forked from hasufell/hasufell-repository
		
	
		
			
	
	
		
			222 lines
		
	
	
		
			9.8 KiB
		
	
	
	
		
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			222 lines
		
	
	
		
			9.8 KiB
		
	
	
	
		
			Plaintext
		
	
	
	
	
	
|  | Free Art License | ||
|  | 
 | ||
|  | 
 | ||
|  | [ Copyleft Attitude ] | ||
|  | 
 | ||
|  | version 1.2 | ||
|  | 
 | ||
|  | Preamble : | ||
|  | 
 | ||
|  | With this Free Art License, you are authorised to copy, distribute and freely | ||
|  | transform the work of art while respecting the rights of the originator. | ||
|  | 
 | ||
|  | Far from ignoring the author's rights, this license recognises them and | ||
|  | protects them. It reformulates their principle while making it possible for the | ||
|  | public to make creative use of the works of art. Whereas current literary and | ||
|  | artistic property rights result in restriction of the public's access to works | ||
|  | of art, the goal of the Free Art License is to encourage such access. | ||
|  | 
 | ||
|  | The intention is to make work accessible and to authorise the use of its | ||
|  | resources by the greatest number of people: to use it in order to increase its | ||
|  | use, to create new conditions for creation in order to multiply the | ||
|  | possibilities of creation, while respecting the originators in according them | ||
|  | recognition and defending their moral rights. | ||
|  | 
 | ||
|  | In fact, with the arrival of the digital age, the invention of the Internet and | ||
|  | free software, a new approach to creation and production has made its | ||
|  | appearance. It also encourages a continuation of the process of experimentation | ||
|  | undertaken by many contemporary artists. | ||
|  | 
 | ||
|  | Knowledge and creativity are resources which, to be true to themselves, must | ||
|  | remain free, i.e. remain a fundamental search which is not directly related to | ||
|  | a concrete application. Creating means discovering the unknown, means inventing | ||
|  | a reality without any heed to realism. Thus, the object(ive) of art is not | ||
|  | equivalent to the finished and defined art object.  This is the basic aim of | ||
|  | this Free Art License: to promote and protect artistic practice freed from the | ||
|  | rules of the market economy. | ||
|  | 
 | ||
|  | ——– DEFINITIONS | ||
|  | 
 | ||
|  | - The work of art : A communal work which includes the initial artwork as well | ||
|  |   as all subsequent contributions (subsequent originals and copies). It is | ||
|  | created at the initiative of the original artist who, by this license, defines | ||
|  | the conditions according to which the contributions are made. | ||
|  | 
 | ||
|  | - The original work of art : This is the artwork created by the initiator of | ||
|  |   the communal work, of which copies will be modified by whosoever wishes. | ||
|  | 
 | ||
|  | - Subsequent works : These are the additions put forward by the artists who | ||
|  |   contribute to the formation of the work by taking advantage of the right to | ||
|  | reproduction, distribution and modification that this license confers on them. | ||
|  | 
 | ||
|  | - The Original (the work's source or resource) : A dated example of the work, | ||
|  |   of its definition, of its partition or of its program which the originator | ||
|  | provides as the reference for all future updatings, interpretations, copies or | ||
|  | reproductions. | ||
|  | 
 | ||
|  | - Copy : Any reproduction of an original as defined by this license. | ||
|  | 
 | ||
|  | - The author or the artist of the original work of art: This is the person who | ||
|  |   created the work which is at the heart of the ramifications of this modified | ||
|  | work of art. By this license, the author determines the conditions under which | ||
|  | these modifications are made. | ||
|  | 
 | ||
|  | - Contributor: Any person who contributes to the creation of the work of art. | ||
|  |   He is the author or the artist of an original art object resulting from the | ||
|  | modification of a copy of the initial artwork or the modification of a copy of | ||
