From 8a6d6857aba933ef2f39a6ce3eaae72cbaabb0c7 Mon Sep 17 00:00:00 2001 From: clemtre Date: Mon, 19 Feb 2024 12:12:03 +0100 Subject: [PATCH] init --- LICENSE | 277 ++++++++++++++++++++++++++++++++++++++++++++++++++++++++ README | 65 +++++++++++++ 2 files changed, 342 insertions(+) create mode 100644 LICENSE create mode 100644 README diff --git a/LICENSE b/LICENSE new file mode 100644 index 0000000..32a8b2a --- /dev/null +++ b/LICENSE @@ -0,0 +1,277 @@ +Part of the Unbound Libraries Documentation + + CC4R* COLLECTIVE CONDITIONS FOR RE-USE + +COPYLEFT ATTITUDE WITH A DIFFERENCE - VERSION 1.0 + +------------------------------------------------------------------------ + +REMINDER TO CURRENT AND FUTURE AUTHORS: + +The authored work released under the CC4r was never yours to begin with. +The CC4r considers authorship to be part of a collective cultural effort +and rejects authorship as ownership derived from individual genius. This +means to recognize that it is situated in social and historical +conditions and that there may be reasons to refrain from release and +re-use. + +------------------------------------------------------------------------ + +PREAMBLE + +The CC4r articulates conditions for re-using authored materials. This +document is inspired by the principles of Free Culture – with a few +differences. You are invited to copy, distribute, and transform the +materials published under these conditions, and to take the implications +of (re-)use into account. +The CC4r understands authorship as inherently collaborative and +already-collective. It applies to hybrid practices such as human-machine +collaborations and other-than-human contributions. The legal framework +of copyright ties authorship firmly in property and individual human +creation, and prevents more fluid modes of authorial becoming from +flourishing. Free Culture and intersectional, feminist, anti-colonial +work reminds us that there is no tabula rasa, no original or single +author; that authorial practice exists within a web of references. +The CC4r favours re-use and generous access conditions. It considers +hands-on circulation as a necessary and generative activation of +current, historical and future authored materials. While you are free to +(re-)use them, you are not free from taking the implications from +(re-)use into account. +The CC4r troubles the binary approach that declares authored works +either ‘open’ or ‘closed’. It tries to address how a universalist +approach to openness such as the one that Free licenses maintain, has +historically meant the appropriation of marginalised knowledges. It is +concerned with the way Free Culture, Free Licenses and Open Access do +not account for the complexity and porosity of knowledge practices and +their circulation, nor for the power structures active around it. This +includes extractive use by software giants and commercial on-line +platforms that increasingly invest into and absorb Free Culture. +The CC4r asks CURRENT and FUTURE AUTHORS, as a collective, to care +together for the implications of appropriation. To be attentive to the +way re-use of materials might support or oppress others, even if this +will never be easy to gauge This implies to consider the collective +conditions of authorship. +The CC4r asks you to be courageous with the use of materials that are +being licensed under the CC4r. To discuss them, to doubt, to let go, to +change your mind, to experiment with them, to give back to them and to +take responsibility when things might go wrong. +Considering the Collective Conditions for (re-)use involves inclusive +crediting and speculative practices for referencing and resourcing. To +consider the circulation of materials on commercial platforms as +participating in extractive data practices; platform capitalism +appropriates and abuses collective authorial practice. To take into +account that the defaults of openness and transparency have different +consequences in different contexts. To consider the potential necessity +for opacity when accessing and transmitting knowledge, especially when +it involves materials that matter to marginalized communities. +This document was written in response to the Free Art License (FAL) in a +process of coming to terms with the colonial structuring of knowledge +production. It emerged out of concerns with the way Open Access and Free +Culture ideologies foregrounding openness and freedom as universal +principles might replicate some of the problems with conventional +copyright. + +DEFINITIONS + +« LEGAL AUTHOR » In the CC4r, LEGAL AUTHOR is used for the individual +that is assigned as “author” by conventional copyright. Even if the +authored work was never theirs to begin with, he or she is the only one +that is legally permitted to license a work under a CC4r. This license +is therefore not about liability, or legal implications. It cares about +the ways copyright contributes to structural inequalities. +« CURRENT AUTHOR » can be used for individuals and collectives. It is +the person, collective or other that was involved in generating the work +created under a CC4r license. CURRENT and FUTURE AUTHOR are used to +avoid designations that overly rely on concepts of ‘originality’ and +insist on linear orders of creation. +« FUTURE AUTHOR » can be used for individuals and collectives. They want +to use the work under CC4r license and are held to its conditions. All +future authors are considered coauthors, or anauthors. They are +anauthorized because this license provides them with an unauthorized +authorization. +« LICENSE » due to its conditional character, this document might +actually not qualify as a license. It is for sure not a Free Culture +License. see also: UNIVERSALIST OPENNESS. +« (RE-)USE » the CC4r opted for bracketing “RE” out of necessity to mess +up the time-space linearity of the original.