for - quote / insight - decreased resiliency due to tight network of elites - From Complex Regions to Complex Worlds Crawford Stanley Holling - 2004 - creative alternatives - liminal spaces - rapid whole system change

quote / insight - decreased resiliency due to tight network of elites - (see quote below) - The front-loop phase is more predictable, - with higher degrees of certainty. - In both the natural and social worlds, - it maximizes production and accumulation. - We have been in that mode since World War II. - The consequence of this is not only an accumulation and concentration of wealth, - but also the emergence of greater vulnerability because of - the increasing number of interconnections that link that wealth, and - those who control it, - in efforts to sustain it. - Little time and few resources are available for alternatives that explore different visions or opportunities. - Emergence and novelty is inhibited. - This growing connectedness leads to increasing rigidity in its goal to retain control, - and the system becomes ever more tightly bound together. - This reduces resilience and the capacity of the system to absorb change, - thus increasing the threat of abrupt change. - We can recognize the need for change but become politically stifled in our capacity to act effectively.

to - quote - we are now in a back-loop of a planetary adaptive cycle - From Complex Regions to Complex Worlds - Crawford Stanley Holling - 2004 - https://hyp.is/FTRDoJFuEe-rsvdKeYjr0g/www.ecologyandsociety.org/vol9/iss1/art11/main.html?ref=ageoftransformation.org

comment - These ideas are quite important for those change actors working to emerge creative alternatives - liminal spaces - rapid whole system change

for - quote - we are in a back-loop phase - From Complex Regions to Complex Worlds - Crawford Stanley Holling - 2004 - creative alternatives - liminal spaces - rapid whole system change

comment - This is important for discussion for change actors working in liminal spaces attempting to give birth to creative alternatives

for - co-creative collaboration - preliminary groundwork

comment - How many times have I seen people come together with good intention to collaborate on some meaningful project onlyl for the project to fall apart some time later due to differences that emerge later on? - Without laying the proper framework for engagement and conflict resolution, we cannot prevent future conflicts from emerging - What is that proper framework? - What variables bring people closer together? - What variables drive people further apart? - We must identify those variables. They are complex because each one of us see's reality from our own unique perspective

for - Medium article - co-creative collaboration - Donna Nelham

summary - Donna takes us on a deep dive into the word collaboration what is needed to forge deep and meaningful collaboration and why it often fails - She introduces the term "collaboration washing" (like green washing) into our lexicon - This article is provocation for deep dive into what it means to collaborate - The questions we ask ourselves will lead us back to the most fundamental philosophical questions of self and other and how we formed these

for - adder - for deep collaboration - article - Co-creative Collaboration - Donna Nelham

adder - for deep collaboration - article - Co-creative Collaboration - Donna Nelham - symmathesy - mutual learning - Nora Bateson - https://hyp.is/_V3NAk4UEe6Z6btu_1LIkA/norabateson.wordpress.com/2015/11/03/symmathesy-a-word-in-progress/

for - from - recommendation - from - Michel Bauwens - on Fair Share Commons chat thread, 2024 Oct 17 - context Karl Marx liberation of the individual - to - substack article - Why Human (Contributive) Labor remains the creative principle of human society - Michel Bauwens article details - title: From Modes of Production to the Resurrection of the Body: A Labor Theory of Revolutionary Subjectivity & Religious Ideas" (2016) - author: Benjamin Suriano

to - Substack article - Why Human (Contributive) Labor remains the creative principle of human society - Michel Bauwens - https://hyp.is/go?url=https%3A%2F%2F4thgenerationcivilization.substack.com%2Fp%2Fwhy-human-contributive-labor-remains&group=world

for - from - AnMaonaigh - annotation - Christian Monastic Communities - from article - Why Human (Contributive) Labor remains the creative principle of human society - Michel Bauwens - Substack - https://hyp.is/iITCrH2hEe-nIc9iOR4VeQ/4thgenerationcivilization.substack.com/p/why-human-contributive-labor-remains

for - Hanseatic cities - from - annotation - Why Human (Contributive) Labor remains the creative principle of human society - Michel Bauwens - Substack article

