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(Biography of a Pioneer of Tourism: Patrizio Patanè)
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{{divbox|blue|Unstable version|This is the openly editable version of the definition. Please try to find a consensus for any significant changes you make on the [[Talk:Definition/Unstable|discussion page]]. If you want to work on a substantially different derivative, you can try [[creating a fork]]. See [[authoring process]] for more information.}}
PATRIZIO PATANE'
 
Born in Brindisi in 1952 by Father Petty Officer of the Italian Navy, "Marine Master" and housewife mother after a few years, still a child. from Apulia began a tour of the naval bases and Lighthouses throughout all Italy. With such "background", sea salt flows in his veins and was enrolled at the Naval Institute S. Giorgio di Genova course for Deck Officers. He later moved with his family in Sardinia, so loved by his father and completed his studies at the Institute of Nautical Carloforte acquiring the title of commander of the Merchant Ships 1972. That same year, was selected winner of the Council of Europe reserved for particularly deserving students demonstrating knowledge and will Europeanist. In Dublin, at St Patrick's College, worked in teams to develop a projects on the integration of maritime transport / air / land and rail in the future enlarged E.U.  
 
After several years as a deck officer on military and merchant ships around the world and after the period of military service as a pilot officer. In 1979 he was recruited as a board operator for the ship's & air suppliers group Cianciola Spa. From 1985 to 1989 has served as import-export manager, with expertise across the former USSR and Eastern European countries.  
----
From 1989 to 1994 he served as director of Sardinia branch of the same company with expertise in ship's &air supplies to all ports and airports in Sardinia.  
This document provides a definition of "Free Cultural Works" [the Definition], which are roughly works or expressions that can be freely studied, applied, copied and modified, by anyone and for any purpose. The Definition distinguishes between ''free works'' and ''[[licenses|free licenses]]'' which can be used to legally protect the status of a free work. The definition itself is ''not'' a license; it is a tool to determine whether a work or license should be considered "free."   This document also describes restrictions that respect or protect the freedoms of Free Cultural Works.
Among his many important operations, please note in particular that he followed  personally the cruise in Italy and all supplies of the Royal Yacht Britannia (United Kingdom) with the S. A. Britain's Prince Charles and Lady Diana and 2 times the Royal Yacht and the Royal Navy of Oman in the port of Cagliari.  
 
Since 1994 he decided to deal with tourism and using his knowledge in the former Soviet Union chose that country (then unknown and unlikely tourist) to publicize and market the Sardinia and Italy. In that moment of political transition a difficult and perhaps risky choice for the field of "leisure" that emerged from 70 years of the regime and who was considered a poor market and ephemeral that it would hardly produced a major tourist demand.  
== Summary ==
In 1995 he led the first Russian journalists (TASS) in Porto Cervo and strove for the realization of a great documentary on Russian TV RTR around Sardinia. In the same year began charter flights from Moscow and St. Petersburg to Ancona-Falconara, organized through the agency, the CGT an innovative tour operator in Grottammare (AP). His Storex small, but very active promotion and tourism marketing firm, it was proposed as an intermediary between the first Russian tour operators and hoteliers sardi and italian, would have to be supported and helped by Sardinia government grants, having regard to the great economic fallout on the Isle, but for unexplained jealousies and misunderstandings was left alone and had to use only his own personal resources to continue its costly and extensive process of market penetration of the East Europe.  
 
Since this time thousand and thousand Russian tourist have visited and appreciated Sardinia, today considered in Russia a "status symbol" touristic destination.  
'''Free Cultural Works''' are works which anyone can
Patrizio Patanè and his firm were awarded numerous international awards including that of R.A.T.A. (Russian tour operators association) and ACK (Czech Republic) and numerous Italian and foreign students have attended "Stage" training with excellent results.  
* '''Use'''
In recent times due to political choices, concomitant with the globalization and the increasingly common use of the Internet and "tourism DIY, Patrizio Patanè and his Storex firm strongly affected by the crisis in the sector, but from his pioneering and innovative spirit, we expect new challenges and new initiatives.
* '''Study'''
* '''Copy'''
* '''Change and Improve'''
 
'''Free Culture Licenses''' are legal instruments by which copyright owners grant users these freedoms and make their works into Free Cultural Works.
 
