Merge pull request #23 from kruug/master

Combine all pull requests into one merge

.gitignore

@@ -42,4 +42,5 @@ dwsync.xml
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content/manifestos/1997-05-11-The-ABC-of-Tactical-Media.txt

@@ -0,0 +1,39 @@
+#The ABC of Tactical Media
+
+##David Garcia and Geert Lovink
+
+Tactical Media are what happens when the cheap ‘do it yourself’ media, made possible by the revolution in consumer electronics and expanded forms of distribution (from public access cable to the internet) are exploited by groups and individuals who feel aggrieved by or excluded from the wider culture. Tactical media do not just report events, as they are never impartial they always participate and it is this that more than anything separates them from mainstream media.
+
+A distinctive tactical ethic and aesthetic that has emerged, which is culturally influential from MTV through to recent video work made by artists. It began as a quick and dirty aesthetic although it is just another style it (at least in its camcorder form) has come to symbolize a verite for the 90’s.
+
+Tactical media are media of crisis, criticism and opposition. This is both the source their power, ("anger is an energy" : John Lydon), and also their limitation. their typical heroes are; the activist, Nomadic media warriors, the pranxter, the hacker,the street rapper, the camcorder kamikaze, they are the happy negatives, always in search of an enemy. But once the enemy has been named and vanquished it is the tactical practitioner whose turn it is to fall into crisis. Then (despite their achievements) its easy to mock them, with catch phrases of the right, "politically correct" "Victim culture" etc. More theoretically the identity politics, media critiques and theories of representation, that became the foundation of much western tactical media are themselves in crisis. These ways of thinking are widely seen as, carping and repressive remnants of an outmoded humanism.
+
+To believe that issues of representation are now irrelevant is to believe that the very real life chances of groups and individuals are not still crucially affected by the available images circulating in any given society. And the fact that we no longer see the mass media as the sole and centralized source of our self definitions might make these issues more slippery but that does not make them redundant.
+
+Tactical media a qualified form of humanism. A useful antidote to both, what Peter Lamborn Wilson described, as "the unopposed rule of money over human beings". But also as an antidote to newly emerging forms of technocratic scientism which under the banner of post-humanism tend to restrict discussions of human use and social reception.What makes Our Media Tactical? In ‘The Practice of Every Day Life’ De Certueau analyzed popular culture not as a ‘domain of texts or artifacts but rather as a set of practices or operations performed on textual or text like structures’. He shifted the emphasis from representations in their own right to the ‘uses’ of representations. In other words how do we as consumers use the texts and artifacts that surround us. And the answer, he suggested, was ‘tactically’. That is in far more creative and rebellious ways than had previously been imagined. He described the process of consumption as a set of tactics by which the weak make use of the strong. He characterized the rebellious user (a term he preferred to consumer) as tactical and the presumptuous producer (in which he included authors, educators, curators and revolutionaries) as strategic. Setting up this dichotomy allowed him to produce a vocabulary of tactics rich and complex enough to amount to a distinctive and recognizable aesthetic. An existential aesthetic. An aesthetic of Poaching, tricking, reading, speaking, strolling, shopping, desiring. Clever tricks, the hunter’s cunning, maneuvers, polymorphic situations, joyful discoveries, poetic as well as warlike.
+
+Awareness of this tactical/strategic dichotomy helped us to name a class of producers of who seem uniquely aware of the value of these temporary reversals in the flow of power. And rather than resisting these rebellions do everything in their power to amplify them. And indeed make the creation of spaces, channels and platforms for these reversals central to their practice. We dubbed their (our) work tactical media.
+
+Tactical Media are never perfect, always in becoming, performative and pragmatic, involved in a continual process of questioning the premises of the channels they work with. This requires the confidence that the content can survive intact as it travels from interface to interface. But we must never forget that hybrid media has its opposite its nemesis, the Medialen Gesamtkunstwerk. The final program for the electronic Bauhaus.
+
+Of course it is much safer to stick to the classic rituals of the underground and alternative scene. Bu tactical media are based on a principal of flexible response, of working with different coalitions, being able to move between the different entities in the vast media landscape without betraying their original motivations. Tactical Media may be hedonistic, or zealously euphoric. Even fashion hypes have their uses. But it is above all mobility that most characterizes the tactical practitioner. The desire and capability to combine or jump from one media to another creating a continuous supply of mutants and hybrids. To cross boarders, connecting and re-wiring a variety of disciplines and always taking full advantage of the free spaces in the media that are continually appearing because of the pace of technological change and regulatory uncertainty.
+
+Although tactical media include alternative media, we are not restricted to that category. In fact we introduced the term tactical to disrupt and take us beyond the rigid dichotomies that have restricted thinking in this area, for so long, dichotomies such as amateur Vs professional, alternative Vs mainstream. Even private Vs public.
+
+Our hybrid forms are always provisional. What counts are the temporary connections you are able to make. Here and now, Not some vaporware promised for the future. But what we can do on the spot with the media we have access to. Here in Amsterdam we have access to local TV, digital cities and fortresses of new and old media. In other places they might have theater, street demonstrations, experimental film, literature, photography.
+
+Tactical media’s mobility connects it to a wider movement of migrant culture. Espousedby the proponents of what Nie Ascherson described as the stimulating pseudo science of Nomadism. ‘The human race say its exponants are entering a new epoch of movement and migration. The subjects of history once the settled farmers and citizens, have become the migrants,the refugees the gastarbeiters, the asylum seekers, the urban homeless.’
+
+An exemplery example of the tactical can be seen in the work of the Polish artist Krzystof Wodiczko who ‘perceives how the hordes of the displaced that now occupy the public space of cities squares, parks or railway station concourses which were once designed by a triumphant middle class to celebrate the conquest of its new political rights and economic liberties. Wodiczko thinks that these occupied spaces form new agoras. which should be used for statements. ‘The artist’, he says, ‘needs to learn how to operate as a nomadic sophist in a migrant polis.’
+
+Like other migrant media tactitions Wodiczko has studied the techniques by which the weak become stronger than the opressors by scatering , by becoming centreless, by moving fast across the physical or media and virtual landscapes. ‘The hunted mustdiscover the ways become the hunter.’
+
+But capital is also radically deterritorialized. This is why we like being based in a building like De Waag, an old fortress in the center of Amsterdam. We happily accept the paradox of centers of tactical media. As well as castles in the air, we need fortresses of bricks and mortar, to resist a world of unconstrained nomadic capital. Spaces to plan not just improvise and the possibility of capitalizing on acquired advantages, has always been the preserve of ‘strategic’ media. As flexible media tacticians, who are not afraid of power, we are happy to adopt this approach ourselves.
+
+Every few years we do a Next 5 Minutes conference on tactical media from around the world. Finally we have a base (De Waag) from which we hope to consolidate and build for the longer term. We see this building as a place to plan regular events and meetings, including coming The Next 5 Minutes. We see the coming The Next 5 Minutes (in january 1999), and discussions leading up to it, as part of a movement to create an antidote to what Peter Lamborn Wilson described, as ‘the unopposed rule of money over human beings.’
+
+(This manifest was written for the opening of the web site of the Tactical Media Network, hosted by De Waag, the Society for Old and New Media: http://www.waag.org/tmn). a critique of this manifesto by Peter Lamborn Wilson can be read in the KRITIK section. 
+
+----
+
+Source: http://www.ljudmila.org/nettime/zkp4/74.htm

content/manifestos/1997-05-29-Piran-Nettime-Manifesto.txt

@@ -0,0 +1,45 @@
+#29.5.1997, The Piran Nettime Manifesto
+
+A PRESS RELEASE by Nettime (Vienna ad-hoc committee)
+
+   PRESS CONFERENCE   29.5.1997   19:00 
+   Public Netbase Media~Space!, Museumsquartier, Museumsplatz 1, 
+   Vienna/Austria Thursday, 29.5.1997   19:00 
+   Participants: Pit Schultz (Berlin), Geert Lovink (Amsterdam), Critical Art 
+                      Ensemble (Chicago), Diana McCarty (Budapest), 
+                      Marko Peljhan (Ljubljana), Oliver Marchart (Wien),
+                      Peter Lamborn Wilson (New York)
+
+"Why do you rob banks?"
+"Because that's where the money is." (Willie Sutton, famous bank robber)
+
+Last week Nettimers frolicked in the real space/time continuum on the 
+Slovenian coast in the town of Piran where the following bullets were 
+established:
+
+· Nettime declares Information War.
+· We denounce pan-capitalism and demand reparations. Cyberspace is where 
+  your bankruptcy takes place. 
+· Nettime launches crusade against data barbarism in the virtual holy land.
+· We celebrate the re-mapping of the Ex-East/Ex-West and the return to 
+  geography.
+· We respect the return to "alt.cultures" and pagan software structures 
+   ("It's normal!").
+· Deprivatize corporate content, liberate the virtual enclosures and storm 
+  the content castles!
+· Refuse the institutionalization of net processes.
+· We reject pornography on the net unless well made. 
+· We are still, until this day, rejecting make-work schemes and libertarian 
+  declarations of independence.
+· NGOs are the future oppressive post-governments of the world. 
+· We support experimental data transfer technology.
+· Participate in the Nettime retirement plan, zero work by age 40. 
+· The critique of the image is the defense of the imagination.
+· Nettime could be Dreamtime.
+
+Questions can be addressed to the participants at the Nettime press 
+conference, Public Netbase, Museumsquartier, Vienna, 29.5.1997, 19:00 hours
+
+----
+
+Source: http://www.nettime.org/Lists-Archives/nettime-l-9705/msg00147.html

