flameshotLogoLicense.txt 9.7 KB

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  1. Free Art License 1.3
  2. [ Copyleft Attitude ]
  3. Free Art License 1.3 (FAL 1.3)
  4. Preamble
  5. The Free Art License grants the right to freely copy, distribute, and
  6. transform creative works without infringing the author's rights.
  7. The Free Art License recognizes and protects these rights. Their
  8. implementation has been reformulated in order to allow everyone to use
  9. creations of the human mind in a creative manner, regardless of their
  10. types and ways of expression.
  11. While the public's access to creations of the human mind usually is
  12. restricted by the implementation of copyright law, it is favoured by
  13. the Free Art License. This license intends to allow the use of a
  14. work’s resources; to establish new conditions for creating in order to
  15. increase creation opportunities. The Free Art License grants the right
  16. to use a work, and acknowledges the right holder’s and the user’s
  17. rights and responsibility.
  18. The invention and development of digital technologies, Internet and
  19. Free Software have changed creation methods: creations of the human
  20. mind can obviously be distributed, exchanged, and transformed. They
  21. allow to produce common works to which everyone can contribute to the
  22. benefit of all.
  23. The main rationale for this Free Art License is to promote and protect
  24. these creations of the human mind according to the principles of
  25. copyleft: freedom to use, copy, distribute, transform, and prohibition
  26. of exclusive appropriation.
  27. Definitions
  28. “work” either means the initial work, the subsequent works or the
  29. common work as defined hereafter:
  30. “common work” means a work composed of the initial work and all
  31. subsequent contributions to it (originals and copies). The initial
  32. author is the one who, by choosing this license, defines the
  33. conditions under which contributions are made.
  34. “Initial work” means the work created by the initiator of the common
  35. work (as defined above), the copies of which can be modified by
  36. whoever wants to
  37. “Subsequent works” means the contributions made by authors who
  38. participate in the evolution of the common work by exercising the
  39. rights to reproduce, distribute, and modify that are granted by the
  40. license.
  41. “Originals” (sources or resources of the work) means all copies of
  42. either the initial work or any subsequent work mentioning a date and
  43. used by their author(s) as references for any subsequent updates,
  44. interpretations, copies or reproductions.
  45. “Copy” means any reproduction of an original as defined by this
  46. license.
  47. 1. OBJECT
  48. The aim of this license is to define the conditions under which one
  49. can use this work freely.
  50. 2. SCOPE
  51. This work is subject to copyright law. Through this license its author
  52. specifies the extent to which you can copy, distribute, and modify it.
  53. 2.1 FREEDOM TO COPY (OR TO MAKE REPRODUCTIONS)
  54. You have the right to copy this work for yourself, your friends or any
  55. other person, whatever the technique used.
  56. 2.2 FREEDOM TO DISTRIBUTE, TO PERFORM IN PUBLIC
  57. You have the right to distribute copies of this work; whether modified
  58. or not, whatever the medium and the place, with or without any charge,
  59. provided that you: attach this license without any modification to the
  60. copies of this work or indicate precisely where the license can be
  61. found, specify to the recipient the names of the author(s) of the
  62. originals, including yours if you have modified the work, specify to
  63. the recipient where to access the originals (either initial or
  64. subsequent).
  65. The authors of the originals may, if they wish to, give you the right
  66. to distribute the originals under the same conditions as the copies.
  67. 2.3 FREEDOM TO MODIFY
  68. You have the right to modify copies of the originals (whether initial
  69. or subsequent) provided you comply with the following conditions: all
  70. conditions in article 2.2 above, if you distribute modified copies;
  71. indicate that the work has been modified and, if it is possible, what
  72. kind of modifications have been made; distribute the subsequent work
  73. under the same license or any compatible license.
  74. The author(s) of the original work may give you the right to modify it
  75. under the same conditions as the copies.
  76. 3. RELATED RIGHTS
  77. Activities giving rise to author’s rights and related rights shall not
  78. challenge the rights granted by this license.
  79. For example, this is the reason why performances must be subject to
  80. the same license or a compatible license. Similarly, integrating the
  81. work in a database, a compilation or an anthology shall not prevent
  82. anyone from using the work under the same conditions as those defined
  83. in this license.
  84. 4. INCORPORATION OF THE WORK
  85. Incorporating this work into a larger work that is not subject to the
  86. Free Art License shall not challenge the rights granted by this
  87. license.