from - annotation - WHy Human (Contributive) Labor remains the creative principle of human society - Michel Bauwens - Substack article - https://hyp.is/Pcejdn2fEe-ppu9TjwiF_g/4thgenerationcivilization.substack.com/p/why-human-contributive-labor-remains

from - annotation of - Why Human (Contributive) Labor remains the creative principle of human society - Michel Bauwens - Substack article - https://hyp.is/v5Qe2H2gEe-v1O_KRz3jSQ/4thgenerationcivilization.substack.com/p/why-human-contributive-labor-remains

for - adjacency - labour - creative force - cultural evolution - intent - emptiness

adjacency - between - Labour - cultural evolution - progress - progress trap - religion - emptiness - adjacency relationship - Labour is the result of collective agency over space and time - It is the collective effect of the motor control system of the societies of multi-cellular human INTERbeCOMings - driven by their collective intent - Losing sight of the sacred, and not understanding the saliency of emptiness, - we fall into progress traps, - of which commodified Labour is a major one

I think this is why I've enjoyed building keyboards in recent years. Steep learning curve for me (no background in electronics or C), but it's enough to know there's a solution for pretty much every problem I might encounter. It's an on-ramp to engaging with something like writing. It fosters the notion that there is a "solution", I just need to keep digging. Keyboard building as training for a resilient creative practice. Yes.

Great explanation of what "Creative Commons" is

for - adjacency - creative autonomy - social learning

adjacency - between - creative autonomy - social learning - adjacency statement - There is a balance between learning from others - and creating something new ourselves - Learning from others is like a double-edge sword - We can gain new ideas that inform our own - but it can also limit and overshadow our freedom

02:42 Clothing should be a creative expression. Men tend towards pragmatic clothing

https://murdycreative.co/products/everbook

Leather and elastic lists for $124.00 US

A system set up to sell a product? Could easily be knocked off or done DIY.

https://www.youtube.com/watch?v=Dfk2KNXH6Go

Marketing video/unboxing-esque...

https://www.youtube.com/watch?v=k_6BjUzwJX8

via https://everbookforever.com/

Leather sheet folded into four sections onto itself like a book cover. It holds six folders of pieces of paper (most of them folded in half making mini-booklet pages): - blank paper for future note taking use - templates (project pack, weekly schedule/to do template, project list, project templates) - logbook, journal like, dated, - contains notes, outlines, brain storms, and scratch pad - next actions/workstation (to do lists for email, home, work, calls ) - Project Pack (9 projects for the quarter, each has their own page or mini folder with details) - Work Week or the Weekly Review Folder (areas of focus/project list, yearly calendar on a page for planning, whatever folder, wild ideas,

When done, all the pages of folders are packed up and wrapped with an elastic band for easy carrying. It's like a paper (looks like A5) notebook deconstructed and filed into paper folders and wrapped in a pretty leather cover.

As sections are finished/done they can be archived into small booklets and presumably filed.

This looks shockingly like my own index-card productivity system based on a variety of Memindex/Bullet Journal/GTD.

love this description

creative mathematics versus computational or calculational mathematics...

we need more of the creative in early education

partial quote from Emily Riehl

Inspiration needs to be expressed (not only passive consumption and annotating) - what about capturing your thoughts and synthesising them with readings to create something for yourself (expressing/creating privately)

via Andy

Andy indicates that this review functionality isn't specific to zettelkasten, but it still sits in the framework of note taking. Given this, are there really "other" ways available?

My (Entirely-Unsolicited) Thoughts on the most Casual Crue™'s 10th:

Ya know, my memory isn't so great anymore, but I remember my then best friend and most respected music authority resting pretty confidently in an argument about this sound, and those who peretuated it: that it was by nature/declaration substanceless, and therefore, those invested in it were either just superficial or.. idek anymore. Ingenuine, maybe?

I don't think I was even placating with him when I mostly went along with it - it did seem important to invest in more abrasive (read: edgy bs) pursuits. I thought I was resisting "nostalgia" and even invested most of my twenties trying to start an online culture/electronic music magazine in direct editorial opposition to regurgitation. Imo, though, any actual exposure to self-described "vaporwave" makes it very plain how utterly useless it is to cry nostalgia because - crucially - whatever form of it that may or may not be an established marker of this voice is completely devoid of the illness that has absolutely pervaded, destructively, throughout all manner of expression and exploitation in the past 10 years.

