Metadesign and participation

June 1, 2019

This May I had the chance to develop some ontology work as a workshop at the Creative Commons Summit in Lisbon. The goal was to present some of the ideas on the subject, some of which I have already written about.

The session had a very varied group, which was nice. OSH seems to have a very boad audience that spans various domains: engineers, lawyers, etc. No wonder many of us see it as the next big milestone for the open movement.

My favorite part of the session was when a lawyer at the session (I am sorry, can’t remember you name!) conspicuously said that the idea sounded very much like a proposal for a patent. That was awesome, because it was one of the intentions that I had for this: that a conceptual definition of a thing or artifact could help categorize and .

The second part of the session involved the use of real hardware documentation. A set of predetermined metadata fields was given to each table which participants moved around to sort and define an ontology. This approach helped members with different views around what OSH is to use the terms that were most important to their domain. In the end, what an artifact is can be discussed by those who will make use of it to differentiate and categorize.

If you want to know a bit more about this session, feel free to review the presentation:

Check the session notes as well; these were taken by Lucy Patterson (thank you!).

Card Catalog by Glyn Lowe on Flickr -

Towards an Ontology of the Open

March 17, 2019

One idea has been forming in my mind over the past year, as a combination of different experiences that I’ve seen over different communities dedicated to open content, and how the same problem of documentation affects all communities alike.

  1. The first one is Creative Commons. One thing that I noticed was how useful the use of metadata was to gather and classify information through one of the biggest content “donors“, The Met. Creative Commons has this great wealth of information, searchable not only because 375,000 are available, but because there is existent metadata to do so. When you consider open works in the wild, the use of metadata is dependant of the platform on which it is uploaded, which means that works in data silos are more likely to contain metadata. One idea that came up during an interview with Creative Commons was related to how we transport data from one medium to another. If I go to a rural area to create art with children, can I think of making a metadata card that can be easily translated into the language of digital?
  2. Open hardware was my second entry point, due to the difficulty of determining what an open hardware project is. Compared to a book, a piece of hardware is comprised of different things: hardware, software, documentation and sometimes outside tools; therefore, it is more than the sum of its parts. But it doesn’t really sum because its elements are somewhat dislocated, although in principle, they interact with each other through the element’s interaction with the physical world. So the question remains: how can we define a particular element of open hardware? The OSHWA Certification is doing a great job in determining whether a particular group of elements constitute open hardware. The question that arises is whether metadata can help classify open hardware works in a way that it can even be useful for patent examiners to review prior art from open works, even those who are not part of a repository. That would mean that works can be decentralized and at the same time indexable, just like web pages.
  3. Finally, a solution comes from how some software and data projects on the web have come to use data schemas to make their content structured, easy to classify and standardized on the web. There are different types of schemas and taxonomies, as many as types of data that can be found.

It really makes sense that if libraries, museums and software have a standardized set of metadata tags that can be used to classify and organize creations, open works should follow suit. The question is: how and when will this happen? platform for public domain works in El Salvador

November 20, 2017

Autores is an initiative by Creative Commons Uruguay which was born in 2014, in order to curate locally-produced expressions protected by copyright, and more especially those whose period of copyright protection had experied of was close to expiration. The team in Uruguay developed a web platform which has been sinced appropriated and deployed in Argentina in 2016.

This year, I had the pleasure to work with Creative Commons El Salvador in the implementation of our own platform, which will be used to showcase works made by artists in El Salvador in the public domain. Although laws in different countries tend to be different and there are some exceptions, most of them regard a work in the public domain when 70 years have passed since the death of its known author.

Let me celebrate this with a poem in the public domain.

A los ciudadanos centroamericanos

Atended las instrucciones de la obrera que lucha con tezón,
Por unir los hermanos de la América sin lucha de cañón.
Los pueblos que dormían en la inercia ya despertarán,
Para subir la escala del progreso dó todos gozarán.
Pues los pueblos que estaban oprimidos se libertarán.
Ya no más se oirán tristes gemidos del valiente Morazán.
Prudencia Ayala