|  | a subsequent work of art. | ||
|  | 
 | ||
|  | ——– | ||
|  | 
 | ||
|  | 1. AIMS | ||
|  | 
 | ||
|  | The aim of this license is to define the conditions according to which you can | ||
|  | use this work freely. | ||
|  | 
 | ||
|  | 2. EXTENT OF THE USAGE | ||
|  | 
 | ||
|  | This work of art is subject to copyright, and the author, by this license, | ||
|  | specifies the extent to which you can copy, distribute and modify it. | ||
|  | 
 | ||
|  | 2.1 FREEDOM TO COPY (OR OF REPRODUCTION) | ||
|  | 
 | ||
|  | You have the right to copy this work of art for your personal use, for your | ||
|  | friends or for any other person, by employing whatever technique you choose. | ||
|  | 
 | ||
|  | 2.2 FREEDOM TO DISTRIBUTE, TO INTERPRET (OR OF REPRESENTATION) | ||
|  | 
 | ||
|  | You can freely distribute the copies of these works, modified or not, whatever | ||
|  | their medium, wherever you wish, for a fee or for free, if you observe all the | ||
|  | following conditions: | ||
|  | - attach this license, in its entirety, to the copies or indicate precisely | ||
|  |   where the license can be found, | ||
|  | - specify to the recipient the name of the author of the originals, | ||
|  | - specify to the recipient where he will be able to access the originals | ||
|  |   (original and subsequent). The author of the original may, if he wishes, give | ||
|  | you the right to broadcast/distribute the original under the same conditions as | ||
|  | the copies. | ||
|  | 
 | ||
|  | 2.3 FREEDOM TO MODIFY | ||
|  | 
 | ||
|  | You have the right to modify the copies of the originals (original and | ||
|  | subsequent), partially or otherwise, respecting the conditions set out in | ||
|  | article 2.2 , in the event of distribution (or representation) of the modified | ||
|  | copy. The author of the original may, if he wishes, give you the right to | ||
|  | modify the original under the same conditions as the copies. | ||
|  | 
 | ||
|  | 3. INCORPORATION OF ARTWORK | ||
|  | 
 | ||
|  | All the elements of this work of art must remain free, which is why you are not | ||
|  | allowed to integrate the originals (originals and subsequents) into another | ||
|  | work which would not be subject to this license. | ||
|  | 
 | ||
|  | 4. YOUR AUTHOR'S RIGHTS | ||
|  | 
 | ||
|  | The object of this license is not to deny your author's rights on your | ||
|  | contribution. By choosing to contribute to the evolution of this work of art, | ||
|  | you only agree to give to others the same rights with regard to your | ||
|  | contribution as those which were granted to you by this license. | ||
|  | 
 | ||
|  | 5. DURATION OF THE LICENCE | ||
|  | 
 | ||
|  | This license takes effect as of your acceptance of its provisions. The fact of | ||
|  | copying, distributing, or of modifying the work constitutes a tacit agreement. | ||
|  | This license will remain in force for as long as the copyright which is | ||
|  | attached to the work of art. If you do not respect the terms of this license, | ||
|  | you automatically lose the rights that it confers. If the legal status 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. | ||
|  | 
 | ||
|  | 6. VARIOUS VERSIONS OF THE LICENCE | ||
|  | 
 | ||
|  | This license may undergo periodic modifications to incorporate improvements by | ||
|  | its authors (instigators of the "copyleft attitude" movement) by way of new, | ||
|  | numbered versions. | ||
|  | 
 | ||
|  | You will have the choice of accepting the provisions contained in the version | ||
|  | under which the copy was communicated to you, or alternatively, to use the | ||
|  | provisions of one of the subsequent versions. | ||
|  | 
 | ||
|  | 7. SUB-LICENSING | ||
|  | 
 | ||
|  | Sub-licenses are not authorized by the present license. Any person who wishes | ||
|  | to make use of the rights that it confers will be directly bound to the author | ||
|  | of the original work. | ||
|  | 
 | ||
|  | 8. THE LAW APPLICABLE TO THIS CONTRACT | ||
|  | 
 | ||
|  | This license is subject to French law. | ||
|  | 
 | ||
|  | ——– | ||
|  | 
 | ||
|  | DIRECTIONS FOR USE : | ||