It is just not a constraining or negative force, here. I would propose, even, that it's been made, here, into the most powerful form of critique there possibly could be.

And the grief!!! and the mania!! In any sort of ... worldly-participatory context, it should not be some gargantuan leap for even the most cynical, repressed, bitter 50-something white music writer army to make the connections, here. Our tears are fucking digital, idiot.

...ANYway, sorry. I don't actually have any business talking about music, but I can express my big, soppy as hell appreciation for the nigh-inconceivable amount of quantitive life force for which this milestone is a handy opportunity to reflect.

Recommended Resource

Since Unit 4 mentions some CC license infringement cases as examples, I recommend adding a court case from the Netherlands of a photographer suing a website for using their photo without permission or compensation. The name of the court case is below.

ECLI:NL:RBMNE:2021:5887

The court case ended with the judge awarding the photographer (plaintiff) the following damages (excerpt is from the court case records).

"5.4. orders [defendant] to pay to [plaintiff] against proof of discharge:

€ 450.00 in damages, increased by the statutory interest as referred to in Article 6:119 of the Dutch Civil Code, with effect from 11 June 2021 until the day of full payment,

€ 67.50 in extrajudicial collection costs,

5.5. orders [defendant] to pay the costs of the proceedings on the part of [plaintiff], estimated at € 2,036.30 until the judgment of this judgment, of which € 1,702.00 in salary for the authorized representative."

This case demonstrates the enforceability of the CC license in other countries, such as the Netherlands.

Recommended Resource

I recommend adding the webpage "Open Access in Australia" on Wikiwand that documents Australia's history for accepting and promoting open access and open publication in its country.

The site contains a timeline that documents key years in which the open movement, open access, open government, and open data concepts were introduced. The year that CC Australia was established is included in the timeline.

A thought leader in creative coding.

If I were going to use an AI, I'd want to plugin and give massive priority to my commonplace book and personal notes followed by the materials I've read, watched, and listened to secondarily.

Wordcraft's hallucinations can create interesting and creatively surreal suggestions.

How might one dial up or down the ability to hallucinate or create surrealism within an artificial intelligence used for thinking, writing, etc.?

Just as using a text for writing generative annotations (having a conversation with a text) is a useful exercise for writers and thinkers, creative writers can stand to have similar textual creativity prompts.

Compare Wordcraft affordances with tools like Nabokov's card index (zettelkasten) method, Twyla Tharp's boxes, MadLibs, cadavre exquis, et al.

The key is to have some sort of creativity catalyst so that one isn't working in a vacuum or facing the dreaded blank page.

The sense of writing partner here is similar to that mentioned by Niklas Luhmann in Communicating with Slip Boxes: An Empirical Account (1981), though in his case his writing partner was a carefully constructed database archive of his past notes.

see: Luhmann, Niklas. “Kommunikation mit Zettelkästen: Ein Erfahrungsbericht.” In Öffentliche Meinung und sozialer Wandel / Public Opinion and Social Change, edited by Horst Baier, Hans Mathias Kepplinger, and Kurt Reumann, 222–28. Wiesbaden: VS Verlag für Sozialwissenschaften, 1981. https://doi.org/10.1007/978-3-322-87749-9_19.<br /> translation at https://web.archive.org/web/20150825031821/http://scriptogr.am/kuehnm.

Ippolito, Daphne, Ann Yuan, Andy Coenen, and Sehmon Burnam. “Creative Writing with an AI-Powered Writing Assistant: Perspectives from Professional Writers.” arXiv, November 9, 2022. https://doi.org/10.48550/arXiv.2211.05030.

See also: https://wordcraft-writers-workshop.appspot.com/learn

A Google project entering the public as ChatGPT was released and becoming popular.