content/manifestos/2002-12-30-Wireless-Commons-Manifesto.txt

@@ -0,0 +1,82 @@
+# The Wireless Commons Manifesto
+
+NOTE: Anyone can sign The Wireless Commons Manifesto
+(http://dev.wirelesscommons.org/node.php?id=2). Charter signatories: Adam
+Shand (Personal Telco), Bruce Potter (CAWNet), Paul Holman (Shmoo Group)
+and Cory Doctorow (EFF). ---- We have formed the Wireless Commons because
+a global wireless network is within our grasp. We will work to define and
+achieve a wireless commons built using shared spectrum, and able to
+connect people everywhere. We believe there is value to an independent and
+global network which is open to the public. We will break down commercial,
+technical, social and political barriers to the commons. The wireless
+commons bridges one of the few remaining gaps in universal communication
+without interference from middlemen and meddlers.
+
+Humanity is on the verge of a turning point because the Internet has
+transformed the way humans relate with one another. All communication can
+be traced to a human relationship, whether it's lovers exchanging instant
+messages or teenagers sharing music. The Internet has given us the ability
+to communicate faster and more cheaply than ever before in history.
+
+The Internet's value increases exponentially with the number of people who
+are able to participate. In today's world, communication can take place
+without the use of antiquated telecommunications networks. The
+organizations that control these networks are limping anachronisms that
+are constrained by the expense and physical necessity of using wires to
+build their networks. Because of this, they cannot serve the great mass of
+people who stand to benefit from a wireless commons. Their interests
+diverge from ours, and their control over the network strangles our
+ability to communicate.
+
+Low-cost wireless networking equipment which can operate in unlicensed
+bands of the spectrum has started another revolution. Suddenly, ordinary
+people have the means to create a network independent of any physical
+constraint except distance. Wireless can travel through walls, across
+property boundaries and through a community. Many communities have formed
+worldwide to help organize these networks. They are forming the basis for
+the removal of the traditional telecommunication networks as an
+intermediary in human communication.
+
+The challenge facing community networks is the one limiting factor of
+wireless communication: distance. The relationships that can be formed
+across a community wireless network are limited by their physical reach.
+Typically these networks are growing to the size of a city, and growth
+beyond that point requires coordination and a strategic vision for
+community wireless networks as a whole. Without this coordination, it is
+hard to see how the worldwide community of wireless networking groups will
+ever merge their systems and create a true alternative to existing
+telecommunication networks.
+
+There are many barriers to the creation of a global network. So far, the
+focus has been on identifying the technical barriers and developing
+methods to overcome them. But technical problems are the least of our
+worries, the business, political and social issues are the real challenges
+facing community networks. Hardware and software vendors need to
+understand the business rationale for implementing our technical
+solutions. Politicians need to understand our requirements for universal
+access to unlicensed spectrum. The public needs to understand that the
+network exists and how to get access. Unless these problems are identified
+and addressed, the community wireless movement will never have influence
+beyond a local level.
+
+Most importantly, the network needs to be accessible to all and
+provisioned by everyone who can provide. By adding enough providers to the
+network, we can bridge the physical gaps imposed by the range of our
+equipment. The network is a finite resource which is owned and used by the
+public, and as such it needs to be nurtured by the public. This, by its
+very nature, is a commons.
+
+Becoming a part of the commons means being more than a consumer. By
+signing your name below, you become an active participant in a network
+that is far more than the sum of its users. You will strive to solve the
+social, political and technical challenges we face. You will provide the
+resources your community consumes by co-operating with total strangers to
+build the network that we all dream of.
+
+jon lebkowsky
+http://www.weblogsky.com
+jonl@weblogsky.com
+
+----
+
+Source: http://fc.retecivica.milano.it/Reti%20Civiche/S03B1354A-03B13768?WasRead=1

content/manifestos/2010-01-02-Slow-Media-Manifesto.txt

@@ -0,0 +1,41 @@
+# The Slow Media Manifesto
+
+The first decade of the 21st century, the so-called ‘naughties’, has brought profound changes to the technological foundations of the media landscape. The key buzzwords are networks, the Internet and social media. In the second decade, people will not search for new technologies allowing for even easier, faster and low-priced content production. Rather, appropriate reactions to this media revolution are to be developed and integrated politically, culturally and socially. The concept “Slow”, as in “Slow Food” and not as in “Slow Down”, is a key for this. Like “Slow Food”, Slow Media are not about fast consumption but about choosing the ingredients mindfully and preparing them in a concentrated manner. Slow Media are welcoming and hospitable. They like to share.
+
+1. Slow Media are a contribution to sustainability. Sustainability relates to the raw materials, processes and working conditions, which are the basis for media production. Exploitation and low-wage sectors as well as the unconditional commercialization of user data will not result in sustainable media. At the same time, the term refers to the sustainable consumption of Slow Media.
+
+2. Slow media promote Monotasking. Slow Media cannot be consumed casually, but provoke the full concentration of their users. As with the production of a good meal, which demands the full attention of all senses by the cook and his guests, Slow Media can only be consumed with pleasure in focused alertness.
+
+3. Slow Media aim at perfection. Slow Media do not necessarily represent new developments on the market. More important is the continuous improvement of reliable user interfaces that are robust, accessible and perfectly tailored to the media usage habits of the people.
+
+4. Slow Media make quality palpable. Slow Media measure themselves in production, appearance and content against high standards of quality and stand out from their fast-paced and short-lived counterparts – by some premium interface or by an aesthetically inspiring design.
+
+5. Slow Media advance Prosumers, i.e. people who actively define what and how they want to consume and produce. In Slow Media, the active Prosumer, inspired by his media usage to develop new ideas and take action, replaces the passive consumer. This may be shown by marginals in a book or animated discussion about a record with friends. Slow Media inspire, continuously affect the users’ thoughts and actions and are still perceptible years later.
+
+6. Slow Media are discursive and dialogic. They long for a counterpart with whom they may come in contact. The choice of the target media is secondary. In Slow Media, listening is as important as speaking. Hence ‘Slow’ means to be mindful and approachable and to be able to regard and to question one’s own position from a different angle.
+
+7. Slow Media are Social Media. Vibrant communities or tribes constitute around Slow Media. This, for instance, may be a living author exchanging thoughts with his readers or a community interpreting a late musician’s work. Thus Slow Media propagate diversity and respect cultural and distinctive local features.
+
+8. Slow Media respect their users. Slow Media approach their users in a self-conscious and amicable way and have a good idea about the complexity or irony their users can handle. Slow Media neither look down on their users nor approach them in a submissive way.
+
+9. Slow Media are distributed via recommendations not advertising: the success of Slow Media is not based on an overwhelming advertising pressure on all channels but on recommendation from friends, colleagues or family. A book given as a present five times to best friends is a good example.
+
+10. Slow Media are timeless: Slow Media are long-lived and appear fresh even after years or decades. They do not lose their quality over time but at best get some patina that can even enhance their value.
+
+11. Slow Media are auratic: Slow Media emanate a special aura. They generate a feeling that the particular medium belongs to just that moment of the user’s life. Despite the fact that they are produced industrially or are partially based on industrial means of production, they are suggestive of being unique and point beyond themselves.
+
+12. Slow Media are progressive not reactionary: Slow Media rely on their technological achievements and the network society’s way of life. It is because of the acceleration of multiple areas of life, that islands of deliberate slowness are made possible and essential for survival. Slow Media are not a contradiction to the speed and simultaneousness of Twitter, Blogs or Social Networks but are an attitude and a way of making use of them.
+
+13. Slow Media focus on quality both in production and in reception of media content: Craftsmanship in cultural studies such as source criticism, classification and evaluation of sources of information are gaining importance with the increasing availability of information.
+
+14. Slow Media ask for confidence and take their time to be credible. Behind Slow Media are real people. And you can feel that.
+
+Stockdorf and Bonn, Jan 2, 2010
+
+Benedikt Köhler
+Sabria David
+Jörg Blumtritt
+
+----
+
+Source: http://en.slow-media.net/manifesto

content/manifestos/2011-02-03-A-DIY-Data-Manifesto.txt

@@ -0,0 +1,98 @@
+# A DIY Data Manifesto
+## By Scott Gilbertson
+
+The word “server” is enough to send all but the hardiest nerds  
+scurrying for cover.
+The word usually conjures images of vast, complex data farms,  
+databases and massive infrastructures. True, servers are all those  
+things — but at a more basic level, they’re just like your desktop PC.
+
+Running a server is no more difficult than starting Windows on your  
+desktop. That’s the message Dave Winer, forefather of blogging and  
+creator of RSS, is trying to get across with his EC2 for Poets  
+project. The name comes from Amazon’s EC2 service and classes common  
+in liberal arts colleges, like programming for poets or computer  
+science for poets. The theme of such classes is that anyone — even a  
+poet — can learn technology.
+
+Winer wants to demystify the server. “Engineers sometimes mystify what  
+they do, as a form of job security,” writes Winer, “I prefer to make  
+light of it… it was easy for me, why shouldn’t it be easy for everyone?”
+
+To show you just how easy it is to set up and run a server, Winer has  
+put together an easy-to-follow tutorial so you too can set up a  
+Windows-based server running in the cloud. Winer uses Amazon’s EC2  
+service. For a few dollars a month, Winer’s tutorial can have just  
+about anyone up and running with their own server.
+
+In that sense Winer’s EC2 for Poets if already a success, but  
+education and empowerment aren’t Winer’s only goals. “I think it’s  
+important to bust the mystique of servers,” says Winer, “it’s  
+essential if we’re going to break free of the ‘corporate blogging  
+silos.’”
+
+The corporate blogging silos Winer is thinking of are services like  
+Twitter, Facebook and WordPress. All three have been instrumental in  
+the growth of the web, they make it easy for anyone publish. But they  
+also suffer denial of service attacks, government shutdowns and  
+growing pains, centralized services like Twitter and Facebook are  
+vulnerable. Services wrapped up in a single company are also  
+vulnerable to market whims, Geocities is gone, FriendFeed languishes  
+at Facebook and Yahoo is planning to sell Delicious. A centralized web  
+is brittle web, one that can make our data, our communications tools  
+disappear tomorrow.
+
+But the web will likely never be completely free of centralized  
+services and Winer recognizes that. Most people will still choose  
+convenience over freedom. Twitter’s user interface is simple, easy to  
+use and works on half a dozen devices.
+
+Winer doesn’t believe everyone will want to be part of the distributed  
+web, just the dedicated. But he does believe there are more people who  
+would choose a DIY path if they realized it wasn’t that difficult.
+
+Winer isn’t the only one who believes the future of the web will be  
+distributed systems that aren’t controlled by any single corporation  
+or  technology platform. Microformats founder Tantek Çelik is also  
+working on a distributed publishing system that seeks to retain all  
+the cool features of the social web, but remove the centralized  
+bottleneck.
+
+But to be free of corporate blogging silos and centralized services  
+the web will need an army of distributed servers run by hobbyists,  
+not  just tech-savvy web admins, but ordinary people who love the web  
+and want to experiment.
+
+So while you can get your EC2 server up and running today — and even  
+play around with Winer’s River2 news aggregator — the real goal is  
+further down the road. Winer’s vision is a distributed web where  
+everything is loosely coupled. “For example,” Winer writes, “the roads  
+I drive on with my car are loosely-coupled from the car. I might drive  
+a SmartCar, a Toyota or a BMW. No matter what car I choose I am free  
+to drive on the Cross-Bronx Expressway, Sixth Avenue or the Bay Bridge.”
+
+Winer wants to start by creating a loosely coupled, distributed  
+microblogging service like Twitter. “I’m pretty sure we know how to  
+create a micro-blogging community with open formats and protocols and  
+no central point of failure,” he writes on his blog.
+
+For Winer that means decoupling the act of writing from the act of  
+publishing. The idea isn’t to create an open alternative to Twitter,  
+it’s to remove the need to use Twitter for writing on Twitter. Instead  
+you write with the tools of your choice and publish to your own server.
+
+If everyone publishes first to their own server there’s no single  
+point of failure. There’s no fail whale, and no company owns your  
+data. Once the content is on your server you can then push it on to  
+wherever you’d like — Twitter, Tumblr, WordPress of whatever the site  
+du jour is ten years from now.
+
+The glue that holds this vision together is RSS. Winer sees RSS as the  
+ideal broadcast mechanism for the distributed web and in fact he’s  
+already using it — Winer has an RSS feed of links that are then pushed  
+on to Twitter. No matter what tool he uses to publish a link, it’s  
+gathered up into a single RSS feed and pushed on to Twitter.
+
+----
+
+Source: https://www.mail-archive.com/nettime-l@kein.org/msg02864.html

content/manifestos/2014-10-cybertwee.md

@@ -14,10 +14,10 @@ our nectar is not just a lure
 or a trap for passing flies   
 but a self indulgent intrapersonal biofeedback mechanism spelled in emoji and gentle selfies.
 