  88. If the work can no longer be accessed apart from the larger work in
  89. which it is incorporated, then incorporation shall only be allowed
  90. under the condition that the larger work is subject either to the Free
  91. Art License or a compatible license.
  92. 5. COMPATIBILITY
  93. A license is compatible with the Free Art License provided: it gives
  94. the right to copy, distribute, and modify copies of the work including
  95. for commercial purposes and without any other restrictions than those
  96. required by the respect of the other compatibility criteria; it
  97. ensures proper attribution of the work to its authors and access to
  98. previous versions of the work when possible; it recognizes the Free
  99. Art License as compatible (reciprocity); it requires that changes made
  100. to the work be subject to the same license or to a license which also
  101. meets these compatibility criteria.
  102. 6. YOUR INTELLECTUAL RIGHTS
  103. This license does not aim at denying your author's rights in your
  104. contribution or any related right. By choosing to contribute to the
  105. development of this common work, you only agree to grant others the
  106. same rights with regard to your contribution as those you were granted
  107. by this license. Conferring these rights does not mean you have to
  108. give up your intellectual rights.
  109. 7. YOUR RESPONSIBILITIES
  110. The freedom to use the work as defined by the Free Art License (right
  111. to copy, distribute, modify) implies that everyone is responsible for
  112. their own actions.
  113. 8. DURATION OF THE LICENSE
  114. This license takes effect as of your acceptance of its terms. The act
  115. of copying, distributing, or modifying the work constitutes a tacit
  116. agreement. This license will remain in effect for as long as the
  117. copyright which is attached to the work. If you do not respect the
  118. terms of this license, you automatically lose the rights that it
  119. confers.
  120. If the legal status or legislation to which you are subject makes it
  121. impossible for you to respect the terms of this license, you may not
  122. make use of the rights which it confers.
  123. 9. VARIOUS VERSIONS OF THE LICENSE
  124. This license may undergo periodic modifications to incorporate
  125. improvements by its authors (instigators of the “Copyleft Attitude”
  126. movement) by way of new, numbered versions.
  127. You will always have the choice of accepting the terms contained in
  128. the version under which the copy of the work was distributed to you,
  129. or alternatively, to use the provisions of one of the subsequent
  130. versions.
  131. 10. SUB-LICENSING
  132. Sub-licenses are not authorized by this license. Any person wishing to
  133. make use of the rights that it confers will be directly bound to the
  134. authors of the common work.
  135. 11. LEGAL FRAMEWORK
  136. This license is written with respect to both French law and the Berne
  137. Convention for the Protection of Literary and Artistic Works.
  138. USER GUIDE
  139. - How to use the Free Art License?
  140. To benefit from the Free Art License, you only need to mention the
  141. following elements on your work:
  142. [Name of the author, title, date of the work. When applicable, names
  143. of authors of the common work and, if possible, where to find the
  144. originals].
  145. Copyleft: This is a free work, you can copy, distribute, and modify it
  146. under the terms of the Free Art License
  147. http://artlibre.org/licence/lal/en/
  148. - Why to use the Free Art License?
  149. 1.To give the greatest number of people access to your work.
  150. 2.To allow it to be distributed freely.
  151. 3.To allow it to evolve by allowing its copy, distribution, and
  152. transformation by others.
  153. 4.So that you benefit from the resources of a work when it is under
  154. the Free Art License: to be able to copy, distribute or transform
  155. it freely.
  156. 5.But also, because the Free Art License offers a legal framework to
  157. disallow any misappropriation. It is forbidden to take hold of
  158. your work and bypass the creative process for one's exclusive
  159. possession.
  160. - When to use the Free Art License?
  161. Any time you want to benefit and make others benefit from the right to
  162. copy, distribute and transform creative works without any exclusive
  163. appropriation, you should use the Free Art License. You can for
  164. example use it for scientific, artistic or educational projects.
  165. - What kinds of works can be subject to the Free Art License?
  166. The Free Art License can be applied to digital as well as physical
  167. works. You can choose to apply the Free Art License on any text,
  168. picture, sound, gesture, or whatever sort of stuff on which you have
  169. sufficient author's rights.
  170. - Historical background of this license:
  171. It is the result of observing, using and creating digital
  172. technologies, free software, the Internet and art. It arose from the
  173. “Copyleft Attitude” meetings which took place in Paris in 2000. For
  174. the first time, these meetings brought together members of the Free
  175. Software community, artists, and members of the art world. The goal
  176. was to adapt the principles of Copyleft and free software to all sorts
  177. of creations. http://www.artlibre.org
  178. Copyleft Attitude, 2007.
  179. You can make reproductions and distribute this license verbatim
  180. (without any changes).
  181. Translation : Jonathan Clarke, Benjamin Jean, Griselda Jung, Fanny
  182. Mourguet, Antoine Pitrou. Thanks to framalang.org