For additional experiences, see: https://www.robinsloan.com/newsletters/authors-note/

CAA Raises Eight to Agent by Mia Galuppo

Kate Arenson, Jessica Brown, Sydney Chance, Emmett Gordon, Ron Jordan, Sydney Lipsitz, Peter Morton and Andi Wong have been upped.

read on Fri 2022-12-09 7:10 AM

APA Leaders Talk Growth and Dealing With DOJ on CAA-ICM Acquisition by Cynthia Littleton

read on Thu 2022-12-08 6:55 AM

I find it odd how there was mention of a tomb. Maybe its use is to describe his past where he was stuck with a past would be cold or cruel to most and lonely.

!- Title : Storytelling Will Save the Earth Emotional resonance, not cold statistics, will bring home the scale of the climate crisis—and the need for action. - See related story: Brian Eno – "We need the creative industry to help inspire climate action" https://hyp.is/go?url=https%3A%2F%2Fwww.imperial.ac.uk%2Fnews%2F241832%2Fbrian-eno-we-need-creative-industry%2F&group=world

!- Creative industries : absence in high level talks like COPs or climate communication

!- Title : Brian Eno – "We need the creative industry to help inspire climate action"

https://en.wikipedia.org/wiki/Fluxus

As a strategy for avoiding shiny object syndrome, one can make a routine of making a "creative inventory" of one's tools.

There is generally a high switching cost, so tools need to be an order of magnitude more useful, beneficial, or even fun to make it worthwhile.

Steven Johnson indicates that it can be difficult to change workflows, tools, apps, etc.

We should do better at teaching and training creative behavior in schools. We say that we encourage exploration but somehow do it in all the wrong ways such we discourage it wholly.

A game by Austin Kleon for making jam sessions less boring using cards.

Inspired by Oblique Strategies and The Creative Tarot.

https://jsomers.net/blog/dictionary

https://www.dalekeiger.net/untitled/

Dale Keiger is tap dancing his way into a definition for the underlying traits for encouraging and expanding on creativity. There's definitely something here worth pursuing further and giving a specific name to.

Some it is very akin to the ideas behind combinatorial creativity of working (dancing in Kelly's case) on the mundane with precision and drive and perhaps at least a soupçon of obsessiveness, but openness to the new.

How can we sharpen this set of ideas to settle on the right list of "ingredients"? Is there a way to hone in on this sort of creation of flow within a certain creative area while simultaneously not getting bored? Is it the small string of creative breakthroughs in the process of practice which open up new avenues and help create the flow to prevent boredom?

How might relate to Anders Ericsson's work on on deliberate practice or plateau principle coming into play, particularly to prevent boredom to encourage one to continue on with their practice?

I haven't put my finger on it but there were hints in it from a Yo-Yo Ma ad for Masterclass I saw the other day (https://www.youtube.com/watch?v=dbjgHkj-syM)..

If I understand it correctly, with hyperaudio, one can also create transcription to somebody else's video or audio when embedded.

In that case, if you add to hyperaudio the annotation capablity of hypothes.is or docdrop, the vision outlined in the article on Global Knowledge Graph is already a reality.

New, relatively well-formed ideas may have lost much of their ambiguity to their creators, but they're solid enough to be communicated at scale to others. The newness of the concepts as they're accepted and used by others provides a tremendous level of productive ambiguity as the ideas spread and further solidify and are combined with a broader field of pre-existing ideas.

As portions of ideas begin to become clear and crystalize, they still maintain some creative ambiguity while the remaining portions aren't necessarily clearly defined. Creatively ambiguous ideas are better defined than generatively ambiguous ones.

https://dougbelshaw.com/blog/2015/01/22/volcanoes-and-ambiguity/

<small><cite class='h-cite via'>ᔥ <span class='p-author h-card'>Aaron Davis </span> in 📑 The Two Definitions of Zettelkasten | Read Write Collect (<time class='dt-published'>11/18/2022 19:54:00</time>)</cite></small>

Sample MARC 588 CC0 statement from University of Florida

While she may not have coined the phrase "win-win", Mary Parker Follett's process of integration described in her book Creative Experience (Longmans, Green & Co., 1924) forms the basis of what we now refer to as the idea of "win-win" conflict resolution.

Follett's ideas about power over and power with also stem from Creative Experience as well.