-![the cybertwee manifesto](../content/manifestos-img/2014-cybertwee-manifesto.gif)
+![the cybertwee manifesto](../content/manifestos-img/2014-cybertwee-manifesto.png)
 
 ---
 
 source: cybertwee.net / https://youtu.be/xMdiSUIpg50    
 date: October 2014    
-cybertwee is an arts collective co-founded in 2014 by artists gabriella hileman, violet forest, and may waver
+cybertwee is an arts collective co-founded in 2014 by artists gabriella hileman, violet forest, and may waver

content/manifestos/2015-08-29-User-Data-Manifesto-v2.txt

@@ -0,0 +1,37 @@
+# User Data Manifesto v2.0
+
+This manifesto aims at defining users’ fundamental rights to their own data in the Internet age. People ought to be free and should not have to pay allegiance to service providers.
+
+    User data means any data uploaded by a user for his or her own use.
+
+Thus, users should have:
+
+    Control over user data access
+
+    User data should be under the ultimate control of the user. Users should be able to decide whom to grant direct access to their data and with which permissions and licenses such access should be granted.
+
+    Data generated or associated with user data (e.g. metadata) should also be made available to that user and put under their control just like the user data itself.
+
+    Knowledge of how user data is stored
+
+    When user data is uploaded to a specific service provider, users should be informed about the geographic location that specific service provider stores the data in, how long, in which jurisdiction that specific service provider operates and which laws apply.
+
+    This point is not relevant when users are able to store their own data on devices in their vicinity and under their direct control (e.g. servers) or when they rely on systems without centralised control (e.g. peer-to-peer).
+
+    Freedom to choose a platform
+
+    Users should always be able to extract their data from the service at any time without experiencing any vendor lock-in.
+
+If users have these rights, they are in control of their data rather than being subjugated by service providers.
+
+Many services that deal with user data at the moment are gratis, but that does not mean they are free (as in freedom). Instead of paying with money, users are paying with their allegiance to the service providers so that they can exploit user data (e.g. by selling them, licensing them or building a profile for advertisers).
+
+Surrendering privacy and other rights in this way may seem to many people a trivial thing and a small price to pay for the sake of convenience that these Internet services bring.
+
+Service providers have thus been unwittingly compelled to turn their valuable Internet services into massive and centralised surveillance systems. It is of grave importance that people understand and realize this, since it forms a serious threat to the freedom of humanity and to the privacy of each individual.
+
+Ultimately, to ensure that user data is under the users’ control, the best technical designs include peer-to-peer or distributed systems, and unhosted applications. Legally, that means terms of service should respect users’ rights and give them the possibility to exercise the datarights defined in this manifesto.
+
+----
+
+Source: https://userdatamanifesto.org/

content/manifestos/9998-authors.md

@@ -20,6 +20,8 @@ Listed in alphabetical order.
 
 **Loyd Blankenship** (a.k.a. The Mentor) - author of *The Hacker’s Manifesto* (1986).
 
+**Jörg Blumtritt** - co-author of the *Slow Media Manifesto* (2010).
+
 **Cody Brocious (Daeken)** - author of the *Hardware Hacker Manifesto* (2010).
 
 **Chaos Computer Club e.V.** - association of computer enthousiasts, author of the *Hackerethik* (1999).
@@ -34,6 +36,8 @@ Listed in alphabetical order.
 
 **Piotr Czerski** - author of *We, the Web Kids* (orig: "My, dzieci sieci", 2012).
 
+**Sabria David** - co-author of the *Slow Media Manifesto* (2010).
+
 **Malte Dik** - co-author of the *CryptoParty Manifesto* (2012).
 
 **Constant Dullaart** - artist, author of *Balconism* (2014). Constant Dullaart is a former resident of the Rijksakademie in Amsterdam, living and working mostly in Berlin. His work often deals with the effects and affects of contemporary communication and mass media, both online and offline. http://constantdullaart.com 
@@ -46,8 +50,12 @@ Listed in alphabetical order.
 
 **Violet Forest** - artist, co-author of the *cybertwee manifesto* (2014).
 
+**David Garcia** - co-author of the *ABC of Tactical Media* (1997).
+
 **Jan Gerber** - co-author of the *CryptoParty Manifesto* (2012).
 
+**Scott Gilbertson** - author of the *DIY Data Manifesto* (2011).
+
 **Casey Gollan** - author of *The Perfect Medium User* (2016). @caseyg
 
 **Prof. Dr. Volker Grassmuck** - Leuphana University of Lüneburg. Co-initator of the *Open Web Index Manifesto* (2015). 
@@ -82,16 +90,22 @@ Listed in alphabetical order.
 
 **Bill Kerr** - curator of *Mark Shuttleworth’s Ubuntu manifesto* (2007).
 
+**Benedikt Köhler** - co-author of the *Slow Media Manifesto* (2010).
+
 **René König**, Karlsruhe Institute of Technology. Co-initator of the *Open Web Index Manifesto* (2015). 
 
 **Kopimi** - collective, author of *POwr, Broccoli and Kopimi* (2009).
 
 **Agata Królikowski**, Leuphana University of Lüneburg. Co-initator of the *Open Web Index Manifesto* (2015). 
 
+**Jon Lebkowsky** - Author of the *Wireless Commons Manifesto* (2002).
+
 **Prof. Dr. Dirk Lewandowski** - Hamburg University of Applied Sciences. Co-initator of the *Open Web Index Manifesto* (2015).
 
 **Olia Lialina** - artist, author of the *Bill Of Computer Users Rights* (2013).
 
+**Geert Lovink** - co-author of the *ABC of Tactical Media* (1997).
+
 **Miltos Manetas** - artist, author of the *Piracy Manifesto* (2009).
 
 **Brian Marick** - co-author of the *Manifesto for Agile Software Development* (2001).
@@ -118,10 +132,14 @@ Listed in alphabetical order.
 
 **Chris Pinchen** - co-author of the *CryptoParty Manifesto* (2012).
 
+**Marie Ringler** - poster of the *Piran Nettime Manifesto* (1997).
+
 **Evan Roth** - artist, co-author of *We Lost* (2015).
 
 **Daniel Rourke** - artist, co-author of *The 3D Additivist Manifesto* (2015).
 
+**Hugo Roy** - author of the *User Data Manifesto v2.0* (2015).
+
 **Dr. Wolfgang Sander-Beuermann**, SUMA-EV. Co-initator of the *Open Web Index Manifesto* (2015). 
 
 **Gordan Savičić** - co-author of the *Critical Engineering Manifesto* (2011). 

fonts/Linux-Libertine/Bugs.txt

@@ -1,12 +0,0 @@
-linuxlibertine.sf.net
-If you want to report bugs please decide if you want to:
-- use the bug tracking system on sourceforge (see linuxlibertine.sf.net -> bugtracker)
-- send a mail to philthelion (at) sf.net
-
-
--Hinting is still not perfect (you will find hinting faults that deform glyphs in an ugly way but this effetcs just the screen - not printing)
-Please note that Hinting isn't always the best way for rendering on screen (especially on Linux-systems). You may want to try the OTF-files instead of TTF to achieve a better displaytion. Please do not forget, that Hinting changes the letterforms to fit the screen pixels. Therefore the letters do look differently on screen! If you want to see how it might look printed, choose at least 600% zoom.
-
--A few accented charakters or non-latin-charakters are probably not the style native users would prefer (even Unicode-Standards sometimes aren't). Get into contact with me, if you have something to correct. In this way I got, for example, many corrections for the Russion charakters lately, what resulted in an enormous improvement of the cyrillic alphabet in LinuxLibertine (thanks alot for your help, once again!).
-
--...

fonts/Linux-Libertine/GPL.txt

@@ -1,343 +0,0 @@
-		    GNU GENERAL PUBLIC LICENSE (with font exception)
-		       Version 2, June 1991
-
- Copyright (C) 1989, 1991 Free Software Foundation, Inc.
-                 51 Franklin Street, Fifth Floor, Boston, MA  02110-1301, USA
- Everyone is permitted to copy and distribute verbatim copies
- of this license document, but changing it is not allowed.
-
-			    Preamble
-
-  The licenses for most software are designed to take away your
-freedom to share and change it.  By contrast, the GNU General Public
-License is intended to guarantee your freedom to share and change free
-software--to make sure the software is free for all its users.  This
-General Public License applies to most of the Free Software
-Foundation's software and to any other program whose authors commit to
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-
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-price.  Our General Public Licenses are designed to make sure that you
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-
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-   TERMS AND CONDITIONS FOR COPYING, DISTRIBUTION AND MODIFICATION
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-		     END OF TERMS AND CONDITIONS
-
-	    How to Apply These Terms to Your New Programs
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-  `Gnomovision' (which makes passes at compilers) written by James Hacker.
-
-  <signature of Ty Coon>, 1 April 1989
-  Ty Coon, President of Vice
-
-This General Public License does not permit incorporating your program into
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-library.  If this is what you want to do, use the GNU Library General
-Public License instead of this License.
-

fonts/Linux-Libertine/INSTALL.txt

@@ -1,9 +0,0 @@
-1.) COMPILING
-If you miss the directory "Fonts" here, you still have to compile the source-files which lay in the directory "SRC". You do this by calling "./make". Please note, that you'll need a recent version of fontforge to do so. You will also need a unix shell to interprete the scripts. If you have not a certain reason to compile the fonts yourself, we recommend you to download the respective "LinLibertineFont" archive from our website:
-linuxlibertine.sf.net
-
-2.) INSTALL
-Windows: Copy fonts into folder C:\windows\fonts.
-Linux: Use system programs such as KDE-Kontrol to install the fonts. These also update Linux specific system files.
-
-Philipp Poll -- philthelion at users.sourceforge.net

fonts/Linux-Libertine/LICENCE.txt

@@ -1,7 +0,0 @@
-- Lizenz / Licence -
-
-Unsere Schriften sind frei im Sinne der GPL, d.h. (stark vereinfacht) dass Veränderungen an der Schriftart erlaubt sind unter der Bedingung, dass diese wieder der Öffentlichkeit unter gleicher Lizenz freigegeben werden. Querdenker behaupten oft, dass bei der Verwendung einer GPL-Schrift eingebettet in beispielsweise eine PDF auch diese freigestellt werden müsse. Deshalb gibt es die sogenannte "Font-exception" der GPL (welche diesem Lizenztext hinzugefügt wurde). Weitere Informationen zur GPL (Lizenztext mit Font-Exzeption als GPL.txt in diesem Paket).
-Zusätzlich stehen die Schriften unter der Open Font License (siehe OFL.txt).
-
-Our fonts are free in the sense of the GPL. In short: Changing the font is allowed as long as the derivative work is published under the same licence again. Pedantics keep claiming that the embedded use of GPL-fonts in i.e. PDFs requires the free publication of the PDF as well. This is why our GPL contains the so called "font exception". Further information about the GPL (licence text with font exception see GPL.txt in this package).
-Additionally our fonts are licensed under the Open Fonts License (see OFL.txt).

