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   1 <html><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8"><title>สร้างโดยครีเอทีฟคอมมอนส์</title><meta name="generator" content="DocBook XSL Stylesheets V1.79.1"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="th" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>สร้างโดยครีเอทีฟคอมมอนส์</h1></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Paul</span> <span class="surname">Stacey</span></h3></div><div class="author"><h3 class="author"><span class="firstname">Sarah Hinchliff</span> <span class="surname">Pearson</span></h3></div></div></div><div><p class="copyright">สงวนสิขสิทธิ์ © 2017 Creative Commons</p></div><div><div class="legalnotice"><a name="idm18"></a><p>
   2     This book is published under a CC BY-SA license, which means that you can
   3 copy, redistribute, remix, transform, and build upon the content for any
   4 purpose, even commercially, as long as you give appropriate credit, provide
   5 a link to the license, and indicate if changes were made. If you remix,
   6 transform, or build upon the material, you must distribute your
   7 contributions under the same license as the original. License details:
   8 <a class="ulink" href="http://creativecommons.org/licenses/by-sa/4.0/" target="_top">http://creativecommons.org/licenses/by-sa/4.0/</a>
   9   </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>I don’t know a whole lot about nonfiction journalism. . . The way that I
  10 think about these things, and in terms of what I can do is. . . essays like
  11 this are occasions to watch somebody reasonably bright but also reasonably
  12 average pay far closer attention and think at far more length about all
  13 sorts of different stuff than most of us have a chance to in our daily
  14 lives.</p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
  15     \textit{  David Foster Wallace }
  16     \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>สารบัญ</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Foreword</a></span></dt><dt><span class="preface"><a href="#introduction">Introduction</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. The Big Picture</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. The Case Studies</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliography</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Acknowledgments</a></span></dt></dl></div><div class="list-of-figures"><p><b>สารบัญรูป</b></p><dl><dt>1.1. <a href="#fig-1">Enterprise engagement with commons, state and market.</a></dt><dt>1.2. <a href="#fig-2">Four aspects of resource management</a></dt><dt>1.3. <a href="#fig-3">How the market, commons and state concieve of resources.</a></dt><dt>1.4. <a href="#fig-4">In preindustrialized society.</a></dt><dt>1.5. <a href="#fig-5">The commons is gradually superseded by the state.</a></dt><dt>1.6. <a href="#fig-6">How the market, the state and the commons look today.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Foreword</h1></div></div></div><p>
  17     Three years ago, just after I was hired as CEO of Creative Commons, I met
  18 with Cory Doctorow in the hotel bar of Toronto’s Gladstone Hotel. As one of
  19 CC’s most well-known proponents—one who has also had a successful career as
  20 a writer who shares his work using CC—I told him I thought CC had a role in
  21 defining and advancing open business models. He kindly disagreed, and called
  22 the pursuit of viable business models through CC <span class="quote">“<span class="quote">a red
  23 herring.</span>”</span>
  24   </p><p>
  25     He was, in a way, completely correct—those who make things with Creative
  26 Commons have ulterior motives, as Paul Stacey explains in this book:
  27 <span class="quote">“<span class="quote">Regardless of legal status, they all have a social mission. Their
  28 primary reason for being is to make the world a better place, not to
  29 profit. Money is a means to a social end, not the end itself.</span>”</span>
  30   </p><p>
  31     In the case study about Cory Doctorow, Sarah Hinchliff Pearson cites Cory’s
  32 words from his book Information Doesn’t Want to Be Free: <span class="quote">“<span class="quote">Entering the
  33 arts because you want to get rich is like buying lottery tickets because you
  34 want to get rich. It might work, but it almost certainly won’t. Though, of
  35 course, someone always wins the lottery.</span>”</span>
  36   </p><p>
  37     Today, copyright is like a lottery ticket—everyone has one, and almost
  38 nobody wins. What they don’t tell you is that if you choose to share your
  39 work, the returns can be significant and long-lasting.  This book is filled
  40 with stories of those who take much greater risks than the two dollars we
  41 pay for a lottery ticket, and instead reap the rewards that come from
  42 pursuing their passions and living their values.
  43   </p><p>
  44     So it’s not about the money. Also: it is. Finding the means to continue to
  45 create and share often requires some amount of income.  Max Temkin of Cards
  46 Against Humanity says it best in their case study: <span class="quote">“<span class="quote">We don’t make
  47 jokes and games to make money—we make money so we can make more jokes and
  48 games.</span>”</span>
  49   </p><p>
  50     Creative Commons’ focus is on building a vibrant, usable commons, powered by
  51 collaboration and gratitude. Enabling communities of collaboration is at the
  52 heart of our strategy. With that in mind, Creative Commons began this book
  53 project. Led by Paul and Sarah, the project set out to define and advance
  54 the best open business models.  Paul and Sarah were the ideal authors to
  55 write Made with Creative Commons.
  56   </p><p>
  57     Paul dreams of a future where new models of creativity and innovation
  58 overpower the inequality and scarcity that today define the worst parts of
  59 capitalism. He is driven by the power of human connections between
  60 communities of creators. He takes a longer view than most, and it’s made him
  61 a better educator, an insightful researcher, and also a skilled gardener. He
  62 has a calm, cool voice that conveys a passion that inspires his colleagues
  63 and community.
  64   </p><p>
  65     Sarah is the best kind of lawyer—a true advocate who believes in the good of
  66 people, and the power of collective acts to change the world. Over the past
  67 year I’ve seen Sarah struggle with the heartbreak that comes from investing
  68 so much into a political campaign that didn’t end as she’d hoped. Today,
  69 she’s more determined than ever to live with her values right out on her
  70 sleeve. I can always count on Sarah to push Creative Commons to focus on our
  71 impact—to make the main thing the main thing. She’s practical,
  72 detail-oriented, and clever. There’s no one on my team that I enjoy debating
  73 more.
  74   </p><p>
  75     As coauthors, Paul and Sarah complement each other perfectly. They
  76 researched, analyzed, argued, and worked as a team, sometimes together and
  77 sometimes independently. They dove into the research and writing with
  78 passion and curiosity, and a deep respect for what goes into building the
  79 commons and sharing with the world. They remained open to new ideas,
  80 including the possibility that their initial theories would need refinement
  81 or might be completely wrong.  That’s courageous, and it has made for a
  82 better book that is insightful, honest, and useful.
  83   </p><p>
  84     From the beginning, CC wanted to develop this project with the principles
  85 and values of open collaboration. The book was funded, developed,
  86 researched, and written in the open. It is being shared openly under a CC
  87 BY-SA license for anyone to use, remix, or adapt with attribution. It is, in
  88 itself, an example of an open business model.
  89   </p><p>
  90     For 31 days in August of 2015, Sarah took point to organize and execute a
  91 Kickstarter campaign to generate the core funding for the book. The
  92 remainder was provided by CC’s generous donors and supporters. In the end,
  93 it became one of the most successful book projects on Kickstarter, smashing
  94 through two stretch goals and engaging over 1,600 donors—the majority of
  95 them new supporters of Creative Commons.
  96   </p><p>
  97     Paul and Sarah worked openly throughout the project, publishing the plans,
  98 drafts, case studies, and analysis, early and often, and they engaged
  99 communities all over the world to help write this book. As their opinions
 100 diverged and their interests came into focus, they divided their voices and
 101 decided to keep them separate in the final product. Working in this way
 102 requires both humility and self-confidence, and without question it has made
 103 Made with Creative Commons a better project.
 104   </p><p>
 105     Those who work and share in the commons are not typical creators.  They are
 106 part of something greater than themselves, and what they offer us all is a
 107 profound gift. What they receive in return is gratitude and a community.
 108   </p><p>
 109     Jonathan Mann, who is profiled in this book, writes a song a day.  When I
 110 reached out to ask him to write a song for our Kickstarter (and to offer
 111 himself up as a Kickstarter benefit), he agreed immediately. Why would he
 112 agree to do that? Because the commons has collaboration at its core, and
 113 community as a key value, and because the CC licenses have helped so many to
 114 share in the ways that they choose with a global audience.
 115   </p><p>
 116     Sarah writes, <span class="quote">“<span class="quote">Endeavors that are Made with Creative Commons thrive
 117 when community is built around what they do. This may mean a community
 118 collaborating together to create something new, or it may simply be a
 119 collection of like-minded people who get to know each other and rally around
 120 common interests or beliefs. To a certain extent, simply being Made with
 121 Creative Commons automatically brings with it some element of community, by
 122 helping connect you to like-minded others who recognize and are drawn to the
 123 values symbolized by using CC.</span>”</span> Amanda Palmer, the other musician
 124 profiled in the book, would surely add this from her case study:
 125 <span class="quote">“<span class="quote">There is no more satisfying end goal than having someone tell you
 126 that what you do is genuinely of value to them.</span>”</span>
 127   </p><p>
 128     This is not a typical business book. For those looking for a recipe or a
 129 roadmap, you might be disappointed. But for those looking to pursue a social
 130 end, to build something great through collaboration, or to join a powerful
 131 and growing global community, they’re sure to be satisfied. Made with
 132 Creative Commons offers a world-changing set of clearly articulated values
 133 and principles, some essential tools for exploring your own business
 134 opportunities, and two dozen doses of pure inspiration.
 135   </p><p>
 136     In a 1996 Stanford Law Review article <span class="quote">“<span class="quote">The Zones of
 137 Cyberspace</span>”</span>, CC founder Lawrence Lessig wrote, <span class="quote">“<span class="quote">Cyberspace is a
 138 place. People live there. They experience all the sorts of things that they
 139 experience in real space, there. For some, they experience more. They
 140 experience this not as isolated individuals, playing some high tech computer
 141 game; they experience it in groups, in communities, among strangers, among
 142 people they come to know, and sometimes like.</span>”</span>
 143   </p><p>
 144     I’m incredibly proud that Creative Commons is able to publish this book for
 145 the many communities that we have come to know and like.  I’m grateful to
 146 Paul and Sarah for their creativity and insights, and to the global
 147 communities that have helped us bring it to you.  As CC board member
 148 Johnathan Nightingale often says, <span class="quote">“<span class="quote">It’s all made of people.</span>”</span>
 149   </p><p>
 150     That’s the true value of things that are Made with Creative Commons.
 151   </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
 152     \textit{ Ryan Merkley, CEO, Creative Commons}
 153     \end{flushright}</td></tr></table></div></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="introduction"></a>Introduction</h1></div></div></div><p>
 154     This book shows the world how sharing can be good for business—but with a
 155 twist.
 156   </p><p>
 157     We began the project intending to explore how creators, organizations, and
 158 businesses make money to sustain what they do when they share their work
 159 using Creative Commons licenses. Our goal was not to identify a formula for
 160 business models that use Creative Commons but instead gather fresh ideas and
 161 dynamic examples that spark new, innovative models and help others follow
 162 suit by building on what already works. At the onset, we framed our
 163 investigation in familiar business terms. We created a blank <span class="quote">“<span class="quote">open
 164 business model canvas,</span>”</span> an interactive online tool that would help
 165 people design and analyze their business model.
 166   </p><p>
 167     Through the generous funding of Kickstarter backers, we set about this
 168 project first by identifying and selecting a diverse group of creators,
 169 organizations, and businesses who use Creative Commons in an integral
 170 way—what we call being Made with Creative Commons. We interviewed them and
 171 wrote up their stories. We analyzed what we heard and dug deep into the
 172 literature.
 173   </p><p>
 174     But as we did our research, something interesting happened. Our initial way
 175 of framing the work did not match the stories we were hearing.
 176   </p><p>
 177     Those we interviewed were not typical businesses selling to consumers and
 178 seeking to maximize profits and the bottom line.  Instead, they were sharing
 179 to make the world a better place, creating relationships and community
 180 around the works being shared, and generating revenue not for unlimited
 181 growth but to sustain the operation.
 182   </p><p>
 183     They often didn’t like hearing what they do described as an open business
 184 model. Their endeavor was something more than that.  Something
 185 different. Something that generates not just economic value but social and
 186 cultural value. Something that involves human connection. Being Made with
 187 Creative Commons is not <span class="quote">“<span class="quote">business as usual.</span>”</span>
 188   </p><p>
 189     We had to rethink the way we conceived of this project. And it didn’t happen
 190 overnight. From the fall of 2015 through 2016, we documented our thoughts in
 191 blog posts on Medium and with regular updates to our Kickstarter backers. We
 192 shared drafts of case studies and analysis with our Kickstarter cocreators,
 193 who provided invaluable edits, feedback, and advice. Our thinking changed
 194 dramatically over the course of a year and a half.
 195   </p><p>
 196     Throughout the process, the two of us have often had very different ways of
 197 understanding and describing what we were learning. Learning from each other
 198 has been one of the great joys of this work, and, we hope, something that
 199 has made the final product much richer than it ever could have been if
 200 either of us undertook this project alone.  We have preserved our voices
 201 throughout, and you’ll be able to sense our different but complementary
 202 approaches as you read through our different sections.
 203   </p><p>
 204     While we recommend that you read the book from start to finish, each section
 205 reads more or less independently. The book is structured into two main
 206 parts.
 207   </p><p>
 208     Part one, the overview, begins with a big-picture framework written by
 209 Paul. He provides some historical context for the digital commons,
 210 describing the three ways society has managed resources and shared
 211 wealth—the commons, the market, and the state. He advocates for thinking
 212 beyond business and market terms and eloquently makes the case for sharing
 213 and enlarging the digital commons.
 214   </p><p>
 215     The overview continues with Sarah’s chapter, as she considers what it means
 216 to be successfully Made with Creative Commons. While making money is one
 217 piece of the pie, there is also a set of public-minded values and the kind
 218 of human connections that make sharing truly meaningful. This section
 219 outlines the ways the creators, organizations, and businesses we interviewed
 220 bring in revenue, how they further the public interest and live out their
 221 values, and how they foster connections with the people with whom they
 222 share.
 223   </p><p>
 224     And to end part one, we have a short section that explains the different
 225 Creative Commons licenses. We talk about the misconception that the more
 226 restrictive licenses—the ones that are closest to the all-rights-reserved
 227 model of traditional copyright—are the only ways to make money.
 228   </p><p>
 229     Part two of the book is made up of the twenty-four stories of the creators,
 230 businesses, and organizations we interviewed. While both of us participated
 231 in the interviews, we divided up the writing of these profiles.
 232   </p><p>
 233     Of course, we are pleased to make the book available using a Creative
 234 Commons Attribution-ShareAlike license. Please copy, distribute, translate,
 235 localize, and build upon this work.
 236   </p><p>
 237     Writing this book has transformed and inspired us. The way we now look at
 238 and think about what it means to be Made with Creative Commons has
 239 irrevocably changed. We hope this book inspires you and your enterprise to
 240 use Creative Commons and in so doing contribute to the transformation of our
 241 economy and world for the better.
 242   </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
 243     \textit{ Paul and Sarah }
 244     \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>ภาค I. The Big Picture</h1></div></div></div><div class="toc"><p><b>สารบัญ</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>บทที่ 1. The New World of Digital Commons</h2></div></div></div><div class="toc"><p><b>สารบัญ</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">The Commons, the Market, and the State</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">The Four Aspects of a Resource</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">A Short History of the Commons</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">The Digital Revolution</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">The Birth of Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">The Changing Market</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefits of the Digital Commons</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Our Case Studies</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
 245     \textit{ Paul Stacey}
 246     \end{flushright}</td></tr></table></div><p>
 247       Jonathan Rowe eloquently describes the commons as <span class="quote">“<span class="quote">the air and oceans,
 248 the web of species, wilderness and flowing water—all are parts of the
 249 commons. So are language and knowledge, sidewalks and public squares, the
 250 stories of childhood and the processes of democracy. Some parts of the
 251 commons are gifts of nature, others the product of human endeavor. Some are
 252 new, such as the Internet; others are as ancient as soil and
 253 calligraphy.</span>”</span><a href="#ftn.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
 254     </p><p>
 255       In Made with Creative Commons, we focus on our current era of digital
 256 commons, a commons of human-produced works. This commons cuts across a broad
 257 range of areas including cultural heritage, education, research, technology,
 258 art, design, literature, entertainment, business, and data. Human-produced
 259 works in all these areas are increasingly digital. The Internet is a kind of
 260 global, digital commons. The individuals, organizations, and businesses we
 261 profile in our case studies use Creative Commons to share their resources
 262 online over the Internet.
 263     </p><p>
 264       The commons is not just about shared resources, however. It’s also about the
 265 social practices and values that manage them. A resource is a noun, but to
 266 common—to put the resource into the commons—is a verb.<a href="#ftn.idm115" class="footnote" name="idm115"><sup class="footnote">[2]</sup></a> The creators, organizations, and businesses we
 267 profile are all engaged with commoning. Their use of Creative Commons
 268 involves them in the social practice of commoning, managing resources in a
 269 collective manner with a community of users.<a href="#ftn.idm117" class="footnote" name="idm117"><sup class="footnote">[3]</sup></a> Commoning is guided by a set of values and norms that balance the
 270 costs and benefits of the enterprise with those of the community. Special
 271 regard is given to equitable access, use, and sustainability.
 272     </p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-commons-the-market-and-the-state"></a>The Commons, the Market, and the State</h2></div></div></div><p>
 273         Historically, there have been three ways to manage resources and share
 274 wealth: the commons (managed collectively), the state (i.e., the
 275 government), and the market—with the last two being the dominant forms
 276 today.<a href="#ftn.idm122" class="footnote" name="idm122"><sup class="footnote">[4]</sup></a>
 277       </p><p>
 278         The organizations and businesses in our case studies are unique in the way
 279 they participate in the commons while still engaging with the market and/or
 280 state. The extent of engagement with market or state varies. Some operate
 281 primarily as a commons with minimal or no reliance on the market or
 282 state.<a href="#ftn.idm125" class="footnote" name="idm125"><sup class="footnote">[5]</sup></a> Others are very much a part of
 283 the market or state, depending on them for financial sustainability. All
 284 operate as hybrids, blending the norms of the commons with those of the
 285 market or state.
 286       </p><p>
 287         Fig. <a class="xref" href="#fig-1" title="รูป 1.1. Enterprise engagement with commons, state and market.">1.1</a> is a depiction of how
 288 an enterprise can have varying levels of engagement with commons, state, and
 289 market.
 290       </p><p>
 291         Some of our case studies are simply commons and market enterprises with
 292 little or no engagement with the state. A depiction of those case studies
 293 would show the state sphere as tiny or even absent. Other case studies are
 294 primarily market-based with only a small engagement with the commons. A
 295 depiction of those case studies would show the market sphere as large and
 296 the commons sphere as small. The extent to which an enterprise sees itself
 297 as being primarily of one type or another affects the balance of norms by
 298 which they operate.
 299       </p><p>
 300         All our case studies generate money as a means of livelihood and
 301 sustainability. Money is primarily of the market. Finding ways to generate
 302 revenue while holding true to the core values of the commons (usually
 303 expressed in mission statements) is challenging. To manage interaction and
 304 engagement between the commons and the market requires a deft touch, a
 305 strong sense of values, and the ability to blend the best of both.
 306       </p><p>
 307         The state has an important role to play in fostering the use and adoption of
 308 the commons. State programs and funding can deliberately contribute to and
 309 build the commons. Beyond money, laws and regulations regarding property,
 310 copyright, business, and finance can all be designed to foster the commons.
 311       </p><div class="figure"><a name="fig-1"></a><p class="title"><b>รูป 1.1. Enterprise engagement with commons, state and market.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000008000000045C30360249076453E6.png" width="100%" alt="Enterprise engagement with commons, state and market."></td></tr></table></div></div></div><br class="figure-break"><p>
 312         It’s helpful to understand how the commons, market, and state manage
 313 resources differently, and not just for those who consider themselves
 314 primarily as a commons. For businesses or governmental organizations who
 315 want to engage in and use the commons, knowing how the commons operates will
 316 help them understand how best to do so. Participating in and using the
 317 commons the same way you do the market or state is not a strategy for
 318 success.
 319       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-four-aspects-of-a-resource"></a>The Four Aspects of a Resource</h2></div></div></div><p>
 320         As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework
 321 for analyzing how natural resources are managed in a commons.<a href="#ftn.idm143" class="footnote" name="idm143"><sup class="footnote">[6]</sup></a> Her framework considered things like the
 322 biophysical characteristics of common resources, the community’s actors and
 323 the interactions that take place between them, rules-in-use, and
 324 outcomes. That framework has been simplified and generalized to apply to the
 325 commons, the market, and the state for this chapter.
 326       </p><p>
 327         To compare and contrast the ways in which the commons, market, and state
 328 work, let’s consider four aspects of resource management: resource
 329 characteristics, the people involved and the process they use, the norms and
 330 rules they develop to govern use, and finally actual resource use along with
 331 outcomes of that use (see Fig. <a class="xref" href="#fig-2" title="รูป 1.2. Four aspects of resource management">1.2</a>).
 332       </p><div class="figure"><a name="fig-2"></a><p class="title"><b>รูป 1.2. Four aspects of resource management</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png" width="100%" alt="Four aspects of resource management"></td></tr></table></div></div></div><br class="figure-break"><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="characteristics"></a>Characteristics</h3></div></div></div><p>
 333           Resources have particular characteristics or attributes that affect the way
 334 they can be used. Some resources are natural; others are human
 335 produced. And—significantly for today’s commons—resources can be physical or
 336 digital, which affects a resource’s inherent potential.
 337         </p><p>
 338           Physical resources exist in limited supply. If I have a physical resource
 339 and give it to you, I no longer have it.  When a resource is removed and
 340 used, the supply becomes scarce or depleted. Scarcity can result in
 341 competing rivalry for the resource. Made with Creative Commons enterprises
 342 are usually digitally based but some of our case studies also produce
 343 resources in physical form. The costs of producing and distributing a
 344 physical good usually require them to engage with the market.
 345         </p><p>
 346           Physical resources are depletable, exclusive, and rivalrous.  Digital
 347 resources, on the other hand, are nondepletable, nonexclusive, and
 348 nonrivalrous. If I share a digital resource with you, we both have the
 349 resource. Giving it to you does not mean I no longer have it. Digital
 350 resources can be infinitely stored, copied, and distributed without becoming
 351 depleted, and at close to zero cost. Abundance rather than scarcity is an
 352 inherent characteristic of digital resources.
 353         </p><p>
 354           The nondepletable, nonexclusive, and nonrivalrous nature of digital
 355 resources means the rules and norms for managing them can (and ought to) be
 356 different from how physical resources are managed. However, this is not
 357 always the case. Digital resources are frequently made artificially
 358 scarce. Placing digital resources in the commons makes them free and
 359 abundant.
 360         </p><p>
 361           Our case studies frequently manage hybrid resources, which start out as
 362 digital with the possibility of being made into a physical resource. The
 363 digital file of a book can be printed on paper and made into a physical
 364 book. A computer-rendered design for furniture can be physically
 365 manufactured in wood.  This conversion from digital to physical invariably
 366 has costs.  Often the digital resources are managed in a free and open way,
 367 but money is charged to convert a digital resource into a physical one.
 368         </p><p>
 369           Beyond this idea of physical versus digital, the commons, market, and state
 370 conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="รูป 1.3. How the market, commons and state concieve of resources.">1.3</a>). The market sees resources as private goods—commodities
 371 for sale—from which value is extracted. The state sees resources as public
 372 goods that provide value to state citizens. The commons sees resources as
 373 common goods, providing a common wealth extending beyond state boundaries,
 374 to be passed on in undiminished or enhanced form to future generations.
 375         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="people-and-processes"></a>People and processes</h3></div></div></div><p>
 376           In the commons, the market, and the state, different people and processes
 377 are used to manage resources. The processes used define both who has a say
 378 and how a resource is managed.
 379         </p><p>
 380           In the state, a government of elected officials is responsible for managing
 381 resources on behalf of the public. The citizens who produce and use those
 382 resources are not directly involved; instead, that responsibility is given
 383 over to the government.  State ministries and departments staffed with
 384 public servants set budgets, implement programs, and manage resources based
 385 on government priorities and procedures.
 386         </p><p>
 387           In the market, the people involved are producers, buyers, sellers, and
 388 consumers. Businesses act as intermediaries between those who produce
 389 resources and those who consume or use them. Market processes seek to
 390 extract as much monetary value from resources as possible. In the market,
 391 resources are managed as commodities, frequently mass-produced, and sold to
 392 consumers on the basis of a cash transaction.
 393         </p><p>
 394           In contrast to the state and market, resources in a commons are managed more
 395 directly by the people involved.<a href="#ftn.idm170" class="footnote" name="idm170"><sup class="footnote">[7]</sup></a>
 396 Creators of human produced resources can put them in the commons by personal
 397 choice. No permission from state or market is required. Anyone can
 398 participate in the commons and determine for themselves the extent to which
 399 they want to be involved—as a contributor, user, or manager. The people
 400 involved include not only those who create and use resources but those
 401 affected by outcome of use. Who you are affects your say, actions you can
 402 take, and extent of decision making. In the commons, the community as a
 403 whole manages the resources.  Resources put into the commons using Creative
 404 Commons require users to give the original creator credit. Knowing the
 405 person behind a resource makes the commons less anonymous and more personal.
 406         </p><div class="figure"><a name="fig-3"></a><p class="title"><b>รูป 1.3. How the market, commons and state concieve of resources.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png" width="100%" alt="How the market, commons and state concieve of resources."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="norms-and-rules"></a>Norms and rules</h3></div></div></div><p>
 407           The social interactions between people, and the processes used by the state,
 408 market, and commons, evolve social norms and rules. These norms and rules
 409 define permissions, allocate entitlements, and resolve disputes.
 410         </p><p>
 411           State authority is governed by national constitutions. Norms related to
 412 priorities and decision making are defined by elected officials and
 413 parliamentary procedures. State rules are expressed through policies,
 414 regulations, and laws. The state influences the norms and rules of the
 415 market and commons through the rules it passes.
 416         </p><p>
 417           Market norms are influenced by economics and competition for scarce
 418 resources. Market rules follow property, business, and financial laws
 419 defined by the state.
 420         </p><p>
 421           As with the market, a commons can be influenced by state policies,
 422 regulations, and laws. But the norms and rules of a commons are largely
 423 defined by the community. They weigh individual costs and benefits against
 424 the costs and benefits to the whole community. Consideration is given not
 425 just to economic efficiency but also to equity and
 426 sustainability.<a href="#ftn.idm185" class="footnote" name="idm185"><sup class="footnote">[8]</sup></a>
 427         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="goals"></a>Goals</h3></div></div></div><p>
 428           The combination of the aspects we’ve discussed so far—the resource’s
 429 inherent characteristics, people and processes, and norms and rules—shape
 430 how resources are used. Use is also influenced by the different goals the
 431 state, market, and commons have.
 432         </p><p>
 433           In the market, the focus is on maximizing the utility of a resource. What we
 434 pay for the goods we consume is seen as an objective measure of the utility
 435 they provide. The goal then becomes maximizing total monetary value in the
 436 economy.<a href="#ftn.idm191" class="footnote" name="idm191"><sup class="footnote">[9]</sup></a> Units consumed translates to
 437 sales, revenue, profit, and growth, and these are all ways to measure goals
 438 of the market.
 439         </p><p>
 440           The state aims to use and manage resources in a way that balances the
 441 economy with the social and cultural needs of its citizens. Health care,
 442 education, jobs, the environment, transportation, security, heritage, and
 443 justice are all facets of a healthy society, and the state applies its
 444 resources toward these aims. State goals are reflected in quality of life
 445 measures.
 446         </p><p>
 447           In the commons, the goal is maximizing access, equity, distribution,
 448 participation, innovation, and sustainability.  You can measure success by
 449 looking at how many people access and use a resource; how users are
 450 distributed across gender, income, and location; if a community to extend
 451 and enhance the resources is being formed; and if the resources are being
 452 used in innovative ways for personal and social good.
 453         </p><p>
 454           As hybrid combinations of the commons with the market or state, the success
 455 and sustainability of all our case study enterprises depends on their
 456 ability to strategically utilize and balance these different aspects of
 457 managing resources.
 458         </p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="a-short-history-of-the-commons"></a>A Short History of the Commons</h2></div></div></div><p>
 459         Using the commons to manage resources is part of a long historical
 460 continuum. However, in contemporary society, the market and the state
 461 dominate the discourse on how resources are best managed. Rarely is the
 462 commons even considered as an option. The commons has largely disappeared
 463 from consciousness and consideration. There are no news reports or speeches
 464 about the commons.
 465       </p><p>
 466         But the more than 1.1 billion resources licensed with Creative Commons
 467 around the world are indications of a grassroots move toward the
 468 commons. The commons is making a resurgence. To understand the resilience of
 469 the commons and its current renewal, it’s helpful to know something of its
 470 history.
 471       </p><p>
 472         For centuries, indigenous people and preindustrialized societies managed
 473 resources, including water, food, firewood, irrigation, fish, wild game, and
 474 many other things collectively as a commons.<a href="#ftn.idm202" class="footnote" name="idm202"><sup class="footnote">[10]</sup></a> There was no market, no global economy. The state in the form of
 475 rulers influenced the commons but by no means controlled it. Direct social
 476 participation in a commons was the primary way in which resources were
 477 managed and needs met. (Fig. <a class="xref" href="#fig-4" title="รูป 1.4. In preindustrialized society.">1.4</a>
 478 illustrates the commons in relation to the state and the market.)
 479       </p><div class="figure"><a name="fig-4"></a><p class="title"><b>รูป 1.4. In preindustrialized society.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005153EACBD62F00F6BA9.png" width="100%" alt="In preindustrialized society."></td></tr></table></div></div></div><br class="figure-break"><p>
 480         This is followed by a long history of the state (a monarchy or ruler) taking
 481 over the commons for their own purposes. This is called enclosure of the
 482 commons.<a href="#ftn.idm213" class="footnote" name="idm213"><sup class="footnote">[11]</sup></a> In olden days,
 483 <span class="quote">“<span class="quote">commoners</span>”</span> were evicted from the land, fences and hedges
 484 erected, laws passed, and security set up to forbid access.<a href="#ftn.idm216" class="footnote" name="idm216"><sup class="footnote">[12]</sup></a> Gradually, resources became the property of the
 485 state and the state became the primary means by which resources were
 486 managed. (See Fig. <a class="xref" href="#fig-5" title="รูป 1.5. The commons is gradually superseded by the state.">1.5</a>).
 487       </p><p>
 488         Holdings of land, water, and game were distributed to ruling family and
 489 political appointees. Commoners displaced from the land migrated to
 490 cities. With the emergence of the industrial revolution, land and resources
 491 became commodities sold to businesses to support production. Monarchies
 492 evolved into elected parliaments. Commoners became labourers earning money
 493 operating the machinery of industry. Financial, business, and property laws
 494 were revised by governments to support markets, growth, and
 495 productivity. Over time ready access to market produced goods resulted in a
 496 rising standard of living, improved health, and education. Fig. <a class="xref" href="#fig-6" title="รูป 1.6. How the market, the state and the commons look today.">1.6</a> shows how today the market is the
 497 primary means by which resources are managed.
 498       </p><div class="figure"><a name="fig-5"></a><p class="title"><b>รูป 1.5. The commons is gradually superseded by the state.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005150F069409C1CC12F0.png" width="100%" alt="The commons is gradually superseded by the state."></td></tr></table></div></div></div><br class="figure-break"><p>
 499         However, the world today is going through turbulent times. The benefits of
 500 the market have been offset by unequal distribution and overexploitation.
 501       </p><p>
 502         Overexploitation was the topic of Garrett Hardin’s influential essay
 503 <span class="quote">“<span class="quote">The Tragedy of the Commons,</span>”</span> published in Science in
 504 1968. Hardin argues that everyone in a commons seeks to maximize personal
 505 gain and will continue to do so even when the limits of the commons are
 506 reached. The commons is then tragically depleted to the point where it can
 507 no longer support anyone. Hardin’s essay became widely accepted as an
 508 economic truism and a justification for private property and free markets.
 509       </p><p>
 510         However, there is one serious flaw with Hardin’s <span class="quote">“<span class="quote">The Tragedy of the
 511 Commons</span>”</span>—it’s fiction. Hardin did not actually study how real commons
 512 work. Elinor Ostrom won the 2009 Nobel Prize in economics for her work
 513 studying different commons all around the world. Ostrom’s work shows that
 514 natural resource commons can be successfully managed by local communities
 515 without any regulation by central authorities or without privatization.
 516 Government and privatization are not the only two choices. There is a third
 517 way: management by the people, where those that are directly impacted are
 518 directly involved. With natural resources, there is a regional locality. The
 519 people in the region are the most familiar with the natural resource, have
 520 the most direct relationship and history with it, and are therefore best
 521 situated to manage it. Ostrom’s approach to the governance of natural
 522 resources broke with convention; she recognized the importance of the
 523 commons as an alternative to the market or state for solving problems of
 524 collective action.<a href="#ftn.idm233" class="footnote" name="idm233"><sup class="footnote">[13]</sup></a>
 525       </p><p>
 526         Hardin failed to consider the actual social dynamic of the commons. His
 527 model assumed that people in the commons act autonomously, out of pure
 528 self-interest, without interaction or consideration of others. But as Ostrom
 529 found, in reality, managing common resources together forms a community and
 530 encourages discourse. This naturally generates norms and rules that help
 531 people work collectively and ensure a sustainable commons. Paradoxically,
 532 while Hardin’s essay is called The Tragedy of the Commons it might more
 533 accurately be titled The Tragedy of the Market.
 534       </p><p>
 535         Hardin’s story is based on the premise of depletable resources.  Economists
 536 have focused almost exclusively on scarcity-based markets. Very little is
 537 known about how abundance works.<a href="#ftn.idm238" class="footnote" name="idm238"><sup class="footnote">[14]</sup></a> The
 538 emergence of information technology and the Internet has led to an explosion
 539 in digital resources and new means of sharing and distribution. Digital
 540 resources can never be depleted. An absence of a theory or model for how
 541 abundance works, however, has led the market to make digital resources
 542 artificially scarce and makes it possible for the usual market norms and
 543 rules to be applied.
 544       </p><p>
 545         When it comes to use of state funds to create digital goods, however, there
 546 is really no justification for artificial scarcity. The norm for state
 547 funded digital works should be that they are freely and openly available to
 548 the public that paid for them.
 549       </p><div class="figure"><a name="fig-6"></a><p class="title"><b>รูป 1.6. How the market, the state and the commons look today.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C400000515F1CAA15B223F6BAF.png" width="100%" alt="How the market, the state and the commons look today."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-digital-revolution"></a>The Digital Revolution</h2></div></div></div><p>
 550         In the early days of computing, programmers and developers learned from each
 551 other by sharing software. In the 1980s, the free-software movement codified
 552 this practice of sharing into a set of principles and freedoms:
 553       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
 554             The freedom to run a software program as you wish, for any purpose.
 555           </p></li><li class="listitem"><p>
 556             The freedom to study how a software program works (because access to the
 557 source code has been freely given), and change it so it does your computing
 558 as you wish.
 559           </p></li><li class="listitem"><p>
 560             The freedom to redistribute copies.
 561           </p></li><li class="listitem"><p>
 562             The freedom to distribute copies of your modified versions to
 563 others.<a href="#ftn.idm261" class="footnote" name="idm261"><sup class="footnote">[15]</sup></a>
 564           </p></li></ul></div><p>
 565         These principles and freedoms constitute a set of norms and rules that
 566 typify a digital commons.
 567       </p><p>
 568         In the late 1990s, to make the sharing of source code and collaboration more
 569 appealing to companies, the open-source-software initiative converted these
 570 principles into licenses and standards for managing access to and
 571 distribution of software. The benefits of open source—such as reliability,
 572 scalability, and quality verified by independent peer review—became widely
 573 recognized and accepted. Customers liked the way open source gave them
 574 control without being locked into a closed, proprietary technology. Free and
 575 open-source software also generated a network effect where the value of a
 576 product or service increases with the number of people using it.<a href="#ftn.idm267" class="footnote" name="idm267"><sup class="footnote">[16]</sup></a> The dramatic growth of the Internet itself owes
 577 much to the fact that nobody has a proprietary lock on core Internet
 578 protocols.
 579       </p><p>
 580         While open-source software functions as a commons, many businesses and
 581 markets did build up around it. Business models based on the licenses and
 582 standards of open-source software evolved alongside organizations that
 583 managed software code on principles of abundance rather than scarcity. Eric
 584 Raymond’s essay <span class="quote">“<span class="quote">The Magic Cauldron</span>”</span> does a great job of
 585 analyzing the economics and business models associated with open-source
 586 software.<a href="#ftn.idm272" class="footnote" name="idm272"><sup class="footnote">[17]</sup></a> These models can provide
 587 examples of sustainable approaches for those Made with Creative Commons.