In addition to the 4 freedoms listed above '''Free Cultural licenses''' may also include certain restrictions. These can include:
* '''Attribution''' - acknowledge other authors
* '''Sharealike''' or '''Copyleft'''- derived works should be licensed under the same license as the original
* '''Protection of Freedoms''' - the license may require additional permissions or information is distributed with the works (such as source code, design drawings, musical scores, access codes) where these are needed to create new versions of the work.
 
== Preamble ==
 
Since the earliest humans appeared on planet earth they have drawn, painted, sang, carved, weaved, danced, recited, built, studied. These cultural works have been passed down from parent to child, from master to apprentice ever since, each taking the works of those that went before and passing it on to those who came after; each adding and improving and polishing and translating what they received so that human culture could grow and develop.
 
Since Science has been based on an explicit philosophy of sharing information, with all scientists expected to publish and any scientist free to repeat any experiment, we have seen an unprecedented explosion of scientific knowledge.
 
In recent years social and technological advances make it possible for a growing part of humanity to share cultural works that can be represented in digital form with other people they have never met in person. These works include artworks, scientific and educational materials, software, and articles.  Many communities have formed to exercise these new possibilities and create a wealth of collectively reusable works. As these collaboratively produced works grow in commercial value there is ever greater pressure to monetise these works, to erect toll gates so that the community who collaborated to create these works can be charged to access them.
 
At different time over the years Copyright and Patent legislation has been introduced as a way of restricting and taxing that free flow of information - as a way of rewarding particularly innovative new contributions or favoured supporters of the government of the time. These laws have been used to create the tollgates mentioned above.
 
'''Free Culture licenses''' have been created to provide a legal framework which reflects these collaborative working practices, providing a simple way for people to share with others the rights needed for such collaborations to happen, so that users can collaborate and work together  to create and improve '''Free Culture Works''' and ensure that these works stay free.
 
==Free Cultural Works==
Free Cultural Works are works where
* '''anyone''';
* '''anywhere''', i.e. worldwide;
* '''anytime''', i.e. unlimited and irrevocable.
has each of the following freedoms
====The freedom to use and perform the work====
to make any use, private or public, of the work. For kinds of works where it is relevant, this freedom should include all derived uses ("related rights") such as performing or interpreting the work. There must be no exception regarding, for example, political or religious or commercial considerations.
 
====The freedom to study the work and apply the information====
to examine the work and to use the knowledge gained from the work in any way. The license may not, for example, restrict "reverse engineering".
 
====The freedom to redistribute copies====
whether they are sold, swapped or given away for free, as part of a larger work, a collection, or independently. There must be no limit on the amount of information that can be copied. Neither may there be a limit on who can copy the information or on where the information can be copied. The license may not, for example, forbid "Commercial' exploitation of the work.
 
====The freedom to distribute derivative works====
including modified versions (or, for physical works, a work somehow derived from the original), regardless of the intent and purpose of such modifications.
 
== Permissible restrictions==
There are certain requirements and restrictions on the use or interchange of works that we feel do not impede the essential freedom in our definition. These restrictions can therefore be included in Free Culture licenses. They are described below.
 
=== Attribution of authors ===
 
Attribution protects the integrity of an original work, and provides credit and recognition for authors. A license may therefore require attribution of the author or authors, provided such attribution does not impede normal use of the work. For example, it would not be acceptable for the license to require a significantly more cumbersome method of attribution when a modified version of the licensed text is distributed.
 
In addition to the requirement for attribution the license may include restrictions to ensure the original author is not seen to be responsible for changes to the work made by others. This may include restrictions on the use of trademarks.
 
