Merge pull request #24 from kruug/master

Added extra manifestos.

content/manifestos/1997-05-11-The-ABC-of-Tactical-Media.txt

@@ -2,15 +2,15 @@
 
 ##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.
+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.
+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.
+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.
 
@@ -22,15 +22,15 @@ Although tactical media include alternative media, we are not restricted to that
 
 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.’
+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.’
+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.’
+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.
+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.’
+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. 
 

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

@@ -17,25 +17,25 @@ 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 
+- 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 
+- 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 
+- We respect the return to "alt.cultures" and pagan software structures 
    ("It's normal!").
-· Deprivatize corporate content, liberate the virtual enclosures and storm 
+- 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 
+- 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.
+- 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

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

@@ -1,6 +1,6 @@
 # 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.
+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.
 
@@ -8,13 +8,13 @@ The first decade of the 21st century, the so-called
 
 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.
+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.
+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.
+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.
+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.
 
@@ -22,9 +22,9 @@ The first decade of the 21st century, the so-called
 
 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.
+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.
+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.
 
@@ -32,9 +32,9 @@ The first decade of the 21st century, the so-called
 
 Stockdorf and Bonn, Jan 2, 2010
 
-Benedikt Köhler
+Benedikt Koehler
 Sabria David
-Jörg Blumtritt
+Joerg Blumtritt
 
 ----
 

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

@@ -1,35 +1,35 @@
 # A DIY Data Manifesto
 ## By Scott Gilbertson
 
-The word “server” is enough to send all but the hardiest nerds  
+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.
+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  
+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  
+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.
+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?”
+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  
+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.’”
+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  
@@ -44,16 +44,16 @@ 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  
+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  
+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.
+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  
+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 Celik 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.
@@ -63,34 +63,34 @@ 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  
+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.”
+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  
+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.
+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  
+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  
+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  
+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  
+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.
 
 ----

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

@@ -1,26 +1,26 @@
 # 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.
+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.
+ - User data means any data uploaded by a user for his or her own use.
 
 Thus, users should have:
 
-    Control over user data access
+ - 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.
+ - 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.
+ - 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
+ - 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.
+ - 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).
+ - 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
+ - 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.
+ - 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.
 
@@ -30,7 +30,7 @@ Surrendering privacy and other rights in this way may seem to many people a triv
 
 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.
+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.
 
 ----