fonts/Linux-Libertine/OFL-1.1.txt

@@ -1,94 +0,0 @@
-Copyright (c) 2003–2012, Philipp H. Poll (www.linuxlibertine.org | gillian at linuxlibertine.org),
-with Reserved Font Name "Linux Libertine" and "Biolinum".
-
-This Font Software is licensed under the SIL Open Font License, Version 1.1.
-This license is copied below, and is also available with a FAQ at:
-http://scripts.sil.org/OFL
-
-
------------------------------------------------------------
-SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007
------------------------------------------------------------
-
-PREAMBLE
-The goals of the Open Font License (OFL) are to stimulate worldwide
-development of collaborative font projects, to support the font creation
-efforts of academic and linguistic communities, and to provide a free and
-open framework in which fonts may be shared and improved in partnership
-with others.
-
-The OFL allows the licensed fonts to be used, studied, modified and
-redistributed freely as long as they are not sold by themselves. The
-fonts, including any derivative works, can be bundled, embedded, 
-redistributed and/or sold with any software provided that any reserved
-names are not used by derivative works. The fonts and derivatives,
-however, cannot be released under any other type of license. The
-requirement for fonts to remain under this license does not apply
-to any document created using the fonts or their derivatives.
-
-DEFINITIONS
-"Font Software" refers to the set of files released by the Copyright
-Holder(s) under this license and clearly marked as such. This may
-include source files, build scripts and documentation.
-
-"Reserved Font Name" refers to any names specified as such after the
-copyright statement(s).
-
-"Original Version" refers to the collection of Font Software components as
-distributed by the Copyright Holder(s).
-
-"Modified Version" refers to any derivative made by adding to, deleting,
-or substituting -- in part or in whole -- any of the components of the
-Original Version, by changing formats or by porting the Font Software to a
-new environment.
-
-"Author" refers to any designer, engineer, programmer, technical
-writer or other person who contributed to the Font Software.
-
-PERMISSION & CONDITIONS
-Permission is hereby granted, free of charge, to any person obtaining
-a copy of the Font Software, to use, study, copy, merge, embed, modify,
-redistribute, and sell modified and unmodified copies of the Font
-Software, subject to the following conditions:
-
-1) Neither the Font Software nor any of its individual components,
-in Original or Modified Versions, may be sold by itself.
-
-2) Original or Modified Versions of the Font Software may be bundled,
-redistributed and/or sold with any software, provided that each copy
-contains the above copyright notice and this license. These can be
-included either as stand-alone text files, human-readable headers or
-in the appropriate machine-readable metadata fields within text or
-binary files as long as those fields can be easily viewed by the user.
-
-3) No Modified Version of the Font Software may use the Reserved Font
-Name(s) unless explicit written permission is granted by the corresponding
-Copyright Holder. This restriction only applies to the primary font name as
-presented to the users.
-
-4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font
-Software shall not be used to promote, endorse or advertise any
-Modified Version, except to acknowledge the contribution(s) of the
-Copyright Holder(s) and the Author(s) or with their explicit written
-permission.
-
-5) The Font Software, modified or unmodified, in part or in whole,
-must be distributed entirely under this license, and must not be
-distributed under any other license. The requirement for fonts to
-remain under this license does not apply to any document created
-using the Font Software.
-
-TERMINATION
-This license becomes null and void if any of the above conditions are
-not met.
-
-DISCLAIMER
-THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND,
-EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF
-MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT
-OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE
-COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY,
-INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL
-DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING
-FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM
-OTHER DEALINGS IN THE FONT SOFTWARE.

fonts/Linux-Libertine/README

@@ -1,36 +0,0 @@
-LOFP - Libertine Open Fonts Project
-
-1. OPEN FONTS PROJECT'S AIMS
-We work on a serif and organic grotesque font-family for practical use in documents. Our project aims at creating a free alternative to the standard W*ndows Font (T*mes).
-But neveretheless Libertine and Biolinum are not a clone of any common font! They have been developed from scratch and go different ways in typography than the Times or Arial. Just the useability and the dimensions shall be similar, Libertine should be even better for typical office use! If you want Times- and Arial-clones go elsewhere. If you just need reliable and good typography give our fonts a chance. If you want to know more about the design of Libertine and Biolinum, have a look at our website.
-
-2. LICENSE AND OPENSOURCE
-We publish our fonts under the terms of the GPL (see GPL.txt) and OFL (OFL.txt)
--> see also LICENCE.txt!
-The OpenSource-tool Fontforge is used as font editor (see http://fontforge.sf.net).
-
-3. FONT FORMATS TTF VS. OTF
-The font files are available as TTF (TrueType) and OTF (OpenType) fonts. The TTF-Family is called
-"Linux Libertine" and "Linux Biolinum"
-and the OTF
-"LinuxLibertine O" and "Linux Biolinum O".
-
-So that both types can be installed and used parallely.
-Most often TTF is the better supported format though OTF has advances in printing. Decide yourself what is better for your purpose. OpenType-features are equally available in both fonts. Note that OpenOffice doesn’t support OTFs, yet.
-
-4. THE LINUX BIOLINUM FONT FACE
-Please note: The Biolinum is a very early version. While you use Libertine-Fonts without any warranty anyway, take special care with this young font face.
-
-5. HINTING
-The TrueType-hinting is a complex technique and our editor FontForge doesn't support full possibilities (but it becomes alot better version by version)...
-Since version 2.7 also the normal TTFs are hinted. If you don't like this, send me a mail. You may also try the OpenTypes (which contain PS-Hintings which are quite good supported by FontForge).
-
-6. DOWNLOAD AND CONTACT
-We publish our fonts at http://www.linuxlibertine.org/.
-
-7. THE UNDERLINED VARIANT
-Please note: The underlined variant is recently not being maintained because its concept doesn’t seem to be sofware-technically reliable and because of lack of interest.
-The advantage of this font was that g, commas, cedillas... were not overprinted by the line anymore. For technical reasons the space was not underlined but you could use the _ instead. In this font it had the width of the space and the line was at hight of the underline. The underlined variant used an older font outline.
-
-Philipp Poll -- gillian at linuxlibertine.org
-

fonts/Linux-Libertine/Readme-TEX.txt

@@ -1,8 +0,0 @@
-Libertine and LaTex
-
-Because of some advantages over XeTex we reactivated our classical Libertine-Tex-package. It can be found here:
-http://linuxlibertine.sourceforge.net/latex/
-
-Of course, you are also free to use the innovative Tex-Variant “XeTex”, which supports Libertine directly plus its wonderful OpenType-features. You’ll find information about the use of Libertine with XeTex and the advantages of OpenType-support on our Website, here:
-
-http://linuxlibertine.sf.net

fonts/Linux-Libertine/ToDo.txt

@@ -1,4 +0,0 @@
-Tasks that need to be done. You are welcome to contribute:
-
-Liberine Bold and BoldItalic: Inferiors und Superiors are not yet all emboldened. Use uni2099 as reference.
-Greek and Cyrillic glyph maps aren't completely emboldenend, yet