« OPEN <-> CLOSED » the CC4r +operates like rotating doors… it is a swinging license, or a hinged +license. +« UNIVERSALIST OPENNESS » the CC4r tries to propose an alternative to +universalist openness. A coming to terms with the fact that universal +openness is “safe” only for some. + +0. CONDITIONS + +The invitation to (re-)use the work licenced under CC4r applies as long +as the FUTURE AUTHOR is convinced that this does not contribute to +oppressive arrangements of power, privilege and difference. These may be +reasons to refrain from release and re-use. +If it feels paralyzing to decide whether or not these conditions apply, +it might point at the need to find alternative ways to activate the +work. In case of doubt, consult for example +https://constantvzw.org/wefts/orientationspourcollaboration.en.html. + +1. OBJECT + +The aim of this license is to articulate collective conditions for +re-use. + +2. SCOPE + +The work licensed under the CC4r is reluctantly subject to copyright +law. By applying CC4r, the legal author extends its rights and invites +others to copy, distribute, and modify the work. + +2.1 INVITATION TO COPY (OR TO MAKE REPRODUCTIONS) + +When the conditions under 0. apply, you are invited to copy this work, +for whatever reason and with whatever technique. + +2.2 INVITATION TO DISTRIBUTE, TO PERFORM IN PUBLIC + +As long as the conditions under 0. apply, you are invited to distribute +copies of this work; modified or not, whatever the medium and the place, +with or without any charge, provided that you: + +- attach this license to each of the copies of this work or indicate + where the license can be found; +- make an effort to account for the collective conditions of the work, + for example what contributions were made to the modified work and by + whom, or how the work could continue; +- specify where to access other versions of the work. + +2.3 INVITATION TO MODIFY + +As long as the conditions under 0. apply, you are invited to make future +works based on the current work, provided that you: + +- observe all conditions in article 2.2 above, if you distribute + future works; +- indicate that the work has been modified and, if possible, what kind + of modifications have been made. +- distribute future works under the same license or any compatible + license. + +3. INCORPORATION OF THE WORK + +Incorporating this work into a larger work (i.e., database, anthology, +compendium, etc.) is possible. If as a result of its incorporation, the +work can no longer be accessed apart from its appearance within the +larger work, incorporation can only happen under the condition that the +larger work is as well subject to the CC4r or to a compatible license. + +4. COMPATIBILITY + +A license is compatible with the CC4r provided that: + +- it invites users to take the implications of their appropriation + into account; +- it invites to copy, distribute, and modify copies of the work + including for commercial purposes and without any other restrictions + tha + n those required by the other compatibility criteria; +- it ensures that the collective conditions under which the work was + authored are attributed unless not desirable, and access to previous + versions of the work is provided when possible; +- it recognizes the CC4r as compatible (reciprocity); +- it requires that changes made to the work will be subject to the + same license or to a license which also meets these compatibility + criteria. + +5. LEGAL FRAMEWORK + +Because of the conditions mentioned under 0., this is not a Free +License. It is reluctantly formulated within the framework of both the +Belgian law and the Berne Convention for the Protection of Literary and +Artistic Works. +“We recognize that private ownership over media, ideas, and technology +is rooted in European conceptions of property and the history of +colonialism from which they formed. These systems of privatization and +monopolization, namely copyright and patent law, enforce the systems of +punishment and reward which benefit a privileged minority at the cost of +others’ creative expression, political discourse, and cultural survival. +The private and public institutions, legal frameworks, and social values +which uphold these systems are inseparable from broader forms of +oppression. Indigenous people, people of color, queer people, trans +people, and women are particularly exploited for their creative and +cultural resources while hardly receiving any of the personal gains or +legal protections for their work. We also recognize that the public +domain has jointly functioned to compliment the private, as works