1. Those using the power-over, power-with distinction include Dorothy Emmett, the first woman president of the British Aristotelian Society, and Hannah Arendt; Mans- bridge, ‘‘Mary Parker Follet: Feminist and Negotiator,’’ xviii–xxii.

Syndication link: - https://en.wikipedia.org/w/index.php?title=Win%E2%80%93win_game&type=revision&diff=1102353117&oldid=1076197356

Missing here is the creative divergence of creating plot points which could be later connected. This part of the process is incredibly difficult for many as seen in the poor second act development in most of narrative history. Beginnings and endings are usually incredibly easy, but the middle portions for connecting the two is incredibly hard.

Is this because creating connections between the ends when there no intervening ideas to connect is nearly impossible? How can one brainstorm middle plot points so that they might be more easily connected?

Great quote about what a zettelkasten isn't. This is also one of the reasons why I've underlined the amount of work that one must put into the box to get productive material back out the other end.

Practices such as open source Deep Humanity praxis focusing on inner transformation can play a significant role.

http://voyagela.com/interview/meet-victoria-kray-victory-astrology-publishing-central-la-hollywood/

Website: www.VICTORYASTROLOGY.COM<br /> Phone: 323-632-3217<br /> Email: victoriakray@gmail.com<br /> Instagram: VICTORYASTROLOGY

Perhaps better: Provide fodder for thinking and creating?

Congratulations Nate! I'm sure Hypothes.is will miss you desperately, but Creative Commons will be all the better for your work and contribution.

https://creativecommons.org/2022/05/03/cc-welcomes-nate-angell/

https://www.themarginalian.org/2011/06/20/inside-notebooks/

There are a number of books which feature the sketchbooks and notebooks of famous writers, researchers and artists. However, most of their work is presented as art in and of itself. Rarely are the messiest and ugliest pages pictured. Most of the layouts in these books are laid out as art. Frequently missing are the structural parts and interviews with the original authors talking about their process. How do they actually use these notebooks in practice? How do ideas move from their heads into the notebooks and from there into their practical work? The notebooks only capture raw ideas as a scaffolding for extending the user's brain and thinking, but it doesn't capture the intangible ideas and portions of process which are still trapped within their brains. To be able to evaluate these portions, the author needs to talk or write about those missing portions of the process otherwise the way they create genius is wholly missing. A viewer of such notebooks would be no closer to creating genius for themselves by attempting to follow the same patterns without these additional structures. It's like the indigenous peoples who talk with rocks as part of their cultural practice—so much of what is happening is missing from the description of "talking with rocks" that most people wouldn't even know where to begin, but for the initiated, the process would be imminently crystal clear.

Which of these books actually delves into the process and does interviews as well?

This article actually lays out the notebooks as their own form of art rather than centering the idea of creative process as a means of helping others to follow these same patterns. We need the book that does for the art and design area what Sönke Ahrens' book How to Take Smart Notes does for the note taking space. It's interesting to see Niklas Luhmann's collection of 90,000 index cards, but without knowing how he used them and what purpose they served, the enterprise is lost. Similarly the depiction of Roland Barthes' index cards in Roland Barthes has a similar function. Showing them is not equivalent to actually understanding them.

link to: https://hypothes.is/a/3SOmoMcMEey8n9dSUWhPJw

Rowan Wilken admits that Cornelia Vismann's use of files for transmission, storage, cancellation, manipulation, and destruction are remarkable, but that the key feature of the card index as a file type is its use for creative production.

This is an interesting perspective, but are there cases where it's false?

Link to the idea at CAA that you haven't really read a script unless you've actively acted upon what you've read.

Proofreading while rewriting, structuring, or doing the thinking or creative parts of writing is a form of bikeshedding. It is easy to focus on the small and picayune fixes when writing, but this distracts from the more important parts of the work which really need one's attention to be successful.

Get your ideas down on paper and only afterwards work on proofreading at the end. Switching contexts from thinking and creativity to spelling, small bits of grammar, and typography can be taxing from the perspective of trying to multi-task.

Link: Draft #4 and using Webster's 1913 dictionary for choosing better words/verbiage as a discrete step within the rewrite.