fonts/hk-grotesk/OFL-FAQ.txt

@@ -1,429 +0,0 @@
-Copyright (c) 2015, Alfredo Marco Pradil (<http://behance.net/pradil | ammpradil@gmail.com>), with Reserved Font Name HK Grotesk.
-
-OFL FAQ - Frequently Asked Questions about the SIL Open Font License (OFL)
-Version 1.1-update4 - Sept 2014
-(See http://scripts.sil.org/OFL for updates)
-
-
-CONTENTS OF THIS FAQ
-1  USING AND DISTRIBUTING FONTS LICENSED UNDER THE OFL
-2  USING OFL FONTS FOR WEB PAGES AND ONLINE WEB FONT SERVICES
-3  MODIFYING OFL-LICENSED FONTS
-4  LICENSING YOUR ORIGINAL FONTS UNDER THE OFL
-5  CHOOSING RESERVED FONT NAMES
-6  ABOUT THE FONTLOG
-7  MAKING CONTRIBUTIONS TO OFL PROJECTS
-8  ABOUT THE LICENSE ITSELF
-9  ABOUT SIL INTERNATIONAL
-APPENDIX A - FONTLOG EXAMPLE
-
-1  USING AND DISTRIBUTING FONTS LICENSED UNDER THE OFL
-
-1.1  Can I use the fonts for a book or other print publication, to create logos or other graphics or even to manufacture objects based on their outlines?
-Yes. You are very welcome to do so. Authors of fonts released under the OFL allow you to use their font software as such for any kind of design work. No additional license or permission is required, unlike with some other licenses. Some examples of these uses are: logos, posters, business cards, stationery, video titling, signage, t-shirts, personalised fabric, 3D-printed/laser-cut shapes, sculptures, rubber stamps, cookie cutters and lead type.
-
-1.1.1  Does that restrict the license or distribution of that artwork?
-No. You remain the author and copyright holder of that newly derived graphic or object. You are simply using an open font in the design process. It is only when you redistribute, bundle or modify the font itself that other conditions of the license have to be respected (see below for more details).
-
-1.1.2  Is any kind of acknowledgement required?
-No. Font authors may appreciate being mentioned in your artwork's acknowledgements alongside the name of the font, possibly with a link to their website, but that is not required.
-
-1.2  Can the fonts be included with Free/Libre and Open Source Software collections such as GNU/Linux and BSD distributions and repositories?
-Yes! Fonts licensed under the OFL can be freely included alongside other software under FLOSS (Free/Libre and Open Source Software) licenses. Since fonts are typically aggregated with, not merged into, existing software, there is little need to be concerned about incompatibility with existing software licenses. You may also repackage the fonts and the accompanying components in a .rpm or .deb package (or other similar package formats or installers) and include them in distribution CD/DVDs and online repositories. (Also see section 5.9 about rebuilding from source.)
-
-1.3  I want to distribute the fonts with my program. Does this mean my program also has to be Free/Libre and Open Source Software?
-No. Only the portions based on the Font Software are required to be released under the OFL. The intent of the license is to allow aggregation or bundling with software under restricted licensing as well.
-
-1.4  Can I sell a software package that includes these fonts?
-Yes, you can do this with both the Original Version and a Modified Version of the fonts. Examples of bundling made possible by the OFL would include: word processors, design and publishing applications, training and educational software, games and entertainment software, mobile device applications, etc.
-
-1.5  Can I include the fonts on a CD of freeware or commercial fonts?
-Yes, as long some other font or software is also on the disk, so the OFL font is not sold by itself.
-
-1.6  Why won't the OFL let me sell the fonts alone?
-The intent is to keep people from making money by simply redistributing the fonts. The only people who ought to profit directly from the fonts should be the original authors, and those authors have kindly given up potential direct income to distribute their fonts under the OFL. Please honour and respect their contribution!
-
-1.7  What about sharing OFL fonts with friends on a CD, DVD or USB stick?
-You are very welcome to share open fonts with friends, family and colleagues through removable media. Just remember to include the full font package, including any copyright notices and licensing information as available in OFL.txt. In the case where you sell the font, it has to come bundled with software.
-
-1.8  Can I host the fonts on a web site for others to use?
-Yes, as long as you make the full font package available. In most cases it may be best to point users to the main site that distributes the Original Version so they always get the most recent stable and complete version. See also discussion of web fonts in Section 2.
-
-1.9  Can I host the fonts on a server for use over our internal network?
-Yes. If the fonts are transferred from the server to the client computer by means that allow them to be used even if the computer is no longer attached to the network, the full package (copyright notices, licensing information, etc.) should be included.
-
-1.10  Does the full OFL license text always need to accompany the font?
-The only situation in which an OFL font can be distributed without the text of the OFL (either in a separate file or in font metadata), is when a font is embedded in a document or bundled within a program. In the case of metadata included within a font, it is legally sufficient to include only a link to the text of the OFL on http://scripts.sil.org/OFL, but we strongly recommend against this. Most modern font formats include metadata fields that will accept the full OFL text, and full inclusion increases the likelihood that users will understand and properly apply the license.
-
-1.11  What do you mean by 'embedding'? How does that differ from other means of distribution?
-By 'embedding' we mean inclusion of the font in a document or file in a way that makes extraction (and redistribution) difficult or clearly discouraged. In many cases the names of embedded fonts might also not be obvious to those reading the document, the font data format might be altered, and only a subset of the font - only the glyphs required for the text - might be included. Any other means of delivering a font to another person is considered 'distribution', and needs to be accompanied by any copyright notices and licensing information available in OFL.txt.
-
-1.12  So can I embed OFL fonts in my document?
-Yes, either in full or a subset. The restrictions regarding font modification and redistribution do not apply, as the font is not intended for use outside the document.
-
-1.13  Does embedding alter the license of the document itself?
-No. Referencing or embedding an OFL font in any document does not change the license of the document itself. The requirement for fonts to remain under the OFL does not apply to any document created using the fonts and their derivatives. Similarly, creating any kind of graphic using a font under OFL does not make the resulting artwork subject to the OFL.
-
-1.14  If OFL fonts are extracted from a document in which they are embedded (such as a PDF file), what can be done with them? Is this a risk to author(s)?
-The few utilities that can extract fonts embedded in a PDF will typically output limited amounts of outlines - not a complete font. To create a working font from this method is much more difficult and time consuming than finding the source of the original OFL font. So there is little chance that an OFL font would be extracted and redistributed inappropriately through this method. Even so, copyright laws address any misrepresentation of authorship. All Font Software released under the OFL and marked as such by the author(s) is intended to remain under this license regardless of the distribution method, and cannot be redistributed under any other license. We strongly discourage any font extraction - we recommend directly using the font sources instead - but if you extract font outlines from a document, please be considerate: respect the work of the author(s) and the licensing model.
-
-1.15  What about distributing fonts with a document? Within a compressed folder structure? Is it distribution, bundling or embedding?
-Certain document formats may allow the inclusion of an unmodified font within their file structure which may consist of a compressed folder containing the various resources forming the document (such as pictures and thumbnails). Including fonts within such a structure is understood as being different from embedding but rather similar to bundling (or mere aggregation) which the license explicitly allows. In this case the font is conveyed unchanged whereas embedding a font usually transforms it from the original format. The OFL does not allow anyone to extract the font from such a structure to then redistribute it under another license. The explicit permission to redistribute and embed does not cancel the requirement for the Font Software to remain under the license chosen by its author(s). Even if the font travels inside the document as one of its assets, it should not lose its authorship information and licensing.
-
-1.16  What about ebooks shipping with open fonts?
-The requirements differ depending on whether the fonts are linked, embedded or distributed (bundled or aggregated). Some ebook formats use web technologies to do font linking via @font-face, others are designed for font embedding, some use fonts distributed with the document or reading software, and a few rely solely on the fonts already present on the target system. The license requirements depend on the type of inclusion as discussed in 1.15.
-
-1.17  Can Font Software released under the OFL be subject to URL-based access restrictions methods or DRM (Digital Rights Management) mechanisms?
-Yes, but these issues are out-of-scope for the OFL. The license itself neither encourages their use nor prohibits them since such mechanisms are not implemented in the components of the Font Software but through external software. Such restrictions are put in place for many different purposes corresponding to various usage scenarios. One common example is to limit potentially dangerous cross-site scripting attacks. However, in the spirit of libre/open fonts and unrestricted writing systems, we strongly encourage open sharing and reuse of OFL fonts, and the establishment of an environment where such restrictions are unnecessary. Note that whether you wish to use such mechanisms or you prefer not to, you must still abide by the rules set forth by the OFL when using fonts released by their authors under this license. Derivative fonts must be licensed under the OFL, even if they are part of a service for which you charge fees and/or for which access to source code is restricted. You may not sell the fonts on their own - they must be part of a larger software package, bundle or subscription plan. For example, even if the OFL font is distributed in a software package or via an online service using a DRM mechanism, the user would still have the right to extract that font, use, study, modify and redistribute it under the OFL.
-
-1.18  I've come across a font released under the OFL. How can I easily get more information about the Original Version? How can I know where it stands compared to the Original Version or other Modified Versions?
-Consult the copyright statement(s) in the license for ways to contact the original authors. Consult the FONTLOG (see section 6 for more details and examples) for information on how the font differs from the Original Version, and get in touch with the various contributors via the information in the acknowledgement section. Please consider using the Original Versions of the fonts whenever possible.
-
-1.19  What do you mean in condition 4 of the OFL's permissions and conditions? Can you provide examples of abusive promotion / endorsement / advertisement vs. normal acknowledgement?
-The intent is that the goodwill and reputation of the author(s) should not be used in a way that makes it sound like the original author(s) endorse or approve of a specific Modified Version or software bundle. For example, it would not be right to advertise a word processor by naming the author(s) in a listing of software features, or to promote a Modified Version on a web site by saying "designed by ...". However, it would be appropriate to acknowledge the author(s) if your software package has a list of people who deserve thanks. We realize that this can seem to be a grey area, but the standard used to judge an acknowledgement is that if the acknowledgement benefits the author(s) it is allowed, but if it primarily benefits other parties, or could reflect poorly on the author(s), then it is not.
-
-1.20 I'm writing a small app for mobile platforms, do I need to include the whole package? 
-If you bundle a font under the OFL with your mobile app you must comply with the terms of the license. At a minimum you must include the copyright statement, the license notice and the license text. A mention of this information in your About box or Changelog, with a link to where the font package is from, is good practice, and the extra space needed to carry these items is very small. You do not, however, need to include the full contents of the font package - only the fonts you use and the copyright and license that apply to them. For example, if you only use the regular weight in your app, you do not need to include the italic and bold versions.
-
-1.21 What about including OFL fonts by default in my firmware or dedicated operating system? 
-Many such systems are restricted and turned into appliances so that users cannot study or modify them. Using open fonts to increase quality and language coverage is a great idea, but you need to be aware that if there is a way for users to extract fonts you cannot legally prevent them from doing that. The fonts themselves, including any changes you make to them, must be distributed under the OFL even if your firmware has a more restrictive license. If you do transform the fonts and change their formats when you include them in your firmware you must respect any names reserved by the font authors via the RFN mechanism and pick your own font name. Alternatively if you directly add a font under the OFL to the font folder of your firmware without modifying or optimizing it you are simply bundling the font like with any other software collection, and do not need to make any further changes.
-
-1.22  Can I make and publish CMS themes or templates that use OFL fonts?  Can I include the fonts themselves in the themes or templates? Can I sell the whole package?
-Yes, you are very welcome to integrate open fonts into themes and templates for your preferred CMS and make them more widely available. Remember that you can only sell the fonts and your CMS add-on as part of a software bundle. (See 1.4 for details and examples about selling bundles).
-
-1.23  Can OFL fonts be included in services that deliver fonts to the desktop from remote repositories? Even if they contain both OFL and non-OFL fonts?
-Yes. Some foundries have set up services to deliver fonts to subscribers directly to desktops from their online repositories; similarly, plugins are available to preview and use fonts directly in your design tool or publishing suite. These services may mix open and restricted fonts in the same channel, however they should make a clear distinction between them to users. These services should also not hinder users (such as through DRM or obfuscation mechanisms) from extracting and using the OFL fonts in other environments, or continuing to use OFL fonts after subscription terms have ended, as those uses are specifically allowed by the OFL.
-
-1.24  Can services that provide or distribute OFL fonts restrict my use of them?
-No. The terms of use of such services cannot replace or restrict the terms of the OFL, as that would be the same as distributing the fonts under a different license, which is not allowed. You are still entitled to use, modify and redistribute them as the original authors have intended outside of the sole control of that particular distribution channel. Note, however, that the fonts provided by these services may differ from the Original Versions.
-
-
-2  USING OFL FONTS FOR WEBPAGES AND ONLINE WEB FONT SERVICES
-
-NOTE: This section often refers to a separate paper on 'Web Fonts & RFNs'. This is available at http://scripts.sil.org/OFL_web_fonts_and_RFNs
-
-2.1  Can I make webpages using these fonts?
-Yes! Go ahead! Using CSS (Cascading Style Sheets) is recommended. Your three best options are: 
-- referring directly in your stylesheet to open fonts which may be available on the user's system
-- providing links to download the full package of the font - either from your own website or from elsewhere - so users can install it themselves
-- using @font-face to distribute the font directly to browsers. This is recommended and explicitly allowed by the licensing model because it is distribution. The font file itself is distributed with other components of the webpage. It is not embedded in the webpage but referenced through a web address which will cause the browser to retrieve and use the corresponding font to render the webpage (see 1.11 and 1.15 for details related to embedding fonts into documents). As you take advantage of the @font-face cross-platform standard, be aware that web fonts are often tuned for a web environment and not intended for installation and use outside a browser. The reasons in favour of using web fonts are to allow design of dynamic text elements instead of static graphics, to make it easier for content to be localized and translated, indexed and searched, and all this with cross-platform open standards without depending on restricted extensions or plugins. You should check the CSS cascade (the order in which fonts are being called or delivered to your users) when testing.
-
-2.2  Can I make and use WOFF (Web Open Font Format) versions of OFL fonts?
-Yes, but you need to be careful. A change in font format normally is considered modification, and Reserved Font Names (RFNs) cannot be used. Because of the design of the WOFF format, however, it is possible to create a WOFF version that is not considered modification, and so would not require a name change. You are allowed to create, use and distribute a WOFF version of an OFL font without changing the font name, but only if:
-
-- the original font data remains unchanged except for WOFF compression, and
-- WOFF-specific metadata is either omitted altogether or present and includes, unaltered, the contents of all equivalent metadata in the original font.
-
-If the original font data or metadata is changed, or the WOFF-specific metadata is incomplete, the font must be considered a Modified Version, the OFL restrictions would apply and the name of the font must be changed: any RFNs cannot be used and copyright notices and licensing information must be included and cannot be deleted or modified. You must come up with a unique name - we recommend one corresponding to your domain or your particular web application. Be aware that only the original author(s) can use RFNs. This is to prevent collisions between a derivative tuned to your audience and the original upstream version and so to reduce confusion.
-