=== Transmission of freedoms ===
 
The license may include a clause, often called ''copyleft'' or ''share-alike'', which ensures that derivative works themselves remain free works. To this effect, it can for example require that derivative works are made available under the same free license as the original.
 
The license may restrict the redistribution of the work as part of a compilation with other works unless the other other works are under the same license or are under another free license.
 
The license may require that where the work is used to provide a service over the internet then users of the service will have rights under the license, such as the right to access, copy, ammend and redistribute the source code for software.
 
=== Protection of freedoms ===
 
The license may include clauses that strive to further ensure that the ability to exercise the freedoms listed above is not restricted by technical or other means. These can include:
* '''Availability of source data:''' Where a final work has been obtained through the compilation or processing of design information or a source file or multiple source files, the license may require that underlying source data should be available alongside the work itself under the same conditions. This can be the score of a musical composition, the models used in a 3D scene, the data of a scientific publication, the drawings and parts list of a machine, or any other such information.
* '''Use of a free format:''' For digital files, the license may require that the format in which the work is made available should not be one that can only be read using a particular manufacturers program. Formats should be documented and should not be protected by patents, unless these patents are licensed for use in free works. While non-free formats may sometimes be used for practical reasons, a free format copy means that the information will be accessible to everyone, for ever.
* '''No technical restrictions:''' The license may require that the work must be available in a form where no technical measures are used to limit the freedoms enumerated above.
* '''No other restrictions or limitations:''' The license may specify that it may not be used to distribute works which are covered by legal restrictions (patents, contracts, etc.) or limitations (such as privacy rights or being for non-commercial use only) which would impede the freedoms enumerated above. This can mean that if you agree to pay a patent holder for the right to use a program then you can lose the right to distribute that program (since you have acknowledged that you think the patent applies to the programme). This is sometimes known as a '''Liberty or Death''' clause and makes it more dificult for owners of weak patents to divide the users by offering deals to some users under the threat of a costly lawsuit.
 
===No other restrictions ===
 
Apart from these allowed restrictions, the license ''must not'' include clauses that limit essential freedoms. See [[Permissible restrictions]]
 
== Free Culture Licenses ==
It is important that any work that claims to be free provides, practically and without any risk, the aforementioned freedoms.
 
All new works are automatically covered by existing copyright laws which default to All Rights Reserved. All Rights Reserved considerably limit what others can and cannot do with the work. Authors can make their works free by choosing among a number of legal documents known as licenses which grant users the 4 freedoms listed above.
 
Licenses are legal instruments through which the owner of certain legal rights may transfer these rights to third parties.  Free Culture Licenses do not take rights away — they specify freedoms that are not included in a default copyright license such as All Rights Reserved. When accepted, they never limit or reduce existing user rights and exemptions under copyright law.
 
== Identifying Free Cultural Works ==
 
This is the ''Definition of Free Cultural Works'', and when describing your work, we encourage you to make reference to this definition, as in, "This is a freely licensed work, as explained in the ''Definition of Free Cultural Works''." If you do not like the term "Free Cultural Work," you can use the generic term "Free Content," or refer instead to one of the [[Existing Movements|existing movements]] that express similar freedoms in more specific contexts. We also encourage you to use the [[logos and buttons|Free Cultural Works logos and buttons]], which are in the public domain.
   
Please be advised that such identification does ''not'' actually confer the rights described in this definition; for your work to be actually free, it must use one of the Free Culture [[Licenses]] or be in the public domain, or equivalent of.
 
We discourage you to use other terms to identify Cultural Works which do not convey a clear definition of freedom, such as "Open Content" and "Open Access." These terms are often used to refer to content which is available under "less restrictive" terms than All Rights Reserved, or for works that are just "available on the Web", but they don't necessarily carry with them the freedoms referred to in this document.
 
