Elo: Okune Q oriented towards academic/scholarly practice? Whose voices are foregrounded -- how to answer? Infinite? It does not really give a lot of possibility for the uncitable. It stays rather on the quantitavive side -- useful
Eva: Okune already accepts author in the first place, and that it is published. 
Elo: Strict mental database. Trying to open up through "whose voice"
Rebekka: precondition that knowledge comes from a source, can be identified. Useful prompts in everyday academic practice. Have to be aware first what citational practice does. Should think more about these q. Some are an invitation to reflect, others to answer. There should be more of them. Are they rules? Normative frameworks? Prompts.
Gerko: questions useful. Practice is academic writing. Willingness to OA and data sharing but when sharing methods and techniques, how does this work?
What if a text is not written in an accessible way, but distributed as OA?
Elo: re-read March text, trying to say who/what inspired CC4R. Showing the theoretical universe, situating thinking. Voice thing seems identity based?
Gerko: Academia established practice of citing. Problem of identity kicks in.
Rebekka: To speak someone? By speaking to academic practice, she reaches an other audience. Different things in different environments
Discomfort with rewriting Okune's work, and how OA and OR are practiced. They are precise and make a lot of sense in that context. 


------------------------
Version 00
Self-Review of Citational Practice
By: Angela Okune
May 2019
Attribution-NonCommercial-ShareAlike (CC BY-NC-SA)

This set of questions was developed with the conceptualized use case of going through each question for an already written draft paper to pay attention to the works cited (and edit appropriately as you determine necessary). The intention is to help you note patterns in terms of publication venues, diversity of sources, where the authors are from geographically, institutionally, intellectual genealogy, categories of race, gender, other intersectional categories.

Note: I would not wish for this set of questions to be translated into a quantitative “rating” that gives a measure of progressive citational practices. Rather, I intend for these questions to help foster a reflective practice of focusing one’s own attention to important aspects that should be considered when writing and citing.

- Why am I writing this piece? Who do I want to read it and what do I want to convey to someone who is looking at my bibliography?

- Where am I planning to publish this? In what form and with what kind of licensing? Why? Who do I want to cite this work and why?

- Whose voices did I point to for “theory”?

- Whose voices were foregrounded in the piece?

- Which institutions are the scholars I cite situated in intellectually and geographically?

- In what forms/genres were the works that I cited? Did I cite anything outside of the journal article format?

- Which European, Asian, African intellectuals have I cited? Why/How/W here (in the work)? Have I made clear how their contributions have been generative for my own arguments?

- Do my citations include relevant material by indigenous scholars, African women, non-gender binary scholars?

- Were the works cited published Open Access? If not, are there other ways to access the work (e.g. a pre-print hosted on a non-commercial platform?) If yes, cite the pre-print, non-commercial version.
NOTE: ResearchGate and Academia.edu are for-profit commercial ventures funded by Venture Capitalists.

- Where were the articles I am citing published? Is this a journal outside of the “big five” corporate publishers (Elsevier, Springer, Wiley-Blackwell, Taylor & Francis and Sage)?

- Am I citing works published in university presses or scholarly society journals based in/from the regions I am working in?

---------------
Version 01

- Why am I sharing this piece? Who do I want to share it with and what do I want to convey to the ones I am sharing with?

- When does citing turn into acknowledging? 
- Does citation always mean others can access and refer to it?
- How do I hope this piece to circulate? 
- Could the cited materials/references form a new library? So that "my" citations and refernces can be used by others? The bibliography as resource?
- Can I draw/write a genealogy of inspirations for the writing of this piece
- Did I re-use any material from ouside the academic context? Are these citations affirmative, gestural, performative, could they be considered a form of violent appropriation?
- Am I responding/talking to someone specifically? 
- do I have a responsibility when I cite something/someone to be inline with their thinking. Of course not... but what power hierarchy/ reltionship do I build? Taking out of context, and similar?
- Does my piece reflect thinking by indigenous thought/politics, Black feminist thought/politics, queer theory/politics? (trying to move from identity to content?) Are these citations affirmative, gestural, performative, could they be considered a form of violent appropriation?
- What/who is this piece trying to be solidary with? 
- How is this piece in solidarity with those it is in solidarity with? 
- What would be the conditions for this new piece to be reused? (this is different from asking: "Who do I want to cite this work and why?") What is the difference between (re)use and citing when it comes to thoughts, traditions, experiences -- texts??
- what are the conditions into which this piece has been made? (did I include any info about conditions in the piece)
- What should readers do with the piece? 
- what are the conditions in which the cited work has been produced? What can I give back?
- which tools did I use to craft the argument? from which tradition do they stem?

- to what does this piece contribute?

- are the citations (data, practices, methods) I draw on extractive or productive? (or generative?)

