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