 588       </p><p>
 589         It isn’t just about an abundant availability of digital assets but also
 590 about abundance of participation. The growth of personal computing,
 591 information technology, and the Internet made it possible for mass
 592 participation in producing creative works and distributing them. Photos,
 593 books, music, and many other forms of digital content could now be readily
 594 created and distributed by almost anyone. Despite this potential for
 595 abundance, by default these digital works are governed by copyright
 596 laws. Under copyright, a digital work is the property of the creator, and by
 597 law others are excluded from accessing and using it without the creator’s
 598 permission.
 599       </p><p>
 600         But people like to share. One of the ways we define ourselves is by sharing
 601 valuable and entertaining content. Doing so grows and nourishes
 602 relationships, seeks to change opinions, encourages action, and informs
 603 others about who we are and what we care about. Sharing lets us feel more
 604 involved with the world.<a href="#ftn.idm278" class="footnote" name="idm278"><sup class="footnote">[18]</sup></a>
 605       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-birth-of-creative-commons"></a>The Birth of Creative Commons</h2></div></div></div><p>
 606         In 2001, Creative Commons was created as a nonprofit to support all those
 607 who wanted to share digital content. A suite of Creative Commons licenses
 608 was modeled on those of open-source software but for use with digital
 609 content rather than software code. The licenses give everyone from
 610 individual creators to large companies and institutions a simple,
 611 standardized way to grant copyright permissions to their creative work.
 612       </p><p>
 613         Creative Commons licenses have a three-layer design. The norms and rules of
 614 each license are first expressed in full legal language as used by
 615 lawyers. This layer is called the legal code. But since most creators and
 616 users are not lawyers, the licenses also have a commons deed, expressing the
 617 permissions in plain language, which regular people can read and quickly
 618 understand. It acts as a user-friendly interface to the legal-code layer
 619 beneath. The third layer is the machine-readable one, making it easy for the
 620 Web to know a work is Creative Commons–licensed by expressing permissions in
 621 a way that software systems, search engines, and other kinds of technology
 622 can understand.<a href="#ftn.idm285" class="footnote" name="idm285"><sup class="footnote">[19]</sup></a> Taken together, these
 623 three layers ensure creators, users, and even the Web itself understand the
 624 norms and rules associated with digital content in a commons.
 625       </p><p>
 626         In 2015, there were over one billion Creative Commons licensed works in a
 627 global commons. These works were viewed online 136 billion times. People are
 628 using Creative Commons licenses all around the world, in thirty-four
 629 languages. These resources include photos, artwork, research articles in
 630 journals, educational resources, music and other audio tracks, and videos.
 631       </p><p>
 632         Individual artists, photographers, musicians, and filmmakers use Creative
 633 Commons, but so do museums, governments, creative industries, manufacturers,
 634 and publishers. Millions of websites use CC licenses, including major
 635 platforms like Wikipedia and Flickr and smaller ones like blogs.<a href="#ftn.idm291" class="footnote" name="idm291"><sup class="footnote">[20]</sup></a> Users of Creative Commons are diverse and cut
 636 across many different sectors. (Our case studies were chosen to reflect that
 637 diversity.)
 638       </p><p>
 639         Some see Creative Commons as a way to share a gift with others, a way of
 640 getting known, or a way to provide social benefit.  Others are simply
 641 committed to the norms associated with a commons. And for some,
 642 participation has been spurred by the free-culture movement, a social
 643 movement that promotes the freedom to distribute and modify creative
 644 works. The free-culture movement sees a commons as providing significant
 645 benefits compared to restrictive copyright laws. This ethos of free exchange
 646 in a commons aligns the free-culture movement with the free and open-source
 647 software movement.
 648       </p><p>
 649         Over time, Creative Commons has spawned a range of open movements, including
 650 open educational resources, open access, open science, and open data. The
 651 goal in every case has been to democratize participation and share digital
 652 resources at no cost, with legal permissions for anyone to freely access,
 653 use, and modify.
 654       </p><p>
 655         The state is increasingly involved in supporting open movements.  The Open
 656 Government Partnership was launched in 2011 to provide an international
 657 platform for governments to become more open, accountable, and responsive to
 658 citizens. Since then, it has grown from eight participating countries to
 659 seventy.<a href="#ftn.idm297" class="footnote" name="idm297"><sup class="footnote">[21]</sup></a> In all these countries,
 660 government and civil society are working together to develop and implement
 661 ambitious open-government reforms. Governments are increasingly adopting
 662 Creative Commons to ensure works funded with taxpayer dollars are open and
 663 free to the public that paid for them.
 664       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-changing-market"></a>The Changing Market</h2></div></div></div><p>
 665         Today’s market is largely driven by global capitalism. Law and financial
 666 systems are structured to support extraction, privatization, and corporate
 667 growth. A perception that the market is more efficient than the state has
 668 led to continual privatization of many public natural resources, utilities,
 669 services, and infrastructures.<a href="#ftn.idm304" class="footnote" name="idm304"><sup class="footnote">[22]</sup></a> While
 670 this system has been highly efficient at generating consumerism and the
 671 growth of gross domestic product, the impact on human well-being has been
 672 mixed. Offsetting rising living standards and improvements to health and
 673 education are ever-increasing wealth inequality, social inequality, poverty,
 674 deterioration of our natural environment, and breakdowns of
 675 democracy.<a href="#ftn.idm306" class="footnote" name="idm306"><sup class="footnote">[23]</sup></a>
 676       </p><p>
 677         In light of these challenges there is a growing recognition that GDP growth
 678 should not be an end in itself, that development needs to be socially and
 679 economically inclusive, that environmental sustainability is a requirement
 680 not an option, and that we need to better balance the market, state and
 681 community.<a href="#ftn.idm309" class="footnote" name="idm309"><sup class="footnote">[24]</sup></a>
 682       </p><p>
 683         These realizations have led to a resurgence of interest in the commons as a
 684 means of enabling that balance. City governments like Bologna, Italy, are
 685 collaborating with their citizens to put in place regulations for the care
 686 and regeneration of urban commons.<a href="#ftn.idm314" class="footnote" name="idm314"><sup class="footnote">[25]</sup></a>
 687 Seoul and Amsterdam call themselves <span class="quote">“<span class="quote">sharing cities,</span>”</span> looking
 688 to make sustainable and more efficient use of scarce resources. They see
 689 sharing as a way to improve the use of public spaces, mobility, social
 690 cohesion, and safety.<a href="#ftn.idm318" class="footnote" name="idm318"><sup class="footnote">[26]</sup></a>
 691       </p><p>
 692         The market itself has taken an interest in the sharing economy, with
 693 businesses like Airbnb providing a peer-to-peer marketplace for short-term
 694 lodging and Uber providing a platform for ride sharing. However, Airbnb and
 695 Uber are still largely operating under the usual norms and rules of the
 696 market, making them less like a commons and more like a traditional business
 697 seeking financial gain. Much of the sharing economy is not about the commons
 698 or building an alternative to a corporate-driven market economy; it’s about
 699 extending the deregulated free market into new areas of our
 700 lives.<a href="#ftn.idm323" class="footnote" name="idm323"><sup class="footnote">[27]</sup></a> While none of the people we
 701 interviewed for our case studies would describe themselves as part of the
 702 sharing economy, there are in fact some significant parallels. Both the
 703 sharing economy and the commons make better use of asset capacity. The
 704 sharing economy sees personal residents and cars as having latent spare
 705 capacity with rental value. The equitable access of the commons broadens and
 706 diversifies the number of people who can use and derive value from an asset.
 707       </p><p>
 708         One way Made with Creative Commons case studies differ from those of the
 709 sharing economy is their focus on digital resources. Digital resources
 710 function under different economic rules than physical ones. In a world where
 711 prices always seem to go up, information technology is an
 712 anomaly. Computer-processing power, storage, and bandwidth are all rapidly
 713 increasing, but rather than costs going up, costs are coming down. Digital
 714 technologies are getting faster, better, and cheaper. The cost of anything
 715 built on these technologies will always go down until it is close to
 716 zero.<a href="#ftn.idm326" class="footnote" name="idm326"><sup class="footnote">[28]</sup></a>
 717       </p><p>
 718         Those that are Made with Creative Commons are looking to leverage the unique
 719 inherent characteristics of digital resources, including lowering costs. The
 720 use of digital-rights-management technologies in the form of locks,
 721 passwords, and controls to prevent digital goods from being accessed,
 722 changed, replicated, and distributed is minimal or nonexistent. Instead,
 723 Creative Commons licenses are used to put digital content out in the
 724 commons, taking advantage of the unique economics associated with being
 725 digital. The aim is to see digital resources used as widely and by as many
 726 people as possible. Maximizing access and participation is a common goal.
 727 They aim for abundance over scarcity.
 728       </p><p>
 729         The incremental cost of storing, copying, and distributing digital goods is
 730 next to zero, making abundance possible. But imagining a market based on
 731 abundance rather than scarcity is so alien to the way we conceive of
 732 economic theory and practice that we struggle to do so.<a href="#ftn.idm330" class="footnote" name="idm330"><sup class="footnote">[29]</sup></a> Those that are Made with Creative Commons are each
 733 pioneering in this new landscape, devising their own economic models and
 734 practice.
 735       </p><p>
 736         Some are looking to minimize their interactions with the market and operate
 737 as autonomously as possible. Others are operating largely as a business
 738 within the existing rules and norms of the market. And still others are
 739 looking to change the norms and rules by which the market operates.
 740       </p><p>
 741         For an ordinary corporation, making social benefit a part of its operations
 742 is difficult, as it’s legally required to make decisions that financially
 743 benefit stockholders. But new forms of business are emerging. There are
 744 benefit corporations and social enterprises, which broaden their business
 745 goals from making a profit to making a positive impact on society, workers,
 746 the community, and the environment.<a href="#ftn.idm334" class="footnote" name="idm334"><sup class="footnote">[30]</sup></a>
 747 Community-owned businesses, worker-owned businesses, cooperatives, guilds,
 748 and other organizational forms offer alternatives to the traditional
 749 corporation. Collectively, these alternative market entities are changing
 750 the rules and norms of the market.<a href="#ftn.idm336" class="footnote" name="idm336"><sup class="footnote">[31]</sup></a>
 751       </p><p><span class="quote">“<span class="quote">A book on open business models</span>”</span> is how we described it in this
 752 book’s Kickstarter campaign. We used a handbook called Business Model
 753 Generation as our reference for defining just what a business model
 754 is. Developed over nine years using an <span class="quote">“<span class="quote">open process</span>”</span> involving
 755 470 coauthors from forty-five countries, it is useful as a framework for
 756 talking about business models.<a href="#ftn.idm341" class="footnote" name="idm341"><sup class="footnote">[32]</sup></a>
 757       </p><p>
 758         It contains a <span class="quote">“<span class="quote">business model canvas,</span>”</span> which conceives of a
 759 business model as having nine building blocks.<a href="#ftn.idm346" class="footnote" name="idm346"><sup class="footnote">[33]</sup></a> This blank canvas can serve as a tool for anyone to design their
 760 own business model. We remixed this business model canvas into an open
 761 business model canvas, adding three more building blocks relevant to hybrid
 762 market, commons enterprises: social good, Creative Commons license, and
 763 <span class="quote">“<span class="quote">type of open environment that the business fits
 764 in.</span>”</span><a href="#ftn.idm350" class="footnote" name="idm350"><sup class="footnote">[34]</sup></a> This enhanced canvas proved
 765 useful when we analyzed businesses and helped start-ups plan their economic
 766 model.
 767       </p><p>
 768         In our case study interviews, many expressed discomfort over describing
 769 themselves as an open business model—the term business model suggested
 770 primarily being situated in the market.  Where you sit on the
 771 commons-to-market spectrum affects the extent to which you see yourself as a
 772 business in the market.  The more central to the mission shared resources
 773 and commons values are, the less comfort there is in describing yourself, or
 774 depicting what you do, as a business. Not all who have endeavors Made with
 775 Creative Commons use business speak; for some the process has been
 776 experimental, emergent, and organic rather than carefully planned using a
 777 predefined model.
 778       </p><p>
 779         The creators, businesses, and organizations we profile all engage with the
 780 market to generate revenue in some way. The ways in which this is done vary
 781 widely. Donations, pay what you can, memberships, <span class="quote">“<span class="quote">digital for free
 782 but physical for a fee,</span>”</span> crowdfunding, matchmaking, value-add
 783 services, patrons . . . the list goes on and on. (Initial description of how
 784 to earn revenue available through reference note. For latest thinking see
 785 How to Bring In Money in the next section.)<a href="#ftn.idm358" class="footnote" name="idm358"><sup class="footnote">[35]</sup></a> There is no single magic bullet, and each endeavor has devised ways
 786 that work for them. Most make use of more than one way. Diversifying revenue
 787 streams lowers risk and provides multiple paths to sustainability.
 788       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="benefits-of-the-digital-commons"></a>Benefits of the Digital Commons</h2></div></div></div><p>
 789         While it may be clear why commons-based organizations want to interact and
 790 engage with the market (they need money to survive), it may be less obvious
 791 why the market would engage with the commons. The digital commons offers
 792 many benefits.
 793       </p><p>
 794         The commons speeds dissemination. The free flow of resources in the commons
 795 offers tremendous economies of scale. Distribution is decentralized, with
 796 all those in the commons empowered to share the resources they have access
 797 to. Those that are Made with Creative Commons have a reduced need for sales
 798 or marketing. Decentralized distribution amplifies supply and know-how.
 799       </p><p>
 800         The commons ensures access to all. The market has traditionally operated by
 801 putting resources behind a paywall requiring payment first before
 802 access. The commons puts resources in the open, providing access up front
 803 without payment. Those that are Made with Creative Commons make little or no
 804 use of digital rights management (DRM) to manage resources. Not using DRM
 805 frees them of the costs of acquiring DRM technology and staff resources to
 806 engage in the punitive practices associated with restricting access. The way
 807 the commons provides access to everyone levels the playing field and
 808 promotes inclusiveness, equity, and fairness.
 809       </p><p>
 810         The commons maximizes participation. Resources in the commons can be used
 811 and contributed to by everyone. Using the resources of others, contributing
 812 your own, and mixing yours with others to create new works are all dynamic
 813 forms of participation made possible by the commons. Being Made with
 814 Creative Commons means you’re engaging as many users with your resources as
 815 possible.  Users are also authoring, editing, remixing, curating,
 816 localizing, translating, and distributing. The commons makes it possible for
 817 people to directly participate in culture, knowledge building, and even
 818 democracy, and many other socially beneficial practices.
 819       </p><p>
 820         The commons spurs innovation. Resources in the hands of more people who can
 821 use them leads to new ideas. The way commons resources can be modified,
 822 customized, and improved results in derivative works never imagined by the
 823 original creator. Some endeavors that are Made with Creative Commons
 824 deliberately encourage users to take the resources being shared and innovate
 825 them. Doing so moves research and development (R&amp;D) from being solely
 826 inside the organization to being in the community.<a href="#ftn.idm369" class="footnote" name="idm369"><sup class="footnote">[36]</sup></a> Community-based innovation will keep an
 827 organization or business on its toes. It must continue to contribute new
 828 ideas, absorb and build on top of the innovations of others, and steward the
 829 resources and the relationship with the community.
 830       </p><p>
 831         The commons boosts reach and impact. The digital commons is
 832 global. Resources may be created for a local or regional need, but they go
 833 far and wide generating a global impact. In the digital world, there are no
 834 borders between countries. When you are Made with Creative Commons, you are
 835 often local and global at the same time: Digital designs being globally
 836 distributed but made and manufactured locally. Digital books or music being
 837 globally distributed but readings and concerts performed locally. The
 838 digital commons magnifies impact by connecting creators to those who use and
 839 build on their work both locally and globally.
 840       </p><p>
 841         The commons is generative. Instead of extracting value, the commons adds
 842 value. Digitized resources persist without becoming depleted, and through
 843 use are improved, personalized, and localized. Each use adds value. The
 844 market focuses on generating value for the business and the customer. The
 845 commons generates value for a broader range of beneficiaries including the
 846 business, the customer, the creator, the public, and the commons itself. The
 847 generative nature of the commons means that it is more cost-effective and
 848 produces a greater return on investment.  Value is not just measured in
 849 financial terms. Each new resource added to the commons provides value to
 850 the public and contributes to the overall value of the commons.
 851       </p><p>
 852         The commons brings people together for a common cause. The commons vests
 853 people directly with the responsibility to manage the resources for the
 854 common good. The costs and benefits for the individual are balanced with the
 855 costs and benefits for the community and for future generations. Resources
 856 are not anonymous or mass produced. Their provenance is known and
 857 acknowledged through attribution and other means. Those that are Made with
 858 Creative Commons generate awareness and reputation based on their
 859 contributions to the commons. The reach, impact, and sustainability of those
 860 contributions rest largely on their ability to forge relationships and
 861 connections with those who use and improve them. By functioning on the basis
 862 of social engagement, not monetary exchange, the commons unifies people.
 863       </p><p>
 864         The benefits of the commons are many. When these benefits align with the
 865 goals of individuals, communities, businesses in the market, or state
 866 enterprises, choosing to manage resources as a commons ought to be the
 867 option of choice.
 868       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="our-case-studies"></a>Our Case Studies</h2></div></div></div><p>
 869         The creators, organizations, and businesses in our case studies operate as
 870 nonprofits, for-profits, and social enterprises.  Regardless of legal
 871 status, they all have a social mission.  Their primary reason for being is
 872 to make the world a better place, not to profit. Money is a means to a
 873 social end, not the end itself. They factor public interest into decisions,
 874 behavior, and practices. Transparency and trust are really important. Impact
 875 and success are measured against social aims expressed in mission
 876 statements, and are not just about the financial bottom line.
 877       </p><p>
 878         The case studies are based on the narratives told to us by founders and key
 879 staff. Instead of solely using financials as the measure of success and
 880 sustainability, they emphasized their mission, practices, and means by which
 881 they measure success.  Metrics of success are a blend of how social goals
 882 are being met and how sustainable the enterprise is.
 883       </p><p>
 884         Our case studies are diverse, ranging from publishing to education and
 885 manufacturing. All of the organizations, businesses, and creators in the
 886 case studies produce digital resources. Those resources exist in many forms
 887 including books, designs, songs, research, data, cultural works, education
 888 materials, graphic icons, and video. Some are digital representations of
 889 physical resources. Others are born digital but can be made into physical
 890 resources.
 891       </p><p>
 892         They are creating new resources, or using the resources of others, or mixing
 893 existing resources together to make something new. They, and their audience,
 894 all play a direct, participatory role in managing those resources, including
 895 their preservation, curation, distribution, and enhancement. Access and
 896 participation is open to all regardless of monetary means.
 897       </p><p>
 898         And as users of Creative Commons licenses, they are automatically part of a
 899 global community. The new digital commons is global. Those we profiled come
 900 from nearly every continent in the world. To build and interact within this
 901 global community is conducive to success.
 902       </p><p>
 903         Creative Commons licenses may express legal rules around the use of
 904 resources in a commons, but success in the commons requires more than
 905 following the letter of the law and acquiring financial means. Over and over
 906 we heard in our interviews how success and sustainability are tied to a set
 907 of beliefs, values, and principles that underlie their actions: Give more
 908 than you take. Be open and inclusive. Add value. Make visible what you are
 909 using from the commons, what you are adding, and what you are
 910 monetizing. Maximize abundance. Give attribution. Express gratitude. Develop
 911 trust; don’t exploit. Build relationship and community. Be
 912 transparent. Defend the commons.
 913       </p><p>
 914         The new digital commons is here to stay. Made With Creative Commons case
 915 studies show how it’s possible to be part of this commons while still
 916 functioning within market and state systems.  The commons generates benefits
 917 neither the market nor state can achieve on their own. Rather than the
 918 market or state dominating as primary means of resource management, a more
 919 balanced alternative is possible.
 920       </p><p>
 921         Enterprise use of Creative Commons has only just begun. The case studies in
 922 this book are merely starting points. Each is changing and evolving over
 923 time. Many more are joining and inventing new models. This overview aims to
 924 provide a framework and language for thinking and talking about the new
 925 digital commons. The remaining sections go deeper providing further guidance
 926 and insights on how it works.
 927       </p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm111" class="footnote"><p><a href="#idm111" class="para"><sup class="para">[1] </sup></a>
 928           Jonathan Rowe, Our Common Wealth (San Francisco: Berrett-Koehler, 2013), 14.
 929         </p></div><div id="ftn.idm115" class="footnote"><p><a href="#idm115" class="para"><sup class="para">[2] </sup></a>
 930           David Bollier, Think Like a Commoner: A Short Introduction to the Life of
 931 the Commons (Gabriola Island, BC: New Society, 2014), 176.
 932         </p></div><div id="ftn.idm117" class="footnote"><p><a href="#idm117" class="para"><sup class="para">[3] </sup></a>
 933           Ibid., 15.
 934         </p></div><div id="ftn.idm122" class="footnote"><p><a href="#idm122" class="para"><sup class="para">[4] </sup></a>
 935             Ibid., 145.
 936           </p></div><div id="ftn.idm125" class="footnote"><p><a href="#idm125" class="para"><sup class="para">[5] </sup></a>
 937             Ibid., 175.
 938           </p></div><div id="ftn.idm143" class="footnote"><p><a href="#idm143" class="para"><sup class="para">[6] </sup></a>
 939             Daniel H. Cole, <span class="quote">“<span class="quote">Learning from Lin: Lessons and Cautions from the
 940 Natural Commons for the Knowledge Commons,</span>”</span> in Governing Knowledge
 941 Commons, eds. Brett M. Frischmann, Michael J. Madison, and Katherine J.
 942 Strandburg (New York: Oxford University Press, 2014), 53.
 943           </p></div><div id="ftn.idm170" class="footnote"><p><a href="#idm170" class="para"><sup class="para">[7] </sup></a>
 944               Max Haiven, Crises of Imagination, Crises of Power: Capitalism, Creativity
 945 and the Commons (New York: Zed Books, 2014), 93.
 946             </p></div><div id="ftn.idm185" class="footnote"><p><a href="#idm185" class="para"><sup class="para">[8] </sup></a>
 947               Bollier, Think Like a Commoner, 175.
 948             </p></div><div id="ftn.idm191" class="footnote"><p><a href="#idm191" class="para"><sup class="para">[9] </sup></a>
 949               Joshua Farley and Ida Kubiszewski, <span class="quote">“<span class="quote">The Economics of Information in a
 950 Post-Carbon Economy,</span>”</span> in Free Knowledge: Confronting the
 951 Commodification of Human Discovery, eds. Patricia W. Elliott and Daryl
 952 H. Hepting (Regina, SK: University of Regina Press, 2015), 201–4.
 953             </p></div><div id="ftn.idm202" class="footnote"><p><a href="#idm202" class="para"><sup class="para">[10] </sup></a>
 954             Rowe, Our Common Wealth, 19; and Heather Menzies, Reclaiming the Commons for
 955 the Common Good: A Memoir and Manifesto (Gabriola Island, BC: New Society,
 956 2014), 42–43.
 957           </p></div><div id="ftn.idm213" class="footnote"><p><a href="#idm213" class="para"><sup class="para">[11] </sup></a>
 958             Bollier, Think Like a Commoner, 55–78.
 959           </p></div><div id="ftn.idm216" class="footnote"><p><a href="#idm216" class="para"><sup class="para">[12] </sup></a>
 960             Fritjof Capra and Ugo Mattei, The Ecology of Law: Toward a Legal System in
 961 Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57;
 962 and Bollier, Think Like a Commoner, 88.
 963           </p></div><div id="ftn.idm233" class="footnote"><p><a href="#idm233" class="para"><sup class="para">[13] </sup></a>
 964             Brett M. Frischmann, Michael J. Madison, and Katherine J.  Strandburg,
 965 <span class="quote">“<span class="quote">Governing Knowledge Commons,</span>”</span> in Frischmann, Madison, and
 966 Strandburg Governing Knowledge Commons, 12.
 967           </p></div><div id="ftn.idm238" class="footnote"><p><a href="#idm238" class="para"><sup class="para">[14] </sup></a>
 968             Farley and Kubiszewski, <span class="quote">“<span class="quote">Economics of Information,</span>”</span> in Elliott
 969 and Hepting, Free Knowledge, 203.
 970           </p></div><div id="ftn.idm261" class="footnote"><p><a href="#idm261" class="para"><sup class="para">[15] </sup></a><span class="quote">“<span class="quote">What Is Free Software?</span>”</span> GNU Operating System, the Free
 971 Software Foundation’s Licensing and Compliance Lab, accessed December 30,
 972 2016, <a class="ulink" href="http://www.gnu.org/philosophy/free-sw" target="_top">http://www.gnu.org/philosophy/free-sw</a>.
 973               </p></div><div id="ftn.idm267" class="footnote"><p><a href="#idm267" class="para"><sup class="para">[16] </sup></a>
 974             Wikipedia, s.v. <span class="quote">“<span class="quote">Open-source software,</span>”</span> last modified November
 975 22, 2016.
 976           </p></div><div id="ftn.idm272" class="footnote"><p><a href="#idm272" class="para"><sup class="para">[17] </sup></a>
 977             Eric S. Raymond, <span class="quote">“<span class="quote">The Magic Cauldron,</span>”</span> in The Cathedral and the
 978 Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary,
 979 rev. ed. (Sebastopol, CA: O’Reilly Media, 2001), <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
 980           </p></div><div id="ftn.idm278" class="footnote"><p><a href="#idm278" class="para"><sup class="para">[18] </sup></a>
 981             New York Times Customer Insight Group, The Psychology of Sharing: Why Do
 982 People Share Online? (New York: New York Times Customer Insight Group,
 983 2011), <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
 984           </p></div><div id="ftn.idm285" class="footnote"><p><a href="#idm285" class="para"><sup class="para">[19] </sup></a><span class="quote">“<span class="quote">Licensing Considerations,</span>”</span> Creative Commons, accessed December
 985 30, 2016, <a class="ulink" href="http://creativecommons.org/share-your-work/licensing-considerations/" target="_top">http://creativecommons.org/share-your-work/licensing-considerations/</a>.
 986           </p></div><div id="ftn.idm291" class="footnote"><p><a href="#idm291" class="para"><sup class="para">[20] </sup></a>
 987             Creative Commons, 2015 State of the Commons (Mountain View, CA: Creative
 988 Commons, 2015), <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
 989           </p></div><div id="ftn.idm297" class="footnote"><p><a href="#idm297" class="para"><sup class="para">[21] </sup></a>
 990             Wikipedia, s.v. <span class="quote">“<span class="quote">Open Government Partnership,</span>”</span> last modified
 991 September 24, 2016, <a class="ulink" href="http://en.wikipedia.org/wiki/Open_Government_Partnership" target="_top">http://en.wikipedia.org/wiki/Open_Government_Partnership</a>.
 992           </p></div><div id="ftn.idm304" class="footnote"><p><a href="#idm304" class="para"><sup class="para">[22] </sup></a>
 993             Capra and Mattei, Ecology of Law, 114.
 994           </p></div><div id="ftn.idm306" class="footnote"><p><a href="#idm306" class="para"><sup class="para">[23] </sup></a>
 995             Ibid., 116.
 996           </p></div><div id="ftn.idm309" class="footnote"><p><a href="#idm309" class="para"><sup class="para">[24] </sup></a>
 997             The Swedish International Development Cooperation Agency, <span class="quote">“<span class="quote">Stockholm
 998 Statement</span>”</span> accessed February 15, 2017, <a class="ulink" href="http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf" target="_top">http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf</a>
 999           </p></div><div id="ftn.idm314" class="footnote"><p><a href="#idm314" class="para"><sup class="para">[25] </sup></a>
1000             City of Bologna, Regulation on Collaboration between Citizens and the City
1001 for the Care and Regeneration of Urban Commons, trans. LabGov (LABoratory
1002 for the GOVernance of Commons) (Bologna, Italy: City of Bologna, 2014),
1003 <a class="ulink" href="http://www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf" target="_top">http://www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf</a>.
1004           </p></div><div id="ftn.idm318" class="footnote"><p><a href="#idm318" class="para"><sup class="para">[26] </sup></a>
1005             The Seoul Sharing City website is <a class="ulink" href="http://english.sharehub.kr" target="_top">http://english.sharehub.kr</a>;
1006 for Amsterdam Sharing City, go to <a class="ulink" href="http://www.sharenl.nl/amsterdam-sharing-city/" target="_top">http://www.sharenl.nl/amsterdam-sharing-city/</a>.
1007           </p></div><div id="ftn.idm323" class="footnote"><p><a href="#idm323" class="para"><sup class="para">[27] </sup></a>
1008             Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
1009 Books, 2015), 42.
1010           </p></div><div id="ftn.idm326" class="footnote"><p><a href="#idm326" class="para"><sup class="para">[28] </sup></a>
1011             Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
1012 Something for Nothing, Reprint with new preface.  (New York: Hyperion,
1013 2010), 78.
1014           </p></div><div id="ftn.idm330" class="footnote"><p><a href="#idm330" class="para"><sup class="para">[29] </sup></a>
1015             Jeremy Rifkin, The Zero Marginal Cost Society: The Internet of Things, the
1016 Collaborative Commons, and the Eclipse of Capitalism (New York: Palgrave
1017 Macmillan, 2014), 273.
1018           </p></div><div id="ftn.idm334" class="footnote"><p><a href="#idm334" class="para"><sup class="para">[30] </sup></a>
1019             Gar Alperovitz, What Then Must We Do? Straight Talk about the Next American
1020 Revolution: Democratizing Wealth and Building a Community-Sustaining Economy
1021 from the Ground Up (White River Junction, VT: Chelsea Green, 2013), 39.
1022           </p></div><div id="ftn.idm336" class="footnote"><p><a href="#idm336" class="para"><sup class="para">[31] </sup></a>
1023             Marjorie Kelly, Owning Our Future: The Emerging Ownership Revolution;
1024 Journeys to a Generative Economy (San Francisco: Berrett-Koehler, 2012),
1025 8–9.
1026           </p></div><div id="ftn.idm341" class="footnote"><p><a href="#idm341" class="para"><sup class="para">[32] </sup></a>
1027             Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
1028 John Wiley and Sons, 2010). A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
1029           </p></div><div id="ftn.idm346" class="footnote"><p><a href="#idm346" class="para"><sup class="para">[33] </sup></a>
1030             This business model canvas is available to download at <a class="ulink" href="http://strategyzer.com/canvas/business-model-canvas" target="_top">http://strategyzer.com/canvas/business-model-canvas</a>.
1031           </p></div><div id="ftn.idm350" class="footnote"><p><a href="#idm350" class="para"><sup class="para">[34] </sup></a>
1032             We’ve made the <span class="quote">“<span class="quote">Open Business Model Canvas,</span>”</span> designed by the
1033 coauthor Paul Stacey, available online at <a class="ulink" href="http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit" target="_top">http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit</a>.
1034 You can also find the accompanying Open Business Model Canvas Questions at
1035 <a class="ulink" href="http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit" target="_top">http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit</a>.
1036           </p></div><div id="ftn.idm358" class="footnote"><p><a href="#idm358" class="para"><sup class="para">[35] </sup></a>
1037             A more comprehensive list of revenue streams is available in this post I
1038 wrote on Medium on March 6, 2016. <span class="quote">“<span class="quote">What Is an Open Business Model and
1039 How Can You Generate Revenue?</span>”</span>, available at <a class="ulink" href="http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15" target="_top">http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15</a>.
1040           </p></div><div id="ftn.idm369" class="footnote"><p><a href="#idm369" class="para"><sup class="para">[36] </sup></a>
1041             Henry Chesbrough, Open Innovation: The New Imperative for Creating and
1042 Profiting from Technology (Boston: Harvard Business Review Press, 2006),
1043 31–44.
1044           </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="how-to-be-made-with-creative-commons"></a>บทที่ 2. How to Be Made with Creative Commons</h2></div></div></div><div class="toc"><p><b>สารบัญ</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Zero: Getting Discovered</a></span></dt><dt><span class="sect1"><a href="#making-money">Making Money</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Making Human Connections</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
1045     \textit{ Sarah Hinchliff Pearson}
1046     \end{flushright}</td></tr></table></div><p>
1047       When we began this project in August 2015, we set out to write a book about
1048 business models that involve Creative Commons licenses in some significant
1049 way—what we call being Made with Creative Commons. With the help of our
1050 Kickstarter backers, we chose twenty-four endeavors from all around the
1051 world that are Made with Creative Commons. The mix is diverse, from an
1052 individual musician to a university-textbook publisher to an electronics
1053 manufacturer.  Some make their own content and share under Creative Commons
1054 licensing. Others are platforms for CC-licensed creative work made by
1055 others. Many sit somewhere in between, both using and contributing creative
1056 work that’s shared with the public. Like all who use the licenses, these
1057 endeavors share their work—whether it’s open data or furniture designs—in a
1058 way that enables the public not only to access it but also to make use of
1059 it.
1060     </p><p>
1061       We analyzed the revenue models, customer segments, and value propositions of
1062 each endeavor. We searched for ways that putting their content under
1063 Creative Commons licenses helped boost sales or increase reach. Using
1064 traditional measures of economic success, we tried to map these business
1065 models in a way that meaningfully incorporated the impact of Creative
1066 Commons. In our interviews, we dug into the motivations, the role of CC
1067 licenses, modes of revenue generation, definitions of success.
1068     </p><p>
1069       In fairly short order, we realized the book we set out to write was quite
1070 different from the one that was revealing itself in our interviews and
1071 research.
1072     </p><p>
1073       It isn’t that we were wrong to think you can make money while using Creative
1074 Commons licenses. In many instances, CC can help make you more money. Nor
1075 were we wrong that there are business models out there that others who want
1076 to use CC licensing as part of their livelihood or business could
1077 replicate. What we didn’t realize was just how misguided it would be to
1078 write a book about being Made with Creative Commons using only a business
1079 lens.
1080     </p><p>
1081       According to the seminal handbook Business Model Generation, a business
1082 model <span class="quote">“<span class="quote">describes the rationale of how an organization creates,
1083 delivers, and captures value.</span>”</span><a href="#ftn.idm396" class="footnote" name="idm396"><sup class="footnote">[37]</sup></a>
1084 Thinking about sharing in terms of creating and capturing value always felt
1085 inappropriately transactional and out of place, something we heard time and
1086 time again in our interviews. And as Cory Doctorow told us in our interview
1087 with him, <span class="quote">“<span class="quote">Business model can mean anything you want it to
1088 mean.</span>”</span>
1089     </p><p>
1090       Eventually, we got it. Being Made with Creative Commons is more than a
1091 business model. While we will talk about specific revenue models as one
1092 piece of our analysis (and in more detail in the case studies), we scrapped
1093 that as our guiding rubric for the book.
1094     </p><p>
1095       Admittedly, it took me a long time to get there. When Paul and I divided up
1096 our writing after finishing the research, my charge was to distill
1097 everything we learned from the case studies and write up the practical
1098 lessons and takeaways. I spent months trying to jam what we learned into the
1099 business-model box, convinced there must be some formula for the way things
1100 interacted. But there is no formula. You’ll probably have to discard that
1101 way of thinking before you read any further.
1102     </p><p>
1103       In every interview, we started from the same simple questions.  Amid all the
1104 diversity among the creators, organizations, and businesses we profiled,
1105 there was one constant. Being Made with Creative Commons may be good for
1106 business, but that is not why they do it. Sharing work with Creative Commons
1107 is, at its core, a moral decision. The commercial and other self-interested
1108 benefits are secondary. Most decided to use CC licenses first and found a
1109 revenue model later. This was our first hint that writing a book solely
1110 about the impact of sharing on business might be a little off track.
1111     </p><p>
1112       But we also started to realize something about what it means to be Made with
1113 Creative Commons. When people talked to us about how and why they used CC,
1114 it was clear that it meant something more than using a copyright license. It
1115 also represented a set of values.  There is symbolism behind using CC, and
1116 that symbolism has many layers.
1117     </p><p>
1118       At one level, being Made with Creative Commons expresses an affinity for the
1119 value of Creative Commons. While there are many different flavors of CC
1120 licenses and nearly infinite ways to be Made with Creative Commons, the
1121 basic value system is rooted in a fundamental belief that knowledge and
1122 creativity are building blocks of our culture rather than just commodities
1123 from which to extract market value. These values reflect a belief that the
1124 common good should always be part of the equation when we determine how to
1125 regulate our cultural outputs. They reflect a belief that everyone has
1126 something to contribute, and that no one can own our shared culture. They
1127 reflect a belief in the promise of sharing.
1128     </p><p>
1129       Whether the public makes use of the opportunity to copy and adapt your work,
1130 sharing with a Creative Commons license is a symbol of how you want to
1131 interact with the people who consume your work.  Whenever you create
1132 something, <span class="quote">“<span class="quote">all rights reserved</span>”</span> under copyright is automatic,
1133 so the copyright symbol (©) on the work does not necessarily come across as
1134 a marker of distrust or excessive protectionism. But using a CC license can
1135 be a symbol of the opposite—of wanting a real human relationship, rather
1136 than an impersonal market transaction. It leaves open the possibility of
1137 connection.