- what barriers might exist in this text? how can they be turned into access?

- did I converse with those/that that I refer to in the piece before and or after? If not, why not? (talkin with ghosts :o) a warning? have access? Is this asking for permission?
- What is this piece? committed to

what/who
what about fluffy things
re-using a method?
speculative conversations?
bell hooks speculative conversation mixed with 'actual' conversations
published or not
academic world is not captured
all the assumptions ... does it work well?
giving back = more than citing
working with activists
how to not write not in extractivist way, but giving "back". (Taking and giving >>contributing) who is this piece in solidarity with?
appropriation considered to be normal
citation is something that exists, which is pulled into a piece. What does the piece do?

what contribution does a piece make

different ways of citing
acknowledging (does not have to be stabilized; have to be an item) vs citing
take up a concept: engaging with... 

-----------------------------
version 02

This set of questions was developed alongside ongoing cultural production. Trying to answer these questions is a way to pay attention to the ecosystem (???) around (practices) piece, its conditions of production and future use (and edit appropriately as you determine necessary). The intention is to help you note patterns in terms of acknowledgment, diversity of resources, where references are situated in geographically, institutionally, their genealogy, and how the piece/practice/xxxx breaks with patterns of  dominant inclusions and exclusions.

Okune: "where the authors are from geographically, institutionally, intellectual genealogy, categories of race, gender, other intersectional categories."

Note: I would not wish for this set of questions to be translated into a quantitative “rating” that gives a measure of progressive citational practices. Rather, I intend for these questions to help foster a reflective practice of focusing one’s own attention to important aspects that should be considered when contributing to the (ecosystem?) by writing and citing.

- Why am I sharing this piece? Who do I want to share it with and what do I want to convey to the ones I am sharing with?
- When does citing turn into acknowledging?
- What relations do the citations create? (between the text and the source, the text and the reader, the reader and the source)
- Does citation always mean others can access and refer to this specific item?
- How do I hope this piece to circulate?
- Could the cited materials/references form a new library? So that "my" citations and refernces can be used by others? The bibliography as resource? Drawing in the quote that it is not "my finding", but others can use it their way.
- Can I draw/write a genealogy of inspirations for the writing of this piece
- Can I draw a future genealogy that this piece/work/gesture might inspire
- Did I re-use any material from ouside the academic context? Are these citations affirmative, gestural, performative, could they be considered a form of violent appropriation?
- Am I responding/talking to someone specifically? 
- do I have a responsibility when I cite something/someone to be inline with their thinking. Of course not... but what power hierarchy/ reltionship do I build? Taking out of context, and similar?
- Does my piece reflect thinking by indigenous thought/politics, Black feminist thought/politics, queer theory/politics? (trying to move from identity to content?) Are these citations affirmative, gestural, performative, could they be considered a form of violent appropriation?
- What/who is this piece trying to be solidary with? 
- What would be the conditions for this new piece to be reused? (this is different from asking: "Who do I want to cite this work and why?") What is the difference between (re)use and citing when it comes to thoughts, traditions, experiences - as well as stabilized texts?
- what are the conditions into which this piece has been made? (did I include any info about conditions in the piece)
- What should readers (not) do with the piece? (indeed probably easier to respond what not to do than what to do?)
- what are the conditions in which the cited work has been produced? 
- which tools did I use to craft the argument? from which tradition do they stem?
- to what (field?, movement? what could be meant with what?) does this piece contribute? ("what does this piece contribute to"? I think "what" is the question, right)
- are the citations (data, practices, methods) I draw on extractive or productive? (or generative?)
- what barriers might exist in the way this piece can be accessed? how can these barriers be turned into access?
- What does this piece contribute to ongoing conversations 
- What is this piece (?) committed to/committing to
[opacity? uncitable references?]
- What power relations does this piece contribute to and/or break down
- 

we're moving within her framweowrk -- it is a loop



-----------------------------

CC4r * COLLECTIVE CONDITIONS FOR RE-USE
Copyleft Attitude with a difference - version 1.0

REMINDER TO CURRENT AND FUTURE AUTHORS:
The authored work released under the CC4r was never yours to begin with. The CC4r considers authorship to be part of a collective cultural effort and rejects authorship as ownership derived from individual genius. This means to recognize that it is situated in social and historical conditions and that there may be reasons to refrain from release and re-use.