-Please note that most WOFF conversion tools and online services do not meet the two requirements listed above, and so their output must be considered a Modified Version. So be very careful and check to be sure that the tool or service you're using is compressing unchanged data and completely and accurately reflecting the original font metadata.
-
-2.3  What about other web font formats such as EOT/EOTLite/CWT/etc.?
-In most cases these formats alter the original font data more than WOFF, and do not completely support appropriate metadata, so their use must be considered modification and RFNs may not be used. However, there may be certain formats or usage scenarios that may allow the use of RFNs. See http://scripts.sil.org/OFL_web_fonts_and_RFNs 
-
-2.4  Can I make OFL fonts available through web font online services?
-Yes, you are welcome to include OFL fonts in online web font services as long as you properly meet all the conditions of the license. The origin and open status of the font should be clear among the other fonts you are hosting. Authorship, copyright notices and license information must be sufficiently visible to your users or subscribers so they know where the font comes from and the rights granted by the author(s). Make sure the font file contains the needed copyright notice(s) and licensing information in its metadata. Please double-check the accuracy of every field to prevent contradictory information. Other font formats, including EOT/EOTLite/CWT and superior alternatives like WOFF, already provide fields for this information. Remember that if you modify the font within your library or convert it to another format for any reason the OFL restrictions apply and you need to change the names accordingly. Please respect the author's wishes as expressed in the OFL and do not misrepresent original designers and their work. Don't lump quality open fonts together with dubious freeware or public domain fonts. Consider how you can best work with the original designers and foundries, support their efforts and generate goodwill that will benefit your service. (See 1.17 for details related to URL-based access restrictions methods or DRM mechanisms).
-
-2.5  Some web font formats and services provide ways of "optimizing" the font for a particular website or web application; is that allowed? 
-Yes, it is permitted, but remember that these optimized versions are Modified Versions and so must follow OFL requirements like appropriate renaming. Also you need to bear in mind the other important parameters beyond compression, speed and responsiveness: you need to consider the audience of your particular website or web application, as choosing some optimization parameters may turn out to be less than ideal for them. Subsetting by removing certain glyphs or features may seriously limit functionality of the font in various languages that your users expect. It may also introduce degradation of quality in the rendering or specific bugs on the various target platforms compared to the original font from upstream. In other words, remember that one person's optimized font may be another person's missing feature. Various advanced typographic features (OpenType, Graphite or AAT) are also available through CSS and may provide the desired effects without the need to modify the font.
-
-2.6  Is subsetting a web font considered modification?
-Yes. Removing any parts of the font when delivering a web font to a browser, including unused glyphs and smart font code, is considered modification. This is permitted by the OFL but would not normally allow the use of RFNs. Some newer subsetting technologies may be able to subset in a way that allows users to effectively have access to the complete font, including smart font behaviour. See 2.8 and http://scripts.sil.org/OFL_web_fonts_and_RFNs
-
-2.7  Are there any situations in which a modified web font could use RFNs?
-Yes. If a web font is optimized only in ways that preserve Functional Equivalence (see 2.8), then it may use RFNs, as it reasonably represents the Original Version and respects the intentions of the author(s) and the main purposes of the RFN mechanism (avoids collisions, protects authors, minimizes support, encourages derivatives). However this is technically very difficult and often impractical, so a much better scenario is for the web font service or provider to sign a separate agreement with the author(s) that allows the use of RFNs for Modified Versions.
-
-2.8  How do you know if an optimization to a web font preserves Functional Equivalence?
-Functional Equivalence is described in full in the 'Web fonts and RFNs' paper at http://scripts.sil.org/OFL_web_fonts_and_RFNs, in general, an optimized font is deemed to be Functionally Equivalent (FE) to the Original Version if it:
-
-- Supports the same full character inventory. If a character can be properly displayed using the Original Version, then that same character, encoded correctly on a web page, will display properly. 
-- Provides the same smart font behavior. Any dynamic shaping behavior that works with the Original Version should work when optimized, unless the browser or environment does not support it. There does not need to be guaranteed support in the client, but there should be no forced degradation of smart font or shaping behavior, such as the removal or obfuscation of OpenType, Graphite or AAT tables.
-- Presents text with no obvious degradation in visual quality. The lettershapes should be equally (or more) readable, within limits of the rendering platform.
-- Preserves original author, project and license metadata. At a minimum, this should include: Copyright and authorship; The license as stated in the Original Version, whether that is the full text of the OFL or a link to the web version; Any RFN declarations; Information already present in the font or documentation that points back to the Original Version, such as a link to the project or the author's website.
-
-If an optimized font meets these requirements, and so is considered to be FE, then it's very likely that the original author would feel that the optimized font is a good and reasonable equivalent. If it falls short of any of these requirements, the optimized font does not reasonably represent the Original Version, and so should be considered to be a Modified Version. Like other Modified Versions, it would not be allowed to use any RFNs and you simply need to pick your own font name.
-
-2.9  Isn't use of web fonts another form of embedding?
-No. Unlike embedded fonts in a PDF, web fonts are not an integrated part of the document itself. They are not specific to a single document and are often applied to thousands of documents around the world. The font data is not stored alongside the document data and often originates from a different location. The ease by which the web fonts used by a document may be identified and downloaded for desktop use demonstrates that they are philosophically and technically separate from the web pages that specify them. See http://scripts.sil.org/OFL_web_fonts_and_RFNs
-
-2.10  So would it be better to not use RFNs at all if you want your font to be distributed by a web fonts service?
-No. Although the OFL does not require authors to use RFNs, the RFN mechanism is an important part of the OFL model and completely compatible with web font services. If that web font service modifies the fonts, then the best solution is to sign a separate agreement for the use of any RFNs. It is perfectly valid for an author to not declare any RFNs, but before they do so they need to fully understand the benefits they are giving up, and the overall negative effect of allowing many different versions bearing the same name to be widely distributed. As a result, we don't generally recommend it.
-
-2.11  What should an agreement for the use of RFNs say? Are there any examples?
-There is no prescribed format for this agreement, as legal systems vary, and no recommended examples. Authors may wish to add specific clauses to further restrict use, require author review of Modified Versions, establish user support mechanisms or provide terms for ending the agreement. Such agreements are usually not public, and apply only to the main parties. However, it would be very beneficial for web font services to clearly state when they have established such agreements, so that the public understands clearly that their service is operating appropriately.
-
-See the separate paper on 'Web Fonts & RFNs' for in-depth discussion of issues related to the use of RFNs for web fonts. This is available at http://scripts.sil.org/OFL_web_fonts_and_RFNs
-
-
-3  MODIFYING OFL-LICENSED FONTS
-
-3.1  Can I change the fonts? Are there any limitations to what things I can and cannot change?
-You are allowed to change anything, as long as such changes do not violate the terms of the license. In other words, you are not allowed to remove the copyright statement(s) from the font, but you could put additional information into it that covers your contribution. See the placeholders in the OFL header template for recommendations on where to add your own statements. (Remember that, when authors have reserved names via the RFN mechanism, you need to change the internal names of the font to your own font name when making your modified version even if it is just a small change.)
-
-3.2  I have a font that needs a few extra glyphs - can I take them from an OFL licensed font and copy them into mine?
-Yes, but if you distribute that font to others it must be under the OFL, and include the information mentioned in condition 2 of the license.
-
-3.3  Can I charge people for my additional work? In other words, if I add a bunch of special glyphs or OpenType/Graphite/AAT code, can I sell the enhanced font?
-Not by itself. Derivative fonts must be released under the OFL and cannot be sold by themselves. It is permitted, however, to include them in a larger software package (such as text editors, office suites or operating systems), even if the larger package is sold. In that case, you are strongly encouraged, but not required, to also make that derived font easily and freely available outside of the larger package.
-
-3.4  Can I pay someone to enhance the fonts for my use and distribution?
-Yes. This is a good way to fund the further development of the fonts. Keep in mind, however, that if the font is distributed to others it must be under the OFL. You won't be able to recover your investment by exclusively selling the font, but you will be making a valuable contribution to the community. Please remember how you have benefited from the contributions of others.
-
-3.5  I need to make substantial revisions to the font to make it work with my program. It will be a lot of work, and a big investment, and I want to be sure that it can only be distributed with my program. Can I restrict its use?
-No. If you redistribute a Modified Version of the font it must be under the OFL. You may not restrict it in any way beyond what the OFL permits and requires. This is intended to ensure that all released improvements to the fonts become available to everyone. But you will likely get an edge over competitors by being the first to distribute a bundle with the enhancements. Again, please remember how you have benefited from the contributions of others.
-
-3.6  Do I have to make any derivative fonts (including extended source files, build scripts, documentation, etc.) publicly available?
-No, but please consider sharing your improvements with others. You may find that you receive in return more than what you gave.
-
-3.7  If a trademark is claimed in the OFL font, does that trademark need to remain in modified fonts?
-Yes. Any trademark notices must remain in any derivative fonts to respect trademark laws, but you may add any additional trademarks you claim, officially registered or not. For example if an OFL font called "Foo" contains a notice that "Foo is a trademark of Acme", then if you rename the font to "Bar" when creating a Modified Version, the new trademark notice could say "Foo is a trademark of Acme Inc. - Bar is a trademark of Roadrunner Technologies Ltd.". Trademarks work alongside the OFL and are not subject to the terms of the licensing agreement. The OFL does not grant any rights under trademark law. Bear in mind that trademark law varies from country to country and that there are no international trademark conventions as there are for copyright. You may need to significantly invest in registering and defending a trademark for it to remain valid in the countries you are interested in. This may be costly for an individual independent designer.
-
-3.8 If I commit changes to a font (or publish a branch in a DVCS) as part of a public open source software project, do I have to change the internal font names? 
-Only if there are declared RFNs. Making a public commit or publishing a public branch is effectively redistributing your modifications, so any change to the font will require that you do not use the RFNs. Even if there are no RFNs, it may be useful to change the name or add a suffix indicating that a particular version of the font is still in development and not released yet. This will clearly indicate to users and fellow designers that this particular font is not ready for release yet. See section 5 for more details.
-
-
-4  LICENSING YOUR ORIGINAL FONTS UNDER THE OFL
-
-4.1  Can I use the SIL OFL for my own fonts?
-Yes! We heartily encourage everyone to use the OFL to distribute their own original fonts. It is a carefully constructed license that allows great freedom along with enough artistic integrity protection for the work of the authors as well as clear rules for other contributors and those who redistribute the fonts. The licensing model is used successfully by various organisations, both for-profit and not-for-profit, to release fonts of varying levels of scope and complexity.
-
-4.2  What do I have to do to apply the OFL to my font?
-If you want to release your fonts under the OFL, we recommend you do the following:
-
-4.2.1  Put your copyright and Reserved Font Names information at the beginning of the main OFL.txt file in place of the dedicated placeholders (marked with the <> characters). Include this file in your release package.
-
-4.2.2  Put your copyright and the OFL text with your chosen Reserved Font Name(s) into your font files (the copyright and license fields). A link to the OFL text on the OFL web site is an acceptable (but not recommended) alternative. Also add this information to any other components (build scripts, glyph databases, documentation, test files, etc). Accurate metadata in your font files is beneficial to you as an increasing number of applications are exposing this information to the user. For example, clickable links can bring users back to your website and let them know about other work you have done or services you provide. Depending on the format of your fonts and sources, you can use template human-readable headers or machine-readable metadata. You should also double-check that there is no conflicting metadata in the font itself contradicting the license, such as the fstype bits in the os2 table or fields in the name table.
-
-4.2.3  Write an initial FONTLOG.txt for your font and include it in the release package (see Section 6 and Appendix A for details including a template).
-
-4.2.4  Include the relevant practical documentation on the license by adding the current OFL-FAQ.txt file in your package.
-
-4.2.5  If you wish you can use the OFL graphics (http://scripts.sil.org/OFL_logo) on your website. 
-
-4.3  Will you make my font OFL for me?
-We won't do the work for you. We can, however, try to answer your questions, unfortunately we do not have the resources to review and check your font packages for correct use of the OFL. We recommend you turn to designers, foundries or consulting companies with experience in doing open font design to provide this service to you. 
-
-4.4  Will you distribute my OFL font for me?
-No, although if the font is of sufficient quality and general interest we may include a link to it on our partial list of OFL fonts on the OFL web site. You may wish to consider other open font catalogs or hosting services, such as the Unifont Font Guide (http://unifont.org/fontguide), The League of Movable Type (http://theleagueofmovabletype.com) or the Open Font Library (http://openfontlibrary.org/), which despite the name has no direct relationship to the OFL or SIL. We do not endorse any particular catalog or hosting service - it is your responsibility to determine if the service is right for you and if it treats authors with fairness. 
-
-4.5  Why should I use the OFL for my fonts?
-- to meet needs for fonts that can be modified to support lesser-known languages
-- to provide a legal and clear way for people to respect your work but still use it (and reduce piracy)
-- to involve others in your font project
-- to enable your fonts to be expanded with new weights and improved writing system/language support
-- to allow more technical font developers to add features to your design (such as OpenType, Graphite or AAT support)
-- to renew the life of an old font lying on your hard drive with no business model
-- to allow your font to be included in Libre Software operating systems like Ubuntu
-- to give your font world status and wide, unrestricted distribution
-- to educate students about quality typeface and font design
-- to expand your test base and get more useful feedback 
-- to extend your reach to new markets when users see your metadata and go to your website
-- to get your font more easily into one of the web font online services
-- to attract attention for your commercial fonts
-- to make money through web font services
-- to make money by bundling fonts with applications
-- to make money adjusting and extending existing open fonts
-- to get a better chance that foundations/NGOs/charities/companies who commission fonts will pick you 
-- to be part of a sharing design and development community 
-- to give back and contribute to a growing body of font sources
-
-
-5  CHOOSING RESERVED FONT NAMES
-
-5.1  What are Reserved Font Names?
-These are font names, or portions of font names, that the author has chosen to reserve for use only with the Original Version of the font, or for Modified Version(s) created by the original author.
-
-5.2  Why can't I use the Reserved Font Names in my derivative font names? I'd like people to know where the design came from.
-The best way to acknowledge the source of the design is to thank the original authors and any other contributors in the files that are distributed with your revised font (although no acknowledgement is required). The FONTLOG is a natural place to do this. Reserved Font Names ensure that the only fonts that have the original names are the unmodified Original Versions. This allows designers to maintain artistic integrity while allowing collaboration to happen. It eliminates potential confusion and name conflicts. When choosing a name, be creative and avoid names that reuse almost all the same letters in the same order or sound like the original. It will help everyone if Original Versions and Modified Versions can easily be distinguished from one another and from other derivatives. Any substitution and matching mechanism is outside the scope of the license.
-
-5.3  What do you mean by "primary name as presented to the user"? Are you referring to the font menu name?
