How The Public Domain Coronavirus 'Beauty Shot' You Now See Everywhere Came To Be

from the public-domain-ftw dept

By now, you've probably seen this image of the coronavirus responsible for COVID-19 a million times:

It's freaking everywhere. And it's in the public domain. That's because it was created by employees at the CDC, and as a work of the US government it is exempt from copyright laws, meaning anyone can use it. Which is probably why everyone uses it. One of the many reasons why a public domain is so useful.

The NY Times has a nice story about how the image came to be that's well worth reading.

On Jan. 21, the day after the C.D.C. activated its emergency operations center for the new coronavirus, Ms. Eckert and her colleague Dan Higgins were asked to create “an identity” for the virus. “Something to grab the public’s attention,” she said. Ms. Eckert expected that whatever they came up with might appear on a few cable news programs, as their creations had in the past.

Instead, as the pandemic spread and intensified, their rendering’s reach did, too. “It started popping up around the world,” she said.

The story goes into a fair bit of detail about how it was created and also some of the design choices that Alissa Eckert and Dan Higgns made to make that design so memorable.

They chose a stony texture, wanting it to seem like “something that you could actually touch,” Ms. Eckert said. Other details — like the level of realism and the lighting, which has the spikes cast long shadows — were calibrated to “help display the gravity of the situation and to draw attention,” she said.

After reading about that, I discovered that there were a variety of other images of this particular coronavirus used around the globe. Here's just a few (there are so many more...):

Indeed, this is the image that the European Centre for Disease Prevention and Control has been using:

Not quite as nice as the CDC's... and thanks to more murky copyright laws in the EU, not as clear if it's in the public domain, so wasn't nearly as likely to catch on and become the symbol we all associate with COVID-19.

Filed Under: cdc, copyright, covid-19, illustration, public domain

Game Jam Winner Spotlight: The 24th Kandinsky

from the gaming-like-it's-1924 dept

This is it: the last in our series of posts focusing on each winner from our public domain game jam, Gaming Like It's 1924! So far, we've featured Hot Water, Legends of Charlemagne, 192X, The Hounds Follow All Things Down, and You Are The Rats In The Walls, and now it's time to wrap things up with the winner of Best Analog Game and a game that, perhaps most out of all the entries, is completely suffused with a spirit of remixing and mining the public domain: The 24th Kandinsky by David Harris.

This game was one of the first to draw our attention as the entries were coming in, just based on its premise: players are tasked with using visual elements from the 23 paintings that famed Russian abstract artist Wassily Kandinsky created in 1924 to create a brand new work — a "24th Kandinsky". This is a game about not just admiring art but digging into it and picking apart its components, and all that's required to play is a blank canvas, some paper and drawing implements, a pair of scissors, and some sticky tack or tape. On each of their turns, a player selects an element from one of Kandinsky's newly-public-domain works — choosing from all the geometric shapes, swooping curves, checkered grids, intersecting lines and other abstract forms that are the hallmark of his work — and draws a replica of it, which they then cut out and affix to the canvas wherever they choose. They can overlap and underlap other elements as the new work grows, and at the end of each round all players vote to determine who made the best contribution, leaving their element in place while the others from the round are removed. Turn by turn the work grows more elaborate, until time runs out or players agree to stop, at which point the player who won the most voting rounds gets to keep the completed work.

There is just so much to love about this idea and its execution. It manages to celebrate just about everything that we hope to highlight with these game jams: the value of new works entering the public domain, the incredible creative power of remixing and appropriation, the joy of artistic collaboration and spontaneous creativity, and the way games can be an ideal medium for all these things — for both game designers and players. Mechanically speaking, it does this with elegance: the rules are loose and simple, but carefully combine cooperative and competitive gameplay to achieve a balance of incentives that produces just the right mood for a game like this. It also serves as a foundation for people to create their own variants of the game: one can easily envision it being adapted to use different source material, more elaborate art supplies, and even modified rules to create different overall rhythms of play. And with every play session, a new piece of art is created, and that's a special thing for a game to achieve.

You can download the rules and materials for The 24th Kandinsky on Itch, or check out the other submissions in our public domain game jam.

And with that, we've reached the end of our game jam winner spotlight series! One more time, thanks to everyone who submitted a game or played the entries, and to our amazing panel of judges. We'll be back next year with a game jam for works from 1925, but until then, keep on mining that public domain!