1138     </p><p>
1139       Being Made with Creative Commons not only demonstrates values connected to
1140 CC and sharing. It also demonstrates that something other than profit drives
1141 what you do. In our interviews, we always asked what success looked like for
1142 them. It was stunning how rarely money was mentioned. Most have a deeper
1143 purpose and a different vision of success.
1144     </p><p>
1145       The driving motivation varies depending on the type of endeavor.  For
1146 individual creators, it is most often about personal inspiration. In some
1147 ways, this is nothing new. As Doctorow has written, <span class="quote">“<span class="quote">Creators usually
1148 start doing what they do for love.</span>”</span><a href="#ftn.idm410" class="footnote" name="idm410"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC license, that
1149 dynamic is even more pronounced. Similarly, for technological innovators, it
1150 is often less about creating a specific new thing that will make you rich
1151 and more about solving a specific problem you have. The creators of Arduino
1152 told us that the key question when creating something is <span class="quote">“<span class="quote">Do you as
1153 the creator want to use it? It has to have personal use and meaning.</span>”</span>
1154     </p><p>
1155       Many that are Made with Creative Commons have an express social mission that
1156 underpins everything they do. In many cases, sharing with Creative Commons
1157 expressly advances that social mission, and using the licenses can be the
1158 difference between legitimacy and hypocrisy. Noun Project co-founder Edward
1159 Boatman told us they could not have stated their social mission of sharing
1160 with a straight face if they weren’t willing to show the world that it was
1161 OK to share their content using a Creative Commons license.
1162     </p><p>
1163       This dynamic is probably one reason why there are so many nonprofit examples
1164 of being Made with Creative Commons. The content is the result of a labor of
1165 love or a tool to drive social change, and money is like gas in the car,
1166 something that you need to keep going but not an end in itself. Being Made
1167 with Creative Commons is a different vision of a business or livelihood,
1168 where profit is not paramount, and producing social good and human
1169 connection are integral to success.
1170     </p><p>
1171       Even if profit isn’t the end goal, you have to bring in money to be
1172 successfully Made with Creative Commons. At a bare minimum, you have to make
1173 enough money to keep the lights on.
1174     </p><p>
1175       The costs of doing business vary widely for those made with CC, but there is
1176 generally a much lower threshold for sustainability than there used to be
1177 for any creative endeavor. Digital technology has made it easier than ever
1178 to create, and easier than ever to distribute. As Doctorow put it in his
1179 book Information Doesn’t Want to Be Free, <span class="quote">“<span class="quote">If analog dollars have
1180 turned into digital dimes (as the critics of ad-supported media have it),
1181 there is the fact that it’s possible to run a business that gets the same
1182 amount of advertising as its forebears at a fraction of the price.</span>”</span>
1183     </p><p>
1184       Some creation costs are the same as they always were. It takes the same
1185 amount of time and money to write a peer-reviewed journal article or paint a
1186 painting. Technology can’t change that. But other costs are dramatically
1187 reduced by technology, particularly in production-heavy domains like
1188 filmmaking.<a href="#ftn.idm419" class="footnote" name="idm419"><sup class="footnote">[39]</sup></a> CC-licensed content and
1189 content in the public domain, as well as the work of volunteer
1190 collaborators, can also dramatically reduce costs if they’re being used as
1191 resources to create something new. And, of course, there is the reality that
1192 some content would be created whether or not the creator is paid because it
1193 is a labor of love.
1194     </p><p>
1195       Distributing content is almost universally cheaper than ever. Once content
1196 is created, the costs to distribute copies digitally are essentially
1197 zero.<a href="#ftn.idm422" class="footnote" name="idm422"><sup class="footnote">[40]</sup></a> The costs to distribute physical
1198 copies are still significant, but lower than they have been
1199 historically. And it is now much easier to print and distribute physical
1200 copies on-demand, which also reduces costs. Depending on the endeavor, there
1201 can be a whole host of other possible expenses like marketing and promotion,
1202 and even expenses associated with the various ways money is being made, like
1203 touring or custom training.
1204     </p><p>
1205       It’s important to recognize that the biggest impact of technology on
1206 creative endeavors is that creators can now foot the costs of creation and
1207 distribution themselves. People now often have a direct route to their
1208 potential public without necessarily needing intermediaries like record
1209 labels and book publishers. Doctorow wrote, <span class="quote">“<span class="quote">If you’re a creator who
1210 never got the time of day from one of the great imperial powers, this is
1211 your time. Where once you had no means of reaching an audience without the
1212 assistance of the industry-dominating megacompanies, now you have hundreds
1213 of ways to do it without them.</span>”</span><a href="#ftn.idm426" class="footnote" name="idm426"><sup class="footnote">[41]</sup></a>
1214 Previously, distribution of creative work involved the costs associated with
1215 sustaining a monolithic entity, now creators can do the work
1216 themselves. That means the financial needs of creative endeavors can be a
1217 lot more modest.
1218     </p><p>
1219       Whether for an individual creator or a larger endeavor, it usually isn’t
1220 enough to break even if you want to make what you’re doing a livelihood. You
1221 need to build in some support for the general operation. This extra bit
1222 looks different for everyone, but importantly, in nearly all cases for those
1223 Made with Creative Commons, the definition of <span class="quote">“<span class="quote">enough money</span>”</span>
1224 looks a lot different than it does in the world of venture capital and stock
1225 options. It is more about sustainability and less about unlimited growth and
1226 profit. SparkFun founder Nathan Seidle told us, <span class="quote">“<span class="quote">Business model is a
1227 really grandiose word for it. It is really just about keeping the operation
1228 going day to day.</span>”</span>
1229     </p><p>
1230       This book is a testament to the notion that it is possible to make money
1231 while using CC licenses and CC-licensed content, but we are still very much
1232 at an experimental stage. The creators, organizations, and businesses we
1233 profile in this book are blazing the trail and adapting in real time as they
1234 pursue this new way of operating.
1235     </p><p>
1236       There are, however, plenty of ways in which CC licensing can be good for
1237 business in fairly predictable ways. The first is how it helps solve
1238 <span class="quote">“<span class="quote">problem zero.</span>”</span>
1239     </p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="problem-zero-getting-discovered"></a>Problem Zero: Getting Discovered</h2></div></div></div><p>
1240         Once you create or collect your content, the next step is finding users,
1241 customers, fans—in other words, your people. As Amanda Palmer wrote,
1242 <span class="quote">“<span class="quote">It has to start with the art. The songs had to touch people
1243 initially, and mean something, for anything to work at
1244 all.</span>”</span><a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[42]</sup></a> There isn’t any magic to
1245 finding your people, and there is certainly no formula. Your work has to
1246 connect with people and offer them some artistic and/or utilitarian
1247 value. In some ways, this is easier than ever. Online we are not limited by
1248 shelf space, so there is room for every obscure interest, taste, and need
1249 imaginable. This is what Chris Anderson dubbed the Long Tail, where
1250 consumption becomes less about mainstream mass <span class="quote">“<span class="quote">hits</span>”</span> and more
1251 about micromarkets for every particular niche. As Anderson wrote, <span class="quote">“<span class="quote">We
1252 are all different, with different wants and needs, and the Internet now has
1253 a place for all of them in the way that physical markets did
1254 not.</span>”</span><a href="#ftn.idm442" class="footnote" name="idm442"><sup class="footnote">[43]</sup></a> We are no longer limited
1255 to what appeals to the masses.
1256       </p><p>
1257         While finding <span class="quote">“<span class="quote">your people</span>”</span> online is theoretically easier than
1258 in the analog world, as a practical matter it can still be difficult to
1259 actually get noticed. The Internet is a firehose of content, one that only
1260 grows larger by the minute.  As a content creator, not only are you
1261 competing for attention against more content creators than ever before, you
1262 are competing against creativity generated outside the market as
1263 well.<a href="#ftn.idm446" class="footnote" name="idm446"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">“<span class="quote">The
1264 greatest change of the past decade has been the shift in time people spend
1265 consuming amateur content instead of professional
1266 content.</span>”</span><a href="#ftn.idm449" class="footnote" name="idm449"><sup class="footnote">[45]</sup></a> To top it all off, you
1267 have to compete against the rest of their lives, too—<span class="quote">“<span class="quote">friends, family,
1268 music playlists, soccer games, and nights on the town.</span>”</span><a href="#ftn.idm452" class="footnote" name="idm452"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
1269 right people.
1270       </p><p>
1271         When you come to the Internet armed with an all-rights-reserved mentality
1272 from the start, you are often restricting access to your work before there
1273 is even any demand for it. In many cases, requiring payment for your work is
1274 part of the traditional copyright system. Even a tiny cost has a big effect
1275 on demand.  It’s called the penny gap—the large difference in demand between
1276 something that is available at the price of one cent versus the price of
1277 zero.<a href="#ftn.idm455" class="footnote" name="idm455"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
1278 charge money for your content. It simply means you need to recognize the
1279 effect that doing so will have on demand. The same principle applies to
1280 restricting access to copy the work. If your problem is how to get
1281 discovered and find <span class="quote">“<span class="quote">your people,</span>”</span> prohibiting people from
1282 copying your work and sharing it with others is counterproductive.
1283       </p><p>
1284         Of course, it’s not that being discovered by people who like your work will
1285 make you rich—far from it. But as Cory Doctorow says, <span class="quote">“<span class="quote">Recognition is
1286 one of many necessary preconditions for artistic
1287 success.</span>”</span><a href="#ftn.idm460" class="footnote" name="idm460"><sup class="footnote">[48]</sup></a>
1288       </p><p>
1289         Choosing not to spend time and energy restricting access to your work and
1290 policing infringement also builds goodwill. Lumen Learning, a for-profit
1291 company that publishes online educational materials, made an early decision
1292 not to prevent students from accessing their content, even in the form of a
1293 tiny paywall, because it would negatively impact student success in a way
1294 that would undermine the social mission behind what they do. They believe
1295 this decision has generated an immense amount of goodwill within the
1296 community.
1297       </p><p>
1298         It is not just that restricting access to your work may undermine your
1299 social mission. It also may alienate the people who most value your creative
1300 work. If people like your work, their natural instinct will be to share it
1301 with others. But as David Bollier wrote, <span class="quote">“<span class="quote">Our natural human impulses
1302 to imitate and share—the essence of culture—have been
1303 criminalized.</span>”</span><a href="#ftn.idm465" class="footnote" name="idm465"><sup class="footnote">[49]</sup></a>
1304       </p><p>
1305         The fact that copying can carry criminal penalties undoubtedly deters
1306 copying it, but copying with the click of a button is too easy and
1307 convenient to ever fully stop it. Try as the copyright industry might to
1308 persuade us otherwise, copying a copyrighted work just doesn’t feel like
1309 stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
1310 creative work has no impact on anyone else’s ability to make use of it.
1311       </p><p>
1312         If you take some amount of copying and sharing your work as a given, you can
1313 invest your time and resources elsewhere, rather than wasting them on
1314 playing a cat and mouse game with people who want to copy and share your
1315 work. Lizzy Jongma from the Rijksmuseum said, <span class="quote">“<span class="quote">We could spend a lot of
1316 money trying to protect works, but people are going to do it anyway. And
1317 they will use bad-quality versions.</span>”</span> Instead, they started releasing
1318 high-resolution digital copies of their collection into the public domain
1319 and making them available for free on their website. For them, sharing was a
1320 form of quality control over the copies that were inevitably being shared
1321 online. Doing this meant forgoing the revenue they previously got from
1322 selling digital images. But Lizzy says that was a small price to pay for all
1323 of the opportunities that sharing unlocked for them.
1324       </p><p>
1325         Being Made with Creative Commons means you stop thinking about ways to
1326 artificially make your content scarce, and instead leverage it as the
1327 potentially abundant resource it is.<a href="#ftn.idm471" class="footnote" name="idm471"><sup class="footnote">[50]</sup></a>
1328 When you see information abundance as a feature, not a bug, you start
1329 thinking about the ways to use the idling capacity of your content to your
1330 advantage. As my friend and colleague Eric Steuer once said, <span class="quote">“<span class="quote">Using CC
1331 licenses shows you get the Internet.</span>”</span>
1332       </p><p>
1333         Cory Doctorow says it costs him nothing when other people make copies of his
1334 work, and it opens the possibility that he might get something in
1335 return.<a href="#ftn.idm475" class="footnote" name="idm475"><sup class="footnote">[51]</sup></a> Similarly, the makers of the
1336 Arduino boards knew it was impossible to stop people from copying their
1337 hardware, so they decided not to even try and instead look for the benefits
1338 of being open. For them, the result is one of the most ubiquitous pieces of
1339 hardware in the world, with a thriving online community of tinkerers and
1340 innovators that have done things with their work they never could have done
1341 otherwise.
1342       </p><p>
1343         There are all kinds of way to leverage the power of sharing and remix to
1344 your benefit. Here are a few.
1345       </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-grow-a-larger-audience"></a>Use CC to grow a larger audience</h3></div></div></div><p>
1346           Putting a Creative Commons license on your content won’t make it
1347 automatically go viral, but eliminating legal barriers to copying the work
1348 certainly can’t hurt the chances that your work will be shared. The CC
1349 license symbolizes that sharing is welcome. It can act as a little tap on
1350 the shoulder to those who come across the work—a nudge to copy the work if
1351 they have any inkling of doing so. All things being equal, if one piece of
1352 content has a sign that says Share and the other says Don’t Share (which is
1353 what <span class="quote">“<span class="quote">©</span>”</span> means), which do you think people are more likely to
1354 share?
1355         </p><p>
1356           The Conversation is an online news site with in-depth articles written by
1357 academics who are experts on particular topics. All of the articles are
1358 CC-licensed, and they are copied and reshared on other sites by design. This
1359 proliferating effect, which they track, is a central part of the value to
1360 their academic authors who want to reach as many readers as possible.
1361         </p><p>
1362           The idea that more eyeballs equates with more success is a form of the max
1363 strategy, adopted by Google and other technology companies. According to
1364 Google’s Eric Schmidt, the idea is simple: <span class="quote">“<span class="quote">Take whatever it is you
1365 are doing and do it at the max in terms of distribution. The other way of
1366 saying this is that since marginal cost of distribution is free, you might
1367 as well put things everywhere.</span>”</span><a href="#ftn.idm485" class="footnote" name="idm485"><sup class="footnote">[52]</sup></a>
1368 This strategy is what often motivates companies to make their products and
1369 services free (i.e., no cost), but the same logic applies to making content
1370 freely shareable. Because CC-licensed content is free (as in cost) and can
1371 be freely copied, CC licensing makes it even more accessible and likely to
1372 spread.
1373         </p><p>
1374           If you are successful in reaching more users, readers, listeners, or other
1375 consumers of your work, you can start to benefit from the bandwagon
1376 effect. The simple fact that there are other people consuming or following
1377 your work spurs others to want to do the same.<a href="#ftn.idm488" class="footnote" name="idm488"><sup class="footnote">[53]</sup></a> This is, in part, because we simply have a tendency to engage in
1378 herd behavior, but it is also because a large following is at least a
1379 partial indicator of quality or usefulness.<a href="#ftn.idm490" class="footnote" name="idm490"><sup class="footnote">[54]</sup></a>
1380         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-get-attribution-and-name-recognition"></a>Use CC to get attribution and name recognition</h3></div></div></div><p>
1381           Every Creative Commons license requires that credit be given to the author,
1382 and that reusers supply a link back to the original source of the
1383 material. CC0, not a license but a tool used to put work in the public
1384 domain, does not make attribution a legal requirement, but many communities
1385 still give credit as a matter of best practices and social norms. In fact,
1386 it is social norms, rather than the threat of legal enforcement, that most
1387 often motivate people to provide attribution and otherwise comply with the
1388 CC license terms anyway. This is the mark of any well-functioning community,
1389 within both the marketplace and the society at large.<a href="#ftn.idm495" class="footnote" name="idm495"><sup class="footnote">[55]</sup></a> CC licenses reflect a set of wishes on the part of
1390 creators, and in the vast majority of circumstances, people are naturally
1391 inclined to follow those wishes. This is particularly the case for something
1392 as straightforward and consistent with basic notions of fairness as
1393 providing credit.
1394         </p><p>
1395           The fact that the name of the creator follows a CC-licensed work makes the
1396 licenses an important means to develop a reputation or, in corporate speak,
1397 a brand. The drive to associate your name with your work is not just based
1398 on commercial motivations, it is fundamental to authorship.  Knowledge
1399 Unlatched is a nonprofit that helps to subsidize the print production of
1400 CC-licensed academic texts by pooling contributions from libraries around
1401 the United States. The CEO, Frances Pinter, says that the Creative Commons
1402 license on the works has a huge value to authors because reputation is the
1403 most important currency for academics. Sharing with CC is a way of having
1404 the most people see and cite your work.
1405         </p><p>
1406           Attribution can be about more than just receiving credit. It can also be
1407 about establishing provenance. People naturally want to know where content
1408 came from—the source of a work is sometimes just as interesting as the work
1409 itself. Opendesk is a platform for furniture designers to share their
1410 designs.  Consumers who like those designs can then get matched with local
1411 makers who turn the designs into real-life furniture.  The fact that I,
1412 sitting in the middle of the United States, can pick out a design created by
1413 a designer in Tokyo and then use a maker within my own community to
1414 transform the design into something tangible is part of the power of their
1415 platform. The provenance of the design is a special part of the product.
1416         </p><p>
1417           Knowing the source of a work is also critical to ensuring its
1418 credibility. Just as a trademark is designed to give consumers a way to
1419 identify the source and quality of a particular good and service, knowing
1420 the author of a work gives the public a way to assess its credibility. In a
1421 time when online discourse is plagued with misinformation, being a trusted
1422 information source is more valuable than ever.
1423         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-licensed-content-as-a-marketing-tool"></a>Use CC-licensed content as a marketing tool</h3></div></div></div><p>
1424           As we will cover in more detail later, many endeavors that are Made with
1425 Creative Commons make money by providing a product or service other than the
1426 CC-licensed work. Sometimes that other product or service is completely
1427 unrelated to the CC content. Other times it’s a physical copy or live
1428 performance of the CC content. In all cases, the CC content can attract
1429 people to your other product or service.
1430         </p><p>
1431           Knowledge Unlatched’s Pinter told us she has seen time and again how
1432 offering CC-licensed content—that is, digitally for free—actually increases
1433 sales of the printed goods because it functions as a marketing tool. We see
1434 this phenomenon regularly with famous artwork. The Mona Lisa is likely the
1435 most recognizable painting on the planet. Its ubiquity has the effect of
1436 catalyzing interest in seeing the painting in person, and in owning physical
1437 goods with the image. Abundant copies of the content often entice more
1438 demand, not blunt it.  Another example came with the advent of the
1439 radio. Although the music industry did not see it coming (and fought it!),
1440 free music on the radio functioned as advertising for the paid version
1441 people bought in music stores.<a href="#ftn.idm505" class="footnote" name="idm505"><sup class="footnote">[56]</sup></a> Free can
1442 be a form of promotion.
1443         </p><p>
1444           In some cases, endeavors that are Made with Creative Commons do not even
1445 need dedicated marketing teams or marketing budgets. Cards Against Humanity
1446 is a CC-licensed card game available as a free download. And because of this
1447 (thanks to the CC license on the game), the creators say it is one of the
1448 best-marketed games in the world, and they have never spent a dime on
1449 marketing. The textbook publisher OpenStax has also avoided hiring a
1450 marketing team. Their products are free, or cheaper to buy in the case of
1451 physical copies, which makes them much more attractive to students who then
1452 demand them from their universities. They also partner with service
1453 providers who build atop the CC-licensed content and, in turn, spend money
1454 and resources marketing those services (and by extension, the OpenStax
1455 textbooks).
1456         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-enable-hands-on-engagement-with-your-work"></a>Use CC to enable hands-on engagement with your work</h3></div></div></div><p>
1457           The great promise of Creative Commons licensing is that it signifies an
1458 embrace of remix culture. Indeed, this is the great promise of digital
1459 technology. The Internet opened up a whole new world of possibilities for
1460 public participation in creative work.
1461         </p><p>
1462           Four of the six CC licenses enable reusers to take apart, build upon, or
1463 otherwise adapt the work. Depending on the context, adaptation can mean
1464 wildly different things—translating, updating, localizing, improving,
1465 transforming. It enables a work to be customized for particular needs, uses,
1466 people, and communities, which is another distinct value to offer the
1467 public.<a href="#ftn.idm512" class="footnote" name="idm512"><sup class="footnote">[57]</sup></a> Adaptation is more game
1468 changing in some contexts than others. With educational materials, the
1469 ability to customize and update the content is critically important for its
1470 usefulness. For photography, the ability to adapt a photo is less important.
1471         </p><p>
1472           This is a way to counteract a potential downside of the abundance of free
1473 and open content described above. As Anderson wrote in Free, <span class="quote">“<span class="quote">People
1474 often don’t care as much about things they don’t pay for, and as a result
1475 they don’t think as much about how they consume them.</span>”</span><a href="#ftn.idm516" class="footnote" name="idm516"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
1476 penny for something changes our perception of that thing, then surely the
1477 act of remixing it enhances our perception exponentially.<a href="#ftn.idm518" class="footnote" name="idm518"><sup class="footnote">[59]</sup></a> We know that people will pay more for products they
1478 had a part in creating.<a href="#ftn.idm520" class="footnote" name="idm520"><sup class="footnote">[60]</sup></a> And we know
1479 that creating something, no matter what quality, brings with it a type of
1480 creative satisfaction that can never be replaced by consuming something
1481 created by someone else.<a href="#ftn.idm522" class="footnote" name="idm522"><sup class="footnote">[61]</sup></a>
1482         </p><p>
1483           Actively engaging with the content helps us avoid the type of aimless
1484 consumption that anyone who has absentmindedly scrolled through their
1485 social-media feeds for an hour knows all too well. In his book, Cognitive
1486 Surplus, Clay Shirky says, <span class="quote">“<span class="quote">To participate is to act as if your
1487 presence matters, as if, when you see something or hear something, your
1488 response is part of the event.</span>”</span><a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[62]</sup></a>
1489 Opening the door to your content can get people more deeply tied to your
1490 work.
1491         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-differentiate-yourself"></a>Use CC to differentiate yourself</h3></div></div></div><p>
1492           Operating under a traditional copyright regime usually means operating under
1493 the rules of establishment players in the media. Business strategies that
1494 are embedded in the traditional copyright system, like using digital rights
1495 management (DRM) and signing exclusivity contracts, can tie the hands of
1496 creators, often at the expense of the creator’s best interest.<a href="#ftn.idm531" class="footnote" name="idm531"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
1497 function without those barriers and, in many cases, use the increased
1498 openness as a competitive advantage. David Harris from OpenStax said they
1499 specifically pursue strategies they know that traditional publishers
1500 cannot. <span class="quote">“<span class="quote">Don’t go into a market and play by the incumbent
1501 rules,</span>”</span> David said.  <span class="quote">“<span class="quote">Change the rules of engagement.</span>”</span>
1502         </p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-money"></a>Making Money</h2></div></div></div><p>
1503         Like any moneymaking endeavor, those that are Made with Creative Commons
1504 have to generate some type of value for their audience or
1505 customers. Sometimes that value is subsidized by funders who are not
1506 actually beneficiaries of that value. Funders, whether philanthropic
1507 institutions, governments, or concerned individuals, provide money to the
1508 organization out of a sense of pure altruism. This is the way traditional
1509 nonprofit funding operates.<a href="#ftn.idm538" class="footnote" name="idm538"><sup class="footnote">[64]</sup></a> But in many
1510 cases, the revenue streams used by endeavors that are Made with Creative
1511 Commons are directly tied to the value they generate, where the recipient is
1512 paying for the value they receive like any standard market transaction. In
1513 still other cases, rather than the quid pro quo exchange of money for value
1514 that typically drives market transactions, the recipient gives money out of
1515 a sense of reciprocity.
1516       </p><p>
1517         Most who are Made with Creative Commons use a variety of methods to bring in
1518 revenue, some market-based and some not. One common strategy is using grant
1519 funding for content creation when research-and-development costs are
1520 particularly high, and then finding a different revenue stream (or streams)
1521 for ongoing expenses. As Shirky wrote, <span class="quote">“<span class="quote">The trick is in knowing when
1522 markets are an optimal way of organizing interactions and when they are
1523 not.</span>”</span><a href="#ftn.idm544" class="footnote" name="idm544"><sup class="footnote">[65]</sup></a>
1524       </p><p>
1525         Our case studies explore in more detail the various revenue-generating
1526 mechanisms used by the creators, organizations, and businesses we
1527 interviewed. There is nuance hidden within the specific ways each of them
1528 makes money, so it is a bit dangerous to generalize too much about what we
1529 learned.  Nonetheless, zooming out and viewing things from a higher level of
1530 abstraction can be instructive.
1531       </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="market-based-revenue-streams"></a>Market-based revenue streams</h3></div></div></div><p>
1532           In the market, the central question when determining how to bring in revenue
1533 is what value people are willing to pay for.<a href="#ftn.idm550" class="footnote" name="idm550"><sup class="footnote">[66]</sup></a> By definition, if you are Made with Creative Commons, the content
1534 you provide is available for free and not a market commodity. Like the
1535 ubiquitous freemium business model, any possible market transaction with a
1536 consumer of your content has to be based on some added value you
1537 provide.<a href="#ftn.idm552" class="footnote" name="idm552"><sup class="footnote">[67]</sup></a>
1538         </p><p>
1539           In many ways, this is the way of the future for all content-driven
1540 endeavors. In the market, value lives in things that are scarce. Because the
1541 Internet makes a universe of content available to all of us for free, it is
1542 difficult to get people to pay for content online. The struggling newspaper
1543 industry is a testament to this fact. This is compounded by the fact that at
1544 least some amount of copying is probably inevitable. That means you may end
1545 up competing with free versions of your own content, whether you condone it
1546 or not.<a href="#ftn.idm555" class="footnote" name="idm555"><sup class="footnote">[68]</sup></a> If people can easily find your
1547 content for free, getting people to buy it will be difficult, particularly
1548 in a context where access to content is more important than owning it. In
1549 Free, Anderson wrote, <span class="quote">“<span class="quote">Copyright protection schemes, whether coded
1550 into either law or software, are simply holding up a price against the force
1551 of gravity.</span>”</span>
1552         </p><p>
1553           Of course, this doesn’t mean that content-driven endeavors have no future in
1554 the traditional marketplace. In Free, Anderson explains how when one product
1555 or service becomes free, as information and content largely have in the
1556 digital age, other things become more valuable. <span class="quote">“<span class="quote">Every abundance
1557 creates a new scarcity,</span>”</span> he wrote. You just have to find some way
1558 other than the content to provide value to your audience or customers. As
1559 Anderson says, <span class="quote">“<span class="quote">It’s easy to compete with Free: simply offer something
1560 better or at least different from the free version.</span>”</span><a href="#ftn.idm561" class="footnote" name="idm561"><sup class="footnote">[69]</sup></a>
1561         </p><p>
1562           In light of this reality, in some ways endeavors that are Made with Creative
1563 Commons are at a level playing field with all content-based endeavors in the
1564 digital age. In fact, they may even have an advantage because they can use
1565 the abundance of content to derive revenue from something scarce. They can
1566 also benefit from the goodwill that stems from the values behind being Made
1567 with Creative Commons.
1568         </p><p>
1569           For content creators and distributors, there are nearly infinite ways to
1570 provide value to the consumers of your work, above and beyond the value that
1571 lives within your free digital content. Often, the CC-licensed content
1572 functions as a marketing tool for the paid product or service.
1573         </p><p>
1574           Here are the most common high-level categories.
1575         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="providing-a-custom-service-to-consumers-of-your-work-market-based"></a>Providing a custom service to consumers of your work
1576 <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1577           In this age of information abundance, we don’t lack for content. The trick
1578 is finding content that matches our needs and wants, so customized services
1579 are particularly valuable.  As Anderson wrote, <span class="quote">“<span class="quote">Commodity information
1580 (everybody gets the same version) wants to be free. Customized information
1581 (you get something unique and meaningful to you)  wants to be
1582 expensive.</span>”</span><a href="#ftn.idm571" class="footnote" name="idm571"><sup class="footnote">[70]</sup></a> This can be anything
1583 from the artistic and cultural consulting services provided by Ártica to the
1584 custom-song business of Jonathan <span class="quote">“<span class="quote">Song-A-Day</span>”</span> Mann.
1585         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-for-the-physical-copy-market-based"></a>Charging for the physical copy <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1586           In his book about maker culture, Anderson characterizes this model as giving
1587 away the bits and selling the atoms (where bits refers to digital content
1588 and atoms refer to a physical object).<a href="#ftn.idm578" class="footnote" name="idm578"><sup class="footnote">[71]</sup></a>
1589 This is particularly successful in domains where the digital version of the
1590 content isn’t as valuable as the analog version, like book publishing where
1591 a significant subset of people still prefer reading something they can hold
1592 in their hands. Or in domains where the content isn’t useful until it is in
1593 physical form, like furniture designs. In those situations, a significant
1594 portion of consumers will pay for the convenience of having someone else put
1595 the physical version together for them. Some endeavors squeeze even more out
1596 of this revenue stream by using a Creative Commons license that only allows
1597 noncommercial uses, which means no one else can sell physical copies of
1598 their work in competition with them. This strategy of reserving commercial
1599 rights can be particularly important for items like books, where every
1600 printed copy of the same work is likely to be the same quality, so it is
1601 harder to differentiate one publishing service from another. On the other
1602 hand, for items like furniture or electronics, the provider of the physical
1603 goods can compete with other providers of the same works based on quality,
1604 service, or other traditional business principles.
1605         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-for-the-in-person-version-market-based"></a>Charging for the in-person version <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1606           As anyone who has ever gone to a concert will tell you, experiencing
1607 creativity in person is a completely different experience from consuming a
1608 digital copy on your own. Far from acting as a substitute for face-to-face
1609 interaction, CC-licensed content can actually create demand for the
1610 in-person version of experience. You can see this effect when people go view
1611 original art in person or pay to attend a talk or training course.
1612         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="selling-merchandise-market-based"></a>Selling merchandise <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1613           In many cases, people who like your work will pay for products demonstrating
1614 a connection to your work. As a child of the 1980s, I can personally attest
1615 to the power of a good concert T-shirt. This can also be an important
1616 revenue stream for museums and galleries.
1617         </p><p>
1618           Sometimes the way to find a market-based revenue stream is by providing
1619 value to people other than those who consume your CC-licensed content. In
1620 these revenue streams, the free content is being subsidized by an entirely
1621 different category of people or businesses. Often, those people or
1622 businesses are paying to access your main audience. The fact that the
1623 content is free increases the size of the audience, which in turn makes the
1624 offer more valuable to the paying customers. This is a variation of a
1625 traditional business model built on free called multi-sided
1626 platforms.<a href="#ftn.idm589" class="footnote" name="idm589"><sup class="footnote">[72]</sup></a> Access to your audience
1627 isn’t the only thing people are willing to pay for—there are other services
1628 you can provide as well.
1629         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-advertisers-or-sponsors-market-based"></a>Charging advertisers or sponsors <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1630           The traditional model of subsidizing free content is advertising. In this
1631 version of multi-sided platforms, advertisers pay for the opportunity to
1632 reach the set of eyeballs the content creators provide in the form of their
1633 audience.<a href="#ftn.idm595" class="footnote" name="idm595"><sup class="footnote">[73]</sup></a> The Internet has made this
1634 model more difficult because the number of potential channels available to
1635 reach those eyeballs has become essentially infinite.<a href="#ftn.idm597" class="footnote" name="idm597"><sup class="footnote">[74]</sup></a> Nonetheless, it remains a viable revenue stream for
1636 many content creators, including those who are Made with Creative
1637 Commons. Often, instead of paying to display advertising, the advertiser
1638 pays to be an official sponsor of particular content or projects, or of the
1639 overall endeavor.
1640         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-your-content-creators-market-based"></a>Charging your content creators <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1641           Another type of multisided platform is where the content creators themselves
1642 pay to be featured on the platform.  Obviously, this revenue stream is only
1643 available to those who rely on work created, at least in part, by
1644 others. The most well-known version of this model is the
1645 <span class="quote">“<span class="quote">author-processing charge</span>”</span> of open-access journals like those
1646 published by the Public Library of Science, but there are other
1647 variations. The Conversation is primarily funded by a university-membership
1648 model, where universities pay to have their faculties participate as writers
1649 of the content on the Conversation website.
1650         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-a-transaction-fee-market-based"></a>Charging a transaction fee <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1651           This is a version of a traditional business model based on brokering
1652 transactions between parties.<a href="#ftn.idm608" class="footnote" name="idm608"><sup class="footnote">[75]</sup></a> Curation
1653 is an important element of this model.  Platforms like the Noun Project add
1654 value by wading through CC-licensed content to curate a high-quality set and
1655 then derive revenue when creators of that content make transactions with
1656 customers. Other platforms make money when service providers transact with
1657 their customers; for example, Opendesk makes money every time someone on
1658 their site pays a maker to make furniture based on one of the designs on the
1659 platform.
1660         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="providing-a-service-to-your-creators-market-based"></a>Providing a service to your creators <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1661           As mentioned above, endeavors can make money by providing customized
1662 services to their users. Platforms can undertake a variation of this service
1663 model directed at the creators that provide the content they feature. The
1664 data platforms Figure.NZ and Figshare both capitalize on this model by
1665 providing paid tools to help their users make the data they contribute to
1666 the platform more discoverable and reusable.
1667         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="licensing-a-trademark-market-based"></a>Licensing a trademark <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1668           Finally, some that are Made with Creative Commons make money by selling use
1669 of their trademarks. Well known brands that consumers associate with
1670 quality, credibility, or even an ethos can license that trademark to
1671 companies that want to take advantage of that goodwill. By definition,
1672 trademarks are scarce because they represent a particular source of a good
1673 or service. Charging for the ability to use that trademark is a way of
1674 deriving revenue from something scarce while taking advantage of the
1675 abundance of CC content.
1676         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="reciprocity-based-revenue-streams"></a>Reciprocity-based revenue streams</h3></div></div></div><p>
1677           Even if we set aside grant funding, we found that the traditional economic
1678 framework of understanding the market failed to fully capture the ways the
1679 endeavors we analyzed were making money. It was not simply about monetizing
1680 scarcity.
1681         </p><p>
1682           Rather than devising a scheme to get people to pay money in exchange for
1683 some direct value provided to them, many of the revenue streams were more
1684 about providing value, building a relationship, and then eventually finding
1685 some money that flows back out of a sense of reciprocity. While some look
1686 like traditional nonprofit funding models, they aren’t charity. The endeavor
1687 exchange value with people, just not necessarily synchronously or in a way
1688 that requires that those values be equal. As David Bollier wrote in Think
1689 Like a Commoner, <span class="quote">“<span class="quote">There is no self-serving calculation of whether the
1690 value given and received is strictly equal.</span>”</span>
1691         </p><p>
1692           This should be a familiar dynamic—it is the way you deal with your friends
1693 and family. We give without regard for what and when we will get back. David
1694 Bollier wrote, <span class="quote">“<span class="quote">Reciprocal social exchange lies at the heart of human
1695 identity, community and culture. It is a vital brain function that helps the
1696 human species survive and evolve.</span>”</span>
1697         </p><p>
1698           What is rare is to incorporate this sort of relationship into an endeavor
1699 that also engages with the market.<a href="#ftn.idm626" class="footnote" name="idm626"><sup class="footnote">[76]</sup></a> We
1700 almost can’t help but think of relationships in the market as being centered
1701 on an even-steven exchange of value.<a href="#ftn.idm628" class="footnote" name="idm628"><sup class="footnote">[77]</sup></a>
1702         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="memberships-and-individual-donations-reciprocity-based"></a>Memberships and individual donations
1703 <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
1704           While memberships and donations are traditional nonprofit funding models, in
1705 the Made with Creative Commons context, they are directly tied to the
1706 reciprocal relationship that is cultivated with the beneficiaries of their
1707 work. The bigger the pool of those receiving value from the content, the
1708 more likely this strategy will work, given that only a small percentage of
1709 people are likely to contribute. Since using CC licenses can grease the
1710 wheels for content to reach more people, this strategy can be more effective
1711 for endeavors that are Made with Creative Commons. The greater the argument
1712 that the content is a public good or that the entire endeavor is furthering
1713 a social mission, the more likely this strategy is to succeed.
