creative commons

By popular request, we're getting as fundamental as we can in this episode with a back-to-basics primer on as many open source concepts as we could come up with, which we hope will lay the groundwork for future episodes. Ever wonder about the difference between a branch and a fork, the ways copyright interacts with code, how open source extends beyond just software, or what makes a Linux distro a Linux distro? This episode is for you!

Notes

If you want to demystify software licensing, look no further than https://choosealicense.com/ and https://tldrlegal.com/

The FOSS Pod is brought to you by Google Open Source. Find out more at https://opensource.google, and learn more about their event detailing Kubernetes' move away from Dockershim here:  http://goo.gle/LKL22

Open source software touches every piece of technology that touches our lives- in other words, it’s everywhere. Free software and collaboration is at the heart of every device we rely on, and much of the internet is built from the hard work of people dedicated to the open source dream: ideals that all software should be licenced to be free, modified, distributed and copied without penalty. The movement is growing, and that growth is creating pressure: from too many projects, and not enough resources. The culture is shifting, too, as new people around the world join in and bring different ideas and different dreams for an open source future. James Vasile has been working in open source software for decades, and he joins Cindy Cohn and Danny O’Brien to talk about the challenges that growth is creating, and the opportunities it presents to make open source, and the Internet, even better. 

If you have any feedback on this episode, please email podcast@eff.org. Please visit the site page at https://eff.org/pod102 where you’ll find resources – including links to important legal cases and research discussed in the podcast and a full transcript of the audio. 

This podcast is supported by the Alfred P. Sloan Foundation's Program in Public Understanding of Science and Technology.

This work is licensed under a Creative Commons Attribution 4.0 International License. Additional music is used under creative commons license from CCMixter includes:

Warm Vacuum Tube  by Admiral Bob (c) copyright 2019 Licensed under a Creative Commons Attribution 3.0 Unported license. http://dig.ccmixter.org/files/admiralbob77/59533 Ft: starfrosch

Come Inside by Snowflake (c) copyright 2019 Licensed under a Creative Commons Attribution (3.0) Unported license. http://dig.ccmixter.org/files/snowflake/59564 Ft: Starfrosch, Jerry Spoon, Kara Square, spinningmerkaba

Xena's Kiss / Medea's Kiss by mwic (c) copyright 2018 Licensed under a Creative Commons Attribution (3.0) Unported license. http://dig.ccmixter.org/files/mwic/58883

Drops of H2O ( The Filtered Water Treatment ) by J.Lang (c) copyright 2012 Licensed under a Creative Commons Attribution (3.0) Unported license. http://dig.ccmixter.org/files/djlang59/37792 Ft: Airtone

reCreation by airtone (c) copyright 2019 Licensed under a Creative Commons Attribution (3.0) Unported license. http://dig.ccmixter.org/files/airtone/59721

Open educational resources are the education world’s version of the sharing economy. OER is curriculum and other learning materials that are shared without cost and without copyrights. That allows users to adapt the materials any way they want and freely share their new creations with anyone. That’s different than copyrighted materials, which are protected intellectual property that restrict sharing. With OER, there’s no revenue stream to protect. Sounds like a good deal, right? It is, but, like a free puppy, there is care and feeding involved. For starters, finding them, vetting them and understanding how best to use them takes a lot of time and resources. Kristina Ishmael, an OER specialist for the Washington, D.C.-nonprofit New America, offers an OER primer and describes what’s involved when a school wants to start using OER materials. She explains how materials from the Office of Education Technology (tech.ed.gov/open/districts/launch) and the New America website (www.newamerica.org) can help educators get started so that they experience more joy and less annoyance from their new puppy. 

Works by Brahms and Beethoven performed by Daniel Lebhardt on March 12, 2017.

• Brahms, Johannes: Six Pieces, Op. 118
• Beethoven, Ludwig van: Sonata No. 18 in E-Flat Major, Op. 31, No. 3, "The Hunt"

Hungarian pianist Daniel Lebhardt is one of a long line of Young Concert Artists competition winners to make their Boston debut at the Gardner, and on this podcast, we’ll hear two recordings from the 24-year-old’s recent recital: Brahms’ Six Pieces, opus 118 and Beethoven’s Sonata No. 18 in E-flat Major, sometimes called “The Hunt.”

A student at the Royal Academy in London, the young pianist has swept a number of competitions in recent years, claiming first prizes all across Europe, including in Italy, Slovakia, Romania, and the UK. His 2016 New York debut earned a rave from the Times critic Anthony Tommasini, who wrote that Lebhardt “dispatched the [Beethoven sonata] with scintillating crispness and conveyed its brash humor.”

Works by Bach and Bartók performed by the Borromeo String Quartet and Yoo Jin Jang, violin and Renana Gutman, piano on August 14, 2016 and March 8, 2015.

• Bach, Johann Sebastian: Preludes and Fugues from Well-Tempered Klavier Book 1 trans. Nicholas Kitchen: C Major, C Minor, E-flat Minor
• Bartók, Béla: Violin Sonata No. 1, Sz. 75

Today’s podcast features two works that present tests of sorts—for the listener, the performer, the composer. Sharpen your ears and let’s get to it.

The Well-Tempered Clavier was likely written to test a few different things: the keyboard player’s technical skills; the advantages of equal temperament tuning, which enabled playing in every key; and also the listener’s ability to pick out the many, interweaving musical lines. Today, we’ll hear three movements from the WTC in a version for string quartet, created by violinist Nicholas Kitchen.

Bartok’s Violin Sonata No. 1, written in 1921, also pushed boundaries. Today, Bartok is perhaps best known for his explorations of Hungarian traditional music and his folk-tinged, dance-infused symphonies. But he also had a period, between the world wars, of audacious musical experimentation, and this work dates from those years. We’ll hear the piece second on the podcast, played by violinist Yoo Jin Jang and pianist Renana Gutman.