Filed Under: 1924, copyright, game jam, games, gaming, public domain

Game Jam Winner Spotlight: You Are The Rats In The Walls

from the gaming-like-it's-1924 dept

We're nearing the end of our series about the winners of our public domain game jam, Gaming Like It's 1924. So far we've looked at Hot Water, Legends of Charlemagne, 192X, and The Hounds Follow All Things Down, and this week the feature is the winner of Best Digital Game: You Are The Rats In The Walls by Alex Blechman.

This not just a returning win for Alex, but a second in the digital game category, following last year's win with Stopping By Woods On A Snowy Evening To Steal Treasure. While Stopping By Woods was a Twine-based remix of a Robert Frost poem, Rats brings things into the graphical realm with RPG Maker and takes on one of the more notable 1924 works to enter the public domain this year: H. P. Lovecraft's short story The Rats In The Walls. And both games have one thing in common: a sense of humor that pervades the writing and design. Rats takes the famous story — in which a man returns to his family's ancestral estate and discovers horrible secrets that drive him mad, made manifest in the form of scurrying rats that torment him — and gives the player the role of the titular vermin via a simple game mechanic: nipping at the character's heels to drive him towards various locations on the small but detailed map. Alongside this, it embraces a simple and highly effective comedy premise: combining the elaborate, heavily-wrought prose that Lovecraft is famous for with modern, casual, highly self-aware language. The result is consistently funny, with a few great surprise jokes and an absurd overall tone that just works.

As you can see, Rats also makes great use of RPG Maker assets to build a fitting and eye-catching (if unpolished) setting for the game, which was the first thing that made it a contender for the Best Digital Game category, but what really sealed the deal in that regard was the aforementioned game mechanic of driving the character around by controlling the rats that chase him. It's nothing mindblowing, and it can be (intentionally) frustrating, but it adds an element of gameplay and leverages the digital medium to make Rats something slightly more than just a simple story dressed up with sprite graphics (and also undoubtedly required some scripting to go beyond RPG Maker's basic capabilities). The mechanic also successfully makes the basic level of choice in the story (which just amounts to determining what order things unfold in) feel more integrated with the game. All this combines with the excellent writing to create a short experience that keeps players closely engaged from start to finish.

You can play You Are The Rats In The Walls in your browser on Itch, or check out the other submissions in our public domain game jam. And come back next week for the final winner spotlight!

Filed Under: 1924, copyright, game jam, games, gaming, public domain

Game Jam Winner Spotlight: The Hounds Follow All Things Down

from the gaming-like-it's-1924 dept

Over the past three weeks, we've featured Hot Water, Legends of Charlemagne, and 192X in our series about the winners of our public domain game jam, Gaming Like It's 1924. This week, we're focusing on the winner of the Best Adaptation award for the game that best embodied the original 1924 work upon which it was based: The Hounds Follow All Things Down by J. Walton.

J. Walton is one of our returning winners, having taken the award for Best Deep Cut last year with Not A Fish, and this year's entry feels in many ways like an evolution of the ideas and mechanics introduced in that game: they both break a work apart into component pieces, and let players discover its hidden meaning (and generate new meanings) by finding connections in a play-space that grows outwards like a puzzle or a map. But The Hounds Follow All Things Down situates this play within its world in an ingenious and beautiful way. It's based on the 1924 novel The King Of Elfland's Daughter by Lord Dunsany — a highly-influential early work in the fantasy genre that wasn't fully recognized as such until decades after its release — which presents readers with the fantastical and majestic world of Elfland and its inhabitants. The game imagines an epic and ancient poem within this world, which has been passed down for generations in countless incarnations, and tasks the players with performing their version of this poem to an audience of elves that is always hungry for new variations.

This premise speaks directly to the themes of changing culture and the public domain that directly inspired the game jam, and also to the spirit of fantasy and legend that suffuses the novel. Gameplay takes the form of a series of scenes, performed by the players and generated by drawing prompt cards and placing them in a grid where they form connections with each other. By the end the group will have composed and performed a version of this fictional poem that is entirely unique, yet intimately connected with every other version that comes out of the game and with Dunsany's world of Elfland.

One of the most interesting aspects of the game is how the prompt cards were developed: by playing around with the text of the book and a predictive algorithm. The designer's notes describe the process in detail:

The text excerpts were generated using a fairly strange process. As with some earlier experiments, I used Jamie Brew’s pt-voicebox, which is available for free download on GitHub. This program has the interesting tendency to get caught in loops. For example, if you give it the text of The King of Elfland’s Daughter and ask it to continually pick the 6th most likely word to appear next, you get this as output:

he knew the speed was in all other side the old songs of came down sitting elfland the flood the border was not the two wide stole and a wind loitered summer days the border but all as forest in that valley land the trolls had they let us from the trolls with they went by since one evening standing grey with her back from that bewildering black which she got left her and away from a pigeonloft but alveric in him and back a few days things in a he house amongst our earthly things waned the hounds saw him far this time had driven for all were content they went by since one evening standing grey with her back from that bewildering black which