Linked to above: Are there other dictionaries, thesauruses, books of quotations, or individual commonplace books, waste books that can serve as resources for finding better words, phrases, or phrasing when writing? Imagine searching through Thoreau's commonplace book for finding interesting turns of phrase. Naturally searching through one's own commonplace book is a great place to start, if you're saving those sorts of things, especially from fiction.

Link this to Robin Sloan's AI talk and using artificial intelligence and corpuses of literature to generate writing.

Over the years texting has become something that many people tend to do as they go on through their day. However, now that we are entering a new decade we now see that people are shifting towards interacting with one another through the use of cameras (facetime) and audio messages.

https://cogdogblog.com/2022/01/could-not-stop/

I already have Creative Cloud. I might as well use Adobe Audition.

Haste is seen as a lack of decorum combined with diabolical ambition.

What a fantastic definition of haste!

via P. Bourdieu, "The attitude of the Algerian peasant toward time", in Mediterranean Countrymen, ed. J. Pitt-Rivers (Paris, 1963), PP. 55

Before beginning this piece I'm reminded to note some advice given to me by Rick Kurtzman at Creative Artists Agency (CAA) on reading scripts: If you're not going to act on having read (a script), then why bother having read it in the first place?

He meant to make notes, write coverage, create writer lists for rewriting, producer lists for selling, director list for directing, casting lists. One should tell people about the (good) things one read. Make your reading produce something.

“Creative Commons es una organización que permite a la gente publicar sus obras creativas bajo una licencia que permite más flexibilidad que el <<todos los derechos reservados>> que viene por defecto en las leyes sobre derecho de autor". (Merritt, 2005)

Estoy de acuerdo con el compromiso que tiene un autor por compartir la información de sus contenidos en beneficio de una comunidad que se puede educar con base a las necesidades de su receptor, demostrando que, sin la necesidad de condicionar económicamente a los involucrados, se puede transformar favorablemente la organización social de las reproducciones.

Mientras que Caffentzis y Federici plantean Creative Commons “anticapitalistas”, el teórico investigador belga, especializado en la tecnología, cultura e innovación en los negocios Michel Bauwens afirma que “la propiedad entre iguales es una forma postcapitalista porque no es excluyente y crea un patrimonio común con costes marginales de reproducción” (Sonvilla, 2012, p. 28), dando a entender que el intercambio individual de la expresión creativa determina el nivel en que se comparte y, en cambio, se puede optar por una ‘General Public License’ (Licencia Pública General), la cual exige que todo aporte que genere un cambio en lo común, también pertenece a todos. Referencia

Time in the US, School, Working hard, getting good grades, Extracurricular activities, poetry, Struggling, Dropping out, Immigration status, lost opportunities, in the shadows

One needs to re-read and reprocess things from time to time. This is a part of the combinatorial creativity that having notes is for.

This is reminiscent of the CAA addage: "If you read something and then don't tell anyone about it, you may as well not have read it in the first place."

Zabelina, D., Clay, J., & Upshaw, J. (2021). Imagination, anxiety, and loneliness during the COVID-19 pandemic. PsyArXiv. https://doi.org/10.31234/osf.io/9aqbj

It can be important when opening content up, especially at higher corporate levels, to take into account future uses of material that might not have been forseen when they were created. This may be especially important with the use of algorithms.

Convenient to have these four share an initial. (My perception is that a tendency to emphasize this type of parallelism has been strengthening over the years. At least, I don't recall this practice being common in French when I grew up.)

<small><cite class='h-cite via'>ᔥ <span class='p-author h-card'>Maren Deepwell</span> in Guest Post: Remixing our Open Education Online Conference : OERxDomains Conference (<time class='dt-published'>03/15/2021 21:56:21</time>)</cite></small>

A good description of openwashing. I've seen some examples of the practice in the wild, but should make a note to document some.

Creative Commons Certificate

The Certificate is an in-depth course about CC licenses, open practices and the ethos of the Commons. The course is composed of readings, quizzes, discussions, and practical exercises to develop learners’ open skills. We provide personalized engagement with expert facilitators and copyright lawyers in the field, and offer a 1:25 (max) ratio of facilitators to course participants.