in the +public domain may be appropriated for use in proprietary works. +Therefore, we use copyleft not only to circumvent the monopoly granted +by copyright, but also to protect against that appropriation.” +[Decolonial Media License] + +6. YOUR RESPONSIBILITIES + +The invitation to use the work as defined by the CC4r (invitation to +copy, distribute, modify) implies to take the implications of the +appropriation of the materials into account. + +7. DURATION OF THE LICENSE + +This license takes effect as of the moment that the FUTURE AUTHOR +accepts the invitation of the CURRENT AUTHOR. The act of copying, +distributing, or modifying the work constitutes a tacit agreement. This +license will remain in effect for the duration of the copyright which is +attached to the work. If you do not respect the terms of this license, +the invitation that it confers is void. If the legal status or +legislation to which you are subject makes it impossible for you to +respect the terms of this license, you may not make use of the rights +which it confers. + +8. VARIOUS VERSIONS OF THE LICENSE + +You are invited to reformulate this license by way of new, renamed +versions. Link to license on gitlab. You can of course make +reproductions and distribute this license verbatim (without any +changes). + +9. USER GUIDE + +– How to use the CC4r? + +To apply the CC4r, you need to mention the following elements: +[Name of the legal author, title, date of the work. When applicable, +names of authors of the common work and, if possible, where to find +other versions of the work]. +Copyleft with a difference: This is a collective work, you are invited +to copy, distribute, and modify it under the terms of the CC4r [link to +license]. +Short version: Legal author=name, date of work. CC4r [link to license] + +– Why use the CC4r? + +1. To remind yourself and others that you do not own authored works; +2. To not allow copyright to hinder works to evolve, to be extended, to + be transformed; +3. To allow materials to circulate as much as they need to; +4. Because the CC4r offers a legal framework to disallow + mis-appropriation by insisting on inclusive attribution. Nobody can + take hold of the work as one’s exclusive possession. + +– When to use the CC4r? + +Any time you want to invite others to copy, distribute and transform +authored works without exclusive appropriation but with considering the +implications of (re-)use, you can use the CC4r. You can for example +apply it to collective documentation, hybrid productions, artistic +collaborations or educational projects. + +– What kinds of works can be subject to the CC4r? + +The Collective Conditions for re-use can be applied to digital as well +as physical works.You can choose to apply the CC4r for any text, +picture, sound, gesture, or whatever material as long as you have legal +author’s rights. + +– Background of this license: + +The CC4r was developed for the Constant worksession Unbound libraries +(spring 2020) and followed from discussions during and contributions to +the study day Authors of the future (Fall 2019). It is based on the Free +Art License and inspired by other licensing projects such as the +(Cooperative) Non-Violent Public License and the Decolonial Media +license. Copyleft Attitude with a difference, 6 October 2020. Read more +about CC4r in: “Collectively Setting Conditions for Re-Use” (Elodie +Mugrefya & Femke Snelting, MARCH, spring 2022) diff --git a/README b/README new file mode 100644 index 0000000..47c7db5 --- /dev/null +++ b/README @@ -0,0 +1,65 @@ + cssVarFilledCookies.js + CC4r License + + _____ + / \ + \/_ \ + _____________________________________ + root { | | + --underline-style: 'wavy'; |--underline-style : 'wavy' | + --title-width: 10ch; |--title-width : 10ch | + --src: url('image.png'); |--src : url('image.png')| + --gradient-start: olive; |--gradient-start : olive | + --gradient-end: brown; |--gradient-end : brown | + } |____________________________________| + __ + \ /\ + \_____/ + +cssVarFilledCookies.js will bake cookies with a filling of css +variables, exposing them to the user. The changes made are stored in the +local storage, allowing one to make persistant interface customizations. +The styling happens within cssVarCookies.css, it wraps the generated tr, +td and textareas inside a display:none unless hovered position fixed +table. + + usage + +1. Copy cssVarCookies.js and cssVarCookies.css in your project folder. + +2. Inside the html page you would like to modify, import the js and +css files like so: + + + +3. Hovering the exclamation mark should display a table of declared css +variables inside a root{} statement. + + example + +a css file with variables declared in this manner: + +root { + --margin: 10px; + --gutter: 5px; + --background: white; + --foreground: olive; +} + +will dynamicaly generate the following html table: + + + + + + +
--margin
--gutter
--background
--foreground
+ +Modifying the value from the textarea will store it in the local +storage, if you reload or close the page, the changes will be kept. + +Note : using this technique, only the elements that are children of the +body can be accessed, styling the element doesn't seem to +be possible. + + contact@martinlemaire.fr