-Yes, this applies to the font menu name and other mechanisms that specify a font in a document. It would be fine, however, to keep a text reference to the original fonts in the description field, in your modified source file or in documentation provided alongside your derivative as long as no one could be confused that your modified source is the original. But you cannot use the Reserved Font Names in any way to identify the font to the user (unless the Copyright Holder(s) allow(s) it through a separate agreement). Users who install derivatives (Modified Versions) on their systems should not see any of the original Reserved Font Names in their font menus, for example. Again, this is to ensure that users are not confused and do not mistake one font for another and so expect features only another derivative or the Original Version can actually offer. 
-
-5.4  Am I not allowed to use any part of the Reserved Font Names?
-You may not use individual words from the Reserved Font Names, but you would be allowed to use parts of words, as long as you do not use any word from the Reserved Font Names entirely. We do not recommend using parts of words because of potential confusion, but it is allowed. For example, if "Foobar" was a Reserved Font Name, you would be allowed to use "Foo" or "bar", although we would not recommend it. Such an unfortunate choice would confuse the users of your fonts as well as make it harder for other designers to contribute.
-
-5.5  So what should I, as an author, identify as Reserved Font Names?
-Original authors are encouraged to name their fonts using clear, distinct names, and only declare the unique parts of the name as Reserved Font Names. For example, the author of a font called "Foobar Sans" would declare "Foobar" as a Reserved Font Name, but not "Sans", as that is a common typographical term, and may be a useful word to use in a derivative font name. Reserved Font Names should also be single words for simplicity and legibility. A font called "Flowing River" should have Reserved Font Names "Flowing" and "River", not "Flowing River". You also need to be very careful about reserving font names which are already linked to trademarks (whether registered or not) which you do not own.
-
-5.6  Do I, as an author, have to identify any Reserved Font Names?
-No. RFNs are optional and not required, but we encourage you to use them. This is primarily to avoid confusion between your work and Modified Versions. As an author you can release a font under the OFL and not declare any Reserved Font Names. There may be situations where you find that using no RFNs and letting your font be changed and modified - including any kind of modification - without having to change the original name is desirable. However you need to be fully aware of the consequences. There will be no direct way for end-users and other designers to distinguish your Original Version from many Modified Versions that may be created. You have to trust whoever is making the changes and the optimizations to not introduce problematic changes. The RFNs you choose for your own creation have value to you as an author because they allow you to maintain artistic integrity and keep some control over the distribution channel to your end-users. For discussion of RFNs and web fonts see section 2.
-
-5.7  Are any names (such as the main font name) reserved by default?
-No. That is a change to the license as of version 1.1. If you want any names to be Reserved Font Names, they must be specified after the copyright statement(s).
-
-5.8  Is there any situation in which I can use Reserved Font Names for a Modified Version?
-The Copyright Holder(s) can give certain trusted parties the right to use any of the Reserved Font Names through separate written agreements. For example, even if "Foobar" is a RFN, you could write up an agreement to give company "XYZ" the right to distribute a modified version with a name that includes "Foobar". This allows for freedom without confusion. The existence of such an agreement should be made as clear as possible to downstream users and designers in the distribution package and the relevant documentation. They need to know if they are a party to the agreement or not and what they are practically allowed to do or not even if all the details of the agreement are not public.
-
-5.9  Do font rebuilds require a name change? Do I have to change the name of the font when my packaging workflow includes a full rebuild from source?
-Yes, all rebuilds which change the font data and the smart code are Modified Versions and the requirements of the OFL apply: you need to respect what the Author(s) have chosen in terms of Reserved Font Names. However if a package (or installer) is simply a wrapper or a compressed structure around the final font - leaving them intact on the inside - then no name change is required. Please get in touch with the author(s) and copyright holder(s) to inquire about the presence of font sources beyond the final font file(s) and the recommended build path. That build path may very well be non-trivial and hard to reproduce accurately by the maintainer. If a full font build path is made available by the upstream author(s) please be aware that any regressions and changes you may introduce when doing a rebuild for packaging purposes is your own responsibility as a package maintainer since you are effectively creating a separate branch. You should make it very clear to your users that your rebuilt version is not the canonical one from upstream.
-
-5.10  Can I add other Reserved Font Names when making a derivative font?
-Yes. List your additional Reserved Font Names after your additional copyright statement, as indicated with example placeholders at the top of the OFL.txt file. Be sure you do not remove any existing RFNs but only add your own. RFN statements should be placed next to the copyright statement of the relevant author as indicated in the OFL.txt template to make them visible to designers wishing to make their separate version.
-
-
-6  ABOUT THE FONTLOG
-
-6.1  What is this FONTLOG thing exactly?
-It has three purposes: 1) to provide basic information on the font to users and other designers and developers, 2) to document changes that have been made to the font or accompanying files, either by the original authors or others, and 3) to provide a place to acknowledge authors and other contributors. Please use it!
-
-6.2  Is the FONTLOG required?
-It is not a requirement of the license, but we strongly recommend you have one.
-
-6.3  Am I required to update the FONTLOG when making Modified Versions?
-No, but users, designers and other developers might get very frustrated with you if you don't. People need to know how derivative fonts differ from the original, and how to take advantage of the changes, or build on them. There are utilities that can help create and maintain a FONTLOG, such as the FONTLOG support in FontForge.
-
-6.4  What should the FONTLOG look like?
-It is typically a separate text file (FONTLOG.txt), but can take other formats. It commonly includes these four sections:
-
-- brief header describing the FONTLOG itself and name of the font family
-- Basic Font Information - description of the font family, purpose and breadth
-- ChangeLog - chronological listing of changes
-- Acknowledgements - list of authors and contributors with contact information
-
-It could also include other sections, such as: where to find documentation, how to make contributions, information on contributing organizations, source code details, and a short design guide. See Appendix A for an example FONTLOG.
-
-
-7  MAKING CONTRIBUTIONS TO OFL PROJECTS
-
-7.1  Can I contribute work to OFL projects?
-In many cases, yes. It is common for OFL fonts to be developed by a team of people who welcome contributions from the wider community. Contact the original authors for specific information on how to participate in their projects.
-
-7.2  Why should I contribute my changes back to the original authors?
-It would benefit many people if you contributed back in response to what you've received. Your contributions and improvements to the fonts and other components could be a tremendous help and would encourage others to contribute as well and 'give back'. You will then benefit from other people's contributions as well. Sometimes maintaining your own separate version takes more effort than merging back with the original. Be aware that any contributions, however, must be either your own original creation or work that you own, and you may be asked to affirm that clearly when you contribute.
-
-7.3  I've made some very nice improvements to the font. Will you consider adopting them and putting them into future Original Versions?
-Most authors would be very happy to receive such contributions. Keep in mind that it is unlikely that they would want to incorporate major changes that would require additional work on their end. Any contributions would likely need to be made for all the fonts in a family and match the overall design and style. Authors are encouraged to include a guide to the design with the fonts. It would also help to have contributions submitted as patches or clearly marked changes - the use of smart source revision control systems like subversion, mercurial, git or bzr is a good idea. Please follow the recommendations given by the author(s) in terms of preferred source formats and configuration parameters for sending contributions. If this is not indicated in a FONTLOG or other documentation of the font, consider asking them directly. Examples of useful contributions are bug fixes, additional glyphs, stylistic alternates (and the smart font code to access them) or improved hinting. Keep in mind that some kinds of changes (esp. hinting) may be technically difficult to integrate.
-
-7.4  How can I financially support the development of OFL fonts?
-It is likely that most authors of OFL fonts would accept financial contributions - contact them for instructions on how to do this. Such contributions would support future development. You can also pay for others to enhance the fonts and contribute the results back to the original authors for inclusion in the Original Version.
-
-
-8  ABOUT THE LICENSE ITSELF
-
-8.1  I see that this is version 1.1 of the license. Will there be later changes?
-Version 1.1 is the first minor revision of the OFL. We are confident that version 1.1 will meet most needs, but are open to future improvements. Any revisions would be for future font releases, and previously existing licenses would remain in effect. No retroactive changes are possible, although the Copyright Holder(s) can re-release the font under a revised OFL. All versions will be available on our web site: http://scripts.sil.org/OFL.
-
-8.2  Does this license restrict the rights of the Copyright Holder(s)?
-No. The Copyright Holder(s) still retain(s) all the rights to their creation; they are only releasing a portion of it for use in a specific way. For example, the Copyright Holder(s) may choose to release a 'basic' version of their font under the OFL, but sell a restricted 'enhanced' version under a different license. They may also choose to release the same font under both the OFL and some other license. Only the Copyright Holder(s) can do this, and doing so does not change the terms of the OFL as it applies to that font.
-
-8.3  Is the OFL a contract or a license?
-The OFL is a worldwide license based on international copyright agreements and conventions. It is not a contract and so does not require you to sign it to have legal validity. By using, modifying and redistributing components under the OFL you indicate that you accept the license.
-
-8.4  I really like the terms of the OFL, but want to change it a little. Am I allowed to take ideas and actual wording from the OFL and put them into my own custom license for distributing my fonts?
-We strongly recommend against creating your very own unique open licensing model. Using a modified or derivative license will likely cut you off - along with the font(s) under that license - from the community of designers using the OFL, potentially expose you and your users to legal liabilities, and possibly put your work and rights at risk. The OFL went though a community and legal review process that took years of effort, and that review is only applicable to an unmodified OFL. The text of the OFL has been written by SIL (with review and consultation from the community) and is copyright (c) 2005-2013 SIL International. You may re-use the ideas and wording (in part, not in whole) in another non-proprietary license provided that you call your license by another unambiguous name, that you do not use the preamble, that you do not mention SIL and that you clearly present your license as different from the OFL so as not to cause confusion by being too similar to the original. If you feel the OFL does not meet your needs for an open license, please contact us.
-
-8.5  Can I translate the license and the FAQ into other languages?
-SIL certainly recognises the need for people who are not familiar with English to be able to understand the OFL and its use. Making the license very clear and readable has been a key goal for the OFL, but we know that people understand their own language best.
-
-If you are an experienced translator, you are very welcome to translate the OFL and OFL-FAQ so that designers and users in your language community can understand the license better. But only the original English version of the license has legal value and has been approved by the community. Translations do not count as legal substitutes and should only serve as a way to explain the original license. SIL - as the author and steward of the license for the community at large - does not approve any translation of the OFL as legally valid because even small translation ambiguities could be abused and create problems.
-
-SIL gives permission to publish unofficial translations into other languages provided that they comply with the following guidelines:
-
-- Put the following disclaimer in both English and the target language stating clearly that the translation is unofficial:
-
-"This is an unofficial translation of the SIL Open Font License into <language_name>. It was not published by SIL International, and does not legally state the distribution terms for fonts that use the OFL. A release under the OFL is only valid when using the original English text. However, we recognize that this unofficial translation will help users and designers not familiar with English to better understand and use the OFL. We encourage designers who consider releasing their creation under the OFL to read the OFL-FAQ in their own language if it is available. Please go to http://scripts.sil.org/OFL for the official version of the license and the accompanying OFL-FAQ."
-
-- Keep your unofficial translation current and update it at our request if needed, for example if there is any ambiguity which could lead to confusion.  
-
-If you start such a unofficial translation effort of the OFL and OFL-FAQ please let us know.
-
-8.6 Does the OFL have an explicit expiration term?
-No, the implicit intent of the OFL is that the permissions granted are perpetual and irrevocable. 
-
-
-9  ABOUT SIL INTERNATIONAL
-
-9.1  Who is SIL International and what do they do?
-SIL serves language communities worldwide, building their capacity for sustainable language development, by means of research, translation, training and materials development. SIL makes its services available to all without regard to religious belief, political ideology, gender, race, or ethnic background. SIL's members and volunteers share a Christian commitment.
-
-9.2  What does this have to do with font licensing?
-The ability to read, write, type and publish in one's own language is one of the most critical needs for millions of people around the world. This requires fonts that are widely available and support lesser-known languages. SIL develops - and encourages others to develop - a complete stack of writing systems implementation components available under open licenses. This open stack includes input methods, smart fonts, smart rendering libraries and smart applications. There has been a need for a common open license that is specifically applicable to fonts and related software (a crucial component of this stack), so SIL developed the SIL Open Font License with the help of the Free/Libre and Open Source Software community.
-
-9.3  How can I contact SIL?
-Our main web site is: http://www.sil.org/
-Our site about complex scripts is: http://scripts.sil.org/
-Information about this license (and contact information) is at: http://scripts.sil.org/OFL
-
-
-APPENDIX A - FONTLOG EXAMPLE
-
-Here is an example of the recommended format for a FONTLOG, although other formats are allowed.
-
------
-FONTLOG for the GlobalFontFamily fonts
-
-This file provides detailed information on the GlobalFontFamily Font Software. This information should be distributed along with the GlobalFontFamily fonts and any derivative works.
-
-Basic Font Information
-
-GlobalFontFamily is a Unicode typeface family that supports all languages that use the Latin script and its variants, and could be expanded to support other scripts.
-
-NewWorldFontFamily is based on the GlobalFontFamily and also supports Greek, Hebrew, Cyrillic and Armenian.
-
-More specifically, this release supports the following Unicode ranges...
-This release contains...
-Documentation can be found at...
-To contribute to the project...
-
-ChangeLog
-
-10 December 2010 (Fred Foobar) GlobalFontFamily-devel version 1.4
-- fix new build and testing system (bug #123456)
-
-1 August 2008 (Tom Parker) GlobalFontFamily version 1.2.1
-- Tweaked the smart font code (Branch merged with trunk version)
-- Provided improved build and debugging environment for smart behaviours
-
-7 February 2007 (Pat Johnson) NewWorldFontFamily Version 1.3
-- Added Greek and Cyrillic glyphs
-
-7 March 2006 (Fred Foobar) NewWorldFontFamily Version 1.2
-- Tweaked contextual behaviours
-
-1 Feb 2005 (Jane Doe) NewWorldFontFamily Version 1.1
-- Improved build script performance and verbosity
-- Extended the smart code documentation
-- Corrected minor typos in the documentation
-- Fixed position of combining inverted breve below (U+032F)
-- Added OpenType/Graphite smart code for Armenian
-- Added Armenian glyphs (U+0531 -> U+0587) 
-- Released as "NewWorldFontFamily"
-
-1 Jan 2005 (Joe Smith) GlobalFontFamily Version 1.0
-- Initial release
-
-Acknowledgements
-
-If you make modifications be sure to add your name (N), email (E), web-address (if you have one) (W) and description (D). This list is in alphabetical order.
-
-N: Jane Doe
-E: jane@university.edu
-W: http://art.university.edu/projects/fonts
-D: Contributor - Armenian glyphs and code
-
-N: Fred Foobar
-E: fred@foobar.org
-W: http://foobar.org
-D: Contributor - misc Graphite fixes
-
-N: Pat Johnson
-E: pat@fontstudio.org
-W: http://pat.fontstudio.org
-D: Designer - Greek & Cyrillic glyphs based on Roman design
-
-N: Tom Parker
-E: tom@company.com
-W: http://www.company.com/tom/projects/fonts
-D: Engineer - original smart font code
-
-N: Joe Smith
-E: joe@fontstudio.org
-W: http://joe.fontstudio.org
-D: Designer - original Roman glyphs
-
-Fontstudio.org is an not-for-profit design group whose purpose is...
-Foobar.org is a distributed community of developers...
-Company.com is a small business who likes to support community designers...
-University.edu is a renowned educational institution with a strong design department...
------
-

