"Personally, I'm delighted to see this development, for four reasons.
I think it's great that people have translated the wiki into Chinese, which makes it accessible to more people.
It's a sign of success-- you only get cloned if you're making something people want.
Competition is good.
What starts as clones may eventually become real innovation and improvements. Remember that our licence requires that any derivative designs must also be open source. Think how great would it be if a Chinese team created a better design than ours. Then we could turn the tables and produce their design, translating the documentation into English and making them available to a market outside China. Everybody wins! (Hey, a guy can dream ;-) )"

"LACMA’s website has begun releasing publication-quality digital images of out-of-copyright works in its permanent collection. It appears to be the first major museum to do this, and that’s big news. It may herald the end of 'zombie copyrights.'"

Oil paintings ordered over the internet, inkjet on paper, 18 feet by 8 feet

Almost two thirds of the world’s oil paintings are produced cheaply in China and a large number of these are sold over the internet, raising questions of reproduction, authorship and copyright. These commissioned paintings represent a variety of experiments; painted feedback loops, open-ended instructional paintings, and paintings corrupted by digital transmission errors. They investigate the system in which these paintings are created, and more importantly directly address some of the individual painters’ aesthetics and ideas. This series of commissioned paintings blurs the boundaries between human creativity and machine-like, systematic intelligence.

"Noam Galai took a few photos of himself in 2006 and uploaded them to his Flickr. A few people liked those photos, but he didn't think of it. Over time, he began to see his photos popping up all over magazines, the internet and as street art. Then it began appearing on commodities (clothes, books, etc.). Now, it's being used as a symbol of protest in Iran. The crazy part is that nobody asked his permission.

Fstoppers are responsible for this great video narrative, titled The Stolen Scream, which details Galai's story, and the process of watching himself become an anonymous global icon with no control over how his image is used (in one case, the photo was attributed to someone else entirely). He even mentions that when he tried to register the photo with sites like Getty Images, they told him the image would never sell.

All in all though, it's a great story about the dissemination of digital media over the Internet and the inevitable conflict between those who create it and those who use it"

kind of embarrassing song and dance, but I like the idea

Response from Joel Spolsky on Stack Overflow

From the wonderful FAQ on UbuWeb

Quaquaversal:

Q: When did UbuWeb Start?
A: UbuWeb was founded in November of 1996, initially as a repository for visual, concrete and, later, sound poetry. Over the years, UbuWeb has embraced all forms of the avant-garde and beyond. Its parameters continue to expand in all directions.

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There is no giftshop:

Q: How do I purchase something from your site?
A: You can't. Nothing is for sale on UbuWeb. It's all free. We know it's a hard idea to get used to, but there's no lush gift shop waiting for you at the end of this museum.

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Stance on copyright:

Q: What is your policy concerning posting copyrighted material?
A: If it's out of print, we feel it's fair game. Or if something is in print, yet absurdly priced or insanely hard to procure, we'll take a chance on it. But if it's in print and available to all, we won't touch it. The last thing we'd want to do is to take the meager amount of money out of the pockets of those releasing generally poorly-selling materials of the avant-garde. UbuWeb functions as a distribution center for hard-to-find, out-of-print and obscure materials, transferred digitally to the web. Our scanning, say, an historical concrete poem in no way detracts from the physical value of that object in the real world; in fact, it probably enhances it. Either way, we don't care: Ebay is full of wonderful physical artifacts, most of them worth a lot of money.

Should something return to print, we will remove it from our site immediately. Also, should an artist find their material posted on UbuWeb without permission and wants it removed, please let us know. However, most of the time, we find artists are thrilled to find their work cared for and displayed in a sympathetic context. As always, we welcome more work from existing artists on site.

Let's face it, if we had to get permission from everyone on UbuWeb, there would be no UbuWeb.

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We're not here for that:

Q: How do I download MP3s?
A: There are thousands of resources on the web to learn how to do this. That's not what we're here for.

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An archive not a blog:

Q: Why isn't new content posted every day?
A: UbuWeb is an archive, not a blog. It has accumulated slowly and steadily and shall continue to far into the future.

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As if to say, "you come to us:"

Q: I'd like to receive notices of UbuWeb updates. How do I do this?
A: UbuWeb refuses to advertise or promote itself. Most of all, we detest the idea of filling inboxes with more unwanted material. A few times a year, we post our updates to select mailing lists; that's what they're for, aren't they? For UbuWeb updates, best to just keep checking back on the homepage, where notices of all new content appears.

“The approach to digital culture I abhor would indeed turn all the world’s books into one book, just as Kevin suggested,” writes Lanier in his book. “What happens next is what’s important. If the books in the cloud are accessed via user interfaces that encourage mashups of fragments that obscure the context and authorship of each fragment, there will be only one book. This happens today with a lot of content; often you don’t know where a quoted fragment from a news story came from, who wrote a comment, or who shot a video.”

The issue isn’t one of taste. “I want to define a line,” said Lanier, “between subjective judgment of what future generations might like or care about, and just this basic functioning mechanism of civilization and culture. If it’s the case that future generations don’t like things the length of books, and prefer things that have a graph structure and are made of little pieces, then my hope is that whatever they do with that is done well. But what I think is crucial for it to be sustainable, and to be more than a single generation’s fling before the collapse of civilization, is that whatever they do respects the integrity of each personal point of view and grants the idea of personhood with an almost mystical stature.”