|  | 
 | ||
|  | - How to use the Free Art license? | ||
|  | 
 | ||
|  | To benefit from the Free Art License, it is enough to specify the following on | ||
|  | your work of art: | ||
|  | 
 | ||
|  | [- A few lines to indicate the name of the work and to give an idea of what it | ||
|  | is.] [- A few lines to describe, if necessary, the modified work of art and | ||
|  | give the name of the author/artist.] Copyright © [the date] [name of the author | ||
|  | or artist] (if appropriate, specify the names of the previous authors or | ||
|  | artists) Copyleft: this work of art is free, you can redistribute it and/or | ||
|  | modify it according to terms of the Free Art license.  You will find a specimen | ||
|  | of this license on the site Copyleft Attitude http://artlibre.org as well as on | ||
|  | other sites. | ||
|  | 
 | ||
|  | - Why use the Free Art license? | ||
|  | 
 | ||
|  | 1 / to give the greatest number of people access to your work. | ||
|  | 
 | ||
|  | 2 / to allow it to be freely distributed. | ||
|  | 
 | ||
|  | 3 / to allow it to evolve by authorising its transformation by others. | ||
|  | 
 | ||
|  | 4 / to be able, yourself, to use the resources of a work when it is under Free | ||
|  | Art license: to copy, distribute or transform it freely. | ||
|  | 
 | ||
|  | 5 / This is not all: because the use of the Free Art License is also a good way | ||
|  | to take liberties with the marketing system generated by the dominant economy. | ||
|  | The Free Art License offers a useful legal protocol to prevent abusive | ||
|  | appropriation. It will no longer be possible for someone to appropriate your | ||
|  | work, short-circuiting the creative process to make personal profit from it. | ||
|  | Helping yourself to a collective work in progress will be forbidden, as will | ||
|  | monopolising the resources of an evolving creation for the benefit of a few. | ||
|  | 
 | ||
|  | The Free Art License advocates an economy appropriate for art, based on | ||
|  | sharing, exchange and joyful giving. What counts in art is also and mostly what | ||
|  | is not counted. | ||
|  | 
 | ||
|  | - When to use the Free Art License ? | ||
|  | 
 | ||
|  | It is not the goal of the Free Art License to eliminate copyright or author's | ||
|  | rights. Quite the opposite, it is about reformulating the relevance of these | ||
|  | rights while taking today's environment into account. It is about the right to | ||
|  | freedom of movement, to free copying and to free transformation of works of | ||
|  | art. The right to work in freedom for art and artists. | ||
|  | 
 | ||
|  | 1 / Each time you want to use or put this right into practice, use the Free Art | ||
|  | License. | ||
|  | 
 | ||
|  | 2 / Each time you want to create works which can evolve and be freely copied, | ||
|  | freely distributed and freely transformed: use the Free Art License. | ||
|  | 
 | ||
|  | 3 / Each time you want to have the possibility of copying, distributing or | ||
|  | transforming a work: check that it is under Free Art License. If it is not, you | ||
|  | are liable to be breaking the law. | ||
|  | 
 | ||
|  | - To which types of art can the Free Art License be applied? | ||
|  | 
 | ||
|  | This license can be applied to digital as well as to non-digital art. It was | ||
|  | born out of observation of the world of free software and the Internet, but its | ||
|  | applicability is not limited to the digital media. You can put a painting, a | ||
|  | novel, a sculpture, a drawing, a piece of music, a poem, an installation, a | ||
|  | video, a film, a recipe, a CD-rom, a Web site, or a performance under the Free | ||
|  | Art License, in short any creation which has some claim to be a work of art. | ||
|  | 
 | ||
|  | This license has a history: it was born at the meeting " Copyleft Attitude " | ||
|  | which took place at "Accès Local" and "Public" in Paris at the beginning of the | ||
|  | year 2000. For the first time, it brought computer specialists and freeware | ||
|  | activists together with contemporary artists and members of the art world. |