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Create open source
Replacing Control With Ecologies of Care | Autistic CollaborationOne model that successfully harnesses the power and commitment of talent and engages that talent in an ongoing way over time is open source. The term “open source” is traditionally... More communities
What I have always been hoping to accomplish is the creation of community.Community is magic. Community is power. Community is resistance.Disability Visibility: First-Person Stories from the Twenty-First Century https://www.amazon.com/Disability-Visibility-First-Person-Stories-Twenty-First-ebook/dp/B082ZQBL98/ https://www.amazon.com/Disability-Visibility-Adapted-Young-Adults-ebook/dp/B08VFT4R9T/... More instead of walled gardens of intellectual property rights – to create a global knowledge commons and to maximise collective intelligence.
Our Glossary, Field Guide, Library, Pillars, Gallery, and Courses steadily expand in depth and breadth. We’re building a knowledge commons and a space of openness, at the edges.
For me this space of radical openness is a marginFor me this space of radical openness is a margin a profound edge. Locating oneself there is difficult yet necessary. It is not a “safe” place. One is always at... More a profound edgeFor me this space of radical openness is a margin a profound edge. Locating oneself there is difficult yet necessary. It is not a “safe” place. One is always at... More. Locating oneself there is difficult yet necessary. It is not a “safe” place. One is always at risk. One needs a community
Living as we did on the edge we developed a particular way of seeing reality. We looked both from the outside in and from the inside out. We focused our attention on the centre as well as on the margin. We understood both.
Choosing the Margin as a Space of Radical Openness, bell hooks
The writing on Stimpunks
Stimpunk combines “stimming” + “punk” to evoke open and proud stimming, resistance to neurotypicalization, and the DIY culture of punk, disabled, and neurodivergent communities. Instead of hiding our stims, we... More.org that isn’t quoted from elsewhere is licensed under Creative Commons Attribution-ShareAlike 4.0 International (CC BY-SA 4.0).
Rights to the images on Stimpunks belong to the individual artists/photographers unless a license is stated in the image caption. Many, but not all, use CC BY-SA.
Under CC BY-SA,
You are free to:
- Share — copy and redistribute the material in any medium or format
- Adapt — remix, transform, and build upon the material
- for any purposeSelf-determination Theory (SDT) is... — a model, a macro theory, of human motivation. It’s one of several models of human motivation, but it’s one that has been confirmed over and... More, even commercially.
Under the following terms:
- Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
- ShareAlike — If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original.
- No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.
Source: Attribution-ShareAlike 4.0 International(CC BY-SA 4.0)
How to Attribute Us
Fair use applies. We quote widely using block quote citations with the title of the piece and a link back. That’s all you need to do for fair use.
If you use our work more extensively, here’s an attribution example using the recommendations from Creative Commons.
“The Five Neurodivergent Love Languages” by Stimpunks Foundation is licensed under CC BY-SA 4.0
What is a Free Cultural Work?
Stimpunks.org is a free cultural work.
Freedom Defined names four necessary characteristics of a free cultural work:
Understanding Free Cultural Works – Creative Commons
- Freedom to use the work itself. This is the most basic thing a free content license allows: when you get a copy of a work under one of these licenses, you can use it however you want. This means without restrictions based on the kind of use: you may use it for commercial, political, or religious purposes, for example, or make unlimited copies in differentOur friends and allies at Randimals have a saying, What makes us different, makes all the difference in the world.Randimals We agree. Randimals are made up of two different animals... More formats to use on different devices. (This is why the NC licenses aren’t considered licenses for Free Cultural Works.)
- Freedom to use the information in the work for any purpose. In addition to being able to simply share a free cultural work, you should also be able to use the information it contains. For example, if it’s a research paper or educational course, you should be able to build on it for your own research and teaching. If you are using something functional, such as a hardware design, you should be able to reverse-engineer it to figure out exactly how it works.
- Freedom to share copies of the work for any purpose. When you get a copy of a free cultural work, you can make and share as many copies as you want, wherever you want. This means you can put it on your blog or website, include it in books, share it on file-trading networks, sell it in stores, give it away on CDs–there is no limit on how many copies you can make or where you can copy them, and you can use them for any purpose, even commercially.
- Freedom to make and share remixes and other derivatives for any purpose. You can edit, remix, and transform a work under a free culture license however you want, and share those remixed copies as freely as the original. For example, you can build upon the original by making translations, mashups, fanfiction, and any other kind of derivative work you want, and share those remixed works freely, or even sell them. (This is why ND-licensed work isn’t considered a Free Cultural Work.)
Everything is a Remix
Next in a punk
Everything that was normally supposed to be hidden was brought to the front.Punk subculture - Wikipedia The First Rule of Punk: Be Yourself Our Second Rule of Punk: Reframe The... More sensibility was its love affair with pastiche. As the true postmoderns they were, punks drew freely from highbrow culture, lowbrow culture, and places in between, picking and choosing as they went, bound by no formal ideology.
In practice, however, punks consciously or unconsciously drew on previous youth cultures, with methodologies and ideologies marked by pastiche and bricolageIn the arts, bricolage (French for "DIY" or "do-it-yourself projects") is the construction or creation of a work from a diverse range of things that happen to be available, or... More. In other words, punks borrowed freely from previous youth cultures and dominant society, melding these elements into a new form of expression.
“We Accept You, One of Us?”: Punk Rock, Community, and Individualism in an Uncertain Era, 1974-1985
…punks viewed the pedestrian actions of everyday life as potential expressions of art
The arts are not a way to make a living. They are a very human way of making life more bearable. Practicing an art, no matter how well or badly,... More and ideology.
The vast majority of the time, however, female punks took a pastiche approach, drawing inspiration from many areas of popular culture. According to journalist Kristine McKenna, “punks rejected the Academy and drew instead from ‘low’ sources: graffiti, underground comics, advertising, car culture, the tarot, blaxpoitation, bondage and pornography, surf culture, fifties industrial films, Mad magazine, and the universe of American detritus that winds up in thrift stores. It all got tossed in the blender.” As this quote suggests, there was no single, agreed-upon guise in early punk. Jane Wiedlin of the Go-Go’s described the early Masque scene: “Everyone was kind of into the whole homemade thing, ‘cause … you couldn’t buy real punk clothes like they could in London.”
“We Accept You, One of Us?”: Punk Rock, Community, and Individualism in an Uncertain Era, 1974-1985
ConstructionismPapert was one of the founders of constructionism, which builds on Piaget's theories of constructivism — that is, learning occurs through the reconstruction of knowledge rather than a transmission of... More, collaborative niche construction
Positive Niche Construction--practice of differentiating instruction for the neurodiverse brainNeurodiversity in the Classroom Positive niche construction is a strengths-based approach to educating students with disabilities. Reimagining Inclusion with Positive Niche... More, bricolage, and toolbelt theory
Toolbelt Theory is based in the concept that students must learn to assemble their own readily available collection of life solutions. They must learn to choose and use these solutions... More go great with free cultural works. Imagine the possibilities in your spheres, especially for spiky profiles
There is consensus regarding some neurodevelopmental conditions being classed as neurominorities, with a ‘spiky profile’ of executive functions difficulties juxtaposed against neurocognitive strengths as a defining characteristic. Neurominorities, Spiky Profiles,... More.
Learn how we use bricolage on our bricolage page.
We’re building a knowledge commons and a space of openness, at the edges.
Further reading
There are three types of reading: eye reading, ear reading, and finger reading.The Dyslexia Empowerment Plan: A Blueprint for Renewing Your Child's Confidence and Love of Learning Most schools and... More,