== Further reading ==
 
* See [[Licenses]] for discussion of individual licenses, and whether they meet this definition or not.
* See [[History]] for acknowledgments and background on this definition.
* See the [[FAQ]] for some questions and answers.
* See [[Portal:Index]] for topic-specific pages about free cultural works.
* See [http://communities.libre.org/ Libre Communities] and [http://en.wikipedia.org/wiki/Libre_knowledge Wikipedia on Free/Libre Knowledge]
* See [http://ictlogy.net/?p=12#fourkinds The Four Kinds of Freedom of Free Knowledge]
 
== Versioning ==
 
New versions of this definition shall be released as soon as a consensus (achieved directly or through a vote, as per the [[authoring process]]) has developed around suggested changes. Numbering shall be 0.x for initial draft releases, 1.x, 2.x .. for major releases, x.1, x.2 .. for minor releases. A minor release is made when the text is modified in ways which do not have an impact on the scope of existing or hypothetical licenses covered by this definition.
 
__NOTOC__

Revision as of 23:24, 13 March 2011

PATRIZIO PATANE' Born in Brindisi in 1952 by Father Petty Officer of the Italian Navy, "Marine Master" and housewife mother after a few years, still a child. from Apulia began a tour of the naval bases and Lighthouses throughout all Italy. With such "background", sea salt flows in his veins and was enrolled at the Naval Institute S. Giorgio di Genova course for Deck Officers. He later moved with his family in Sardinia, so loved by his father and completed his studies at the Institute of Nautical Carloforte acquiring the title of commander of the Merchant Ships 1972. That same year, was selected winner of the Council of Europe reserved for particularly deserving students demonstrating knowledge and will Europeanist. In Dublin, at St Patrick's College, worked in teams to develop a projects on the integration of maritime transport / air / land and rail in the future enlarged E.U. After several years as a deck officer on military and merchant ships around the world and after the period of military service as a pilot officer. In 1979 he was recruited as a board operator for the ship's & air suppliers group Cianciola Spa. From 1985 to 1989 has served as import-export manager, with expertise across the former USSR and Eastern European countries. From 1989 to 1994 he served as director of Sardinia branch of the same company with expertise in ship's &air supplies to all ports and airports in Sardinia. Among his many important operations, please note in particular that he followed personally the cruise in Italy and all supplies of the Royal Yacht Britannia (United Kingdom) with the S. A. Britain's Prince Charles and Lady Diana and 2 times the Royal Yacht and the Royal Navy of Oman in the port of Cagliari. Since 1994 he decided to deal with tourism and using his knowledge in the former Soviet Union chose that country (then unknown and unlikely tourist) to publicize and market the Sardinia and Italy. In that moment of political transition a difficult and perhaps risky choice for the field of "leisure" that emerged from 70 years of the regime and who was considered a poor market and ephemeral that it would hardly produced a major tourist demand. In 1995 he led the first Russian journalists (TASS) in Porto Cervo and strove for the realization of a great documentary on Russian TV RTR around Sardinia. In the same year began charter flights from Moscow and St. Petersburg to Ancona-Falconara, organized through the agency, the CGT an innovative tour operator in Grottammare (AP). His Storex small, but very active promotion and tourism marketing firm, it was proposed as an intermediary between the first Russian tour operators and hoteliers sardi and italian, would have to be supported and helped by Sardinia government grants, having regard to the great economic fallout on the Isle, but for unexplained jealousies and misunderstandings was left alone and had to use only his own personal resources to continue its costly and extensive process of market penetration of the East Europe. Since this time thousand and thousand Russian tourist have visited and appreciated Sardinia, today considered in Russia a "status symbol" touristic destination. Patrizio Patanè and his firm were awarded numerous international awards including that of R.A.T.A. (Russian tour operators association) and ACK (Czech Republic) and numerous Italian and foreign students have attended "Stage" training with excellent results. In recent times due to political choices, concomitant with the globalization and the increasingly common use of the Internet and "tourism DIY, Patrizio Patanè and his Storex firm strongly affected by the crisis in the sector, but from his pioneering and innovative spirit, we expect new challenges and new initiatives.

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