1714         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="the-pay-what-you-want-model-reciprocity-based"></a>The pay-what-you-want model <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
1715           In the pay-what-you-want model, the beneficiary of Creative Commons content
1716 is invited to give—at any amount they can and feel is appropriate, based on
1717 the public and personal value they feel is generated by the open
1718 content. Critically, these models are not touted as <span class="quote">“<span class="quote">buying</span>”</span>
1719 something free.  They are similar to a tip jar. People make financial
1720 contributions as an act of gratitude. These models capitalize on the fact
1721 that we are naturally inclined to give money for things we value in the
1722 marketplace, even in situations where we could find a way to get it for
1723 free.
1724         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="crowdfunding-reciprocity-based"></a>Crowdfunding <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
1725           Crowdfunding models are based on recouping the costs of creating and
1726 distributing content before the content is created. If the endeavor is Made
1727 with Creative Commons, anyone who wants the work in question could simply
1728 wait until it’s created and then access it for free. That means, for this
1729 model to work, people have to care about more than just receiving the
1730 work. They have to want you to succeed. Amanda Palmer credits the success of
1731 her crowdfunding on Kickstarter and Patreon to the years she spent building
1732 her community and creating a connection with her fans. She wrote in The Art
1733 of Asking, <span class="quote">“<span class="quote">Good art is made, good art is shared, help is offered,
1734 ears are bent, emotions are exchanged, the compost of real, deep connection
1735 is sprayed all over the fields. Then one day, the artist steps up and asks
1736 for something. And if the ground has been fertilized enough, the audience
1737 says, without hesitation: of course.</span>”</span>
1738         </p><p>
1739           Other types of crowdfunding rely on a sense of responsibility that a
1740 particular community may feel. Knowledge Unlatched pools funds from major
1741 U.S. libraries to subsidize CC-licensed academic work that will be, by
1742 definition, available to everyone for free. Libraries with bigger budgets
1743 tend to give more out of a sense of commitment to the library community and
1744 to the idea of open access generally.
1745         </p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-human-connections"></a>Making Human Connections</h2></div></div></div><p>
1746         Regardless of how they made money, in our interviews, we repeatedly heard
1747 language like <span class="quote">“<span class="quote">persuading people to buy</span>”</span> and <span class="quote">“<span class="quote">inviting
1748 people to pay.</span>”</span> We heard it even in connection with revenue streams
1749 that sit squarely within the market. Cory Doctorow told us, <span class="quote">“<span class="quote">I have to
1750 convince my readers that the right thing to do is to pay me.</span>”</span> The
1751 founders of the for-profit company Lumen Learning showed us the letter they
1752 send to those who opt not to pay for the services they provide in connection
1753 with their CC-licensed educational content. It isn’t a cease-and-desist
1754 letter; it’s an invitation to pay because it’s the right thing to do. This
1755 sort of behavior toward what could be considered nonpaying customers is
1756 largely unheard of in the traditional marketplace. But it seems to be part
1757 of the fabric of being Made with Creative Commons.
1758       </p><p>
1759         Nearly every endeavor we profiled relied, at least in part, on people being
1760 invested in what they do. The closer the Creative Commons content is to
1761 being <span class="quote">“<span class="quote">the product,</span>”</span> the more pronounced this dynamic has to
1762 be. Rather than simply selling a product or service, they are making
1763 ideological, personal, and creative connections with the people who value
1764 what they do.
1765       </p><p>
1766         It took me a very long time to see how this avoidance of thinking about what
1767 they do in pure market terms was deeply tied to being Made with Creative
1768 Commons.
1769       </p><p>
1770         I came to the research with preconceived notions about what Creative Commons
1771 is and what it means to be Made with Creative Commons. It turned out I was
1772 wrong on so many counts.
1773       </p><p>
1774         Obviously, being Made with Creative Commons means using Creative Commons
1775 licenses. That much I knew. But in our interviews, people spoke of so much
1776 more than copyright permissions when they explained how sharing fit into
1777 what they do. I was thinking about sharing too narrowly, and as a result, I
1778 was missing vast swaths of the meaning packed within Creative
1779 Commons. Rather than parsing the specific and narrow role of the copyright
1780 license in the equation, it is important not to disaggregate the rest of
1781 what comes with sharing. You have to widen the lens.
1782       </p><p>
1783         Being Made with Creative Commons is not just about the simple act of
1784 licensing a copyrighted work under a set of standardized terms, but also
1785 about community, social good, contributing ideas, expressing a value system,
1786 working together. These components of sharing are hard to cultivate if you
1787 think about what you do in purely market terms. Decent social behavior isn’t
1788 as intuitive when we are doing something that involves monetary exchange. It
1789 takes a conscious effort to foster the context for real sharing, based not
1790 strictly on impersonal market exchange, but on connections with the people
1791 with whom you share—connections with you, with your work, with your values,
1792 with each other.
1793       </p><p>
1794         The rest of this section will explore some of the common strategies that
1795 creators, companies, and organizations use to remind us that there are
1796 humans behind every creative endeavor.  To remind us we have obligations to
1797 each other. To remind us what sharing really looks like.
1798       </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-human"></a>Be human</h3></div></div></div><p>
1799           Humans are social animals, which means we are naturally inclined to treat
1800 each other well.<a href="#ftn.idm661" class="footnote" name="idm661"><sup class="footnote">[78]</sup></a> But the further
1801 removed we are from the person with whom we are interacting, the less caring
1802 our behavior will be. While the Internet has democratized cultural
1803 production, increased access to knowledge, and connected us in extraordinary
1804 ways, it can also make it easy forget we are dealing with another human.
1805         </p><p>
1806           To counteract the anonymous and impersonal tendencies of how we operate
1807 online, individual creators and corporations who use Creative Commons
1808 licenses work to demonstrate their humanity. For some, this means pouring
1809 their lives out on the page. For others, it means showing their creative
1810 process, giving a glimpse into how they do what they do. As writer Austin
1811 Kleon wrote, <span class="quote">“<span class="quote">Our work doesn’t speak for itself.  Human beings want to
1812 know where things came from, how they were made, and who made them. The
1813 stories you tell about the work you do have a huge effect on how people feel
1814 and what they understand about your work, and how people feel and what they
1815 understand about your work affects how they value it.</span>”</span><a href="#ftn.idm665" class="footnote" name="idm665"><sup class="footnote">[79]</sup></a>
1816         </p><p>
1817           A critical component to doing this effectively is not worrying about being a
1818 <span class="quote">“<span class="quote">brand.</span>”</span> That means not being afraid to be vulnerable. Amanda
1819 Palmer says, <span class="quote">“<span class="quote">When you’re afraid of someone’s judgment, you can’t
1820 connect with them. You’re too preoccupied with the task of impressing
1821 them.</span>”</span> Not everyone is suited to live life as an open book like
1822 Palmer, and that’s OK. There are a lot of ways to be human. The trick is
1823 just avoiding pretense and the temptation to artificially craft an
1824 image. People don’t just want the glossy version of you. They can’t relate
1825 to it, at least not in a meaningful way.
1826         </p><p>
1827           This advice is probably even more important for businesses and organizations
1828 because we instinctively conceive of them as nonhuman (though in the United
1829 States, corporations are people!). When corporations and organizations make
1830 the people behind them more apparent, it reminds people that they are
1831 dealing with something other than an anonymous corporate entity. In
1832 business-speak, this is about <span class="quote">“<span class="quote">humanizing your interactions</span>”</span>
1833 with the public.<a href="#ftn.idm672" class="footnote" name="idm672"><sup class="footnote">[80]</sup></a> But it can’t be a
1834 gimmick. You can’t fake being human.
1835         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-open-and-accountable"></a>Be open and accountable</h3></div></div></div><p>
1836           Transparency helps people understand who you are and why you do what you do,
1837 but it also inspires trust. Max Temkin of Cards Against Humanity told us,
1838 <span class="quote">“<span class="quote">One of the most surprising things you can do in capitalism is just be
1839 honest with people.</span>”</span> That means sharing the good and the bad.  As
1840 Amanda Palmer wrote, <span class="quote">“<span class="quote">You can fix almost anything by authentically
1841 communicating.</span>”</span><a href="#ftn.idm679" class="footnote" name="idm679"><sup class="footnote">[81]</sup></a> It isn’t about
1842 trying to satisfy everyone or trying to sugarcoat mistakes or bad news, but
1843 instead about explaining your rationale and then being prepared to defend it
1844 when people are critical.<a href="#ftn.idm681" class="footnote" name="idm681"><sup class="footnote">[82]</sup></a>
1845         </p><p>
1846           Being accountable does not mean operating on consensus.  According to James
1847 Surowiecki, consensus-driven groups tend to resort to
1848 lowest-common-denominator solutions and avoid the sort of candid exchange of
1849 ideas that cultivates healthy collaboration.<a href="#ftn.idm684" class="footnote" name="idm684"><sup class="footnote">[83]</sup></a> Instead, it can be as simple as asking for input and then giving
1850 context and explanation about decisions you make, even if soliciting
1851 feedback and inviting discourse is time-consuming. If you don’t go through
1852 the effort to actually respond to the input you receive, it can be worse
1853 than not inviting input in the first place.<a href="#ftn.idm686" class="footnote" name="idm686"><sup class="footnote">[84]</sup></a> But when you get it right, it can guarantee the type of diversity
1854 of thought that helps endeavors excel. And it is another way to get people
1855 involved and invested in what you do.
1856         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="design-for-the-good-actors"></a>Design for the good actors</h3></div></div></div><p>
1857           Traditional economics assumes people make decisions based solely on their
1858 own economic self-interest.<a href="#ftn.idm691" class="footnote" name="idm691"><sup class="footnote">[85]</sup></a> Any
1859 relatively introspective human knows this is a fiction—we are much more
1860 complicated beings with a whole range of needs, emotions, and
1861 motivations. In fact, we are hardwired to work together and ensure
1862 fairness.<a href="#ftn.idm693" class="footnote" name="idm693"><sup class="footnote">[86]</sup></a> Being Made with Creative
1863 Commons requires an assumption that people will largely act on those social
1864 motivations, motivations that would be considered <span class="quote">“<span class="quote">irrational</span>”</span>
1865 in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">“<span class="quote">It is
1866 best to ignore people who try to scare you about free riding. That fear is
1867 based on a very shallow view of what motivates human behavior.</span>”</span> There
1868 will always be people who will act in purely selfish ways, but endeavors
1869 that are Made with Creative Commons design for the good actors.
1870         </p><p>
1871           The assumption that people will largely do the right thing can be a
1872 self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">“<span class="quote">Systems
1873 that assume people will act in ways that create public goods, and that give
1874 them opportunities and rewards for doing so, often let them work together
1875 better than neoclassical economics would predict.</span>”</span><a href="#ftn.idm699" class="footnote" name="idm699"><sup class="footnote">[87]</sup></a> When we acknowledge that people are often motivated
1876 by something other than financial self-interest, we design our endeavors in
1877 ways that encourage and accentuate our social instincts.
1878         </p><p>
1879           Rather than trying to exert control over people’s behavior, this mode of
1880 operating requires a certain level of trust. We might not realize it, but
1881 our daily lives are already built on trust. As Surowiecki wrote in The
1882 Wisdom of Crowds, <span class="quote">“<span class="quote">It’s impossible for a society to rely on law alone
1883 to make sure citizens act honestly and responsibly. And it’s impossible for
1884 any organization to rely on contracts alone to make sure that its managers
1885 and workers live up to their obligation.</span>”</span> Instead, we largely trust
1886 that people—mostly strangers—will do what they are supposed to
1887 do.<a href="#ftn.idm703" class="footnote" name="idm703"><sup class="footnote">[88]</sup></a> And most often, they do.
1888         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="treat-humans-like-well-humans"></a>Treat humans like, well, humans</h3></div></div></div><p>
1889           For creators, treating people as humans means not treating them like
1890 fans. As Kleon says, <span class="quote">“<span class="quote">If you want fans, you have to be a fan
1891 first.</span>”</span><a href="#ftn.idm709" class="footnote" name="idm709"><sup class="footnote">[89]</sup></a> Even if you happen to be
1892 one of the few to reach celebrity levels of fame, you are better off
1893 remembering that the people who follow your work are human, too. Cory
1894 Doctorow makes a point to answer every single email someone sends him.
1895 Amanda Palmer spends vast quantities of time going online to communicate
1896 with her public, making a point to listen just as much as she
1897 talks.<a href="#ftn.idm711" class="footnote" name="idm711"><sup class="footnote">[90]</sup></a>
1898         </p><p>
1899           The same idea goes for businesses and organizations. Rather than automating
1900 its customer service, the music platform Tribe of Noise makes a point to
1901 ensure its employees have personal, one-on-one interaction with users.
1902         </p><p>
1903           When we treat people like humans, they typically return the gift in
1904 kind. It’s called karma. But social relationships are fragile. It is all too
1905 easy to destroy them if you make the mistake of treating people as anonymous
1906 customers or free labor.<a href="#ftn.idm715" class="footnote" name="idm715"><sup class="footnote">[91]</sup></a> Platforms that
1907 rely on content from contributors are especially at risk of creating an
1908 exploitative dynamic. It is important to find ways to acknowledge and pay
1909 back the value that contributors generate. That does not mean you can solve
1910 this problem by simply paying contributors for their time or
1911 contributions. As soon as we introduce money into a relationship—at least
1912 when it takes a form of paying monetary value in exchange for other value—it
1913 can dramatically change the dynamic.<a href="#ftn.idm717" class="footnote" name="idm717"><sup class="footnote">[92]</sup></a>
1914         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="state-your-principles-and-stick-to-them"></a>State your principles and stick to them</h3></div></div></div><p>
1915           Being Made with Creative Commons makes a statement about who you are and
1916 what you do. The symbolism is powerful. Using Creative Commons licenses
1917 demonstrates adherence to a particular belief system, which generates
1918 goodwill and connects like-minded people to your work. Sometimes people will
1919 be drawn to endeavors that are Made with Creative Commons as a way of
1920 demonstrating their own commitment to the Creative Commons value system,
1921 akin to a political statement. Other times people will identify and feel
1922 connected with an endeavor’s separate social mission. Often both.
1923         </p><p>
1924           The expression of your values doesn’t have to be implicit. In fact, many of
1925 the people we interviewed talked about how important it is to state your
1926 guiding principles up front.  Lumen Learning attributes a lot of their
1927 success to having been outspoken about the fundamental values that guide
1928 what they do. As a for-profit company, they think their expressed commitment
1929 to low-income students and open licensing has been critical to their
1930 credibility in the OER (open educational resources) community in which they
1931 operate.
1932         </p><p>
1933           When your end goal is not about making a profit, people trust that you
1934 aren’t just trying to extract value for your own gain. People notice when
1935 you have a sense of purpose that transcends your own
1936 self-interest.<a href="#ftn.idm724" class="footnote" name="idm724"><sup class="footnote">[93]</sup></a> It attracts committed
1937 employees, motivates contributors, and builds trust.
1938         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="build-a-community"></a>Build a community</h3></div></div></div><p>
1939           Endeavors that are Made with Creative Commons thrive when community is built
1940 around what they do. This may mean a community collaborating together to
1941 create something new, or it may simply be a collection of like-minded people
1942 who get to know each other and rally around common interests or
1943 beliefs.<a href="#ftn.idm729" class="footnote" name="idm729"><sup class="footnote">[94]</sup></a> To a certain extent, simply
1944 being Made with Creative Commons automatically brings with it some element
1945 of community, by helping connect you to like-minded others who recognize and
1946 are drawn to the values symbolized by using CC.
1947         </p><p>
1948           To be sustainable, though, you have to work to nurture community. People
1949 have to care—about you and each other. One critical piece to this is
1950 fostering a sense of belonging. As Jono Bacon writes in The Art of
1951 Community, <span class="quote">“<span class="quote">If there is no belonging, there is no community.</span>”</span>
1952 For Amanda Palmer and her band, that meant creating an accepting and
1953 inclusive environment where people felt a part of their <span class="quote">“<span class="quote">weird little
1954 family.</span>”</span><a href="#ftn.idm734" class="footnote" name="idm734"><sup class="footnote">[95]</sup></a> For organizations like
1955 Red Hat, that means connecting around common beliefs or goals. As the CEO
1956 Jim Whitehurst wrote in The Open Organization, <span class="quote">“<span class="quote">Tapping into passion
1957 is especially important in building the kinds of participative communities
1958 that drive open organizations.</span>”</span><a href="#ftn.idm737" class="footnote" name="idm737"><sup class="footnote">[96]</sup></a>
1959         </p><p>
1960           Communities that collaborate together take deliberate planning. Surowiecki
1961 wrote, <span class="quote">“<span class="quote">It takes a lot of work to put the group together. It’s
1962 difficult to ensure that people are working in the group’s interest and not
1963 in their own. And when there’s a lack of trust between the members of the
1964 group (which isn’t surprising given that they don’t really know each other),
1965 considerable energy is wasted trying to determine each other’s bona
1966 fides.</span>”</span><a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[97]</sup></a> Building true community
1967 requires giving people within the community the power to create or influence
1968 the rules that govern the community.<a href="#ftn.idm743" class="footnote" name="idm743"><sup class="footnote">[98]</sup></a> If
1969 the rules are created and imposed in a top-down manner, people feel like
1970 they don’t have a voice, which in turn leads to disengagement.
1971         </p><p>
1972           Community takes work, but working together, or even simply being connected
1973 around common interests or values, is in many ways what sharing is about.
1974         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="give-more-to-the-commons-than-you-take"></a>Give more to the commons than you take</h3></div></div></div><p>
1975           Conventional wisdom in the marketplace dictates that people should try to
1976 extract as much money as possible from resources. This is essentially what
1977 defines so much of the so-called sharing economy. In an article on the
1978 Harvard Business Review website called <span class="quote">“<span class="quote">The Sharing Economy Isn’t
1979 about Sharing at All,</span>”</span> authors Giana Eckhardt and Fleura Bardhi
1980 explained how the anonymous market-driven trans-actions in most
1981 sharing-economy businesses are purely about monetizing access.<a href="#ftn.idm750" class="footnote" name="idm750"><sup class="footnote">[99]</sup></a> As Lisa Gansky put it in her book The Mesh, the
1982 primary strategy of the sharing economy is to sell the same product multiple
1983 times, by selling access rather than ownership.<a href="#ftn.idm754" class="footnote" name="idm754"><sup class="footnote">[100]</sup></a> That is not sharing.
1984         </p><p>
1985           Sharing requires adding as much or more value to the ecosystem than you
1986 take. You can’t simply treat open content as a free pool of resources from
1987 which to extract value. Part of giving back to the ecosystem is contributing
1988 content back to the public under CC licenses. But it doesn’t have to just be
1989 about creating content; it can be about adding value in other ways.  The
1990 social blogging platform Medium provides value to its community by
1991 incentivizing good behavior, and the result is an online space with
1992 remarkably high-quality user-generated content and limited
1993 trolling.<a href="#ftn.idm757" class="footnote" name="idm757"><sup class="footnote">[101]</sup></a> Opendesk contributes to its
1994 community by committing to help its designers make money, in part by
1995 actively curating and displaying their work on its platform effectively.
1996         </p><p>
1997           In all cases, it is important to openly acknowledge the amount of value you
1998 add versus that which you draw on that was created by others. Being
1999 transparent about this builds credibility and shows you are a contributing
2000 player in the commons. When your endeavor is making money, that also means
2001 apportioning financial compensation in a way that reflects the value
2002 contributed by others, providing more to contributors when the value they
2003 add outweighs the value provided by you.
2004         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="involve-people-in-what-you-do"></a>Involve people in what you do</h3></div></div></div><p>
2005           Thanks to the Internet, we can tap into the talents and expertise of people
2006 around the globe. Chris Anderson calls it the Long Tail of
2007 talent.<a href="#ftn.idm765" class="footnote" name="idm765"><sup class="footnote">[102]</sup></a> But to make collaboration work,
2008 the group has to be effective at what it is doing, and the people within the
2009 group have to find satisfaction from being involved.<a href="#ftn.idm767" class="footnote" name="idm767"><sup class="footnote">[103]</sup></a> This is easier to facilitate for some types of
2010 creative work than it is for others. Groups tied together online collaborate
2011 best when people can work independently and asynchronously, and particularly
2012 for larger groups with loose ties, when contributors can make simple
2013 improvements without a particularly heavy time commitment.<a href="#ftn.idm769" class="footnote" name="idm769"><sup class="footnote">[104]</sup></a>
2014         </p><p>
2015           As the success of Wikipedia demonstrates, editing an online encyclopedia is
2016 exactly the sort of activity that is perfect for massive co-creation because
2017 small, incremental edits made by a diverse range of people acting on their
2018 own are immensely valuable in the aggregate. Those same sorts of small
2019 contributions would be less useful for many other types of creative work,
2020 and people are inherently less motivated to contribute when it doesn’t
2021 appear that their efforts will make much of a difference.<a href="#ftn.idm772" class="footnote" name="idm772"><sup class="footnote">[105]</sup></a>
2022         </p><p>
2023           It is easy to romanticize the opportunities for global cocreation made
2024 possible by the Internet, and, indeed, the successful examples of it are
2025 truly incredible and inspiring.  But in a wide range of
2026 circumstances—perhaps more often than not—community cocreation is not part
2027 of the equation, even within endeavors built on CC content. Shirky wrote,
2028 <span class="quote">“<span class="quote">Sometimes the value of professional work trumps the value of amateur
2029 sharing or a feeling of belonging.<a href="#ftn.idm776" class="footnote" name="idm776"><sup class="footnote">[106]</sup></a> The
2030 textbook publisher OpenStax, which distributes all of its material for free
2031 under CC licensing, is an example of this dynamic. Rather than tapping the
2032 community to help cocreate their college textbooks, they invest a
2033 significant amount of time and money to develop professional content. For
2034 individual creators, where the creative work is the basis for what they do,
2035 community cocreation is only rarely a part of the picture. Even musician
2036 Amanda Palmer, who is famous for her openness and involvement with her fans,
2037 said,</span>”</span>The only department where I wasn’t open to input was the
2038 writing, the music itself."<a href="#ftn.idm778" class="footnote" name="idm778"><sup class="footnote">[107]</sup></a>
2039         </p><p>
2040           While we tend to immediately think of cocreation and remixing when we hear
2041 the word collaboration, you can also involve others in your creative process
2042 in more informal ways, by sharing half-baked ideas and early drafts, and
2043 interacting with the public to incubate ideas and get feedback. So-called
2044 <span class="quote">“<span class="quote">making in public</span>”</span> opens the door to letting people feel more
2045 invested in your creative work.<a href="#ftn.idm782" class="footnote" name="idm782"><sup class="footnote">[108]</sup></a> And it
2046 shows a nonterritorial approach to ideas and information. Stephen Covey (of
2047 The 7 Habits of Highly Effective People fame) calls this the abundance
2048 mentality—treating ideas like something plentiful—and it can create an
2049 environment where collaboration flourishes.<a href="#ftn.idm784" class="footnote" name="idm784"><sup class="footnote">[109]</sup></a>
2050         </p><p>
2051           There is no one way to involve people in what you do. They key is finding a
2052 way for people to contribute on their terms, compelled by their own
2053 motivations.<a href="#ftn.idm787" class="footnote" name="idm787"><sup class="footnote">[110]</sup></a> What that looks like
2054 varies wildly depending on the project. Not every endeavor that is Made with
2055 Creative Commons can be Wikipedia, but every endeavor can find ways to
2056 invite the public into what they do. The goal for any form of collaboration
2057 is to move away from thinking of consumers as passive recipients of your
2058 content and transition them into active participants.<a href="#ftn.idm789" class="footnote" name="idm789"><sup class="footnote">[111]</sup></a>
2059         </p></div></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm396" class="footnote"><p><a href="#idm396" class="para"><sup class="para">[37] </sup></a>
2060           Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
2061 John Wiley and Sons, 2010), 14. A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
2062         </p></div><div id="ftn.idm410" class="footnote"><p><a href="#idm410" class="para"><sup class="para">[38] </sup></a>
2063           Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
2064 Age (San Francisco, CA: McSweeney’s, 2014) 68.
2065         </p></div><div id="ftn.idm419" class="footnote"><p><a href="#idm419" class="para"><sup class="para">[39] </sup></a>
2066           Ibid., 55.
2067         </p></div><div id="ftn.idm422" class="footnote"><p><a href="#idm422" class="para"><sup class="para">[40] </sup></a>
2068           Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
2069 Something for Nothing, reprint with new preface (New York: Hyperion, 2010),
2070 224.
2071         </p></div><div id="ftn.idm426" class="footnote"><p><a href="#idm426" class="para"><sup class="para">[41] </sup></a>
2072           Doctorow, Information Doesn’t Want to Be Free, 44.
2073         </p></div><div id="ftn.idm438" class="footnote"><p><a href="#idm438" class="para"><sup class="para">[42] </sup></a>
2074             Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let
2075 People Help (New York: Grand Central, 2014), 121.
2076           </p></div><div id="ftn.idm442" class="footnote"><p><a href="#idm442" class="para"><sup class="para">[43] </sup></a>
2077             Chris Anderson, Makers: The New Industrial Revolution (New York: Signal,
2078 2012), 64.
2079           </p></div><div id="ftn.idm446" class="footnote"><p><a href="#idm446" class="para"><sup class="para">[44] </sup></a>
2080             David Bollier, Think Like a Commoner: A Short Introduction to the Life of
2081 the Commons (Gabriola Island, BC: New Society, 2014), 70.
2082           </p></div><div id="ftn.idm449" class="footnote"><p><a href="#idm449" class="para"><sup class="para">[45] </sup></a>
2083             Anderson, Makers, 66.
2084           </p></div><div id="ftn.idm452" class="footnote"><p><a href="#idm452" class="para"><sup class="para">[46] </sup></a>
2085             Bryan Kramer, Shareology: How Sharing Is Powering the Human Economy (New
2086 York: Morgan James, 2016), 10.
2087           </p></div><div id="ftn.idm455" class="footnote"><p><a href="#idm455" class="para"><sup class="para">[47] </sup></a>
2088             Anderson, Free, 62.
2089           </p></div><div id="ftn.idm460" class="footnote"><p><a href="#idm460" class="para"><sup class="para">[48] </sup></a>
2090             Doctorow, Information Doesn’t Want to Be Free, 38.
2091           </p></div><div id="ftn.idm465" class="footnote"><p><a href="#idm465" class="para"><sup class="para">[49] </sup></a>
2092             Bollier, Think Like a Commoner, 68.
2093           </p></div><div id="ftn.idm471" class="footnote"><p><a href="#idm471" class="para"><sup class="para">[50] </sup></a>
2094             Anderson, Free, 86.
2095           </p></div><div id="ftn.idm475" class="footnote"><p><a href="#idm475" class="para"><sup class="para">[51] </sup></a>
2096             Doctorow, Information Doesn’t Want to Be Free, 144.
2097           </p></div><div id="ftn.idm485" class="footnote"><p><a href="#idm485" class="para"><sup class="para">[52] </sup></a>
2098               Anderson, Free, 123.
2099             </p></div><div id="ftn.idm488" class="footnote"><p><a href="#idm488" class="para"><sup class="para">[53] </sup></a>
2100               Ibid., 132.
2101             </p></div><div id="ftn.idm490" class="footnote"><p><a href="#idm490" class="para"><sup class="para">[54] </sup></a>
2102               Ibid., 70.
2103             </p></div><div id="ftn.idm495" class="footnote"><p><a href="#idm495" class="para"><sup class="para">[55] </sup></a>
2104               James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005),
2105 124. Surowiecki says, <span class="quote">“<span class="quote">The measure of success of laws and contracts is
2106 how rarely they are invoked.</span>”</span>
2107             </p></div><div id="ftn.idm505" class="footnote"><p><a href="#idm505" class="para"><sup class="para">[56] </sup></a>
2108               Anderson, Free, 44.
2109             </p></div><div id="ftn.idm512" class="footnote"><p><a href="#idm512" class="para"><sup class="para">[57] </sup></a>
2110               Osterwalder and Pigneur, Business Model Generation, 23.
2111             </p></div><div id="ftn.idm516" class="footnote"><p><a href="#idm516" class="para"><sup class="para">[58] </sup></a>
2112               Anderson, Free, 67.
2113             </p></div><div id="ftn.idm518" class="footnote"><p><a href="#idm518" class="para"><sup class="para">[59] </sup></a>
2114               Ibid., 58.
2115             </p></div><div id="ftn.idm520" class="footnote"><p><a href="#idm520" class="para"><sup class="para">[60] </sup></a>
2116               Anderson, Makers, 71.
2117             </p></div><div id="ftn.idm522" class="footnote"><p><a href="#idm522" class="para"><sup class="para">[61] </sup></a>
2118               Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into
2119 Collaborators (London: Penguin Books, 2010), 78.
2120             </p></div><div id="ftn.idm526" class="footnote"><p><a href="#idm526" class="para"><sup class="para">[62] </sup></a>
2121               Ibid., 21.
2122             </p></div><div id="ftn.idm531" class="footnote"><p><a href="#idm531" class="para"><sup class="para">[63] </sup></a>
2123               Doctorow, Information Doesn’t Want to Be Free, 43.
2124             </p></div><div id="ftn.idm538" class="footnote"><p><a href="#idm538" class="para"><sup class="para">[64] </sup></a>
2125             William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">“<span class="quote">Ten
2126 Nonprofit Funding Models,</span>”</span> Stanford Social Innovation Review, Spring
2127 2009, <a class="ulink" href="http://ssir.org/articles/entry/ten_nonprofit_funding_models" target="_top">http://ssir.org/articles/entry/ten_nonprofit_funding_models</a>.
2128           </p></div><div id="ftn.idm544" class="footnote"><p><a href="#idm544" class="para"><sup class="para">[65] </sup></a>
2129             Shirky, Cognitive Surplus, 111.
2130           </p></div><div id="ftn.idm550" class="footnote"><p><a href="#idm550" class="para"><sup class="para">[66] </sup></a>
2131               Osterwalder and Pigneur, Business Model Generation, 30.
2132             </p></div><div id="ftn.idm552" class="footnote"><p><a href="#idm552" class="para"><sup class="para">[67] </sup></a>
2133               Jim Whitehurst, The Open Organization: Igniting Passion and Performance
2134 (Boston: Harvard Business Review Press, 2015), 202.
2135             </p></div><div id="ftn.idm555" class="footnote"><p><a href="#idm555" class="para"><sup class="para">[68] </sup></a>
2136               Anderson, Free, 71.
2137             </p></div><div id="ftn.idm561" class="footnote"><p><a href="#idm561" class="para"><sup class="para">[69] </sup></a>
2138               Ibid., 231.
2139             </p></div><div id="ftn.idm571" class="footnote"><p><a href="#idm571" class="para"><sup class="para">[70] </sup></a>
2140               Ibid., 97.
2141             </p></div><div id="ftn.idm578" class="footnote"><p><a href="#idm578" class="para"><sup class="para">[71] </sup></a>
2142               Anderson, Makers, 107.
2143             </p></div><div id="ftn.idm589" class="footnote"><p><a href="#idm589" class="para"><sup class="para">[72] </sup></a>
2144               Osterwalder and Pigneur, Business Model Generation, 89.
2145             </p></div><div id="ftn.idm595" class="footnote"><p><a href="#idm595" class="para"><sup class="para">[73] </sup></a>
2146               Ibid., 92.
2147             </p></div><div id="ftn.idm597" class="footnote"><p><a href="#idm597" class="para"><sup class="para">[74] </sup></a>
2148               Anderson, Free, 142.
2149             </p></div><div id="ftn.idm608" class="footnote"><p><a href="#idm608" class="para"><sup class="para">[75] </sup></a>
2150               Osterwalder and Pigneur, Business Model Generation, 32.
2151             </p></div><div id="ftn.idm626" class="footnote"><p><a href="#idm626" class="para"><sup class="para">[76] </sup></a>
2152               Bollier, Think Like a Commoner, 150.
2153             </p></div><div id="ftn.idm628" class="footnote"><p><a href="#idm628" class="para"><sup class="para">[77] </sup></a>
2154               Ibid., 134.
2155             </p></div><div id="ftn.idm661" class="footnote"><p><a href="#idm661" class="para"><sup class="para">[78] </sup></a>
2156               Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our
2157 Decisions, rev. ed. (New York: Harper Perennial, 2010), 109.
2158             </p></div><div id="ftn.idm665" class="footnote"><p><a href="#idm665" class="para"><sup class="para">[79] </sup></a>
2159               Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and Get
2160 Discovered (New York: Workman, 2014), 93.
2161             </p></div><div id="ftn.idm672" class="footnote"><p><a href="#idm672" class="para"><sup class="para">[80] </sup></a>
2162               Kramer, Shareology, 76.
2163             </p></div><div id="ftn.idm679" class="footnote"><p><a href="#idm679" class="para"><sup class="para">[81] </sup></a>
2164               Palmer, Art of Asking, 252.
2165             </p></div><div id="ftn.idm681" class="footnote"><p><a href="#idm681" class="para"><sup class="para">[82] </sup></a>
2166               Whitehurst, Open Organization, 145.
2167             </p></div><div id="ftn.idm684" class="footnote"><p><a href="#idm684" class="para"><sup class="para">[83] </sup></a>
2168               Surowiecki, Wisdom of Crowds, 203.
2169             </p></div><div id="ftn.idm686" class="footnote"><p><a href="#idm686" class="para"><sup class="para">[84] </sup></a>
2170               Whitehurst, Open Organization, 80.
2171             </p></div><div id="ftn.idm691" class="footnote"><p><a href="#idm691" class="para"><sup class="para">[85] </sup></a>
2172               Bollier, Think Like a Commoner, 25.
2173             </p></div><div id="ftn.idm693" class="footnote"><p><a href="#idm693" class="para"><sup class="para">[86] </sup></a>
2174               Ibid., 31.
2175             </p></div><div id="ftn.idm699" class="footnote"><p><a href="#idm699" class="para"><sup class="para">[87] </sup></a>
2176               Shirky, Cognitive Surplus, 112.
2177             </p></div><div id="ftn.idm703" class="footnote"><p><a href="#idm703" class="para"><sup class="para">[88] </sup></a>
2178               Surowiecki, Wisdom of Crowds, 124.
2179             </p></div><div id="ftn.idm709" class="footnote"><p><a href="#idm709" class="para"><sup class="para">[89] </sup></a>
2180               Kleon, Show Your Work, 127.
2181             </p></div><div id="ftn.idm711" class="footnote"><p><a href="#idm711" class="para"><sup class="para">[90] </sup></a>
2182               Palmer, Art of Asking, 121.
2183             </p></div><div id="ftn.idm715" class="footnote"><p><a href="#idm715" class="para"><sup class="para">[91] </sup></a>
2184               Ariely, Predictably Irrational, 87.
2185             </p></div><div id="ftn.idm717" class="footnote"><p><a href="#idm717" class="para"><sup class="para">[92] </sup></a>
2186               Ibid., 105.
2187             </p></div><div id="ftn.idm724" class="footnote"><p><a href="#idm724" class="para"><sup class="para">[93] </sup></a>
2188               Ibid., 36.
2189             </p></div><div id="ftn.idm729" class="footnote"><p><a href="#idm729" class="para"><sup class="para">[94] </sup></a>
2190               Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
2191 2012), 36.
2192             </p></div><div id="ftn.idm734" class="footnote"><p><a href="#idm734" class="para"><sup class="para">[95] </sup></a>
2193               Palmer, Art of Asking, 98.
2194             </p></div><div id="ftn.idm737" class="footnote"><p><a href="#idm737" class="para"><sup class="para">[96] </sup></a>
2195               Whitehurst, Open Organization, 34.
2196             </p></div><div id="ftn.idm741" class="footnote"><p><a href="#idm741" class="para"><sup class="para">[97] </sup></a>
2197               Surowiecki, Wisdom of Crowds, 200.
2198             </p></div><div id="ftn.idm743" class="footnote"><p><a href="#idm743" class="para"><sup class="para">[98] </sup></a>
2199               Bollier, Think Like a Commoner, 29.
2200             </p></div><div id="ftn.idm750" class="footnote"><p><a href="#idm750" class="para"><sup class="para">[99] </sup></a>
2201               Giana Eckhardt and Fleura Bardhi, <span class="quote">“<span class="quote">The Sharing Economy Isn’t about
2202 Sharing at All,</span>”</span> Harvard Business Review (website), January 28, 2015,
2203 <a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
2204             </p></div><div id="ftn.idm754" class="footnote"><p><a href="#idm754" class="para"><sup class="para">[100] </sup></a>
2205               Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with
2206 new epilogue (New York: Portfolio, 2012).