Head Scratcher: How do you teach "cleverness"? This is a tough question and I feel that it is hard to understand for most instructors. How do I get my students to be more creative and clever, I believe we usually feel that students either are or are not creative and thats the end of the story. So really maybe we are the ones at fault for not teaching studetns to be "creative".

Headscratcher: How do we make sure, in our times creating instuction, that we do not neglect a medium that could be used for instruction?

I feel that one way could be to allow learners choice in how they respond to prompts and learning. I feel that this could allow for students to use their gifting and talents to excel and produce amazing work.

DOI: Creative Instruction - Engages learners and goes above thier expectations.

Another interesting take on creative instruction. I like that they define it as going "beyond [learner] expectations".

DOI: Creative instruction - Motivating instruction that stays on task.

Great definition that hints at what creative intruction looks like.

https://www.emeraldgrouppublishing.com/products/open-research-emerald/our-open-research-policies

Emerald already has progressive green open access / self archiving policies which allow immediate open access for the authors accepted manuscript (AAM) under a creative commons attribution non-commercial license (CC BY-NC). This demonstrates that Emerald cannot agree with much of the statement they are signing. Note, Plan S ask for CC BY or CC BY-ND is permissible under Plan S by exception. The funders' request for a more permissive CC BY license is all I can identify as a potential problem, but there are no specific concerns raised in the statement.

The publishers below will not support the Plan S rights retention strategy (RRS). In its simplest form the RRS re-asserts the authors' rights as the rights holder to assign a copyright license of their choice (CC BY informed by their funding agency) to all versions of their research/intellectual output. In the case of the RRS states that the author should apply a CC BY license to their accepted manuscript (AAM) if they cannot afford to pay article processing charges or choose not to apply a CC BY license to the Version of Record (VoR), which they are free to do. Therefore, this statement is either saying the undersigned will not carry publications forward to publication (most appropriate approach), or they will not support the same copyright laws which fundamentally protects their rights and revenue after a copyright transfer agreement is signed by the rightsholder.

Academy of Dental Materials

Acoustical Society of America

AIP Publishing

American Academy of Ophthalmology

American Association for Pediatric Ophthalmology and Strabismus

American Chemical Society

American Gastroenterological Association American Institute of Aeronautics and Astronautics

American Medical Association

American Physical Society

American Society for Investigative Pathology

American Society for Radiation Oncology

American Society of Civil Engineers

American Society of Hematology

American Society of Clinical Oncology

American Association of Physicists in Medicine

American Association of Physics Teachers

AVS – The Society for Science and Technology of Materials, Interfaces, and Processing

Brill

British Journal of Anaesthesia

Budrich Academic Press

Cambridge Media

Cambridge University Press

Canadian Cardiovascular Society

De Gruyter

Duncker & Humblot

Elsevier

Emerald

Erich Schmidt Verlag

French Society of Biochemistry and Molecular Biology

Frommann-Holzboog Verlag

Future Science Group 

Hogrefe

International Association for Gondwana Research

IOP Publishing

Journal of Nursing Regulation

Journal of Orthopaedic & Sports Physical Therapy (JOSPT).

Julius Klinkhardt KG

La Découverte

Laser Institute America

Materials Research Forum LLC

The Optical Society (OSA)

Pearson Benelux

SAGE Publishing

Society of Rheology

Springer Nature

Taylor & Francis Group

The Geological Society of America

Thieme Group

Uitgeverij Verloren

Verlag Barbara Budrich

Vittorio Klostermann

wbv Media

Wiley

Wolters Kluwer

Cool to see a journalistic enterprise publishing under a Creative Commons license.

Also sort of fun to see a tiny bit of a Kicks Condor design ethic baked into their website. Naturally it's a tad bit more buttoned up, but that's to be expected I suppose.

Chris Reid on Twitter. (n.d.). Twitter. Retrieved October 9, 2020, from https://twitter.com/ChrisReidDesign/status/1313540343908970496

CC Creative Commons

repetition of yes all leads up to the final yes to marriage. the lack of punctuation also makes the whole thing read as if it's being said very quickly, as if a lot of thoughts are happening all at once.

the repeated "I remember" signifies the introduction of a new idea/thought. Also sets up a good rhythm. Similar to an "I am from" poem