After a while, it simply starts repeating the passage in italics. And a similar thing happens any time you tell pt-voicebox to pick words with a fixed ranking of likelihood (the 13th most likely word, etc.), as well as when you give it a regular pattern of picks (the 2nd, 3rd, 4th, 2nd, 3rd, 4th, etc.). The only way to avoid these loops is to pick words in a random pattern, either intentionally selecting ones that sound interesting—which is how it’s designed to be used—or picking words randomly (always choosing the 1d6th most likely).

I became fascinated by this tendency of the program, so I generated a bunch of text loops from The King of Elfland’s Daughter and then lightly edited the looped text to create the “poem excepts” used in the game.

The results of this process ("Mournfully the old leatherworker had to work his sword", "Upon those lawns, the hounds came for his dreams") are truly intriguing, and the stories that arise from play are sure to be as well.

You can download the rules and cards for The Hounds Follow All Things Down on Itch, or check out the other submissions in our public domain game jam. And come back next week for the another winner spotlight!

Filed Under: 1924, copyright, game jam, games, gaming, public domain

Game Jam Winner Spotlight: 192X

from the gaming-like-it's-1924 dept

So far, we've featured Hot Water and Legends of Charlemagne in our series about the winners of our public domain game jam, Gaming Like It's 1924. This week, we're taking a look at the winner of the Best Remix award, for the best game that incorporated material from multiple different newly-copyright-free works: 192X by designer Chloe Spears.

Several of the designers who entered this year's jam incorporated themes related to remixing and the public domain in their games, and 192X is a stand-out in this regard. It's a text-based interactive fiction built with the open-source tool Twine, and tells a story all about the way our popular culture is preserved, how it changes and gets parodied or reimagined, and how digital technology has impacted it — or, as Spears puts it in the game description, "about the art we leave behind for the future, and what we allow the future to do with it". Replete with references to the 1924 novel We by Yevgeny Zamyatin and George Gershwin's 1924 composition Rhapsody In Blue, story is funny, engaging, and creative: it sends you back in time to a fictionalized dawn of computing (from a future made dystopian by ironfisted cultural restrictions that are worryingly close to today's copyright reality), and then inside the Buster Keaton film Sherlock Jr. (a 1924 parody that serves as a springboard to even more contemplation of the public domain and specifically the great detective's role within it).

If the story in the game sounds unclear to you so far, that's because it's difficult to summarize for all the right reasons — it's quite short but contains a lot of carefully chosen elements, without anything that feels extraneous or arbitrary. Every reference and everything that happens ties back to the central theme of how we interact with art and culture, and the prose itself is snappy and entertaining. In other words: no more spoilers, just play it!

Speaking of play: the actual gameplay involved is very minimal, with most of the interactivity just advancing the story down a linear path, with one traditional game mechanic temporarily employed more as an amusing nod than as an actual challenge. But the basic interactivity wasn't slapped on either, and meshes nicely with the overall design: the text prompts and careful timing combine with the use of color to effectively punctuate, organize, and enhance the story being told. The text-based game genre also enables the otherwise-rare second-person-perspective writing, addressing the reader as "you" throughout — and while it would only take a little bit of editing to make 192X work wonderfully as a short story, the writing is undoubtedly elevated by the game format.

Finally, kudos to Chloe Spears for not just exploring the idea of the public domain and mining it for material, but for expanding it by releasing 192X with a CC0 Public Domain Dedication!

You can play 192X in your browser on Itch, or check out the other submissions in our public domain game jam. And come back next week for the another winner spotlight!

Filed Under: 1924, copyright, game jam, games, gaming, public domain

Smithsonian Releases 2.8 Million Images And 3D Models Into The Public Domain

from the kudos dept

Here's some good news for a change. The Smithsonian has just announced Smithsonian Open Access, in which it has released 2.8 million high quality digital images and 3D models into the public domain under a CC0 public domain dedication.

With Smithsonian Open Access, we’re increasing the public’s ability to use millions of digital assets—2D and 3D images and data. Open Access items carry what’s called a CC0 designation. This means the Smithsonian dedicates the digital asset into the public domain, meaning it is free of copyright restrictions and you can use it for any purpose, free of charge, without further permission from the Smithsonian. As new images are digitized, if they are determined to be copyright-free, the Smithsonian will dedicate them as CC0 ongoing.