2207             </p></div><div id="ftn.idm757" class="footnote"><p><a href="#idm757" class="para"><sup class="para">[101] </sup></a>
2208               David Lee, <span class="quote">“<span class="quote">Inside Medium: An Attempt to Bring Civility to the
2209 Internet,</span>”</span> BBC News, March 3, 2016, <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>.
2210             </p></div><div id="ftn.idm765" class="footnote"><p><a href="#idm765" class="para"><sup class="para">[102] </sup></a>
2211               Anderson, Makers, 148.
2212             </p></div><div id="ftn.idm767" class="footnote"><p><a href="#idm767" class="para"><sup class="para">[103] </sup></a>
2213               Shirky, Cognitive Surplus, 164.
2214             </p></div><div id="ftn.idm769" class="footnote"><p><a href="#idm769" class="para"><sup class="para">[104] </sup></a>
2215               Whitehurst, foreword to Open Organization.
2216             </p></div><div id="ftn.idm772" class="footnote"><p><a href="#idm772" class="para"><sup class="para">[105] </sup></a>
2217               Shirky, Cognitive Surplus, 144.
2218             </p></div><div id="ftn.idm776" class="footnote"><p><a href="#idm776" class="para"><sup class="para">[106] </sup></a>
2219               Ibid., 154.
2220             </p></div><div id="ftn.idm778" class="footnote"><p><a href="#idm778" class="para"><sup class="para">[107] </sup></a>
2221               Palmer, Art of Asking, 163.
2222             </p></div><div id="ftn.idm782" class="footnote"><p><a href="#idm782" class="para"><sup class="para">[108] </sup></a>
2223               Anderson, Makers, 173.
2224             </p></div><div id="ftn.idm784" class="footnote"><p><a href="#idm784" class="para"><sup class="para">[109] </sup></a>
2225               Tom Kelley and David Kelley, Creative Confidence: Unleashing the Potential
2226 within Us All (New York: Crown, 2013), 82.
2227             </p></div><div id="ftn.idm787" class="footnote"><p><a href="#idm787" class="para"><sup class="para">[110] </sup></a>
2228               Whitehurst, foreword to Open Organization.
2229             </p></div><div id="ftn.idm789" class="footnote"><p><a href="#idm789" class="para"><sup class="para">[111] </sup></a>
2230               Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
2231 Collaborative Consumption (New York: Harper Business, 2010), 188.
2232             </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>บทที่ 3. The Creative Commons Licenses</h2></div></div></div><p>
2233       All of the Creative Commons licenses grant a basic set of permissions. At a
2234 minimum, a CC- licensed work can be copied and shared in its original form
2235 for noncommercial purposes so long as attribution is given to the
2236 creator. There are six licenses in the CC license suite that build on that
2237 basic set of permissions, ranging from the most restrictive (allowing only
2238 those basic permissions to share unmodified copies for noncommercial
2239 purposes)  to the most permissive (reusers can do anything they want with
2240 the work, even for commercial purposes, as long as they give the creator
2241 credit). The licenses are built on copyright and do not cover other types of
2242 rights that creators might have in their works, like patents or trademarks.
2243     </p><p>
2244       Here are the six licenses:
2245     </p><p>
2246         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D83BF99FC0821C489.png" width="40.0%"></span>
2247       </p><p>
2248       The Attribution license (CC BY) lets others distribute, remix, tweak, and
2249 build upon your work, even commercially, as long as they credit you for the
2250 original creation. This is the most accommodating of licenses
2251 offered. Recommended for maximum dissemination and use of licensed
2252 materials.
2253     </p><p>
2254         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DFD3592CB17C4EC38.png" width="40.0%"></span>
2255       </p><p>
2256       The Attribution-Share-Alike license (CC BY-SA) lets others remix, tweak, and
2257 build upon your work, even for commercial purposes, as long as they credit
2258 you and license their new creations under identical terms. This license is
2259 often compared to <span class="quote">“<span class="quote">copyleft</span>”</span> free and open source software
2260 licenses.  All new works based on yours will carry the same license, so any
2261 derivatives will also allow commercial use.
2262     </p><p>
2263         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D254882DE24793FEA.png" width="40.0%"></span>
2264       </p><p>
2265       The Attribution-NoDerivs license (CC BY-ND) allows for redistribution,
2266 commercial and noncommercial, as long as it is passed along unchanged with
2267 credit to you.
2268     </p><p>
2269         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png" width="40.0%"></span>
2270       </p><p>
2271       The Attribution-NonCommercial license (CC BY-NC) lets others remix, tweak,
2272 and build upon your work noncommercially. Although their new works must also
2273 acknowledge you, they don’t have to license their derivative works on the
2274 same terms.
2275     </p><p>
2276         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D16DA603376395620.png" width="40.0%"></span>
2277       </p><p>
2278       The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA)  lets others
2279 remix, tweak, and build upon your work noncommercially, as long as they
2280 credit you and license their new creations under the same terms.
2281     </p><p>
2282         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DC3FEF92B21310965.png" width="40.0%"></span>
2283       </p><p>
2284       The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most
2285 restrictive of our six main licenses, only allowing others to download your
2286 works and share them with others as long as they credit you, but they can’t
2287 change them or use them commercially.
2288     </p><p>
2289       In addition to these six licenses, Creative Commons has two public-domain
2290 tools—one for creators and the other for those who manage collections of
2291 existing works by authors whose terms of copyright have expired:
2292     </p><p>
2293         <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008DBE3414994CD27786.png" width="40.0%"></span>
2294       </p><p>
2295       CC0 enables authors and copyright owners to dedicate their works to the
2296 worldwide public domain (<span class="quote">“<span class="quote">no rights reserved</span>”</span>).
2297     </p><p>
2298         <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008D36DCD649C5B1411F.png" width="40.0%"></span>
2299       </p><p>
2300       The Creative Commons Public Domain Mark facilitates the labeling and
2301 discovery of works that are already free of known copyright restrictions.
2302     </p><p>
2303       In our case studies, some use just one Creative Commons license, others use
2304 several. Attribution (found in thirteen case studies)  and
2305 Attribution-ShareAlike (found in eight studies) were the most common, with
2306 the other licenses coming up in four or so case studies, including the
2307 public-domain tool CC0. Some of the organizations we profiled offer both
2308 digital content and software: by using open-source-software licenses for the
2309 software code and Creative Commons licenses for digital content, they
2310 amplify their involvement with and commitment to sharing.
2311     </p><p>
2312       There is a popular misconception that the three NonCommercial licenses
2313 offered by CC are the only options for those who want to make money off
2314 their work. As we hope this book makes clear, there are many ways to make
2315 endeavors that are Made with Creative Commons sustainable. Reserving
2316 commercial rights is only one of those ways. It is certainly true that a
2317 license that allows others to make commercial use of your work (CC BY, CC
2318 BY-SA, and CC BY-ND) forecloses some traditional revenue streams. If you
2319 apply an Attribution (CC BY) license to your book, you can’t force a film
2320 company to pay you royalties if they turn your book into a feature-length
2321 film, or prevent another company from selling physical copies of your work.
2322     </p><p>
2323       The decision to choose a NonCommercial and/or NoDerivs license comes down to
2324 how much you need to retain control over the creative work. The
2325 NonCommercial and NoDerivs licenses are ways of reserving some significant
2326 portion of the exclusive bundle of rights that copyright grants to
2327 creators. In some cases, reserving those rights is important to how you
2328 bring in revenue. In other cases, creators use a NonCommercial or NoDerivs
2329 license because they can’t give up on the dream of hitting the creative
2330 jackpot.  The music platform Tribe of Noise told us the NonCommercial
2331 licenses were popular among their users because people still held out the
2332 dream of having a major record label discover their work.
2333     </p><p>
2334       Other times the decision to use a more restrictive license is due to a
2335 concern about the integrity of the work. For example, the nonprofit
2336 TeachAIDS uses a NoDerivs license for its educational materials because the
2337 medical subject matter is particularly important to get right.
2338     </p><p>
2339       There is no one right way. The NonCommercial and NoDerivs restrictions
2340 reflect the values and preferences of creators about how their creative work
2341 should be reused, just as the ShareAlike license reflects a different set of
2342 values, one that is less about controlling access to their own work and more
2343 about ensuring that whatever gets created with their work is available to
2344 all on the same terms. Since the beginning of the commons, people have been
2345 setting up structures that helped regulate the way in which shared resources
2346 were used. The CC licenses are an attempt to standardize norms across all
2347 domains.
2348     </p><p>
2349       Note
2350     </p><p>
2351       For more about the licenses including examples and tips on sharing your work
2352 in the digital commons, start with the Creative Commons page called
2353 <span class="quote">“<span class="quote">Share Your Work</span>”</span> at <a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
2354     </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>ภาค II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
2355     The twenty-four case studies in this section were chosen from hundreds of
2356 nominations received from Kickstarter backers, Creative Commons staff, and
2357 the global Creative Commons community. We selected eighty potential
2358 candidates that represented a mix of industries, content types, revenue
2359 streams, and parts of the world.  Twelve of the case studies were selected
2360 from that group based on votes cast by Kickstarter backers, and the other
2361 twelve were selected by us.
2362   </p><p>
2363     We did background research and conducted interviews for each case study,
2364 based on the same set of basic questions about the endeavor.  The idea for
2365 each case study is to tell the story about the endeavor and the role sharing
2366 plays within it, largely the way in which it was told to us by those we
2367 interviewed.
2368   </p><div class="toc"><p><b>สารบัญ</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>บทที่ 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
2369         Arduino is a for-profit open-source electronics platform and computer
2370 hardware and software company. Founded in 2005 in Italy.
2371       </p><p>
2372           <a class="ulink" href="http://www.arduino.cc" target="_top">http://www.arduino.cc</a>
2373         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
2374 copies (sales of boards, modules, shields, and kits), licensing a trademark
2375 (fees paid by those who want to sell Arduino products using their name)
2376       </p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
2377       </p><p><span class="strong"><strong>Interviewees</strong></span>: David Cuartielles and Tom
2378 Igoe, cofounders
2379       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
2380     \textit{
2381         Profile written by Paul Stacey
2382       }
2383     \end{flushright}</td></tr></table></div><p>
2384       In 2005, at the Interaction Design Institute Ivrea in northern Italy,
2385 teachers and students needed an easy way to use electronics and programming
2386 to quickly prototype design ideas. As musicians, artists, and designers,
2387 they needed a platform that didn’t require engineering expertise. A group of
2388 teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe,
2389 Gianluca Martino, and David Mellis, built a platform that combined different
2390 open technologies. They called it Arduino. The platform integrated software,
2391 hardware, microcontrollers, and electronics. All aspects of the platform
2392 were openly licensed: hardware designs and documentation with the
2393 Attribution-Share-Alike license (CC BY-SA), and software with the GNU
2394 General Public License.
2395     </p><p>
2396       Arduino boards are able to read inputs—light on a sensor, a finger on a
2397 button, or a Twitter message—and turn it into outputs—activating a motor,
2398 turning on an LED, publishing something online. You send a set of
2399 instructions to the microcontroller on the board by using the Arduino
2400 programming language and Arduino software (based on a piece of open-source
2401 software called Processing, a programming tool used to make visual art).
2402     </p><p><span class="quote">“<span class="quote">The reasons for making Arduino open source are complicated,</span>”</span>
2403 Tom says. Partly it was about supporting flexibility. The open-source nature
2404 of Arduino empowers users to modify it and create a lot of different
2405 variations, adding on top of what the founders build. David says this
2406 <span class="quote">“<span class="quote">ended up strengthening the platform far beyond what we had even
2407 thought of building.</span>”</span>
2408     </p><p>
2409       For Tom another factor was the impending closure of the Ivrea design
2410 school. He’d seen other organizations close their doors and all their work
2411 and research just disappear. Open-sourcing ensured that Arduino would
2412 outlive the Ivrea closure. Persistence is one thing Tom really likes about
2413 open source. If key people leave, or a company shuts down, an open-source
2414 product lives on. In Tom’s view, <span class="quote">“<span class="quote">Open sourcing makes it easier to
2415 trust a product.</span>”</span>
2416     </p><p>
2417       With the school closing, David and some of the other Arduino founders
2418 started a consulting firm and multidisciplinary design studio they called
2419 Tinker, in London. Tinker designed products and services that bridged the
2420 digital and the physical, and they taught people how to use new technologies
2421 in creative ways.  Revenue from Tinker was invested in sustaining and
2422 enhancing Arduino.
2423     </p><p>
2424       For Tom, part of Arduino’s success is because the founders made themselves
2425 the first customer of their product. They made products they themselves
2426 personally wanted. It was a matter of <span class="quote">“<span class="quote">I need this thing,</span>”</span> not
2427 <span class="quote">“<span class="quote">If we make this, we’ll make a lot of money.</span>”</span> Tom notes that
2428 being your own first customer makes you more confident and convincing at
2429 selling your product.
2430     </p><p>
2431       Arduino’s business model has evolved over time—and Tom says model is a
2432 grandiose term for it. Originally, they just wanted to make a few boards and
2433 get them out into the world. They started out with two hundred boards, sold
2434 them, and made a little profit. They used that to make another thousand,
2435 which generated enough revenue to make five thousand. In the early days,
2436 they simply tried to generate enough funding to keep the venture going day
2437 to day. When they hit the ten thousand mark, they started to think about
2438 Arduino as a company. By then it was clear you can open-source the design
2439 but still manufacture the physical product. As long as it’s a quality
2440 product and sold at a reasonable price, people will buy it.
2441     </p><p>
2442       Arduino now has a worldwide community of makers—students, hobbyists,
2443 artists, programmers, and professionals. Arduino provides a wiki called
2444 Playground (a wiki is where all users can edit and add pages, contributing
2445 to and benefiting from collective research). People share code, circuit
2446 diagrams, tutorials, DIY instructions, and tips and tricks, and show off
2447 their projects. In addition, there’s a multilanguage discussion forum where
2448 users can get help using Arduino, discuss topics like robotics, and make
2449 suggestions for new Arduino product designs. As of January 2017, 324,928
2450 members had made 2,989,489 posts on 379,044 topics. The worldwide community
2451 of makers has contributed an incredible amount of accessible knowledge
2452 helpful to novices and experts alike.
2453     </p><p>
2454       Transitioning Arduino from a project to a company was a big step.  Other
2455 businesses who made boards were charging a lot of money for them. Arduino
2456 wanted to make theirs available at a low price to people across a wide range
2457 of industries. As with any business, pricing was key. They wanted prices
2458 that would get lots of customers but were also high enough to sustain the
2459 business.
2460     </p><p>
2461       For a business, getting to the end of the year and not being in the red is a
2462 success. Arduino may have an open-licensing strategy, but they are still a
2463 business, and all the things needed to successfully run one still
2464 apply. David says, <span class="quote">“<span class="quote">If you do those other things well, sharing things
2465 in an open-source way can only help you.</span>”</span>
2466     </p><p>
2467       While openly licensing the designs, documentation, and software ensures
2468 longevity, it does have risks. There’s a possibility that others will create
2469 knockoffs, clones, and copies. The CC BY-SA license means anyone can produce
2470 copies of their boards, redesign them, and even sell boards that copy the
2471 design. They don’t have to pay a license fee to Arduino or even ask
2472 permission. However, if they republish the design of the board, they have to
2473 give attribution to Arduino. If they change the design, they must release
2474 the new design using the same Creative Commons license to ensure that the
2475 new version is equally free and open.
2476     </p><p>
2477       Tom and David say that a lot of people have built companies off of Arduino,
2478 with dozens of Arduino derivatives out there. But in contrast to closed
2479 business models that can wring money out of the system over many years
2480 because there is no competition, Arduino founders saw competition as keeping
2481 them honest, and aimed for an environment of collaboration. A benefit of
2482 open over closed is the many new ideas and designs others have contributed
2483 back to the Arduino ecosystem, ideas and designs that Arduino and the
2484 Arduino community use and incorporate into new products.
2485     </p><p>
2486       Over time, the range of Arduino products has diversified, changing and
2487 adapting to new needs and challenges. In addition to simple entry level
2488 boards, new products have been added ranging from enhanced boards that
2489 provide advanced functionality and faster performance, to boards for
2490 creating Internet of Things applications, wearables, and 3-D printing. The
2491 full range of official Arduino products includes boards, modules (a smaller
2492 form-factor of classic boards), shields (elements that can be plugged onto a
2493 board to give it extra features), and kits.<a href="#ftn.idm884" class="footnote" name="idm884"><sup class="footnote">[112]</sup></a>
2494     </p><p>
2495       Arduino’s focus is on high-quality boards, well-designed support materials,
2496 and the building of community; this focus is one of the keys to their
2497 success. And being open lets you build a real community. David says
2498 Arduino’s community is a big strength and something that really does
2499 matter—in his words, <span class="quote">“<span class="quote">It’s good business.</span>”</span> When they started,
2500 the Arduino team had almost entirely no idea how to build a community. They
2501 started by conducting numerous workshops, working directly with people using
2502 the platform to make sure the hardware and software worked the way it was
2503 meant to work and solved people’s problems. The community grew organically
2504 from there.
2505     </p><p>
2506       A key decision for Arduino was trademarking the name. The founders needed a
2507 way to guarantee to people that they were buying a quality product from a
2508 company committed to open-source values and knowledge sharing. Trademarking
2509 the Arduino name and logo expresses that guarantee and helps customers
2510 easily identify their products, and the products sanctioned by them. If
2511 others want to sell boards using the Arduino name and logo, they have to pay
2512 a small fee to Arduino. This allows Arduino to scale up manufacturing and
2513 distribution while at the same time ensuring the Arduino brand isn’t hurt by
2514 low-quality copies.
2515     </p><p>
2516       Current official manufacturers are Smart Projects in Italy, SparkFun in the
2517 United States, and Dog Hunter in Taiwan/China.  These are the only
2518 manufacturers that are allowed to use the Arduino logo on their
2519 boards. Trademarking their brand provided the founders with a way to protect
2520 Arduino, build it out further, and fund software and tutorial
2521 development. The trademark-licensing fee for the brand became Arduino’s
2522 revenue-generating model.
2523     </p><p>
2524       How far to open things up wasn’t always something the founders perfectly
2525 agreed on. David, who was always one to advocate for opening things up more,
2526 had some fears about protecting the Arduino name, thinking people would be
2527 mad if they policed their brand. There was some early backlash with a
2528 project called Freeduino, but overall, trademarking and branding has been a
2529 critical tool for Arduino.
2530     </p><p>
2531       David encourages people and businesses to start by sharing everything as a
2532 default strategy, and then think about whether there is anything that really
2533 needs to be protected and why. There are lots of good reasons to not open up
2534 certain elements. This strategy of sharing everything is certainly the
2535 complete opposite of how today’s world operates, where nothing is
2536 shared. Tom suggests a business formalize which elements are based on open
2537 sharing and which are closed. An Arduino blog post from 2013 entitled
2538 <span class="quote">“<span class="quote">Send In the Clones,</span>”</span> by one of the founders Massimo Banzi,
2539 does a great job of explaining the full complexities of how trademarking
2540 their brand has played out, distinguishing between official boards and those
2541 that are clones, derivatives, compatibles, and counterfeits.<a href="#ftn.idm894" class="footnote" name="idm894"><sup class="footnote">[113]</sup></a>
2542     </p><p>
2543       For David, an exciting aspect of Arduino is the way lots of people can use
2544 it to adapt technology in many different ways. Technology is always making
2545 more things possible but doesn’t always focus on making it easy to use and
2546 adapt. This is where Arduino steps in.  Arduino’s goal is <span class="quote">“<span class="quote">making
2547 things that help other people make things.</span>”</span>
2548     </p><p>
2549       Arduino has been hugely successful in making technology and electronics
2550 reach a larger audience. For Tom, Arduino has been about <span class="quote">“<span class="quote">the
2551 democratization of technology.</span>”</span> Tom sees Arduino’s open-source
2552 strategy as helping the world get over the idea that technology has to be
2553 protected. Tom says, <span class="quote">“<span class="quote">Technology is a literacy everyone should
2554 learn.</span>”</span>
2555     </p><p>
2556       Ultimately, for Arduino, going open has been good business—good for product
2557 development, good for distribution, good for pricing, and good for
2558 manufacturing.
2559     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm884" class="footnote"><p><a href="#idm884" class="para"><sup class="para">[112] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm894" class="footnote"><p><a href="#idm894" class="para"><sup class="para">[113] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>บทที่ 5. Ártica</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
2560         Ártica provides online courses and consulting services focused on how to use
2561 digital technology to share knowledge and enable collaboration in arts and
2562 culture. Founded in 2011 in Uruguay.
2563       </p><p>
2564           <a class="ulink" href="http://www.articaonline.com" target="_top">http://www.articaonline.com</a>
2565         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
2566 services
2567       </p><p><span class="strong"><strong>Interview date</strong></span>: March 9, 2016
2568       </p><p><span class="strong"><strong>Interviewees</strong></span>: Mariana Fossatti and Jorge
2569 Gemetto, cofounders
2570       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
2571     \textit{
2572         Profile written by Sarah Hinchliff Pearson
2573       }
2574     \end{flushright}</td></tr></table></div><p>
2575       The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
2576 ultimate example of DIY. Not only are they successful entrepreneurs, the
2577 niche in which their small business operates is essentially one they built
2578 themselves.
2579     </p><p>
2580       Their dream jobs didn’t exist, so they created them.
2581     </p><p>
2582       In 2011, Mariana was a sociologist working for an international organization
2583 to develop research and online education about rural-development
2584 issues. Jorge was a psychologist, also working in online education. Both
2585 were bloggers and heavy users of social media, and both had a passion for
2586 arts and culture. They decided to take their skills in digital technology
2587 and online learning and apply them to a topic area they loved. They launched
2588 Ártica, an online business that provides education and consulting for people
2589 and institutions creating artistic and cultural projects on the Internet.
2590     </p><p>
2591       Ártica feels like a uniquely twenty-first century business. The small
2592 company has a global online presence with no physical offices. Jorge and
2593 Mariana live in Uruguay, and the other two full-time employees, who Jorge
2594 and Mariana have never actually met in person, live in Spain. They started
2595 by creating a MOOC (massive open online course) about remix culture and
2596 collaboration in the arts, which gave them a direct way to reach an
2597 international audience, attracting students from across Latin America and
2598 Spain.  In other words, it is the classic Internet story of being able to
2599 directly tap into an audience without relying upon gatekeepers or
2600 intermediaries.
2601     </p><p>
2602       Ártica offers personalized education and consulting services, and helps
2603 clients implement projects. All of these services are customized. They call
2604 it an <span class="quote">“<span class="quote">artisan</span>”</span> process because of the time and effort it takes
2605 to adapt their work for the particular needs of students and
2606 clients. <span class="quote">“<span class="quote">Each student or client is paying for a specific solution to
2607 his or her problems and questions,</span>”</span> Mariana said. Rather than sell
2608 access to their content, they provide it for free and charge for the
2609 personalized services.
2610     </p><p>
2611       When they started, they offered a smaller number of courses designed to
2612 attract large audiences. <span class="quote">“<span class="quote">Over the years, we realized that online
2613 communities are more specific than we thought,</span>”</span> Mariana said. Ártica
2614 now provides more options for classes and has lower enrollment in each
2615 course. This means they can provide more attention to individual students
2616 and offer classes on more specialized topics.
2617     </p><p>
2618       Online courses are their biggest revenue stream, but they also do more than
2619 a dozen consulting projects each year, ranging from digitization to event
2620 planning to marketing campaigns. Some are significant in scope, particularly
2621 when they work with cultural institutions, and some are smaller projects
2622 commissioned by individual artists.
2623     </p><p>
2624       Ártica also seeks out public and private funding for specific
2625 projects. Sometimes, even if they are unsuccessful in subsidizing a project
2626 like a new course or e-book, they will go ahead because they believe in
2627 it. They take the stance that every new project leads them to something new,
2628 every new resource they create opens new doors.
2629     </p><p>
2630       Ártica relies heavily on their free Creative Commons–licensed content to
2631 attract new students and clients. Everything they create—online education,
2632 blog posts, videos—is published under an Attribution-ShareAlike license (CC
2633 BY-SA). <span class="quote">“<span class="quote">We use a ShareAlike license because we want to give the
2634 greatest freedom to our students and readers, and we also want that freedom
2635 to be viral,</span>”</span> Jorge said. For them, giving others the right to reuse
2636 and remix their content is a fundamental value. <span class="quote">“<span class="quote">How can you offer an
2637 online educational service without giving permission to download, make and
2638 keep copies, or print the educational resources?</span>”</span> Jorge
2639 said. <span class="quote">“<span class="quote">If we want to do the best for our students—those who trust in
2640 us to the point that they are willing to pay online without face-to-face
2641 contact—we have to offer them a fair and ethical agreement.</span>”</span>
2642     </p><p>
2643       They also believe sharing their ideas and expertise openly helps them build
2644 their reputation and visibility. People often share and cite their work. A
2645 few years ago, a publisher even picked up one of their e-books and
2646 distributed printed copies. Ártica views reuse of their work as a way to
2647 open up new opportunities for their business.
2648     </p><p>
2649       This belief that openness creates new opportunities reflects another
2650 belief—in serendipity. When describing their process for creating content,
2651 they spoke of all of the spontaneous and organic ways they find
2652 inspiration. <span class="quote">“<span class="quote">Sometimes, the collaborative process starts with a
2653 conversation between us, or with friends from other projects,</span>”</span> Jorge
2654 said. <span class="quote">“<span class="quote">That can be the first step for a new blog post or another
2655 simple piece of content, which can evolve to a more complex product in the
2656 future, like a course or a book.</span>”</span>
2657     </p><p>
2658       Rather than planning their work in advance, they let their creative process
2659 be dynamic. <span class="quote">“<span class="quote">This doesn’t mean that we don’t need to work hard in
2660 order to get good professional results, but the design process is more
2661 flexible,</span>”</span> Jorge said. They share early and often, and they adjust
2662 based on what they learn, always exploring and testing new ideas and ways of
2663 operating. In many ways, for them, the process is just as important as the
2664 final product.
2665     </p><p>
2666       People and relationships are also just as important, sometimes
2667 more. <span class="quote">“<span class="quote">In the educational and cultural business, it is more important
2668 to pay attention to people and process, rather than content or specific
2669 formats or materials,</span>”</span> Mariana said.  <span class="quote">“<span class="quote">Materials and content
2670 are fluid. The important thing is the relationships.</span>”</span>
2671     </p><p>
2672       Ártica believes in the power of the network. They seek to make connections
2673 with people and institutions across the globe so they can learn from them
2674 and share their knowledge.
2675     </p><p>
2676       At the core of everything Ártica does is a set of values.  <span class="quote">“<span class="quote">Good
2677 content is not enough,</span>”</span> Jorge said. <span class="quote">“<span class="quote">We also think that it is
2678 very important to take a stand for some things in the cultural
2679 sector.</span>”</span> Mariana and Jorge are activists. They defend free culture
2680 (the movement promoting the freedom to modify and distribute creative work)
2681 and work to demonstrate the intersection between free culture and other
2682 social-justice movements. Their efforts to involve people in their work and
2683 enable artists and cultural institutions to better use technology are all
2684 tied closely to their belief system.  Ultimately, what drives their work is
2685 a mission to democratize art and culture.
2686     </p><p>
2687       Of course, Ártica also has to make enough money to cover its expenses. Human
2688 resources are, by far, their biggest expense. They tap a network of
2689 collaborators on a case-by-case basis and hire contractors for specific
2690 projects. Whenever possible, they draw from artistic and cultural resources
2691 in the commons, and they rely on free software. Their operation is small,
2692 efficient, and sustainable, and because of that, it is a success.
2693     </p><p><span class="quote">“<span class="quote">There are lots of people offering online courses,</span>”</span> Jorge
2694 said. <span class="quote">“<span class="quote">But it is easy to differentiate us. We have an approach that is
2695 very specific and personal.</span>”</span> Ártica’s model is rooted in the personal
2696 at every level. For Mariana and Jorge, success means doing what brings them
2697 personal meaning and purpose, and doing it sustainably and collaboratively.
2698     </p><p>
2699       In their work with younger artists, Mariana and Jorge try to emphasize that
2700 this model of success is just as valuable as the picture of success we get
2701 from the media. <span class="quote">“<span class="quote">If they seek only the traditional type of success,
2702 they will get frustrated,</span>”</span> Mariana said. <span class="quote">“<span class="quote">We try to show them
2703 another image of what it looks like.</span>”</span>
2704     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>บทที่ 6. Blender Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
2705         The Blender Institute is an animation studio that creates 3-D films using
2706 Blender software. Founded in 2006 in the Netherlands.
2707       </p><p>
2708           <a class="ulink" href="http://www.blender.org" target="_top">http://www.blender.org</a>
2709         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
2710 (subscription-based), charging for physical copies, selling merchandise
2711       </p><p><span class="strong"><strong>Interview date</strong></span>: March 8, 2016
2712       </p><p><span class="strong"><strong>Interviewee</strong></span>: Francesco Siddi, production
2713 coordinator
2714       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
2715     \textit{
2716         Profile written by Sarah Hinchliff Pearson
2717       }
2718     \end{flushright}</td></tr></table></div><p>
2719       For Ton Roosendaal, the creator of Blender software and its related
2720 entities, sharing is practical. Making their 3-D content creation software
2721 available under a free software license has been integral to its development
2722 and popularity. Using that software to make movies that were licensed with
2723 Creative Commons pushed that development even further. Sharing enables
2724 people to participate and to interact with and build upon the technology and
2725 content they create in a way that benefits Blender and its community in
2726 concrete ways.
2727     </p><p>
2728       Each open-movie project Blender runs produces a host of openly licensed
2729 outputs, not just the final film itself but all of the source material as
2730 well. The creative process also enhances the development of the Blender
2731 software because the technical team responds directly to the needs of the
2732 film production team, creating tools and features that make their lives
2733 easier. And, of course, each project involves a long, rewarding process for
2734 the creative and technical community working together.
2735     </p><p>
2736       Rather than just talking about the theoretical benefits of sharing and free
2737 culture, Ton is very much about doing and making free culture. Blender’s
2738 production coordinator Francesco Siddi told us, <span class="quote">“<span class="quote">Ton believes if you
2739 don’t make content using your tools, then you’re not doing anything.</span>”</span>
2740     </p><p>
2741       Blender’s history begins in the late 1990s, when Ton created the Blender
2742 software. Originally, the software was an in-house resource for his
2743 animation studio based in the Netherlands.  Investors became interested in
2744 the software, so he began marketing the software to the public, offering a
2745 free version in addition to a paid version. Sales were disappointing, and
2746 his investors gave up on the endeavor in the early 2000s. He made a deal
2747 with investors—if he could raise enough money, he could then make the
2748 Blender software available under the GNU General Public License.
2749     </p><p>
2750       This was long before Kickstarter and other online crowdfunding sites
2751 existed, but Ton ran his own version of a crowdfunding campaign and quickly
2752 raised the money he needed. The Blender software became freely available for
2753 anyone to use. Simply applying the General Public License to the software,
2754 however, was not enough to create a thriving community around it. Francesco
2755 told us, <span class="quote">“<span class="quote">Software of this complexity relies on people and their
2756 vision of how people work together. Ton is a fantastic community builder and
2757 manager, and he put a lot of work into fostering a community of developers
2758 so that the project could live.</span>”</span>
2759     </p><p>
2760       Like any successful free and open-source software project, Blender developed
2761 quickly because the community could make fixes and
2762 improvements. <span class="quote">“<span class="quote">Software should be free and open to hack,</span>”</span>
2763 Francesco said. <span class="quote">“<span class="quote">Otherwise, everyone is doing the same thing in the
2764 dark for ten years.</span>”</span> Ton set up the Blender Foundation to oversee and
2765 steward the software development and maintenance.
2766     </p><p>
2767       After a few years, Ton began looking for new ways to push development of the
2768 software. He came up with the idea of creating CC-licensed films using the
2769 Blender software. Ton put a call online for all interested and skilled
2770 artists. Francesco said the idea was to get the best artists available, put
2771 them in a building together with the best developers, and have them work
2772 together.  They would not only produce high-quality openly licensed content,
2773 they would improve the Blender software in the process.
2774     </p><p>
2775       They turned to crowdfunding to subsidize the costs of the project.  They had
2776 about twenty people working full-time for six to ten months, so the costs
2777 were significant. Francesco said that when their crowdfunding campaign
2778 succeeded, people were astounded.  <span class="quote">“<span class="quote">The idea that making money was
2779 possible by producing CC-licensed material was mind-blowing to
2780 people,</span>”</span> he said.  <span class="quote">“<span class="quote">They were like, <span class="quote">‘<span class="quote">I have to see it to
2781 believe it.</span>’</span></span>”</span>
2782     </p><p>
2783       The first film, which was released in 2006, was an experiment. It was so
2784 successful that Ton decided to set up the Blender Institute, an entity
2785 dedicated to hosting open-movie projects. The Blender Institute’s next
2786 project was an even bigger success. The film, Big Buck Bunny, went viral,
2787 and its animated characters were picked up by marketers.
2788     </p><p>
2789       Francesco said that, over time, the Blender Institute projects have gotten
2790 bigger and more prominent. That means the filmmaking process has become more
2791 complex, combining technical experts and artists who focus on
2792 storytelling. Francesco says the process is almost on an industrial scale
2793 because of the number of moving parts. This requires a lot of specialized
2794 assistance, but the Blender Institute has no problem finding the talent it
2795 needs to help on projects. <span class="quote">“<span class="quote">Blender hardly does any recruiting for
2796 film projects because the talent emerges naturally,</span>”</span> Francesco
2797 said. <span class="quote">“<span class="quote">So many people want to work with us, and we can’t always hire
2798 them because of budget constraints.</span>”</span>
2799     </p><p>
2800       Blender has had a lot of success raising money from its community over the
2801 years. In many ways, the pitch has gotten easier to make.  Not only is
2802 crowdfunding simply more familiar to the public, but people know and trust
2803 Blender to deliver, and Ton has developed a reputation as an effective
2804 community leader and visionary for their work. <span class="quote">“<span class="quote">There is a whole
2805 community who sees and understands the benefit of these projects,</span>”</span>
2806 Francesco said.
2807     </p><p>
2808       While these benefits of each open-movie project make a compelling pitch for
2809 crowdfunding campaigns, Francesco told us the Blender Institute has found
2810 some limitations in the standard crowdfunding model where you propose a
2811 specific project and ask for funding.  <span class="quote">“<span class="quote">Once a project is over,
2812 everyone goes home,</span>”</span> he said. <span class="quote">“<span class="quote">It is great fun, but then it
2813 ends. That is a problem.</span>”</span>
2814     </p><p>
2815       To make their work more sustainable, they needed a way to receive ongoing
2816 support rather than on a project-by-project basis. Their solution is Blender
2817 Cloud, a subscription-style crowdfunding model akin to the online
2818 crowdfunding platform, Patreon. For about ten euros each month, subscribers
2819 get access to download everything the Blender Institute produces—software,
2820 art, training, and more.  All of the assets are available under an
2821 Attribution license (CC BY) or placed in the public domain (CC0), but they
2822 are initially made available only to subscribers. Blender Cloud enables
2823 subscribers to follow Blender’s movie projects as they develop, sharing
2824 detailed information and content used in the creative process. Blender Cloud
2825 also has extensive training materials and libraries of characters and other
2826 assets used in various projects.
2827     </p><p>
2828       The continuous financial support provided by Blender Cloud subsidizes five
2829 to six full-time employees at the Blender Institute. Francesco says their
2830 goal is to grow their subscriber base. <span class="quote">“<span class="quote">This is our freedom,</span>”</span>
2831 he told us, <span class="quote">“<span class="quote">and for artists, freedom is everything.</span>”</span>
2832     </p><p>
2833       Blender Cloud is the primary revenue stream of the Blender Institute. The
2834 Blender Foundation is funded primarily by donations, and that money goes
2835 toward software development and maintenance. The revenue streams of the
2836 Institute and Foundation are deliberately kept separate. Blender also has
2837 other revenue streams, such as the Blender Store, where people can purchase
2838 DVDs, T-shirts, and other Blender products.
2839     </p><p>
2840       Ton has worked on projects relating to his Blender software for nearly
2841 twenty years. Throughout most of that time, he has been committed to making
2842 the software and the content produced with the software free and
2843 open. Selling a license has never been part of the business model.
2844     </p><p>
2845       Since 2006, he has been making films available along with all of their
2846 source material. He says he has hardly ever seen people stepping into
2847 Blender’s shoes and trying to make money off of their content. Ton believes
2848 this is because the true value of what they do is in the creative and
2849 production process. <span class="quote">“<span class="quote">Even when you share everything, all your original
2850 sources, it still takes a lot of talent, skills, time, and budget to
2851 reproduce what you did,</span>”</span> Ton said.
2852     </p><p>
2853       For Ton and Blender, it all comes back to doing.
2854     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>บทที่ 7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
2855         Cards Against Humanity is a private, for-profit company that makes a popular
2856 party game by the same name. Founded in 2011 in the U.S.