PREAMBLE
The CC4r articulates conditions for re-using authored materials. This document is inspired by the principles of Free CultureAymeric Mansoux gives an historical overview of the development of non-software licensing during the research day Authors of the Future in 2019 – with a few differences. You are invited to copy, distribute, and transform the materials published under these conditions, and to take the implications of (re-)use into account.
The CC4r understands authorship as inherently collaborative and already-collective. It applies to hybrid practices such as human-machine collaborations and other-than-human contributions. The legal framework of copyright ties authorship firmly in property and individual human creation, and prevents more fluid modes of authorial becoming from flourishingDuring the research day Authors of the Future (https://constantvzw.org/site/-Authors-of-the-future,225-.html), Séverine Dusollier gave a talk on Inclusive Copyright. She explains how the copyleft re-inscribes some of the problems of copyright, especially in relation to collective authorship. The talk is in French.. Free Culture and intersectional, feminist, anti-colonial work reminds us that there is no tabula rasa, no original or single author; that authorial practice exists within a web of references.

The CC4r favours re-use and generous access conditions. It considers hands-on circulation as a necessary and generative activation of current, historical and future authored materials. While you are free to (re-)use them, you are not free from taking the implications from (re-)use into account.
The CC4r troubles the binary approach that declares authored works either ‘open’ or ‘closed’. It tries to address how a universalist approach to openness such as the one that Free licenses maintain, has historically meant the appropriation of marginalised knowledgesClara Balaguer discusses her different practices towards authorship and the pain that can come from authorship when your voice is part of a group that has been historically silenced. It is concerned with the way Free Culture, Free Licenses and Open Access do not account for the complexity and porosity of knowledge practices and their circulationDaniel Blanga Gubbay gives a talk on Potential Authorship during Authors of the Future in 2019. Daniel tells us about ways of understanding knowledge and authorship which render impossible the coupling of knowledge/authorship with ownership, nor for the power structures active around it. This includes extractive use by software giants and commercial on-line platforms that increasingly invest into and absorb Free Culture.

The CC4r asks CURRENT and FUTURE AUTHORS, as a collective, to care together for the implications of appropriation. To be attentive to the way re-use of materials might support or oppress others, even if this will never be easy to gauge This implies to consider the collective conditions of authorship.
The CC4r asks you to be courageous with the use of materials that are being licensed under the CC4r. To discuss them, to doubt, to let go, to change your mind, to experiment with them, to give back to them and to take responsibility when things might go wrong.This is characteristic of Constant's approach to things which does not look for absolute and definite answer/solution but instead favours doubt, (re)-examination, experimentation and in that, accepting that mistakes will be made.
Considering the Collective Conditions for (re-)use involves inclusive crediting and speculative practices for referencing and resourcing. To consider the circulation of materials on commercial platforms as participating in extractive data practices; platform capitalism appropriates and abuses collective authorial practice. To take into account that the defaults of openness and transparency have different consequencesThis text was included in the reader of the worksession. The authors talks about tools and strategies that go against universal openness but instead follows situated contexts. in different contextsFemke, Peter and Roel discuss the difficulties with restrictions and openness of licenses in relation to the different contexts/spaces into which they should operate. The previously referenced text from Kimberly A. Christen is directly discussed.. To consider the potential necessity for opacity when accessing and transmitting knowledge, especially when it involves materials that matter to marginalized communities.

This document was written in response to the Free Art License (FAL) in a process of coming to terms with the colonial structuring of knowledge production. It emerged out of concerns with the way Open Access and Free Culture ideologies foregrounding openness and freedom as universal principles might replicate some of the problems with conventional copyright.

DEFINITIONS
« LEGAL AUTHOR » In the CC4r, LEGAL AUTHOR is used for the individual that is assigned as “author” by conventional copyright. Even if the authored work was never theirs to begin with, he or she is the only one that is legally permitted to license a work under a CC4r. This license is therefore not about liability, or legal implications. It cares about the ways copyright contributes to structural inequalities.
« CURRENT AUTHOR » can be used for individuals and collectives. It is the person, collective or other that was involved in generating the work created under a CC4r license. CURRENT and FUTURE AUTHOR are used to avoid designations that overly rely on concepts of ‘originality’ and insist on linear orders of creation.
« FUTURE AUTHOR » can be used for individuals and collectives. They want to use the work under CC4r license and are held to its conditions. All future authors are considered coauthors, or anauthors. They are anauthorized because this license provides them with an unauthorized authorization.
« LICENSE » due to its conditional character, this document might actually not qualify as a license. It is for sure not a Free Culture License. see also: UNIVERSALIST OPENNESS.
« (RE-)USE » the CC4r opted for bracketing “RE” out of necessity to mess up the time-space linearity of the original.« OPEN <-> CLOSED » the CC4r operates like rotating doors… it is a swinging license, or a hinged license.
« UNIVERSALIST OPENNESS » the CC4r tries to propose an alternative to universalist openness. A coming to terms with the fact that universal openness is “safe” only for some.
0. CONDITIONS
The invitation to (re-)use the work licenced under CC4r applies as long as the FUTURE AUTHOR is convinced that this does not contribute to oppressive arrangements of power, privilege and difference. These may be reasons to refrain from release and re-use.
If it feels paralyzing to decide whether or not these conditions apply, it might point at the need to find alternative ways to activate the work. In case of doubt, consult for example https://constantvzw.org/wefts/orientationspourcollaboration.en.html.
1. OBJECT
The aim of this license is to articulate collective conditions for re-use.
2. SCOPE
The work licensed under the CC4r is reluctantly subject to copyright law. By applying CC4r, the legal author extends its rights and invites others to copy, distribute, and modify the work.
2.1 INVITATION TO COPY (OR TO MAKE REPRODUCTIONS)
When the conditions under 0. apply, you are invited to copy this work, for whatever reason and with whatever technique.
2.2 INVITATION TO DISTRIBUTE, TO PERFORM IN PUBLIC
As long as the conditions under 0. apply, you are invited to distribute copies of this work; modified or not, whatever the medium and the place, with or without any charge, provided that you:

3. INVITATION TO MODIFY
As long as the conditions under 0. apply, you are invited to make future works based on the current work, provided that you:
Incorporating this work into a larger work (i.e., database, anthology, compendium, etc.) is possible. If as a result of its incorporation, the work can no longer be accessed apart from its appearance within the larger work, incorporation can only happen under the condition that the larger work is as well subject to the CC4r or to a compatible license.

4. COMPATIBILITY
A license is compatible with the CC4r provided that:

5. LEGAL FRAMEWORK
Because of the conditions mentioned under 0., this is not a Free License. It is reluctantly formulated within the framework of both the Belgian law and the Berne Convention for the Protection of Literary and Artistic Works.
“We recognize that private ownership over media, ideas, and technology is rooted in European conceptions of property and the history of colonialism from which they formed. These systems of privatization and monopolization, namely copyright and patent law, enforce the systems of punishment and reward which benefit a privileged minority at the cost of others’ creative expression, political discourse, and cultural survival. The private and public institutions, legal frameworks, and social values which uphold these systems are inseparable from broader forms of oppression. Indigenous people, people of color, queer people, trans people, and women are particularly exploited for their creative and cultural resources while hardly receiving any of the personal gains or legal protections for their work. We also recognize that the public domain has jointly functioned to compliment the private, as works in the public domain may be appropriated for use in proprietary works. Therefore, we use copyleft not only to circumvent the monopoly granted by copyright, but also to protect against that appropriation.” [Decolonial Media License]

6. YOUR RESPONSIBILITIES
The invitation to use the work as defined by the CC4r (invitation to copy, distribute, modify) implies to take the implications of the appropriation of the materials into account.

7. DURATION OF THE LICENSE
This license takes effect as of the moment that the FUTURE AUTHOR accepts the invitation of the CURRENT AUTHOR. The act of copying, distributing, or modifying the work constitutes a tacit agreement. This license will remain in effect for the duration of the copyright which is attached to the work. If you do not respect the terms of this license, the invitation that it confers is void. If the legal status or legislation to which you are subject makes it impossible for you to respect the terms of this license, you may not make use of the rights which it confers.

8. VARIOUS VERSIONS OF THE LICENSE
You are invited to reformulate this license by way of new, renamed versions. Link to license on gitlab. You can of course make reproductions and distribute this license verbatim (without any changes).

9. USER GUIDE– How to use the CC4r?
To apply the CC4r, you need to mention the following elements:
[Name of the legal author, title, date of the work. When applicable, names of authors of the common work and, if possible, where to find other versions of the work].
Copyleft with a difference: This is a collective work, you are invited to copy, distribute, and modify it under the terms of the CC4r [link to license].
Short version: Legal author=name, date of work. CC4r [link to license]

– Why use the CC4r?

– When to use the CC4r?
Any time you want to invite others to copy, distribute and transform authored works without exclusive appropriation but with considering the implications of (re-)use, you can use the CC4r. You can for example apply it to collective documentation, hybrid productions, artistic collaborations or educational projects.

– What kinds of works can be subject to the CC4r?
The Collective Conditions for re-use can be applied to digital as well as physical works.You can choose to apply the CC4r for any text, picture, sound, gesture, or whatever material as long as you have legal author’s rights.

– Background of this license:
The CC4r was developed for the Constant worksession Unbound libraries (spring 2020) and followed from discussions during and contributions to the study day Authors of the future (Fall 2019). It is based on the Free Art License and inspired by other licensing projects such as the (Cooperative) Non-Violent Public License and the Decolonial Media license. Copyleft Attitude with a difference, 6 October 2020. Read more about CC4r in: “Collectively Setting Conditions for Re-Use” (Elodie Mugrefya & Femke Snelting, MARCH, spring 2022)