scripts/build.sh

@@ -11,9 +11,16 @@ INPUT="../content/meta.txt ../content/manifestos/*.*" ## ../content/intro.txt
 TEMP="../temp/newfile.txt"
 TEMP2="../temp/newfile2.txt"
 
-TIMESTAMP=$(date +"%s")
-OUTPUT="../output/output-"$TIMESTAMP".pdf"
+##TIMESTAMP=$(date +"%s")
+TIMESTAMP=$(date --utc +%Y%m%d_%H%M%SZ)
+OUTPUT="../output/Manifestos_for_the_Internet_Age-"$TIMESTAMP".pdf"
 
+if [ ! -d ~/.fonts ]; then
+  mkdir ~/.fonts
+fi
+
+##cp ../fonts/*.otf ~/.fonts/
+##fc-cache -fv
 
 ## 2: AWK Method
 
@@ -54,18 +61,16 @@ END {
 ## Monoid - by Andreas Larsen
 ## HK Grotesk - by Alfredo Marco Pradil, Hanken Design Co.
 
-pandoc -f markdown -o $OUTPUT --template=../templates/customV2 $TEMP --latex-engine=xelatex \
+pandoc -f markdown --template=../templates/customV2 $TEMP --latex-engine=xelatex \
     --variable mainfont="HKGrotesk-Regular" \
     --variable boldfont="LinLibertineOB" \
     --variable italicfont="LinLibertineOI" \
-    --variable bolditalicfont="LinLibertineOBI" \
-    --variable sansfont=Futura \
-    --variable monofont=Inconsesi \
     --variable fontsize=9pt \
     --variable urlcolor=black \
     --variable linkcolor=black \
     --variable documentclass=book \
     --toc --toc-depth=1 \
-    --include-before-body=../content/intro.txt
+    --include-before-body=../content/intro.txt \
+    -o $OUTPUT
 
 ## End of file