2857       </p><p>
2858           <a class="ulink" href="http://www.cardsagainsthumanity.com" target="_top">http://www.cardsagainsthumanity.com</a>
2859         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
2860 copies
2861       </p><p><span class="strong"><strong>Interview date</strong></span>: February 3, 2016
2862       </p><p><span class="strong"><strong>Interviewee</strong></span>: Max Temkin, cofounder
2863       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
2864     \textit{
2865         Profile written by Sarah Hinchliff Pearson
2866       }
2867     \end{flushright}</td></tr></table></div><p>
2868       If you ask cofounder Max Temkin, there is nothing particularly interesting
2869 about the Cards Against Humanity business model.  <span class="quote">“<span class="quote">We make a
2870 product. We sell it for money. Then we spend less money than we
2871 make,</span>”</span> Max said.
2872     </p><p>
2873       He is right. Cards Against Humanity is a simple party game, modeled after
2874 the game Apples to Apples. To play, one player asks a question or
2875 fill-in-the-blank statement from a black card, and the other players submit
2876 their funniest white card in response.  The catch is that all of the cards
2877 are filled with crude, gruesome, and otherwise awful things. For the right
2878 kind of people (<span class="quote">“<span class="quote">horrible people,</span>”</span> according to Cards Against
2879 Humanity advertising), this makes for a hilarious and fun game.
2880     </p><p>
2881       The revenue model is simple. Physical copies of the game are sold for a
2882 profit. And it works. At the time of this writing, Cards Against Humanity is
2883 the number-one best-selling item out of all toys and games on Amazon. There
2884 are official expansion packs available, and several official themed packs
2885 and international editions as well.
2886     </p><p>
2887       But Cards Against Humanity is also available for free. Anyone can download a
2888 digital version of the game on the Cards Against Humanity website. More than
2889 one million people have downloaded the game since the company began tracking
2890 the numbers.
2891     </p><p>
2892       The game is available under an Attribution-NonCommercial-ShareAlike license
2893 (CC BY-NC-SA). That means, in addition to copying the game, anyone can
2894 create new versions of the game as long as they make it available under the
2895 same noncommercial terms. The ability to adapt the game is like an entire
2896 new game unto itself.
2897     </p><p>
2898       All together, these factors—the crass tone of the game and company, the free
2899 download, the openness to fans remixing the game—give the game a massive
2900 cult following.
2901     </p><p>
2902       Their success is not the result of a grand plan. Instead, Cards Against
2903 Humanity was the last in a long line of games and comedy projects that Max
2904 Temkin and his friends put together for their own amusement. As Max tells
2905 the story, they made the game so they could play it themselves on New Year’s
2906 Eve because they were too nerdy to be invited to other parties. The game was
2907 a hit, so they decided to put it up online as a free PDF. People started
2908 asking if they could pay to have the game printed for them, and eventually
2909 they decided to run a Kickstarter to fund the printing.  They set their
2910 Kickstarter goal at $4,000—and raised $15,000. The game was officially
2911 released in May 2011.
2912     </p><p>
2913       The game caught on quickly, and it has only grown more popular over
2914 time. Max says the eight founders never had a meeting where they decided to
2915 make it an ongoing business. <span class="quote">“<span class="quote">It kind of just happened,</span>”</span> he
2916 said.
2917     </p><p>
2918       But this tale of a <span class="quote">“<span class="quote">happy accident</span>”</span> belies marketing
2919 genius. Just like the game, the Cards Against Humanity brand is irreverent
2920 and memorable. It is hard to forget a company that calls the FAQ on their
2921 website <span class="quote">“<span class="quote">Your dumb questions.</span>”</span>
2922     </p><p>
2923       Like most quality satire, however, there is more to the joke than vulgarity
2924 and shock value. The company’s marketing efforts around Black Friday
2925 illustrate this particularly well. For those outside the United States,
2926 Black Friday is the term for the day after the Thanksgiving holiday, the
2927 biggest shopping day of the year. It is an incredibly important day for
2928 Cards Against Humanity, like it is for all U.S. retailers. Max said they
2929 struggled with what to do on Black Friday because they didn’t want to
2930 support what he called the <span class="quote">“<span class="quote">orgy of consumerism</span>”</span> the day has
2931 become, particularly since it follows a day that is about being grateful for
2932 what you have. In 2013, after deliberating, they decided to have an
2933 Everything Costs $5 More sale.
2934     </p><p><span class="quote">“<span class="quote">We sweated it out the night before Black Friday, wondering if our
2935 fans were going to hate us for it,</span>”</span> he said.  <span class="quote">“<span class="quote">But it made us
2936 laugh so we went with it. People totally caught the joke.</span>”</span>
2937     </p><p>
2938       This sort of bold transparency delights the media, but more importantly, it
2939 engages their fans. <span class="quote">“<span class="quote">One of the most surprising things you can do in
2940 capitalism is just be honest with people,</span>”</span> Max said. <span class="quote">“<span class="quote">It shocks
2941 people that there is transparency about what you are doing.</span>”</span>
2942     </p><p>
2943       Max also likened it to a grand improv scene. <span class="quote">“<span class="quote">If we do something a
2944 little subversive and unexpected, the public wants to be a part of the
2945 joke.</span>”</span> One year they did a Give Cards Against Humanity $5 event,
2946 where people literally paid them five dollars for no reason. Their fans
2947 wanted to make the joke funnier by making it successful. They made $70,000
2948 in a single day.
2949     </p><p>
2950       This remarkable trust they have in their customers is what inspired their
2951 decision to apply a Creative Commons license to the game. Trusting your
2952 customers to reuse and remix your work requires a leap of faith. Cards
2953 Against Humanity obviously isn’t afraid of doing the unexpected, but there
2954 are lines even they do not want to cross. Before applying the license, Max
2955 said they worried that some fans would adapt the game to include all of the
2956 jokes they intentionally never made because they crossed that
2957 line. <span class="quote">“<span class="quote">It happened, and the world didn’t end,</span>”</span> Max
2958 said. <span class="quote">“<span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
2959 times over because there are so many benefits.</span>”</span>
2960     </p><p>
2961       Any successful product inspires its biggest fans to create remixes of it,
2962 but unsanctioned adaptations are more likely to fly under the radar. The
2963 Creative Commons license gives fans of Cards Against Humanity the freedom to
2964 run with the game and copy, adapt, and promote their creations openly. Today
2965 there are thousands of fan expansions of the game.
2966     </p><p>
2967       Max said, <span class="quote">“<span class="quote">CC was a no-brainer for us because it gets the most people
2968 involved. Making the game free and available under a CC license led to the
2969 unbelievable situation where we are one of the best-marketed games in the
2970 world, and we have never spent a dime on marketing.</span>”</span>
2971     </p><p>
2972       Of course, there are limits to what the company allows its customers to do
2973 with the game. They chose the Attribution-NonCommercial-ShareAlike license
2974 because it restricts people from using the game to make money. It also
2975 requires that adaptations of the game be made available under the same
2976 licensing terms if they are shared publicly. Cards Against Humanity also
2977 polices its brand. <span class="quote">“<span class="quote">We feel like we’re the only ones who can use our
2978 brand and our game and make money off of it,</span>”</span> Max said. About 99.9
2979 percent of the time, they just send an email to those making commercial use
2980 of the game, and that is the end of it. There have only been a handful of
2981 instances where they had to get a lawyer involved.
2982     </p><p>
2983       Just as there is more than meets the eye to the Cards Against Humanity
2984 business model, the same can be said of the game itself.  To be playable,
2985 every white card has to work syntactically with enough black cards. The
2986 eight creators invest an incredible amount of work into creating new cards
2987 for the game. <span class="quote">“<span class="quote">We have daylong arguments about commas,</span>”</span> Max
2988 said. <span class="quote">“<span class="quote">The slacker tone of the cards gives people the impression that
2989 it is easy to write them, but it is actually a lot of work and
2990 quibbling.</span>”</span>
2991     </p><p>
2992       That means cocreation with their fans really doesn’t work. The company has a
2993 submission mechanism on their website, and they get thousands of
2994 suggestions, but it is very rare that a submitted card is adopted. Instead,
2995 the eight initial creators remain the primary authors of expansion decks and
2996 other new products released by the company. Interestingly, the creativity of
2997 their customer base is really only an asset to the company once their
2998 original work is created and published when people make their own
2999 adaptations of the game.
3000     </p><p>
3001       For all of their success, the creators of Cards Against Humanity are only
3002 partially motivated by money. Max says they have always been interested in
3003 the Walt Disney philosophy of financial success. <span class="quote">“<span class="quote">We don’t make jokes
3004 and games to make money—we make money so we can make more jokes and
3005 games,</span>”</span> he said.
3006     </p><p>
3007       In fact, the company has given more than $4 million to various charities and
3008 causes. <span class="quote">“<span class="quote">Cards is not our life plan,</span>”</span> Max said. <span class="quote">“<span class="quote">We all
3009 have other interests and hobbies. We are passionate about other things going
3010 on in our lives. A lot of the activism we have done comes out of us taking
3011 things from the rest of our lives and channeling some of the excitement from
3012 the game into it.</span>”</span>
3013     </p><p>
3014       Seeing money as fuel rather than the ultimate goal is what has enabled them
3015 to embrace Creative Commons licensing without reservation. CC licensing
3016 ended up being a savvy marketing move for the company, but nonetheless,
3017 giving up exclusive control of your work necessarily means giving up some
3018 opportunities to extract more money from customers.
3019     </p><p><span class="quote">“<span class="quote">It’s not right for everyone to release everything under CC
3020 licensing,</span>”</span> Max said. <span class="quote">“<span class="quote">If your only goal is to make a lot of
3021 money, then CC is not best strategy. This kind of business model, though,
3022 speaks to your values, and who you are and why you’re making things.</span>”</span>
3023     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>บทที่ 8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3024         The Conversation is an independent source of news, sourced from the academic
3025 and research community and delivered direct to the public over the
3026 Internet. Founded in 2011 in Australia.
3027       </p><p>
3028           <a class="ulink" href="http://theconversation.com" target="_top">http://theconversation.com</a>
3029         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
3030 (universities pay membership fees to have their faculties serve as writers),
3031 grant funding
3032       </p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
3033       </p><p><span class="strong"><strong>Interviewee</strong></span>: Andrew Jaspan, founder
3034       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
3035     \textit{
3036         Profile written by Paul Stacey
3037       }
3038     \end{flushright}</td></tr></table></div><p>
3039       Andrew Jaspan spent years as an editor of major newspapers including the
3040 Observer in London, the Sunday Herald in Glasgow, and the Age in Melbourne,
3041 Australia. He experienced firsthand the decline of newspapers, including the
3042 collapse of revenues, layoffs, and the constant pressure to reduce
3043 costs. After he left the Age in 2005, his concern for the future journalism
3044 didn’t go away. Andrew made a commitment to come up with an alternative
3045 model.
3046     </p><p>
3047       Around the time he left his job as editor of the Melbourne Age, Andrew
3048 wondered where citizens would get news grounded in fact and evidence rather
3049 than opinion or ideology. He believed there was still an appetite for
3050 journalism with depth and substance but was concerned about the increasing
3051 focus on the sensational and sexy.
3052     </p><p>
3053       While at the Age, he’d become friends with a vice-chancellor of a university
3054 in Melbourne who encouraged him to talk to smart people across campus—an
3055 astrophysicist, a Nobel laureate, earth scientists, economists . . . These
3056 were the kind of smart people he wished were more involved in informing the
3057 world about what is going on and correcting the errors that appear in
3058 media. However, they were reluctant to engage with mass media. Often,
3059 journalists didn’t understand what they said, or unilaterally chose what
3060 aspect of a story to tell, putting out a version that these people felt was
3061 wrong or mischaracterized. Newspapers want to attract a mass
3062 audience. Scholars want to communicate serious news, findings, and
3063 insights. It’s not a perfect match. Universities are massive repositories of
3064 knowledge, research, wisdom, and expertise. But a lot of that stays behind a
3065 wall of their own making—there are the walled garden and ivory tower
3066 metaphors, and in more literal terms, the paywall. Broadly speaking,
3067 universities are part of society but disconnected from it. They are an
3068 enormous public resource but not that good at presenting their expertise to
3069 the wider public.
3070     </p><p>
3071       Andrew believed he could to help connect academics back into the public
3072 arena, and maybe help society find solutions to big problems. He thought
3073 about pairing professional editors with university and research experts,
3074 working one-on-one to refine everything from story structure to headline,
3075 captions, and quotes.  The editors could help turn something that is
3076 academic into something understandable and readable. And this would be a key
3077 difference from traditional journalism—the subject matter expert would get a
3078 chance to check the article and give final approval before it is
3079 published. Compare this with reporters just picking and choosing the quotes
3080 and writing whatever they want.
3081     </p><p>
3082       The people he spoke to liked this idea, and Andrew embarked on raising money
3083 and support with the help of the Commonwealth Scientific and Industrial
3084 Research Organisation (CSIRO), the University of Melbourne, Monash
3085 University, the University of Technology Sydney, and the University of
3086 Western Australia. These founding partners saw the value of an independent
3087 information channel that would also showcase the talent and knowledge of the
3088 university and research sector. With their help, in 2011, the Conversation,
3089 was launched as an independent news site in Australia. Everything published
3090 in the Conversation is openly licensed with Creative Commons.
3091     </p><p>
3092       The Conversation is founded on the belief that underpinning a functioning
3093 democracy is access to independent, high-quality, informative
3094 journalism. The Conversation’s aim is for people to have a better
3095 understanding of current affairs and complex issues—and hopefully a better
3096 quality of public discourse. The Conversation sees itself as a source of
3097 trusted information dedicated to the public good. Their core mission is
3098 simple: to provide readers with a reliable source of evidence-based
3099 information.
3100     </p><p>
3101       Andrew worked hard to reinvent a methodology for creating reliable, credible
3102 content. He introduced strict new working practices, a charter, and codes of
3103 conduct.<a href="#ftn.idm1075" class="footnote" name="idm1075"><sup class="footnote">[114]</sup></a> These include fully disclosing
3104 who every author is (with their relevant expertise); who is funding their
3105 research; and if there are any potential or real conflicts of interest. Also
3106 important is where the content originates, and even though it comes from the
3107 university and research community, it still needs to be fully disclosed. The
3108 Conversation does not sit behind a paywall. Andrew believes access to
3109 information is an issue of equality—everyone should have access, like access
3110 to clean water.  The Conversation is committed to an open and free
3111 Internet.  Everyone should have free access to their content, and be able to
3112 share it or republish it.
3113     </p><p>
3114       Creative Commons help with these goals; articles are published with the
3115 Attribution- NoDerivs license (CC BY-ND). They’re freely available for
3116 others to republish elsewhere as long as attribution is given and the
3117 content is not edited. Over five years, more than twenty-two thousand sites
3118 have republished their content. The Conversation website gets about 2.9
3119 million unique views per month, but through republication they have
3120 thirty-five million readers. This couldn’t have been done without the
3121 Creative Commons license, and in Andrew’s view, Creative Commons is central
3122 to everything the Conversation does.
3123     </p><p>
3124       When readers come across the Conversation, they seem to like what they find
3125 and recommend it to their friends, peers, and networks.  Readership has
3126 grown primarily through word of mouth. While they don’t have sales and
3127 marketing, they do promote their work through social media (including
3128 Twitter and Facebook), and by being an accredited supplier to Google News.
3129     </p><p>
3130       It’s usual for the founders of any company to ask themselves what kind of
3131 company it should be. It quickly became clear to the founders of the
3132 Conversation that they wanted to create a public good rather than make money
3133 off of information. Most media companies are working to aggregate as many
3134 eyeballs as possible and sell ads. The Conversation founders didn’t want
3135 this model. It takes no advertising and is a not-for-profit venture.
3136     </p><p>
3137       There are now different editions of the Conversation for Africa, the United
3138 Kingdom, France, and the United States, in addition to the one for
3139 Australia. All five editions have their own editorial mastheads, advisory
3140 boards, and content. The Conversation’s global virtual newsroom has roughly
3141 ninety staff working with thirty-five thousand academics from over sixteen
3142 hundred universities around the world. The Conversation would like to be
3143 working with university scholars from even more parts of the world.
3144     </p><p>
3145       Additionally, each edition has its own set of founding partners, strategic
3146 partners, and funders. They’ve received funding from foundations,
3147 corporates, institutions, and individual donations, but the Conversation is
3148 shifting toward paid memberships by universities and research institutions
3149 to sustain operations. This would safeguard the current service and help
3150 improve coverage and features.
3151     </p><p>
3152       When professors from member universities write an article, there is some
3153 branding of the university associated with the article. On the Conversation
3154 website, paying university members are listed as <span class="quote">“<span class="quote">members and
3155 funders.</span>”</span> Early participants may be designated as <span class="quote">“<span class="quote">founding
3156 members,</span>”</span> with seats on the editorial advisory board.
3157     </p><p>
3158       Academics are not paid for their contributions, but they get free editing
3159 from a professional (four to five hours per piece, on average). They also
3160 get access to a large audience. Every author and member university has
3161 access to a special analytics dashboard where they can check the reach of an
3162 article. The metrics include what people are tweeting, the comments,
3163 countries the readership represents, where the article is being republished,
3164 and the number of readers per article.
3165     </p><p>
3166       The Conversation plans to expand the dashboard to show not just reach but
3167 impact. This tracks activities, behaviors, and events that occurred as a
3168 result of publication, including things like a scholar being asked to go on
3169 a show to discuss their piece, give a talk at a conference, collaborate,
3170 submit a journal paper, and consult a company on a topic.
3171     </p><p>
3172       These reach and impact metrics show the benefits of membership.  With the
3173 Conversation, universities can engage with the public and show why they’re
3174 of value.
3175     </p><p>
3176       With its tagline, <span class="quote">“<span class="quote">Academic Rigor, Journalistic Flair,</span>”</span> the
3177 Conversation represents a new form of journalism that contributes to a more
3178 informed citizenry and improved democracy around the world. Its open
3179 business model and use of Creative Commons show how it’s possible to
3180 generate both a public good and operational revenue at the same time.
3181     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1075" class="footnote"><p><a href="#idm1075" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>บทที่ 9. Cory Doctorow</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3182         Cory Doctorow is a science fiction writer, activist, blogger, and
3183 journalist. Based in the U.S.
3184       </p><p><a class="ulink" href="http://craphound.com" target="_top">http://craphound.com</a> and <a class="ulink" href="http://boingboing.net" target="_top">http://boingboing.net</a>
3185       </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
3186 copies (book sales), pay-what-you-want, selling translation rights to books
3187       </p><p><span class="strong"><strong>Interview date</strong></span>: January 12, 2016
3188       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
3189     \textit{
3190         Profile written by Sarah Hinchliff Pearson
3191       }
3192     \end{flushright}</td></tr></table></div><p>
3193       Cory Doctorow hates the term <span class="quote">“<span class="quote">business model,</span>”</span> and he is
3194 adamant that he is not a brand. <span class="quote">“<span class="quote">To me, branding is the idea that you
3195 can take a thing that has certain qualities, remove the qualities, and go on
3196 selling it,</span>”</span> he said. <span class="quote">“<span class="quote">I’m not out there trying to figure out
3197 how to be a brand. I’m doing this thing that animates me to work crazy
3198 insane hours because it’s the most important thing I know how to do.</span>”</span>
3199     </p><p>
3200       Cory calls himself an entrepreneur. He likes to say his success came from
3201 making stuff people happened to like and then getting out of the way of them
3202 sharing it.
3203     </p><p>
3204       He is a science fiction writer, activist, blogger, and journalist.
3205 Beginning with his first novel, Down and Out in the Magic Kingdom, in 2003,
3206 his work has been published under a Creative Commons license. Cory is
3207 coeditor of the popular CC-licensed site Boing Boing, where he writes about
3208 technology, politics, and intellectual property. He has also written several
3209 nonfiction books, including the most recent Information Doesn’t Want to Be
3210 Free, about the ways in which creators can make a living in the Internet
3211 age.
3212     </p><p>
3213       Cory primarily makes money by selling physical books, but he also takes on
3214 paid speaking gigs and is experimenting with pay-what-you-want models for
3215 his work.
3216     </p><p>
3217       While Cory’s extensive body of fiction work has a large following, he is
3218 just as well known for his activism. He is an outspoken opponent of
3219 restrictive copyright and digital-rights-management (DRM) technology used to
3220 lock up content because he thinks both undermine creators and the public
3221 interest. He is currently a special adviser at the Electronic Frontier
3222 Foundation, where he is involved in a lawsuit challenging the U.S. law that
3223 protects DRM.  Cory says his political work doesn’t directly make him money,
3224 but if he gave it up, he thinks he would lose credibility and, more
3225 importantly, lose the drive that propels him to create. <span class="quote">“<span class="quote">My political
3226 work is a different expression of the same artistic-political urge,</span>”</span>
3227 he said. <span class="quote">“<span class="quote">I have this suspicion that if I gave up the things that
3228 didn’t make me money, the genuineness would leach out of what I do, and the
3229 quality that causes people to like what I do would be gone.</span>”</span>
3230     </p><p>
3231       Cory has been financially successful, but money is not his primary
3232 motivation. At the start of his book Information Doesn’t Want to Be Free, he
3233 stresses how important it is not to become an artist if your goal is to get
3234 rich. <span class="quote">“<span class="quote">Entering the arts because you want to get rich is like buying
3235 lottery tickets because you want to get rich,</span>”</span> he wrote. <span class="quote">“<span class="quote">It
3236 might work, but it almost certainly won’t. Though, of course, someone always
3237 wins the lottery.</span>”</span> He acknowledges that he is one of the lucky few to
3238 <span class="quote">“<span class="quote">make it,</span>”</span> but he says he would be writing no matter
3239 what. <span class="quote">“<span class="quote">I am compelled to write,</span>”</span> he wrote.  <span class="quote">“<span class="quote">Long before
3240 I wrote to keep myself fed and sheltered, I was writing to keep myself
3241 sane.</span>”</span>
3242     </p><p>
3243       Just as money is not his primary motivation to create, money is not his
3244 primary motivation to share. For Cory, sharing his work with Creative
3245 Commons is a moral imperative. <span class="quote">“<span class="quote">It felt morally right,</span>”</span> he said
3246 of his decision to adopt Creative Commons licenses. <span class="quote">“<span class="quote">I felt like I
3247 wasn’t contributing to the culture of surveillance and censorship that has
3248 been created to try to stop copying.</span>”</span> In other words, using CC
3249 licenses symbolizes his worldview.
3250     </p><p>
3251       He also feels like there is a solid commercial basis for licensing his work
3252 with Creative Commons. While he acknowledges he hasn’t been able to do a
3253 controlled experiment to compare the commercial benefits of licensing with
3254 CC against reserving all rights, he thinks he has sold more books using a CC
3255 license than he would have without it. Cory says his goal is to convince
3256 people they should pay him for his work. <span class="quote">“<span class="quote">I started by not calling
3257 them thieves,</span>”</span> he said.
3258     </p><p>
3259       Cory started using CC licenses soon after they were first created.  At the
3260 time his first novel came out, he says the science fiction genre was overrun
3261 with people scanning and downloading books without permission. When he and
3262 his publisher took a closer look at who was doing that sort of thing online,
3263 they realized it looked a lot like book promotion. <span class="quote">“<span class="quote">I knew there was a
3264 relationship between having enthusiastic readers and having a successful
3265 career as a writer,</span>”</span> he said. <span class="quote">“<span class="quote">At the time, it took eighty
3266 hours to OCR a book, which is a big effort. I decided to spare them the time
3267 and energy, and give them the book for free in a format destined to
3268 spread.</span>”</span>
3269     </p><p>
3270       Cory admits the stakes were pretty low for him when he first adopted
3271 Creative Commons licenses. He only had to sell two thousand copies of his
3272 book to break even. People often said he was only able to use CC licenses
3273 successfully at that time because he was just starting out. Now they say he
3274 can only do it because he is an established author.
3275     </p><p>
3276       The bottom line, Cory says, is that no one has found a way to prevent people
3277 from copying the stuff they like. Rather than fighting the tide, Cory makes
3278 his work intrinsically shareable.  <span class="quote">“<span class="quote">Getting the hell out of the way
3279 for people who want to share their love of you with other people sounds
3280 obvious, but it’s remarkable how many people don’t do it,</span>”</span> he said.
3281     </p><p>
3282       Making his work available under Creative Commons licenses enables him to
3283 view his biggest fans as his ambassadors. <span class="quote">“<span class="quote">Being open to fan activity
3284 makes you part of the conversation about what fans do with your work and how
3285 they interact with it,</span>”</span> he said.  Cory’s own website routinely
3286 highlights cool things his audience has done with his work. Unlike
3287 corporations like Disney that tend to have a hands-off relationship with
3288 their fan activity, he has a symbiotic relationship with his
3289 audience. <span class="quote">“<span class="quote">Engaging with your audience can’t guarantee you
3290 success,</span>”</span> he said.  <span class="quote">“<span class="quote">And Disney is an example of being able to
3291 remain aloof and still being the most successful company in the creative
3292 industry in history. But I figure my likelihood of being Disney is pretty
3293 slim, so I should take all the help I can get.</span>”</span>
3294     </p><p>
3295       His first book was published under the most restrictive Creative Commons
3296 license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND).  It allows only
3297 verbatim copying for noncommercial purposes. His later work is published
3298 under the Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA), which
3299 gives people the right to adapt his work for noncommercial purposes but only
3300 if they share it back under the same license terms. Before releasing his
3301 work under a CC license that allows adaptations, he always sells the right
3302 to translate the book to other languages to a commercial publisher first. He
3303 wants to reach new potential buyers in other parts of the world, and he
3304 thinks it is more difficult to get people to pay for translations if there
3305 are fan translations already available for free.
3306     </p><p>
3307       In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
3308 to thinking like a dandelion. Dandelions produce thousands of seeds each
3309 spring, and they are blown into the air going in every direction. The
3310 strategy is to maximize the number of blind chances the dandelion has for
3311 continuing its genetic line. Similarly, he says there are lots of people out
3312 there who may want to buy creative work or compensate authors for it in some
3313 other way. <span class="quote">“<span class="quote">The more places your work can find itself, the greater the
3314 likelihood that it will find one of those would-be customers in some
3315 unsuspected crack in the metaphorical pavement,</span>”</span> he wrote. <span class="quote">“<span class="quote">The
3316 copies that others make of my work cost me nothing, and present the
3317 possibility that I’ll get something.</span>”</span>
3318     </p><p>
3319       Applying a CC license to his work increases the chances it will be shared
3320 more widely around the Web. He avoids DRM—and openly opposes the
3321 practice—for similar reasons. DRM has the effect of tying a work to a
3322 particular platform. This digital lock, in turn, strips the authors of
3323 control over their own work and hands that control over to the platform. He
3324 calls it Cory’s First Law: <span class="quote">“<span class="quote">Anytime someone puts a lock on something
3325 that belongs to you and won’t give you the key, that lock isn’t there for
3326 your benefit.</span>”</span>
3327     </p><p>
3328       Cory operates under the premise that artists benefit when there are more,
3329 rather than fewer, places where people can access their work. The Internet
3330 has opened up those avenues, but DRM is designed to limit them. <span class="quote">“<span class="quote">On
3331 the one hand, we can credibly make our work available to a widely dispersed
3332 audience,</span>”</span> he said. <span class="quote">“<span class="quote">On the other hand, the intermediaries we
3333 historically sold to are making it harder to go around them.</span>”</span> Cory
3334 continually looks for ways to reach his audience without relying upon major
3335 platforms that will try to take control over his work.
3336     </p><p>
3337       Cory says his e-book sales have been lower than those of his competitors,
3338 and he attributes some of that to the CC license making the work available
3339 for free. But he believes people are willing to pay for content they like,
3340 even when it is available for free, as long as it is easy to do. He was
3341 extremely successful using Humble Bundle, a platform that allows people to
3342 pay what they want for DRM-free versions of a bundle of a particular
3343 creator’s work. He is planning to try his own pay-what-you-want experiment
3344 soon.
3345     </p><p>
3346       Fans are particularly willing to pay when they feel personally connected to
3347 the artist. Cory works hard to create that personal connection. One way he
3348 does this is by personally answering every single email he gets. <span class="quote">“<span class="quote">If
3349 you look at the history of artists, most die in penury,</span>”</span> he
3350 said. <span class="quote">“<span class="quote">That reality means that for artists, we have to find ways to
3351 support ourselves when public tastes shift, when copyright stops producing.
3352 Future-proofing your artistic career in many ways means figuring out how to
3353 stay connected to those people who have been touched by your work.</span>”</span>
3354     </p><p>
3355       Cory’s realism about the difficulty of making a living in the arts does not
3356 reflect pessimism about the Internet age. Instead, he says the fact that it
3357 is hard to make a living as an artist is nothing new. What is new, he writes
3358 in his book, <span class="quote">“<span class="quote">is how many ways there are to make things, and to get
3359 them into other people’s hands and minds.</span>”</span>
3360     </p><p>
3361       It has never been easier to think like a dandelion.
3362     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>บทที่ 10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3363         Figshare is a for-profit company offering an online repository where
3364 researchers can preserve and share the output of their research, including
3365 figures, data sets, images, and videos.  Founded in 2011 in the UK.
3366       </p><p>
3367           <a class="ulink" href="http://figshare.com" target="_top">http://figshare.com</a>
3368         </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
3369 services to creators
3370       </p><p><span class="strong"><strong>Interview date</strong></span>: January 28, 2016
3371       </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Hahnel, founder
3372       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
3373     \textit{
3374         Profile written by Paul Stacey
3375       }
3376     \end{flushright}</td></tr></table></div><p>
3377       Figshare’s mission is to change the face of academic publishing through
3378 improved dissemination, discoverability, and reusability of scholarly
3379 research. Figshare is a repository where users can make all the output of
3380 their research available—from posters and presentations to data sets and
3381 code—in a way that’s easy to discover, cite, and share. Users can upload any
3382 file format, which can then be previewed in a Web browser. Research output
3383 is disseminated in a way that the current scholarly-publishing model does
3384 not allow.
3385     </p><p>
3386       Figshare founder Mark Hahnel often gets asked: How do you make money? How do
3387 we know you’ll be here in five years? Can you, as a for-profit venture, be
3388 trusted? Answers have evolved over time.
3389     </p><p>
3390       Mark traces the origins of Figshare back to when he was a graduate student
3391 getting his PhD in stem cell biology. His research involved working with
3392 videos of stem cells in motion. However, when he went to publish his
3393 research, there was no way for him to also publish the videos, figures,
3394 graphs, and data sets. This was frustrating. Mark believed publishing his
3395 complete research would lead to more citations and be better for his career.
3396     </p><p>
3397       Mark does not consider himself an advanced software programmer.
3398 Fortunately, things like cloud-based computing and wikis had become
3399 mainstream, and he believed it ought to be possible to put all his research
3400 online and share it with anyone. So he began working on a solution.
3401     </p><p>
3402       There were two key needs: licenses to make the data citable, and persistent
3403 identifiers— URL links that always point back to the original object
3404 ensuring the research is citable for the long term.
3405     </p><p>
3406       Mark chose Digital Object Identifiers (DOIs) to meet the need for a
3407 persistent identifier. In the DOI system, an object’s metadata is stored as
3408 a series of numbers in the DOI name. Referring to an object by its DOI is
3409 more stable than referring to it by its URL, because the location of an
3410 object (the web page or URL) can often change. Mark partnered with DataCite
3411 for the provision of DOIs for research data.
3412     </p><p>
3413       As for licenses, Mark chose Creative Commons. The open-access and
3414 open-science communities were already using and recommending Creative
3415 Commons. Based on what was happening in those communities and Mark’s
3416 dialogue with peers, he went with CC0 (in the public domain) for data sets
3417 and CC BY (Attribution) for figures, videos, and data sets.
3418     </p><p>
3419       So Mark began using DOIs and Creative Commons for his own research work. He
3420 had a science blog where he wrote about it and made all his data
3421 open. People started commenting on his blog that they wanted to do the
3422 same. So he opened it up for them to use, too.
3423     </p><p>
3424       People liked the interface and simple upload process. People started asking
3425 if they could also share theses, grant proposals, and code. Inclusion of
3426 code raised new licensing issues, as Creative Commons licenses are not used
3427 for software. To allow the sharing of software code, Mark chose the MIT
3428 license, but GNU and Apache licenses can also be used.
3429     </p><p>
3430       Mark sought investment to make this into a scalable product. After a few
3431 unsuccessful funding pitches, UK-based Digital Science expressed interest
3432 but insisted on a more viable business model.  They made an initial
3433 investment, and together they came up with a freemium-like business model.
3434     </p><p>
3435       Under the freemium model, academics upload their research to Figshare for
3436 storage and sharing for free. Each research object is licensed with Creative
3437 Commons and receives a DOI link. The premium option charges researchers a
3438 fee for gigabytes of private storage space, and for private online space
3439 designed for a set number of research collaborators, which is ideal for
3440 larger teams and geographically dispersed research groups. Figshare sums up
3441 its value proposition to researchers as <span class="quote">“<span class="quote">You retain ownership.  You
3442 license it. You get credit. We just make sure it persists.</span>”</span>
3443     </p><p>
3444       In January 2012, Figshare was launched. (The fig in Figshare stands for
3445 figures.) Using investment funds, Mark made significant improvements to
3446 Figshare. For example, researchers could quickly preview their research
3447 files within a browser without having to download them first or require
3448 third-party software. Journals who were still largely publishing articles as
3449 static noninteractive PDFs became interested in having Figshare provide that
3450 functionality for them.
3451     </p><p>
3452       Figshare diversified its business model to include services for
3453 journals. Figshare began hosting large amounts of data for the journals’
3454 online articles. This additional data improved the quality of the
3455 articles. Outsourcing this service to Figshare freed publishers from having
3456 to develop this functionality as part of their own
3457 infrastructure. Figshare-hosted data also provides a link back to the
3458 article, generating additional click-through and readership—a benefit to
3459 both journal publishers and researchers.  Figshare now provides
3460 research-data infrastructure for a wide variety of publishers including
3461 Wiley, Springer Nature, PLOS, and Taylor and Francis, to name a few, and has
3462 convinced them to use Creative Commons licenses for the data.
3463     </p><p>
3464       Governments allocate significant public funds to research. In parallel with
3465 the launch of Figshare, governments around the world began requesting the
3466 research they fund be open and accessible.  They mandated that researchers
3467 and academic institutions better manage and disseminate their research
3468 outputs. Institutions looking to comply with this new mandate became
3469 interested in Figshare. Figshare once again diversified its business model,
3470 adding services for institutions.
3471     </p><p>
3472       Figshare now offers a range of fee-based services to institutions, including
3473 their own minibranded Figshare space (called Figshare for Institutions) that
3474 securely hosts research data of institutions in the cloud. Services include
3475 not just hosting but data metrics, data dissemination, and user-group
3476 administration.  Figshare’s workflow, and the services they offer for
3477 institutions, take into account the needs of librarians and administrators,
3478 as well as of the researchers.
3479     </p><p>
3480       As with researchers and publishers, Fig-share encouraged institutions to
3481 share their research with CC BY (Attribution) and their data with CC0 (into
3482 the public domain). Funders who require researchers and institutions to use
3483 open licensing believe in the social responsibilities and benefits of making
3484 research accessible to all. Publishing research in this open way has come to
3485 be called open access. But not all funders specify CC BY; some institutions
3486 want to offer their researchers a choice, including less permissive licenses
3487 like CC BY-NC (Attribution-NonCommercial), CC BY-SA
3488 (Attribution-ShareAlike), or CC BY-ND (Attribution-NoDerivs).
3489     </p><p>
3490       For Mark this created a conflict. On the one hand, the principles and
3491 benefits of open science are at the heart of Figshare, and Mark believes CC
3492 BY is the best license for this. On the other hand, institutions were saying
3493 they wouldn’t use Figshare unless it offered a choice in licenses. He
3494 initially refused to offer anything beyond CC0 and CC BY, but after seeing
3495 an open-source CERN project offer all Creative Commons licenses without any
3496 negative repercussions, he decided to follow suit.
3497     </p><p>
3498       Mark is thinking of doing a Figshare study that tracks research
3499 dissemination according to Creative Commons license, and gathering metrics
3500 on views, citations, and downloads. You could see which license generates
3501 the biggest impact. If the data showed that CC BY is more impactful, Mark
3502 believes more and more researchers and institutions will make it their
3503 license of choice.