It appears the plan is to keep adding to the database. The FAQ suggests that it won't just be images and 3D models, but also songs and data sets and much more. And they make it clear that anyone can and should make use of it, without needing to get any permission -- even for commercial use (for some reason, some people still think public domain works can't be used commercially, but that's just wrong).

Since the Smithsonian’s founding in 1846, its mission has been clear: “the increase and diffusion of knowledge.” We want to empower people everywhere to participate in that mission with us in new and innovative ways for the 21st century.

Smithsonian Open Access invites you to discover a world where you can learn, research, explore, and create in ways you couldn’t before. By making our trusted collections easier to access and use, we hope to inspire people to build new knowledge to understand our world—past and present.

Another cool part of the project is that they're asking volunteers to help transcribe various scans of books and documents as well to help make everything even more searchable.

There are a growing number of sources of public domain material out there, but having the Smithsonian join in with such a huge chunk of content is a really great sign. The bigger the public domain, the better, but for it to work to spur new creativity, it also needs to be easily accessible, and the Smithsonian is helping out with that in a big, big way.

Filed Under: copyright, culture, public domain, smithsonian
Companies: smithsonian

Game Jam Winner Spotlight: Legends of Charlemagne

from the gaming-like-it's-1924 dept

Last week, we featured Hot Water in the first Winner Spotlight from our public domain game jam, Gaming Like It's 1924. This week, we're taking a closer look at the winner of the Best Deep Cut category, reserved for games that used 1924 material that doesn't appear on the popular lists of works entering the public domain this year. Abelardsnazz snagged the prize this year with the beautiful deck-building card game Legends of Charlemagne.

What's the "deep cut" that pushed this game into the winner's circle? A collection of amazing public domain paintings by N. C. Wyeth, primarily from a 1924 edition of Thomas Bulfinch's book that shares the game's name, Legends of Charlemagne. This collection of legends, more commonly published today as one third of Bulfinch's Mythology, was originally written in 1863 and has been republished many times over the years, but the illustrated edition from 1924 contained this complement of then-new artwork that is easily missed by people searching for things that have just entered the public domain. The paintings are prime specimens of the work of Wyeth, who was a prolific and unique artist in the early 20th century with over 3000 paintings to his name, and is known especially for his work for books, magazines and advertising, perhaps most notably the Scribner Classics series. His illustrations for Bulfinch are classic examples of his realist style, and boy do they ever make for some nice looking cards.

It's especially cool how this material turns the game into a link in a public domain chain: an adaptation of newly-copyright-free paintings that were themselves originally created to breathe new life into a classic work that was itself outside copyright, which was itself originally based on popular mythology and old stories with their origins lost to history. (Of course, it also really highlights how long copyright terms have gotten, with these paintings made for a then-60-year-old work being protected for nearly a hundred years before entering the public domain last month.) And as you can see, the designer didn't solely lean on Wyeth's eye-catching work: the cards themselves are perfectly designed to incorporate the paintings and bolster their aesthetic, resulting in a game that looks so professional and high-quality you can immediately picture it as a printed and packaged product in its current form.

The game itself is a straightforward, well-designed deck builder that will be familiar to a lot of players while still throwing them a few twists and offering plenty of strategic decisions to consider. It's a prototype and a proof of concept, and as such only has a small set of cards for now: this sort of game notoriously requires extensive playtesting and very careful rules calibration to stay playable and balanced as you add options and variety to the deck. But it's a sturdy foundation on which to build a truly great game — perhaps drawing on more work by Wyeth, or even other public domain sources. And for that to happen, people need to play it! So grab a copy, admire the art (there are several more fantastic pieces beyond those featured in this post), and go to battle in the age of Charlemagne.

You can download everything you need to play Charlemagne over on Itch, or check out the other submissions in our public domain game jam. And come back next week for the another winner spotlight!

Filed Under: 1924, copyright, game jam, games, gaming, public domain

Attempt To Put Every Musical Melody Into The Public Domain Demonstrates Craziness Of Modern Copyright

from the nerds-to-the-rescue dept

The fact is that many of the copyright lawsuits we see coming out of the music industry mostly revolve around copyright claims on musical melodies. In many of these cases, artists find themselves on the losing end of judges and juries all while claiming that there was no intention to infringe, with the supposedly offending material instead being developed as essentially an independent creation that happened to be similar to previous works. The Blurred Lines case went that way, as has the Dark Horse case. The problem with this is that music is somewhat akin to mathematics, in that within a given octave or set of octaves, there are a finite number of musical combinations between notes that can be made. Sure, that number of combinations is large -- tens of billions, actually -- but the finite number of resources exists nonetheless.