3504     </p><p>
3505       Figshare has an Application Programming Interface (API) that makes it
3506 possible for data to be pulled from Figshare and used in other
3507 applications. As an example, Mark shared a Figshare data set showing the
3508 journal subscriptions that higher-education institutions in the United
3509 Kingdom paid to ten major publishers.<a href="#ftn.idm1183" class="footnote" name="idm1183"><sup class="footnote">[115]</sup></a>
3510 Figshare’s API enables that data to be pulled into an app developed by a
3511 completely different researcher that converts the data into a visually
3512 interesting graph, which any viewer can alter by changing any of the
3513 variables.<a href="#ftn.idm1186" class="footnote" name="idm1186"><sup class="footnote">[116]</sup></a>
3514     </p><p>
3515       The free version of Figshare has built a community of academics, who through
3516 word of mouth and presentations have promoted and spread awareness of
3517 Figshare. To amplify and reward the community, Figshare established an
3518 Advisor program, providing those who promoted Figshare with hoodies and
3519 T-shirts, early access to new features, and travel expenses when they gave
3520 presentations outside of their area. These Advisors also helped Mark on what
3521 license to use for software code and whether to offer universities an option
3522 of using Creative Commons licenses.
3523     </p><p>
3524       Mark says his success is partly about being in the right place at the right
3525 time. He also believes that the diversification of Figshare’s model over
3526 time has been key to success. Figshare now offers a comprehensive set of
3527 services to researchers, publishers, and institutions.<a href="#ftn.idm1191" class="footnote" name="idm1191"><sup class="footnote">[117]</sup></a> If he had relied solely on revenue from premium
3528 subscriptions, he believes Figshare would have struggled. In Figshare’s
3529 early days, their primary users were early-career and late-career
3530 academics. It has only been because funders mandated open licensing that
3531 Figshare is now being used by the mainstream.
3532     </p><p>
3533       Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
3534 800,000–plus user uploads, 2 million–plus articles, 500,000-plus
3535 collections, and 5,000–plus projects. Sixty percent of their traffic comes
3536 from Google. A sister company called Altmetric tracks the use of Figshare by
3537 others, including Wikipedia and news sources.
3538     </p><p>
3539       Figshare uses the revenue it generates from the premium subscribers, journal
3540 publishers, and institutions to fund and expand what it can offer to
3541 researchers for free. Figshare has publicly stuck to its principles—keeping
3542 the free service free and requiring the use of CC BY and CC0 from the
3543 start—and from Mark’s perspective, this is why people trust Figshare. Mark
3544 sees new competitors coming forward who are just in it for money. If
3545 Figshare was only in it for the money, they wouldn’t care about offering a
3546 free version. Figshare’s principles and advocacy for openness are a key
3547 differentiator. Going forward, Mark sees Figshare not only as supporting
3548 open access to research but also enabling people to collaborate and make new
3549 discoveries.
3550     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1183" class="footnote"><p><a href="#idm1183" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1186" class="footnote"><p><a href="#idm1186" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&amp;inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&amp;inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1191" class="footnote"><p><a href="#idm1191" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>บทที่ 11. Figure.NZ</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3551         Figure.NZ is a nonprofit charity that makes an online data platform designed
3552 to make data reusable and easy to understand.  Founded in 2012 in New
3553 Zealand.
3554       </p><p>
3555           <a class="ulink" href="http://figure.nz" target="_top">http://figure.nz</a>
3556         </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
3557 services to creators, donations, sponsorships
3558       </p><p><span class="strong"><strong>Interview date</strong></span>: May 3, 2016
3559       </p><p><span class="strong"><strong>Interviewee</strong></span>: Lillian Grace, founder
3560       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
3561     \textit{
3562         Profile written by Paul Stacey
3563       }
3564     \end{flushright}</td></tr></table></div><p>
3565       In the paper Harnessing the Economic and Social Power of Data presented at
3566 the New Zealand Data Futures Forum in 2014,<a href="#ftn.idm1210" class="footnote" name="idm1210"><sup class="footnote">[118]</sup></a> Figure.NZ founder Lillian Grace said there are thousands of
3567 valuable and relevant data sets freely available to us right now, but most
3568 people don’t use them. She used to think this meant people didn’t care about
3569 being informed, but she’s come to see that she was wrong. Almost everyone
3570 wants to be informed about issues that matter—not only to them, but also to
3571 their families, their communities, their businesses, and their country.  But
3572 there’s a big difference between availability and accessibility of
3573 information. Data is spread across thousands of sites and is held within
3574 databases and spreadsheets that require both time and skill to engage
3575 with. To use data when making a decision, you have to know what specific
3576 question to ask, identify a source that has collected the data, and
3577 manipulate complex tools to extract and visualize the information within the
3578 data set.  Lillian established Figure.NZ to make data truly accessible to
3579 all, with a specific focus on New Zealand.
3580     </p><p>
3581       Lillian had the idea for Figure.NZ in February 2012 while working for the
3582 New Zealand Institute, a think tank concerned with improving economic
3583 prosperity, social well-being, environmental quality, and environmental
3584 productivity for New Zealand and New Zealanders. While giving talks to
3585 community and business groups, Lillian realized <span class="quote">“<span class="quote">every single issue we
3586 addressed would have been easier to deal with if more people understood the
3587 basic facts.</span>”</span> But understanding the basic facts sometimes requires
3588 data and research that you often have to pay for.
3589     </p><p>
3590       Lillian began to imagine a website that lifted data up to a visual form that
3591 could be easily understood and freely accessed.  Initially launched as Wiki
3592 New Zealand, the original idea was that people could contribute their data
3593 and visuals via a wiki.  However, few people had graphs that could be used
3594 and shared, and there were no standards or consistency around the data and
3595 the visuals. Realizing the wiki model wasn’t working, Lillian brought the
3596 process of data aggregation, curation, and visual presentation in-house, and
3597 invested in the technology to help automate some of it. Wiki New Zealand
3598 became Figure.NZ, and efforts were reoriented toward providing services to
3599 those wanting to open their data and present it visually.
3600     </p><p>
3601       Here’s how it works. Figure.NZ sources data from other organizations,
3602 including corporations, public repositories, government departments, and
3603 academics. Figure.NZ imports and extracts that data, and then validates and
3604 standardizes it—all with a strong eye on what will be best for users. They
3605 then make the data available in a series of standardized forms, both human-
3606 and machine-readable, with rich metadata about the sources, the licenses,
3607 and data types. Figure.NZ has a chart-designing tool that makes simple bar,
3608 line, and area graphs from any data source.  The graphs are posted to the
3609 Figure.NZ website, and they can also be exported in a variety of formats for
3610 print or online use.  Figure.NZ makes its data and graphs available using
3611 the Attribution (CC BY) license. This allows others to reuse, revise, remix,
3612 and redistribute Figure.NZ data and graphs as long as they give attribution
3613 to the original source and to Figure.NZ.
3614     </p><p>
3615       Lillian characterizes the initial decision to use Creative Commons as
3616 naively fortunate. It was first recommended to her by a colleague. Lillian
3617 spent time looking at what Creative Commons offered and thought it looked
3618 good, was clear, and made common sense. It was easy to use and easy for
3619 others to understand. Over time, she’s come to realize just how fortunate
3620 and important that decision turned out to be. New Zealand’s government has
3621 an open-access and licensing framework called NZGOAL, which provides
3622 guidance for agencies when they release copyrighted and noncopyrighted work
3623 and material.<a href="#ftn.idm1218" class="footnote" name="idm1218"><sup class="footnote">[119]</sup></a> It aims to standardize
3624 the licensing of works with government copyright and how they can be reused,
3625 and it does this with Creative Commons licenses. As a result, 98 percent of
3626 all government-agency data is Creative Commons licensed, fitting in nicely
3627 with Figure.NZ’s decision.
3628     </p><p>
3629       Lillian thinks current ideas of what a business is are relatively new, only
3630 a hundred years old or so. She’s convinced that twenty years from now, we
3631 will see new and different models for business.  Figure.NZ is set up as a
3632 nonprofit charity. It is purpose-driven but also strives to pay people well
3633 and thinks like a business.  Lillian sees the charity-nonprofit status as an
3634 essential element for the mission and purpose of Figure.NZ. She believes
3635 Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
3636 nonprofit status assures people who have data and people who want to use it
3637 that they can rely on Figure.NZ’s motives. People see them as a trusted
3638 wrangler and source.
3639     </p><p>
3640       Although Figure.NZ is a social enterprise that openly licenses their data
3641 and graphs for everyone to use for free, they have taken care not to be
3642 perceived as a free service all around the table. Lillian believes hundreds
3643 of millions of dollars are spent by the government and organizations to
3644 collect data. However, very little money is spent on taking that data and
3645 making it accessible, understandable, and useful for decision making.
3646 Government uses some of the data for policy, but Lillian believes that it is
3647 underutilized and the potential value is much larger.  Figure.NZ is focused
3648 on solving that problem. They believe a portion of money allocated to
3649 collecting data should go into making sure that data is useful and generates
3650 value. If the government wants citizens to understand why certain decisions
3651 are being made and to be more aware about what the government is doing, why
3652 not transform the data it collects into easily understood visuals? It could
3653 even become a way for a government or any organization to differentiate,
3654 market, and brand itself.
3655     </p><p>
3656       Figure.NZ spends a lot of time seeking to understand the motivations of data
3657 collectors and to identify the channels where it can provide value. Every
3658 part of their business model has been focused on who is going to get value
3659 from the data and visuals.
3660     </p><p>
3661       Figure.NZ has multiple lines of business. They provide commercial services
3662 to organizations that want their data publicly available and want to use
3663 Figure.NZ as their publishing platform. People who want to publish open data
3664 appreciate Figure.NZ’s ability to do it faster, more easily, and better than
3665 they can. Customers are encouraged to help their users find, use, and make
3666 things from the data they make available on Figure.NZ’s website. Customers
3667 control what is released and the license terms (although Figure.NZ
3668 encourages Creative Commons licensing). Figure.NZ also serves customers who
3669 want a specific collection of charts created—for example, for their website
3670 or annual report. Charging the organizations that want to make their data
3671 available enables Figure.NZ to provide their site free to all users, to
3672 truly democratize data.
3673     </p><p>
3674       Lillian notes that the current state of most data is terrible and often not
3675 well understood by the people who have it. This sometimes makes it difficult
3676 for customers and Figure.NZ to figure out what it would cost to import,
3677 standardize, and display that data in a useful way. To deal with this,
3678 Figure.NZ uses <span class="quote">“<span class="quote">high-trust contracts,</span>”</span> where customers allocate
3679 a certain budget to the task that Figure.NZ is then free to draw from, as
3680 long as Figure.NZ frequently reports on what they’ve produced so the
3681 customer can determine the value for money. This strategy has helped build
3682 trust and transparency about the level of effort associated with doing work
3683 that has never been done before.
3684     </p><p>
3685       A second line of business is what Figure.NZ calls partners. ASB Bank and
3686 Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
3687 example, with their support Figure.NZ has been able to create Business
3688 Figures, a special way for businesses to find useful data without having to
3689 know what questions to ask.<a href="#ftn.idm1228" class="footnote" name="idm1228"><sup class="footnote">[120]</sup></a>
3690     </p><p>
3691       Figure.NZ also has patrons.<a href="#ftn.idm1232" class="footnote" name="idm1232"><sup class="footnote">[121]</sup></a> Patrons
3692 donate to topic areas they care about, directly enabling Figure.NZ to get
3693 data together to flesh out those areas. Patrons do not direct what data is
3694 included or excluded.
3695     </p><p>
3696       Figure.NZ also accepts philanthropic donations, which are used to provide
3697 more content, extend technology, and improve services, or are targeted to
3698 fund a specific effort or provide in-kind support.  As a charity, donations
3699 are tax deductible.
3700     </p><p>
3701       Figure.NZ has morphed and grown over time. With data aggregation, curation,
3702 and visualizing services all in-house, Figure.NZ has developed a deep
3703 expertise in taking random styles of data, standardizing it, and making it
3704 useful. Lillian realized that Figure.NZ could easily become a warehouse of
3705 seventy people doing data. But for Lillian, growth isn’t always good. In her
3706 view, bigger often means less effective. Lillian set artificial constraints
3707 on growth, forcing the organization to think differently and be more
3708 efficient. Rather than in-house growth, they are growing and building
3709 external relationships.
3710     </p><p>
3711       Figure.NZ’s website displays visuals and data associated with a wide range
3712 of categories including crime, economy, education, employment, energy,
3713 environment, health, information and communications technology, industry,
3714 tourism, and many others. A search function helps users find tables and
3715 graphs. Figure.NZ does not provide analysis or interpretation of the data or
3716 visuals.  Their goal is to teach people how to think, not think for them.
3717 Figure.NZ wants to create intuitive experiences, not user manuals.
3718     </p><p>
3719       Figure.NZ believes data and visuals should be useful. They provide their
3720 customers with a data collection template and teach them why it’s important
3721 and how to use it. They’ve begun putting more emphasis on tracking what
3722 users of their website want. They also get requests from social media and
3723 through email for them to share data for a specific topic—for example, can
3724 you share data for water quality? If they have the data, they respond
3725 quickly; if they don’t, they try and identify the organizations that would
3726 have that data and forge a relationship so they can be included on
3727 Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
3728 people to be curious about, access, and interpret data on topics they are
3729 interested in.
3730     </p><p>
3731       Lillian has a deep and profound vision for Figure.NZ that goes well beyond
3732 simply providing open-data services. She says things are different now. "We
3733 used to live in a world where it was really hard to share information
3734 widely. And in that world, the best future was created by having a few great
3735 leaders who essentially had access to the information and made decisions on
3736 behalf of others, whether it was on behalf of a country or companies.
3737     </p><p>
3738       "But now we live in a world where it’s really easy to share information
3739 widely and also to communicate widely. In the world we live in now, the best
3740 future is the one where everyone can make well-informed decisions.
3741     </p><p>
3742       "The use of numbers and data as a way of making well-informed decisions is
3743 one of the areas where there is the biggest gaps. We don’t really use
3744 numbers as a part of our thinking and part of our understanding yet.
3745     </p><p>
3746       "Part of the reason is the way data is spread across hundreds of sites. In
3747 addition, for the most part, deep thinking based on data is constrained to
3748 experts because most people don’t have data literacy. There once was a time
3749 when many citizens in society couldn’t read or write. However, as a society,
3750 we’ve now come to believe that reading and writing skills should be
3751 something all citizens have. We haven’t yet adopted a similar belief around
3752 numbers and data literacy. We largely still believe that only a few
3753 specially trained people can analyze and think with numbers.
3754     </p><p>
3755       "Figure.NZ may be the first organization to assert that everyone can use
3756 numbers in their thinking, and it’s built a technological platform along
3757 with trust and a network of relationships to make that possible. What you
3758 can see on Figure.NZ are tens of thousands of graphs, maps, and data.
3759     </p><p>
3760         <span class="quote">“<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
3761 analyze what they see around them. A way to be thoughtful and informed about
3762 society. A means of engaging in conversation and shaping decision making
3763 that transcends personal experience.  The long-term value and impact is
3764 almost impossible to measure, but the goal is to help citizens gain
3765 understanding and work together in more informed ways to shape the
3766 future.</span>”</span>
3767       </p><p>
3768       Lillian sees Figure.NZ’s model as having global potential. But for now,
3769 their focus is completely on making Figure.NZ work in New Zealand and to get
3770 the <span class="quote">“<span class="quote">network effect</span>”</span>— users dramatically increasing value for
3771 themselves and for others through use of their service. Creative Commons is
3772 core to making the network effect possible.
3773     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1210" class="footnote"><p><a href="#idm1210" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1218" class="footnote"><p><a href="#idm1218" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1228" class="footnote"><p><a href="#idm1228" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1232" class="footnote"><p><a href="#idm1232" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>บทที่ 12. Knowledge Unlatched</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3774         Knowledge Unlatched is a not-for-profit community interest company that
3775 brings libraries together to pool funds to publish open-access
3776 books. Founded in 2012 in the UK.
3777       </p><p>
3778           <a class="ulink" href="http://knowledgeunlatched.org" target="_top">http://knowledgeunlatched.org</a>
3779         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding (specialized)
3780       </p><p><span class="strong"><strong>Interview date</strong></span>: February 26, 2016
3781       </p><p><span class="strong"><strong>Interviewee</strong></span>: Frances Pinter, founder
3782       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
3783     \textit{
3784         Profile written by Paul Stacey
3785       }
3786     \end{flushright}</td></tr></table></div><p>
3787       The serial entrepreneur Dr. Frances Pinter has been at the forefront of
3788 innovation in the publishing industry for nearly forty years. She founded
3789 the UK-based Knowledge Unlatched with a mission to enable open access to
3790 scholarly books. For Frances, the current scholarly- book-publishing system
3791 is not working for anyone, and especially not for monographs in the
3792 humanities and social sciences. Knowledge Unlatched is committed to changing
3793 this and has been working with libraries to create a sustainable alternative
3794 model for publishing scholarly books, sharing the cost of making monographs
3795 (released under a Creative Commons license)  and savings costs over the long
3796 term. Since its launch, Knowledge Unlatched has received several awards,
3797 including the IFLA/Brill Open Access award in 2014 and a Curtin University
3798 Commercial Innovation Award for Innovation in Education in 2015.
3799     </p><p>
3800       Dr. Pinter has been in academic publishing most of her career.  About ten
3801 years ago, she became acquainted with the Creative Commons founder Lawrence
3802 Lessig and got interested in Creative Commons as a tool for both protecting
3803 content online and distributing it free to users.
3804     </p><p>
3805       Not long after, she ran a project in Africa convincing publishers in Uganda
3806 and South Africa to put some of their content online for free using a
3807 Creative Commons license and to see what happened to print sales. Sales went
3808 up, not down.
3809     </p><p>
3810       In 2008, Bloomsbury Academic, a new imprint of Bloomsbury Publishing in the
3811 United Kingdom, appointed her its founding publisher in London. As part of
3812 the launch, Frances convinced Bloomsbury to differentiate themselves by
3813 putting out monographs for free online under a Creative Commons license
3814 (BY-NC or BY-NC-ND, i.e., Attribution-NonCommercial or
3815 Attribution-NonCommercial-NoDerivs). This was seen as risky, as the biggest
3816 cost for publishers is getting a book to the stage where it can be
3817 printed. If everyone read the online book for free, there would be no
3818 print-book sales at all, and the costs associated with getting the book to
3819 print would be lost.  Surprisingly, Bloomsbury found that sales of the print
3820 versions of these books were 10 to 20 percent higher than normal. Frances
3821 found it intriguing that the Creative Commons–licensed free online book acts
3822 as a marketing vehicle for the print format.
3823     </p><p>
3824       Frances began to look at customer interest in the three forms of the book:
3825 1) the Creative Commons–licensed free online book in PDF form, 2) the
3826 printed book, and 3) a digital version of the book on an aggregator platform
3827 with enhanced features. She thought of this as the <span class="quote">“<span class="quote">ice cream
3828 model</span>”</span>: the free PDF was vanilla ice cream, the printed book was an
3829 ice cream cone, and the enhanced e-book was an ice cream sundae.
3830     </p><p>
3831       After a while, Frances had an epiphany—what if there was a way to get
3832 libraries to underwrite the costs of making these books up until they’re
3833 ready be printed, in other words, cover the fixed costs of getting to the
3834 first digital copy? Then you could either bring down the cost of the printed
3835 book, or do a whole bunch of interesting things with the printed book and
3836 e-book—the ice cream cone or sundae part of the model.
3837     </p><p>
3838       This idea is similar to the article-processing charge some open-access
3839 journals charge researchers to cover publishing costs.  Frances began to
3840 imagine a coalition of libraries paying for the prepress costs—a
3841 <span class="quote">“<span class="quote">book-processing charge</span>”</span>—and providing everyone in the world
3842 with an open-access version of the books released under a Creative Commons
3843 license.
3844     </p><p>
3845       This idea really took hold in her mind. She didn’t really have a name for it
3846 but began talking about it and making presentations to see if there was
3847 interest. The more she talked about it, the more people agreed it had
3848 appeal. She offered a bottle of champagne to anyone who could come up with a
3849 good name for the idea. Her husband came up with Knowledge Unlatched, and
3850 after two years of generating interest, she decided to move forward and
3851 launch a community interest company (a UK term for not-for-profit social
3852 enterprises) in 2012.
3853     </p><p>
3854       She describes the business model in a paper called Knowledge Unlatched:
3855 Toward an Open and Networked Future for Academic Publishing:
3856     </p><div class="orderedlist"><ol class="orderedlist compact" type="1"><li class="listitem"><p>
3857           Publishers offer titles for sale reflecting origination costs only via
3858 Knowledge Unlatched.
3859         </p></li><li class="listitem"><p>
3860           Individual libraries select titles either as individual titles or as
3861 collections (as they do from library suppliers now).
3862         </p></li><li class="listitem"><p>
3863           Their selections are sent to Knowledge Unlatched specifying the titles to be
3864 purchased at the stated price(s).
3865         </p></li><li class="listitem"><p>
3866           The price, called a Title Fee (set by publishers and negotiated by Knowledge
3867 Unlatched), is paid to publishers to cover the fixed costs of publishing
3868 each of the titles that were selected by a minimum number of libraries to
3869 cover the Title Fee.
3870         </p></li><li class="listitem"><p>
3871           Publishers make the selected titles available Open Access (on a Creative
3872 Commons or similar open license) and are then paid the Title Fee which is
3873 the total collected from the libraries.
3874         </p></li><li class="listitem"><p>
3875           Publishers make print copies, e-Pub, and other digital versions of selected
3876 titles available to member libraries at a discount that reflects their
3877 contribution to the Title Fee and incentivizes membership.<a href="#ftn.idm1285" class="footnote" name="idm1285"><sup class="footnote">[122]</sup></a>
3878         </p></li></ol></div><p>
3879       The first round of this model resulted in a collection of twenty-eight
3880 current titles from thirteen recognized scholarly publishers being
3881 unlatched. The target was to have two hundred libraries participate. The
3882 cost of the package per library was capped at $1,680, which was an average
3883 price of sixty dollars per book, but in the end they had nearly three
3884 hundred libraries sharing the costs, and the price per book came in at just
3885 under forty-three dollars.
3886     </p><p>
3887       The open-access, Creative Commons versions of these twenty-eight books are
3888 still available online.<a href="#ftn.idm1290" class="footnote" name="idm1290"><sup class="footnote">[123]</sup></a> Most books have
3889 been licensed with CC BY-NC or CC BY-NC-ND. Authors are the copyright
3890 holder, not the publisher, and negotiate choice of license as part of the
3891 publishing agreement.  Frances has found that most authors want to retain
3892 control over the commercial and remix use of their work. Publishers list the
3893 book in their catalogs, and the noncommercial restriction in the Creative
3894 Commons license ensures authors continue to get royalties on sales of
3895 physical copies.
3896     </p><p>
3897       There are three cost variables to consider for each round: the overall cost
3898 incurred by the publishers, total cost for each library to acquire all the
3899 books, and the individual price per book. The fee publishers charge for each
3900 title is a fixed charge, and Knowledge Unlatched calculates the total amount
3901 for all the books being unlatched at a time. The cost of an order for each
3902 library is capped at a maximum based on a minimum number of libraries
3903 participating. If the number of participating libraries exceeds the minimum,
3904 then the cost of the order and the price per book go down for each library.
3905     </p><p>
3906       The second round, recently completed, unlatched seventy-eight books from
3907 twenty-six publishers. For this round, Frances was experimenting with the
3908 size and shape of the offerings. Books were being bundled into eight small
3909 packages separated by subject (including Anthropology, History, Literature,
3910 Media and Communications, and Politics), of around ten books per package.
3911 Three hundred libraries around the world have to commit to at least six of
3912 the eight packages to enable unlatching. The average cost per book was just
3913 under fifty dollars. The unlatching process took roughly ten months. It
3914 started with a call to publishers for titles, followed by having a library
3915 task force select the titles, getting authors’ permissions, getting the
3916 libraries to pledge, billing the libraries, and finally, unlatching.
3917     </p><p>
3918       The longest part of the whole process is getting libraries to pledge and
3919 commit funds. It takes about five months, as library buy-in has to fit
3920 within acquisition cycles, budget cycles, and library-committee meetings.
3921     </p><p>
3922       Knowledge Unlatched informs and recruits libraries through social media,
3923 mailing lists, listservs, and library associations. Of the three hundred
3924 libraries that participated in the first round, 80 percent are also
3925 participating in the second round, and there are an additional eighty new
3926 libraries taking part. Knowledge Unlatched is also working not just with
3927 individual libraries but also library consortia, which has been getting even
3928 more libraries involved.
3929     </p><p>
3930       Knowledge Unlatched is scaling up, offering 150 new titles in the second
3931 half of 2016. It will also offer backlist titles, and in 2017 will start to
3932 make journals open access too.
3933     </p><p>
3934       Knowledge Unlatched deliberately chose monographs as the initial type of
3935 book to unlatch. Monographs are foundational and important, but also
3936 problematic to keep going in the standard closed publishing model.
3937     </p><p>
3938       The cost for the publisher to get to a first digital copy of a monograph is
3939 $5,000 to $50,000. A good one costs in the $10,000 to $15,000
3940 range. Monographs typically don’t sell a lot of copies. A publisher who in
3941 the past sold three thousand copies now typically sells only three
3942 hundred. That makes unlatching monographs a low risk for publishers. For the
3943 first round, it took five months to get thirteen publishers. For the second
3944 round, it took one month to get twenty-six.
3945     </p><p>
3946       Authors don’t generally make a lot of royalties from monographs.  Royalties
3947 range from zero dollars to 5 to 10 percent of receipts.  The value to the
3948 author is the awareness it brings to them; when their book is being read, it
3949 increases their reputation. Open access through unlatching generates many
3950 more downloads and therefore awareness. (On the Knowledge Unlatched website,
3951 you can find interviews with the twenty-eight round-one authors describing
3952 their experience and the benefits of taking part.)<a href="#ftn.idm1301" class="footnote" name="idm1301"><sup class="footnote">[124]</sup></a>
3953     </p><p>
3954       Library budgets are constantly being squeezed, partly due to the inflation
3955 of journal subscriptions. But even without budget constraints, academic
3956 libraries are moving away from buying physical copies. An academic library
3957 catalog entry is typically a URL to wherever the book is hosted. Or if they
3958 have enough electronic storage space, they may download the digital file
3959 into their digital repository. Only secondarily do they consider getting a
3960 print book, and if they do, they buy it separately from the digital version.
3961     </p><p>
3962       Knowledge Unlatched offers libraries a compelling economic argument. Many of
3963 the participating libraries would have bought a copy of the monograph
3964 anyway, but instead of paying $95 for a print copy or $150 for a digital
3965 multiple-use copy, they pay $50 to unlatch. It costs them less, and it opens
3966 the book to not just the participating libraries, but to the world.
3967     </p><p>
3968       Not only do the economics make sense, but there is very strong alignment
3969 with library mandates. The participating libraries pay less than they would
3970 have in the closed model, and the open-access book is available to all
3971 libraries. While this means nonparticipating libraries could be seen as free
3972 riders, in the library world, wealthy libraries are used to paying more than
3973 poor libraries and accept that part of their money should be spent to
3974 support open access. <span class="quote">“<span class="quote">Free ride</span>”</span> is more like community
3975 responsibility. By the end of March 2016, the round-one books had been
3976 downloaded nearly eighty thousand times in 175 countries.
3977     </p><p>
3978       For publishers, authors, and librarians, the Knowledge Unlatched model for
3979 monographs is a win-win-win.
3980     </p><p>
3981       In the first round, Knowledge Unlatched’s overheads were covered by
3982 grants. In the second round, they aim to demonstrate the model is
3983 sustainable. Libraries and publishers will each pay a 7.5 percent service
3984 charge that will go toward Knowledge Unlatched’s running costs. With plans
3985 to scale up in future rounds, Frances figures they can fully recover costs
3986 when they are unlatching two hundred books at a time. Moving forward,
3987 Knowledge Unlatched is making investments in technology and
3988 processes. Future plans include unlatching journals and older books.
3989     </p><p>
3990       Frances believes that Knowledge Unlatched is tapping into new ways of
3991 valuing academic content. It’s about considering how many people can find,
3992 access, and use your content without pay barriers. Knowledge Unlatched taps
3993 into the new possibilities and behaviors of the digital world. In the
3994 Knowledge Unlatched model, the content-creation process is exactly the same
3995 as it always has been, but the economics are different. For Frances,
3996 Knowledge Unlatched is connected to the past but moving into the future, an
3997 evolution rather than a revolution.
3998     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1285" class="footnote"><p><a href="#idm1285" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1290" class="footnote"><p><a href="#idm1290" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1301" class="footnote"><p><a href="#idm1301" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>บทที่ 13. Lumen Learning</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3999         Lumen Learning is a for-profit company helping educational institutions use
4000 open educational resources (OER). Founded in 2013 in the U.S.
4001       </p><p>
4002           <a class="ulink" href="http://lumenlearning.com" target="_top">http://lumenlearning.com</a>
4003         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
4004 services, grant funding
4005       </p><p><span class="strong"><strong>Interview date</strong></span>: December 21, 2015
4006       </p><p><span class="strong"><strong>Interviewees</strong></span>: David Wiley and Kim Thanos,
4007 cofounders
4008       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
4009     \textit{
4010         Profile written by Paul Stacey
4011       }
4012     \end{flushright}</td></tr></table></div><p>
4013       Cofounded by open education visionary Dr. David Wiley and
4014 education-technology strategist Kim Thanos, Lumen Learning is dedicated to
4015 improving student success, bringing new ideas to pedagogy, and making
4016 education more affordable by facilitating adoption of open educational
4017 resources. In 2012, David and Kim partnered on a grant-funded project called
4018 the Kaleidoscope Open Course Initiative.<a href="#ftn.idm1325" class="footnote" name="idm1325"><sup class="footnote">[125]</sup></a> It involved a set of fully open general-education courses across
4019 eight colleges predominantly serving at-risk students, with goals to
4020 dramatically reduce textbook costs and collaborate to improve the courses to
4021 help students succeed. David and Kim exceeded those goals: the cost of the
4022 required textbooks, replaced with OER, decreased to zero dollars, and
4023 average student-success rates improved by 5 to 10 percent when compared with
4024 previous years. After a second round of funding, a total of more than
4025 twenty-five institutions participated in and benefited from this project. It
4026 was career changing for David and Kim to see the impact this initiative had
4027 on low-income students. David and Kim sought further funding from the Bill
4028 and Melinda Gates Foundation, who asked them to define a plan to scale their
4029 work in a financially sustainable way. That is when they decided to create
4030 Lumen Learning.
4031     </p><p>
4032       David and Kim went back and forth on whether it should be a nonprofit or
4033 for- profit. A nonprofit would make it a more comfortable fit with the
4034 education sector but meant they’d be constantly fund-raising and seeking
4035 grants from philanthropies.  Also, grants usually require money to be used
4036 in certain ways for specific deliverables. If you learn things along the way
4037 that change how you think the grant money should be used, there often isn’t
4038 a lot of flexibility to do so.
4039     </p><p>
4040       But as a for-profit, they’d have to convince educational institutions to pay
4041 for what Lumen had to offer. On the positive side, they’d have more control
4042 over what to do with the revenue and investment money; they could make
4043 decisions to invest the funds or use them differently based on the situation
4044 and shifting opportunities. In the end, they chose the for-profit status,
4045 with its different model for and approach to sustainability.
4046     </p><p>
4047       Right from the start, David and Kim positioned Lumen Learning as a way to
4048 help institutions engage in open educational resources, or OER. OER are
4049 teaching, learning, and research materials, in all different media, that
4050 reside in the public domain or are released under an open license that
4051 permits free use and repurposing by others.
4052     </p><p>
4053       Originally, Lumen did custom contracts for each institution. This was
4054 complicated and challenging to manage. However, through that process
4055 patterns emerged which allowed them to generalize a set of approaches and
4056 offerings. Today they don’t customize as much as they used to, and instead
4057 they tend to work with customers who can use their off-the-shelf
4058 options. Lumen finds that institutions and faculty are generally very good
4059 at seeing the value Lumen brings and are willing to pay for it. Serving
4060 disadvantaged learner populations has led Lumen to be very pragmatic; they
4061 describe what they offer in quantitative terms—with facts and figures—and in
4062 a way that is very student-focused. Lumen Learning helps colleges and
4063 universities—
4064     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4065           replace expensive textbooks in high-enrollment courses with OER;
4066         </p></li><li class="listitem"><p>
4067           provide enrolled students day one access to Lumen’s fully customizable OER
4068 course materials through the institution’s learning-management system;
4069         </p></li><li class="listitem"><p>
4070           measure improvements in student success with metrics like passing rates,
4071 persistence, and course completion; and
4072         </p></li><li class="listitem"><p>
4073           collaborate with faculty to make ongoing improvements to OER based on
4074 student success research.
4075         </p></li></ul></div><p>
4076       Lumen has developed a suite of open, Creative Commons–licensed courseware in
4077 more than sixty-five subjects. All courses are freely and publicly available
4078 right off their website. They can be copied and used by others as long as
4079 they provide attribution to Lumen Learning following the terms of the
4080 Creative Commons license.
4081     </p><p>
4082       Then there are three types of bundled services that cost money.  One option,
4083 which Lumen calls Candela courseware, offers integration with the
4084 institution’s learning-management system, technical and pedagogical support,
4085 and tracking of effectiveness.  Candela courseware costs institutions ten
4086 dollars per enrolled student.
4087     </p><p>
4088       A second option is Waymaker, which offers the services of Candela but adds
4089 personalized learning technologies, such as study plans, automated messages,
4090 and assessments, and helps instructors find and support the students who
4091 need it most. Waymaker courses cost twenty-five dollars per enrolled
4092 student.
4093     </p><p>
4094       The third and emerging line of business for Lumen is providing guidance and
4095 support for institutions and state systems that are pursuing the development
4096 of complete OER degrees. Often called Z-Degrees, these programs eliminate
4097 textbook costs for students in all courses that make up the degree (both
4098 required and elective)  by replacing commercial textbooks and other
4099 expensive resources with OER.
4100     </p><p>
4101       Lumen generates revenue by charging for their value-added tools and services
4102 on top of their free courses, just as solar-power companies provide the
4103 tools and services that help people use a free resource—sunlight. And
4104 Lumen’s business model focuses on getting the institutions to pay, not the
4105 students. With projects they did prior to Lumen, David and Kim learned that
4106 students who have access to all course materials from day one have greater
4107 success. If students had to pay, Lumen would have to restrict access to
4108 those who paid. Right from the start, their stance was that they would not
4109 put their content behind a paywall. Lumen invests zero dollars in
4110 technologies and processes for restricting access—no digital rights
4111 management, no time bombs. While this has been a challenge from a
4112 business-model perspective, from an open-access perspective, it has
4113 generated immense goodwill in the community.
4114     </p><p>
4115       In most cases, development of their courses is funded by the institution
4116 Lumen has a contract with. When creating new courses, Lumen typically works
4117 with the faculty who are teaching the new course. They’re often part of the
4118 institution paying Lumen, but sometimes Lumen has to expand the team and
4119 contract faculty from other institutions. First, the faculty identifies all
4120 of the course’s learning outcomes. Lumen then searches for, aggregates, and
4121 curates the best OER they can find that addresses those learning needs,
4122 which the faculty reviews.
4123     </p><p>
4124       Sometimes faculty like the existing OER but not the way it is presented. The
4125 open licensing of existing OER allows Lumen to pick and choose from images,
4126 videos, and other media to adapt and customize the course. Lumen creates new
4127 content as they discover gaps in existing OER. Test-bank items and feedback
4128 for students on their progress are areas where new content is frequently
4129 needed.  Once a course is created, Lumen puts it on their platform with all
4130 the attributions and links to the original sources intact, and any of
4131 Lumen’s new content is given an Attribution (CC BY) license.
4132     </p><p>
4133       Using only OER made them experience firsthand how complex it could be to mix
4134 differently licensed work together. A common strategy with OER is to place
4135 the Creative Commons license and attribution information in the website’s
4136 footer, which stays the same for all pages. This doesn’t quite work,
4137 however, when mixing different OER together.
4138     </p><p>
4139       Remixing OER often results in multiple attributions on every page of every
4140 course—text from one place, images from another, and videos from yet
4141 another. Some are licensed as Attribution (CC BY), others as
4142 Attribution-ShareAlike (CC BY-SA). If this information is put within the
4143 text of the course, faculty members sometimes try to edit it and students
4144 find it a distraction. Lumen dealt with this challenge by capturing the
4145 license and attribution information as metadata, and getting it to show up
4146 at the end of each page.
4147     </p><p>
4148       Lumen’s commitment to open licensing and helping low-income students has led
4149 to strong relationships with institutions, open-education enthusiasts, and
4150 grant funders. People in their network generously increase the visibility of
4151 Lumen through presentations, word of mouth, and referrals. Sometimes the
4152 number of general inquiries exceed Lumen’s sales capacity.
4153     </p><p>
4154       To manage demand and ensure the success of projects, their strategy is to be
4155 proactive and focus on what’s going on in higher education in different
4156 regions of the United States, watching out for things happening at the
4157 system level in a way that fits with what Lumen offers. A great example is
4158 the Virginia community college system, which is building out
4159 Z-Degrees. David and Kim say there are nine other U.S. states with similar
4160 system-level activity where Lumen is strategically focusing its
4161 efforts. Where there are projects that would require a lot of resources on
4162 Lumen’s part, they prioritize the ones that would impact the largest number
4163 of students.