Given that fact, affording copyright protection to melodies like this is absurd. The entire point of copyright law is to promote the creation of new and original works. If copyright law itself is to be applied such that on a long enough timeline no further works can be created, assuming artists can create music fast enough for all musical combinations to be copyrighted, that is the literal antithesis of the point of the law.

Damien Riehl has thought likewise. Riehl is a unique combination of musician, programmer and lawyer. And he thinks these copyright lawsuits in the music industry are stupid. So, he is attempting to do something rather unique about them.

One of the reasons why it’s so tough to defend a copyright lawsuit is because the court now considers a melody just a sequence of pitches, so Damien Riehl and Noah Rubin developed a program that recorded every possible melody (all 68.7 billion of them) via MIDI to a hard drive, but not for the reasons that you might think.

His idea was to commit this vast library of melodies to a hard drive (along with programmer friend and musician Noah Rubin), which automatically bestows copyright on all of them when as soon as they’ve on a medium.

If ever there were a story of how antiquated copyright law is made to look silly in the face of new and emerging technologies, this certainly must be it. To be able to mathematically output all potential melodies to a medium and thereby technically gain copyrights over those that weren't already copyrighted elsewhere, is actually quite funny. But if you were worried that the goal was to lock up all of these melodies and make zillions by licensing them out, that's not what Riehl is after.

This might initially seem sinister but the two then put the melodies into the public domain. In fact, anyone can download the works and the program the two used in order to take the process further at allthemusic.info.

Is this an end to copyright lawsuits over musical melodies? No, almost certainly not. What will eventually likely happen will be for plaintiffs to argue in court, when presented with this as a defense, that Riehl's creation wasn't "creative" or "artistic" or some other such qualifier. Now, that won't really fit in with the law and will require courts to interpret copyright law to allow cases to move forward. But that's probably what will happen if Riehl's work is raised as a defense. Courts will try to interpret their way out of what is actually a fairly straightforward disqualifier for all melody copyright suits for at least Riehl's life plus seventy years.

But, that this probably won't achieve what Riehl wants doesn't change the fact that this very much shows how antiquated modern copyright law has become.

Filed Under: copyright, damien riehl, database of music melodies, melodies, music, music copyright, noah rubin, public domain

Game Jam Winner Spotlight: Hot Water

from the gaming-like-it's-1924 dept

This week, we announced the winners of Gaming Like It's 1924, our game jam celebrating the works that entered the public domain in the US this year. Just like last year, over the next few weeks we'll be spotlighting the winners from each of our six categories (in no particular order), and today we're kicking things off with a look at the game that won the Best Visuals award: Hot Water by reltru.

We never expect much in the visuals department from people who submit digital games to the jam, since one month is hardly enough time to produce elaborate graphical assets for a video game, but canny designers like the creator of Hot Water can surprise us by finding ways to create something visually striking with a combination of pre-made sprites, powerful choices, and attention to detail. The game, which is based on the 1924 silent film of the same name starring Harold Lloyd, has a clear and simple goal in mind: capture the distinct aesthetic and feel of early silent comedies in a retro 8-bit style video game. It's a beautiful little idea in and of itself, and one that exemplifies the fun of remixing multiple sources from throughout history: each of these two distinct and instantly recognizable visual styles occupies a similar spot in the timeline of its own medium, but they are separated from each other by more than half a century — so what happens when you put them together?

You get Hot Water, with its black-and-white 8-bit scenelets and its pixelated interstitial title cards (though a still image doesn't do the latter justice):

The gameplay (which is "soft boiled" by the designer's own admission) is your basic reaction-test obstacle course, tasking the player with dodging and jumping over benches and other obstructions to complete a mad dash to the end. It can be a little frustrating — while it's no Battletoads hoverbike or anything, the somewhat-sluggish controls and unclear boundaries on the obstacles are enough that I doubt anyone's getting to the end without a few false starts. But the manic music, and the silly and amusing little story unfolding via title cards, will make you keep trying until you reach the end of the game's one short level and receive one final little visual gag. And while the game clearly has no intentions of being anything more than the brief diversion it is, some fine-tuning and a few additional levels offering new story vignettes would quickly turn it into a full-fledged (if still simple) game. But either way, as a demonstration of what you can get by combining these two disparate vintage styles, it's a great success that makes me imagine an anachronistic arcade cabinet in a 1920s jazz club where dappers and flappers line up to play the new tie-in game for the latest Harold Lloyd movie.

You can play Hot Water in your browser on Itch, or check out the other submissions in our public domain game jam. And come back next week for the another winner spotlight!

Filed Under: 1924, copyright, game jam, games, gaming, public domain