4164     </p><p>
4165       As a business, Lumen is committed to openness. There are two core
4166 nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
4167 Commons licenses, for all the materials it creates; and day-one access for
4168 students. Having clear nonnegotiables allows them to then engage with the
4169 education community to solve for other challenges and work with institutions
4170 to identify new business models that achieve institution goals, while
4171 keeping Lumen healthy.
4172     </p><p>
4173       Openness also means that Lumen’s OER must necessarily be nonexclusive and
4174 nonrivalrous. This represents several big challenges for the business model:
4175 Why should you invest in creating something that people will be reluctant to
4176 pay for? How do you ensure that the investment the diverse education
4177 community makes in OER is not exploited? Lumen thinks we all need to be
4178 clear about how we are benefiting from and contributing to the open
4179 community.
4180     </p><p>
4181       In the OER sector, there are examples of corporations, and even
4182 institutions, acting as free riders. Some simply take and use open resources
4183 without paying anything or contributing anything back.  Others give back the
4184 minimum amount so they can save face.  Sustainability will require those
4185 using open resources to give back an amount that seems fair or even give
4186 back something that is generous.
4187     </p><p>
4188       Lumen does track institutions accessing and using their free content. They
4189 proactively contact those institutions, with an estimate of how much their
4190 students are saving and encouraging them to switch to a paid model. Lumen
4191 explains the advantages of the paid model: a more interactive relationship
4192 with Lumen; integration with the institution’s learning-management system; a
4193 guarantee of support for faculty and students; and future sustainability
4194 with funding supporting the evolution and improvement of the OER they are
4195 using.
4196     </p><p>
4197       Lumen works hard to be a good corporate citizen in the OER community. For
4198 David and Kim, a good corporate citizen gives more than they take, adds
4199 unique value, and is very transparent about what they are taking from
4200 community, what they are giving back, and what they are monetizing. Lumen
4201 believes these are the building blocks of a sustainable model and strives
4202 for a correct balance of all these factors.
4203     </p><p>
4204       Licensing all the content they produce with CC BY is a key part of giving
4205 more value than they take. They’ve also worked hard at finding the right
4206 structure for their value-add and how to package it in a way that is
4207 understandable and repeatable.
4208     </p><p>
4209       As of the fall 2016 term, Lumen had eighty-six different open courses,
4210 working relationships with ninety-two institutions, and more than
4211 seventy-five thousand student enrollments. Lumen received early start-up
4212 funding from the Bill and Melinda Gates Foundation, the Hewlett Foundation,
4213 and the Shuttleworth Foundation. Since then, Lumen has also attracted
4214 investment funding. Over the last three years, Lumen has been roughly 60
4215 percent grant funded, 20 percent revenue earned, and 20 percent funded with
4216 angel capital. Going forward, their strategy is to replace grant funding
4217 with revenue.
4218     </p><p>
4219       In creating Lumen Learning, David and Kim say they’ve landed on solutions
4220 they never imagined, and there is still a lot of learning taking place. For
4221 them, open business models are an emerging field where we are all learning
4222 through sharing. Their biggest recommendations for others wanting to pursue
4223 the open model are to make your commitment to open resources public, let
4224 people know where you stand, and don’t back away from it. It really is about
4225 trust.
4226     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1325" class="footnote"><p><a href="#idm1325" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>บทที่ 14. Jonathan Mann</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
4227         Jonathan Mann is a singer and songwriter who is most well known as the
4228 <span class="quote">“<span class="quote">Song A Day</span>”</span> guy. Based in the U.S.
4229       </p><p><a class="ulink" href="http://jonathanmann.net" target="_top">http://jonathanmann.net</a> and <a class="ulink" href="http://jonathanmann.bandcamp.com" target="_top">http://jonathanmann.bandcamp.com</a>
4230       </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
4231 services, pay-what-you-want, crowdfunding (subscription-based), charging for
4232 in-person version (speaking engagements and musical performances)
4233       </p><p><span class="strong"><strong>Interview date</strong></span>: February 22, 2016
4234       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
4235     \textit{
4236         Profile written by Sarah Hinchliff Pearson
4237       }
4238     \end{flushright}</td></tr></table></div><p>
4239       Jonathan Mann thinks of his business model as
4240 <span class="quote">“<span class="quote">hustling</span>”</span>—seizing nearly every opportunity he sees to make
4241 money. The bulk of his income comes from writing songs under commission for
4242 people and companies, but he has a wide variety of income sources. He has
4243 supporters on the crowdfunding site Patreon. He gets advertising revenue
4244 from YouTube and Bandcamp, where he posts all of his music. He gives paid
4245 speaking engagements about creativity and motivation. He has been hired by
4246 major conferences to write songs summarizing what speakers have said in the
4247 conference sessions.
4248     </p><p>
4249       His entrepreneurial spirit is coupled with a willingness to take action
4250 quickly. A perfect illustration of his ability to act fast happened in 2010,
4251 when he read that Apple was having a conference the following day to address
4252 a snafu related to the iPhone 4. He decided to write and post a song about
4253 the iPhone 4 that day, and the next day he got a call from the public
4254 relations people at Apple wanting to use and promote his video at the Apple
4255 conference. The song then went viral, and the experience landed him in Time
4256 magazine.
4257     </p><p>
4258       Jonathan’s successful <span class="quote">“<span class="quote">hustling</span>”</span> is also about old-fashioned
4259 persistence. He is currently in his eighth straight year of writing one song
4260 each day. He holds the Guinness World Record for consecutive daily
4261 songwriting, and he is widely known as the <span class="quote">“<span class="quote">song-a-day guy.</span>”</span>
4262     </p><p>
4263       He fell into this role by, naturally, seizing a random opportunity a friend
4264 alerted him to seven years ago—an event called Fun-A-Day, where people are
4265 supposed to create a piece of art every day for thirty-one days straight. He
4266 was in need of a new project, so he decided to give it a try by writing and
4267 posting a song each day.  He added a video component to the songs because he
4268 knew people were more likely to watch video online than simply listening to
4269 audio files.
4270     </p><p>
4271       He had a really good time doing the thirty-one-day challenge, so he decided
4272 to see if he could continue it for one year. He never stopped. He has
4273 written and posted a new song literally every day, seven days a week, since
4274 he began the project in 2009. When he isn’t writing songs that he is hired
4275 to write by clients, he writes songs about whatever is on his mind that
4276 day. His songs are catchy and mostly lighthearted, but they often contain at
4277 least an undercurrent of a deeper theme or meaning. Occasionally, they are
4278 extremely personal, like the song he cowrote with his exgirlfriend
4279 announcing their breakup. Rain or shine, in sickness or health, Jonathan
4280 posts and writes a song every day. If he is on a flight or otherwise
4281 incapable of getting Internet access in time to meet the deadline, he will
4282 prepare ahead and have someone else post the song for him.
4283     </p><p>
4284       Over time, the song-a-day gig became the basis of his livelihood.  In the
4285 beginning, he made money one of two ways. The first was by entering a wide
4286 variety of contests and winning a handful. The second was by having the
4287 occasional song and video go some varying degree of viral, which would bring
4288 more eyeballs and mean that there were more people wanting him to write
4289 songs for them. Today he earns most of his money this way.
4290     </p><p>
4291       His website explains his gig as <span class="quote">“<span class="quote">taking any message, from the super
4292 simple to the totally complicated, and conveying that message through a
4293 heartfelt, fun and quirky song.</span>”</span> He charges $500 to create a produced
4294 song and $300 for an acoustic song. He has been hired for product launches,
4295 weddings, conferences, and even Kickstarter campaigns like the one that
4296 funded the production of this book.
4297     </p><p>
4298       Jonathan can’t recall when exactly he first learned about Creative Commons,
4299 but he began applying CC licenses to his songs and videos as soon as he
4300 discovered the option. <span class="quote">“<span class="quote">CC seems like such a no-brainer,</span>”</span>
4301 Jonathan said. <span class="quote">“<span class="quote">I don’t understand how anything else would make
4302 sense. It seems like such an obvious thing that you would want your work to
4303 be able to be shared.</span>”</span>
4304     </p><p>
4305       His songs are essentially marketing for his services, so obviously the
4306 further his songs spread, the better. Using CC licenses helps grease the
4307 wheels, letting people know that Jonathan allows and encourages them to
4308 copy, interact with, and remix his music.  <span class="quote">“<span class="quote">If you let someone cover
4309 your song or remix it or use parts of it, that’s how music is supposed to
4310 work,</span>”</span> Jonathan said. <span class="quote">“<span class="quote">That is how music has worked since the
4311 beginning of time. Our me-me, mine-mine culture has undermined that.</span>”</span>
4312     </p><p>
4313       There are some people who cover his songs fairly regularly, and he would
4314 never shut that down. But he acknowledges there is a lot more he could do to
4315 build community. <span class="quote">“<span class="quote">There is all of this conventional wisdom about how
4316 to build an audience online, and I generally think I don’t do any of
4317 that,</span>”</span> Jonathan said.
4318     </p><p>
4319       He does have a fan community he cultivates on Bandcamp, but it isn’t his
4320 major focus. <span class="quote">“<span class="quote">I do have a core audience that has stuck around for a
4321 really long time, some even longer than I’ve been doing song-a-day,</span>”</span>
4322 he said. <span class="quote">“<span class="quote">There is also a transitional aspect that drop in and get
4323 what they need and then move on.</span>”</span> Focusing less on community building
4324 than other artists makes sense given Jonathan’s primary income source of
4325 writing custom songs for clients.
4326     </p><p>
4327       Jonathan recognizes what comes naturally to him and leverages those
4328 skills. Through the practice of daily songwriting, he realized he has a gift
4329 for distilling complicated subjects into simple concepts and putting them to
4330 music. In his song <span class="quote">“<span class="quote">How to Choose a Master Password,</span>”</span> Jonathan
4331 explained the process of creating a secure password in a silly, simple
4332 song. He was hired to write the song by a client who handed him a long
4333 technical blog post from which to draw the information. Like a good (and
4334 rare) journalist, he translated the technical concepts into something
4335 understandable.
4336     </p><p>
4337       When he is hired by a client to write a song, he first asks them to send a
4338 list of talking points and other information they want to include in the
4339 song. He puts all of that into a text file and starts moving things around,
4340 cutting and pasting until the message starts to come together. The first
4341 thing he tries to do is grok the core message and develop the chorus. Then
4342 he looks for connections or parts he can make rhyme. The entire process
4343 really does resemble good journalism, but of course the final product of his
4344 work is a song rather than news. <span class="quote">“<span class="quote">There is something about being
4345 challenged and forced to take information that doesn’t seem like it should
4346 be sung about or doesn’t seem like it lends itself to a song,</span>”</span> he
4347 said. <span class="quote">“<span class="quote">I find that creative challenge really satisfying. I enjoy
4348 getting lost in that process.</span>”</span>
4349     </p><p>
4350       Jonathan admits that in an ideal world, he would exclusively write the music
4351 he wanted to write, rather than what clients hire him to write. But his
4352 business model is about capitalizing on his strengths as a songwriter, and
4353 he has found a way to keep it interesting for himself.
4354     </p><p>
4355       Jonathan uses nearly every tool possible to make money from his art, but he
4356 does have lines he won’t cross. He won’t write songs about things he
4357 fundamentally does not believe in, and there are times he has turned down
4358 jobs on principle. He also won’t stray too much from his natural
4359 style. <span class="quote">“<span class="quote">My style is silly, so I can’t really accommodate people who
4360 want something super serious,</span>”</span> Jonathan said. <span class="quote">“<span class="quote">I do what I do
4361 very easily, and it’s part of who I am.</span>”</span> Jonathan hasn’t gotten into
4362 writing commercials for the same reasons; he is best at using his own unique
4363 style rather than mimicking others.
4364     </p><p>
4365       Jonathan’s song-a-day commitment exemplifies the power of habit and
4366 grit. Conventional wisdom about creative productivity, including advice in
4367 books like the best-seller The Creative Habit by Twyla Tharp, routinely
4368 emphasizes the importance of ritual and action. No amount of planning can
4369 replace the value of simple practice and just doing. Jonathan Mann’s work is
4370 a living embodiment of these principles.
4371     </p><p>
4372       When he speaks about his work, he talks about how much the song-a-day
4373 process has changed him. Rather than seeing any given piece of work as
4374 precious and getting stuck on trying to make it perfect, he has become
4375 comfortable with just doing. If today’s song is a bust, tomorrow’s song
4376 might be better.
4377     </p><p>
4378       Jonathan seems to have this mentality about his career more generally. He is
4379 constantly experimenting with ways to make a living while sharing his work
4380 as widely as possible, seeing what sticks. While he has major
4381 accomplishments he is proud of, like being in the Guinness World Records or
4382 having his song used by Steve Jobs, he says he never truly feels successful.
4383     </p><p><span class="quote">“<span class="quote">Success feels like it’s over,</span>”</span> he said. <span class="quote">“<span class="quote">To a certain
4384 extent, a creative person is not ever going to feel completely satisfied
4385 because then so much of what drives you would be gone.</span>”</span>
4386     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>บทที่ 15. Noun Project</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
4387         The Noun Project is a for-profit company offering an online platform to
4388 display visual icons from a global network of designers. Founded in 2010 in
4389 the U.S.
4390       </p><p>
4391           <a class="ulink" href="http://thenounproject.com" target="_top">http://thenounproject.com</a>
4392         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction
4393 fee, charging for custom services
4394       </p><p><span class="strong"><strong>Interview date</strong></span>: October 6, 2015
4395       </p><p><span class="strong"><strong>Interviewee</strong></span>: Edward Boatman, cofounder
4396       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
4397     \textit{
4398         Profile written by Paul Stacey
4399       }
4400     \end{flushright}</td></tr></table></div><p>
4401       The Noun Project creates and shares visual language. There are millions who
4402 use Noun Project symbols to simplify communication across borders,
4403 languages, and cultures.
4404     </p><p>
4405       The original idea for the Noun Project came to cofounder Edward Boatman
4406 while he was a student in architecture design school. He’d always done a lot
4407 of sketches and started to draw what used to fascinate him as a child, like
4408 trains, sequoias, and bulldozers.  He began thinking how great it would be
4409 if he had a simple image or small icon of every single object or concept on
4410 the planet.
4411     </p><p>
4412       When Edward went on to work at an architecture firm, he had to make a lot of
4413 presentation boards for clients. But finding high-quality sources for
4414 symbols and icons was difficult. He couldn’t find any website that could
4415 provide them. Perhaps his idea for creating a library of icons could
4416 actually help people in similar situations.
4417     </p><p>
4418       With his partner, Sofya Polyakov, he began collecting symbols for a website
4419 and writing a business plan. Inspiration came from the book Professor and
4420 the Madman, which chronicles the use of crowdsourcing to create the Oxford
4421 English Dictionary in 1870.  Edward began to imagine crowdsourcing icons and
4422 symbols from volunteer designers around the world.
4423     </p><p>
4424       Then Edward got laid off during the recession, which turned out to be a huge
4425 catalyst. He decided to give his idea a go, and in 2010 Edward and Sofya
4426 launched the Noun Project with a Kickstarter campaign, back when Kickstarter
4427 was in its infancy.<a href="#ftn.idm1428" class="footnote" name="idm1428"><sup class="footnote">[126]</sup></a> They thought it’d
4428 be a good way to introduce the global web community to their idea. Their
4429 goal was to raise $1,500, but in twenty days they got over $14,000. They
4430 realized their idea had the potential to be something much bigger.
4431     </p><p>
4432       They created a platform where symbols and icons could be uploaded, and
4433 Edward began recruiting talented designers to contribute their designs, a
4434 process he describes as a relatively easy sell. Lots of designers have old
4435 drawings just gathering <span class="quote">“<span class="quote">digital dust</span>”</span> on their hard
4436 drives. It’s easy to convince them to finally share them with the world.
4437     </p><p>
4438       The Noun Project currently has about seven thousand designers from around
4439 the world. But not all submissions are accepted. The Noun Project’s
4440 quality-review process means that only the best works become part of its
4441 collection. They make sure to provide encouraging, constructive feedback
4442 whenever they reject a piece of work, which maintains and builds the
4443 relationship they have with their global community of designers.
4444     </p><p>
4445       Creative Commons is an integral part of the Noun Project’s business model;
4446 this decision was inspired by Chris Anderson’s book Free: The Future of
4447 Radical Price, which introduced Edward to the idea that you could build a
4448 business model around free content.
4449     </p><p>
4450       Edward knew he wanted to offer a free visual language while still providing
4451 some protection and reward for its contributors. There is a tension between
4452 those two goals, but for Edward, Creative Commons licenses bring this
4453 idealism and business opportunity together elegantly. He chose the
4454 Attribution (CC BY) license, which means people can download the icons for
4455 free and modify them and even use them commercially. The requirement to give
4456 attribution to the original creator ensures that the creator can build a
4457 reputation and get global recognition for their work. And if they simply
4458 want to offer an icon that people can use without having to give credit,
4459 they can use CC0 to put the work into the public domain.
4460     </p><p>
4461       Noun Project’s business model and means of generating revenue have evolved
4462 significantly over time. Their initial plan was to sell T-shirts with the
4463 icons on it, which in retrospect Edward says was a horrible idea. They did
4464 get a lot of email from people saying they loved the icons but asking if
4465 they could pay a fee instead of giving attribution. Ad agencies (among
4466 others) wanted to keep marketing and presentation materials clean and free
4467 of attribution statements. For Edward, <span class="quote">“<span class="quote">That’s when our lightbulb went
4468 off.</span>”</span>
4469     </p><p>
4470       They asked their global network of designers whether they’d be open to
4471 receiving modest remuneration instead of attribution.  Designers saw it as a
4472 win-win. The idea that you could offer your designs for free and have a
4473 global audience and maybe even make some money was pretty exciting for most
4474 designers.
4475     </p><p>
4476       The Noun Project first adopted a model whereby using an icon without giving
4477 attribution would cost $1.99 per icon. The model’s second iteration added a
4478 subscription component, where there would be a monthly fee to access a
4479 certain number of icons—ten, fifty, a hundred, or five hundred. However,
4480 users didn’t like these hard-count options. They preferred to try out many
4481 similar icons to see which worked best before eventually choosing the one
4482 they wanted to use. So the Noun Project moved to an unlimited model, whereby
4483 users have unlimited access to the whole library for a flat monthly
4484 fee. This service is called NounPro and costs $9.99 per month. Edward says
4485 this model is working well—good for customers, good for creators, and good
4486 for the platform.
4487     </p><p>
4488       Customers then began asking for an application-programming interface (API),
4489 which would allow Noun Project icons and symbols to be directly accessed
4490 from within other applications. Edward knew that the icons and symbols would
4491 be valuable in a lot of different contexts and that they couldn’t possibly
4492 know all of them in advance, so they built an API with a lot of
4493 flexibility.  Knowing that most API applications would want to use the icons
4494 without giving attribution, the API was built with the aim of charging for
4495 its use. You can use what’s called the <span class="quote">“<span class="quote">Playground API</span>”</span> for
4496 free to test how it integrates with your application, but full
4497 implementation will require you to purchase the API Pro version.
4498     </p><p>
4499       The Noun Project shares revenue with its international designers.  For
4500 one-off purchases, the revenue is split 70 percent to the designer and 30
4501 percent to Noun Project.
4502     </p><p>
4503       The revenue from premium purchases (the subscription and API options) is
4504 split a little differently. At the end of each month, the total revenue from
4505 subscriptions is divided by Noun Project’s total number of downloads,
4506 resulting in a rate per download—for example, it could be $0.13 per download
4507 for that month. For each download, the revenue is split 40 percent to the
4508 designer and 60 percent to the Noun Project. (For API usage, it’s per use
4509 instead of per download.) Noun Project’s share is higher this time as it’s
4510 providing more service to the user.
4511     </p><p>
4512       The Noun Project tries to be completely transparent about their royalty
4513 structure.<a href="#ftn.idm1445" class="footnote" name="idm1445"><sup class="footnote">[127]</sup></a> They tend to over
4514 communicate with creators about it because building trust is the top
4515 priority.
4516     </p><p>
4517       For most creators, contributing to the Noun Project is not a full-time job
4518 but something they do on the side. Edward categorizes monthly earnings for
4519 creators into three broad categories: enough money to buy beer; enough to
4520 pay the bills; and most successful of all, enough to pay the rent.
4521     </p><p>
4522       Recently the Noun Project launched a new app called Lingo.  Designers can
4523 use Lingo to organize not just their Noun Project icons and symbols but also
4524 their photos, illustrations, UX designs, et cetera. You simply drag any
4525 visual item directly into Lingo to save it. Lingo also works for teams so
4526 people can share visuals with each other and search across their combined
4527 collections. Lingo is free for personal use. A pro version for $9.99 per
4528 month lets you add guests. A team version for $49.95 per month allows up to
4529 twenty-five team members to collaborate, and to view, use, edit, and add new
4530 assets to each other’s collections.  And if you subscribe to NounPro, you
4531 can access Noun Project from within Lingo.
4532     </p><p>
4533       The Noun Project gives a ton of value away for free. A very large percentage
4534 of their roughly one million members have a free account, but there are
4535 still lots of paid accounts coming from digital designers, advertising and
4536 design agencies, educators, and others who need to communicate ideas
4537 visually.
4538     </p><p>
4539       For Edward, <span class="quote">“<span class="quote">creating, sharing, and celebrating the world’s visual
4540 language</span>”</span> is the most important aspect of what they do; it’s their
4541 stated mission. It differentiates them from others who offer graphics,
4542 icons, or clip art.
4543     </p><p>
4544       Noun Project creators agree. When surveyed on why they participate in the
4545 Noun Project, this is how designers rank their reasons: 1)  to support the
4546 Noun Project mission, 2) to promote their own personal brand, and 3) to
4547 generate money. It’s striking to see that money comes third, and mission,
4548 first. If you want to engage a global network of contributors, it’s
4549 important to have a mission beyond making money.
4550     </p><p>
4551       In Edward’s view, Creative Commons is central to their mission of sharing
4552 and social good. Using Creative Commons makes the Noun Project’s mission
4553 genuine and has generated a lot of their initial traction and
4554 credibility. CC comes with a built-in community of users and fans.
4555     </p><p>
4556       Edward told us, <span class="quote">“<span class="quote">Don’t underestimate the power of a passionate
4557 community around your product or your business. They are going to go to bat
4558 for you when you’re getting ripped in the media. If you go down the road of
4559 choosing to work with Creative Commons, you’re taking the first step to
4560 building a great community and tapping into a really awesome community that
4561 comes with it. But you need to continue to foster that community through
4562 other initiatives and continue to nurture it.</span>”</span>
4563     </p><p>
4564       The Noun Project nurtures their creators’ second motivation—promoting a
4565 personal brand—by connecting every icon and symbol to the creator’s name and
4566 profile page; each profile features their full collection. Users can also
4567 search the icons by the creator’s name.
4568     </p><p>
4569       The Noun Project also builds community through Iconathons—hackathons for
4570 icons.<a href="#ftn.idm1459" class="footnote" name="idm1459"><sup class="footnote">[128]</sup></a> In partnership with a sponsoring
4571 organization, the Noun Project comes up with a theme (e.g., sustainable
4572 energy, food bank, guerrilla gardening, human rights) and a list of icons
4573 that are needed, which designers are invited to create at the event.  The
4574 results are vectorized, and added to the Noun Project using CC0 so they can
4575 be used by anyone for free.
4576     </p><p>
4577       Providing a free version of their product that satisfies a lot of their
4578 customers’ needs has actually enabled the Noun Project to build the paid
4579 version, using a service-oriented model. The Noun Project’s success lies in
4580 creating services and content that are a strategic mix of free and paid
4581 while staying true to their mission—creating, sharing, and celebrating the
4582 world’s visual language. Integrating Creative Commons into their model has
4583 been key to that goal.
4584     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1428" class="footnote"><p><a href="#idm1428" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1445" class="footnote"><p><a href="#idm1445" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1459" class="footnote"><p><a href="#idm1459" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>บทที่ 16. Open Data Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
4585         The Open Data Institute is an independent nonprofit that connects, equips,
4586 and inspires people around the world to innovate with data. Founded in 2012
4587 in the UK.
4588       </p><p>
4589           <a class="ulink" href="http://theodi.org" target="_top">http://theodi.org</a>
4590         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant and government
4591 funding, charging for custom services, donations
4592       </p><p><span class="strong"><strong>Interview date</strong></span>: November 11, 2015
4593       </p><p><span class="strong"><strong>Interviewee</strong></span>: Jeni Tennison, technical
4594 director
4595       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
4596     \textit{
4597         Profile written by Paul Stacey
4598       }
4599     \end{flushright}</td></tr></table></div><p>
4600       Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the
4601 London-based Open Data Institute (ODI) offers data-related training, events,
4602 consulting services, and research. For ODI, Creative Commons licenses are
4603 central to making their own business model and their customers’ open. CC BY
4604 (Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the
4605 public domain)  all play a critical role in ODI’s mission to help people
4606 around the world innovate with data.
4607     </p><p>
4608       Data underpins planning and decision making across all aspects of
4609 society. Weather data helps farmers know when to plant their crops, flight
4610 time data from airplane companies helps us plan our travel, data on local
4611 housing informs city planning. When this data is not only accurate and
4612 timely, but open and accessible, it opens up new possibilities. Open data
4613 can be a resource businesses use to build new products and services. It can
4614 help governments measure progress, improve efficiency, and target
4615 investments. It can help citizens improve their lives by better
4616 understanding what is happening around them.
4617     </p><p>
4618       The Open Data Institute’s 2012–17 business plan starts out by describing its
4619 vision to establish itself as a world-leading center and to research and be
4620 innovative with the opportunities created by the UK government’s open data
4621 policy. (The government was an early pioneer in open policy and open-data
4622 initiatives.) It goes on to say that the ODI wants to—
4623     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4624           demonstrate the commercial value of open government data and how open-data
4625 policies affect this;
4626         </p></li><li class="listitem"><p>
4627           develop the economic benefits case and business models for open data;
4628         </p></li><li class="listitem"><p>
4629           help UK businesses use open data; and
4630         </p></li><li class="listitem"><p>
4631           show how open data can improve public services.<a href="#ftn.idm1488" class="footnote" name="idm1488"><sup class="footnote">[129]</sup></a>
4632         </p></li></ul></div><p>
4633       ODI is very explicit about how it wants to make open business models, and
4634 defining what this means. Jeni Tennison, ODI’s technical director, puts it
4635 this way: <span class="quote">“<span class="quote">There is a whole ecosystem of open—open-source software,
4636 open government, open-access research—and a whole ecosystem of data. ODI’s
4637 work cuts across both, with an emphasis on where they overlap—with open
4638 data.</span>”</span> ODI’s particular focus is to show open data’s potential for
4639 revenue.
4640     </p><p>
4641       As an independent nonprofit, ODI secured £10 million over five years from
4642 the UK government via Innovate UK, an agency that promotes innovation in
4643 science and technology. For this funding, ODI has to secure matching funds
4644 from other sources, some of which were met through a $4.75-million
4645 investment from the Omidyar Network.
4646     </p><p>
4647       Jeni started out as a developer and technical architect for data.gov.uk, the
4648 UK government’s pioneering open-data initiative.  She helped make data sets
4649 from government departments available as open data. She joined ODI in 2012
4650 when it was just starting up, as one of six people. It now has a staff of
4651 about sixty.
4652     </p><p>
4653       ODI strives to have half its annual budget come from the core UK government
4654 and Omidyar grants, and the other half from project-based research and
4655 commercial work. In Jeni’s view, having this balance of revenue sources
4656 establishes some stability, but also keeps them motivated to go out and
4657 generate these matching funds in response to market needs.
4658     </p><p>
4659       On the commercial side, ODI generates funding through memberships, training,
4660 and advisory services.
4661     </p><p>
4662       You can join the ODI as an individual or commercial member.  Individual
4663 membership is pay-what-you-can, with options ranging from £1 to
4664 £100. Members receive a newsletter and related communications and a discount
4665 on ODI training courses and the annual summit, and they can display an
4666 ODI-supporter badge on their website. Commercial membership is divided into
4667 two tiers: small to medium size enterprises and nonprofits at £720 a year,
4668 and corporations and government organizations at £2,200 a year.  Commercial
4669 members have greater opportunities to connect and collaborate, explore the
4670 benefits of open data, and unlock new business opportunities. (All members
4671 are listed on their website.)<a href="#ftn.idm1498" class="footnote" name="idm1498"><sup class="footnote">[130]</sup></a>
4672     </p><p>
4673       ODI provides standardized open data training courses in which anyone can
4674 enroll. The initial idea was to offer an intensive and academically oriented
4675 diploma in open data, but it quickly became clear there was no market for
4676 that. Instead, they offered a five-day-long public training course, which
4677 has subsequently been reduced to three days; now the most popular course is
4678 one day long. The fee, in addition to the time commitment, can be a barrier
4679 for participation. Jeni says, <span class="quote">“<span class="quote">Most of the people who would be able to
4680 pay don’t know they need it. Most who know they need it can’t pay.</span>”</span>
4681 Public-sector organizations sometimes give vouchers to their employees so
4682 they can attend as a form of professional development.
4683     </p><p>
4684       ODI customizes training for clients as well, for which there is more
4685 demand. Custom training usually emerges through an established relationship
4686 with an organization. The training program is based on a definition of
4687 open-data knowledge as applicable to the organization and on the skills
4688 needed by their high-level executives, management, and technical staff. The
4689 training tends to generate high interest and commitment.
4690     </p><p>
4691       Education about open data is also a part of ODI’s annual summit event, where
4692 curated presentations and speakers showcase the work of ODI and its members
4693 across the entire ecosystem. Tickets to the summit are available to the
4694 public, and hundreds of people and organizations attend and participate. In
4695 2014, there were four thematic tracks and over 750 attendees.
4696     </p><p>
4697       In addition to memberships and training, ODI provides advisory services to
4698 help with technical-data support, technology development, change management,
4699 policies, and other areas. ODI has advised large commercial organizations,
4700 small businesses, and international governments; the focus at the moment is
4701 on government, but ODI is working to shift more toward commercial
4702 organizations.
4703     </p><p>
4704       On the commercial side, the following value propositions seem to resonate:
4705     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4706           Data-driven insights. Businesses need data from outside their business to
4707 get more insight. Businesses can generate value and more effectively pursue
4708 their own goals if they open up their own data too. Big data is a hot topic.
4709         </p></li><li class="listitem"><p>
4710           Open innovation. Many large-scale enterprises are aware they don’t innovate
4711 very well. One way they can innovate is to open up their data. ODI
4712 encourages them to do so even if it exposes problems and challenges. The key
4713 is to invite other people to help while still maintaining organizational
4714 autonomy.
4715         </p></li><li class="listitem"><p>
4716           Corporate social responsibility. While this resonates with businesses, ODI
4717 cautions against having it be the sole reason for making data open. If a
4718 business is just thinking about open data as a way to be transparent and
4719 accountable, they can miss out on efficiencies and opportunities.
4720         </p></li></ul></div><p>
4721       During their early years, ODI wanted to focus solely on the United
4722 Kingdom. But in their first year, large delegations of government visitors
4723 from over fifty countries wanted to learn more about the UK government’s
4724 open-data practices and how ODI saw that translating into economic
4725 value. They were contracted as a service provider to international
4726 governments, which prompted a need to set up international ODI
4727 <span class="quote">“<span class="quote">nodes.</span>”</span>
4728     </p><p>
4729       Nodes are franchises of the ODI at a regional or city level.  Hosted by
4730 existing (for-profit or not-for-profit) organizations, they operate locally
4731 but are part of the global network. Each ODI node adopts the charter, a set
4732 of guiding principles and rules under which ODI operates. They develop and
4733 deliver training, connect people and businesses through membership and
4734 events, and communicate open-data stories from their part of the
4735 world. There are twenty-seven different nodes across nineteen countries. ODI
4736 nodes are charged a small fee to be part of the network and to use the
4737 brand.
4738     </p><p>
4739       ODI also runs programs to help start-ups in the UK and across Europe develop
4740 a sustainable business around open data, offering mentoring, advice,
4741 training, and even office space.<a href="#ftn.idm1518" class="footnote" name="idm1518"><sup class="footnote">[131]</sup></a>
4742     </p><p>
4743       A big part of ODI’s business model revolves around community
4744 building. Memberships, training, summits, consulting services, nodes, and
4745 start-up programs create an ever-growing network of open-data users and
4746 leaders. (In fact, ODI even operates something called an Open Data Leaders
4747 Network.) For ODI, community is key to success. They devote significant time
4748 and effort to build it, not just online but through face-to-face events.
4749     </p><p>
4750       ODI has created an online tool that organizations can use to assess the
4751 legal, practical, technical, and social aspects of their open data. If it is
4752 of high quality, the organization can earn ODI’s Open Data Certificate, a
4753 globally recognized mark that signals that their open data is useful,
4754 reliable, accessible, discoverable, and supported.<a href="#ftn.idm1524" class="footnote" name="idm1524"><sup class="footnote">[132]</sup></a>
4755     </p><p>
4756       Separate from commercial activities, the ODI generates funding through
4757 research grants. Research includes looking at evidence on the impact of open
4758 data, development of open-data tools and standards, and how to deploy open
4759 data at scale.
4760     </p><p>
4761       Creative Commons 4.0 licenses cover database rights and ODI recommends CC
4762 BY, CC BY-SA, and CC0 for data releases. ODI encourages publishers of data
4763 to use Creative Commons licenses rather than creating new <span class="quote">“<span class="quote">open
4764 licenses</span>”</span> of their own.
4765     </p><p>
4766       For ODI, open is at the heart of what they do. They also release any
4767 software code they produce under open-source-software licenses, and
4768 publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
4769 to connect and equip people around the world so they can innovate with
4770 data. Disseminating stories, research, guidance, and code under an open
4771 license is essential for achieving that mission. It also demonstrates that
4772 it is perfectly possible to generate sustainable revenue streams that do not
4773 rely on restrictive licensing of content, data, or code.  People pay to have
4774 ODI experts provide training to them, not for the content of the training;
4775 people pay for the advice ODI gives them, not for the methodologies they
4776 use. Producing open content, data, and source code helps establish
4777 credibility and creates leads for the paid services that they
4778 offer. According to Jeni, <span class="quote">“<span class="quote">The biggest lesson we have learned is that
4779 it is completely possible to be open, get customers, and make money.</span>”</span>
4780     </p><p>
4781       To serve as evidence of a successful open business model and return on
4782 investment, ODI has a public dashboard of key performance indicators. Here
4783 are a few metrics as of April 27, 2016:
4784     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4785           Total amount of cash investments unlocked in direct investments in ODI,
4786 competition funding, direct contracts, and partnerships, and income that ODI
4787 nodes and ODI start-ups have generated since joining the ODI program: £44.5
4788 million
4789         </p></li><li class="listitem"><p>
4790           Total number of active members and nodes across the globe: 1,350
4791         </p></li><li class="listitem"><p>
4792           Total sales since ODI began: £7.44 million
4793         </p></li><li class="listitem"><p>
4794           Total number of unique people reached since ODI began, in person and online:
4795 2.2 million
4796         </p></li><li class="listitem"><p>
4797           Total Open Data Certificates created: 151,000
4798         </p></li><li class="listitem"><p>
4799           Total number of people trained by ODI and its nodes since ODI began:
4800 5,080<a href="#ftn.idm1546" class="footnote" name="idm1546"><sup class="footnote">[133]</sup></a>
4801         </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1488" class="footnote"><p><a href="#idm1488" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1498" class="footnote"><p><a href="#idm1498" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1518" class="footnote"><p><a href="#idm1518" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>; <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1524" class="footnote"><p><a href="#idm1524" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1546" class="footnote"><p><a href="#idm1546" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>บทที่ 17. OpenDesk</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
4802         Opendesk is a for-profit company offering an online platform that connects
4803 furniture designers around the world with customers and local makers who
4804 bring the designs to life.  Founded in 2014 in the UK.
4805       </p><p>
4806           <a class="ulink" href="http://www.opendesk.cc" target="_top">http://www.opendesk.cc</a>
4807         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
4808       </p><p><span class="strong"><strong>Interview date</strong></span>: November 4, 2015
4809       </p><p><span class="strong"><strong>Interviewees</strong></span>: Nick Ierodiaconou and Joni
4810 Steiner, cofounders
4811       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
4812     \textit{
4813         Profile written by Paul Stacey
4814       }
4815     \end{flushright}</td></tr></table></div><p>
4816       Opendesk is an online platform that connects furniture designers around the
4817 world not just with customers but also with local registered makers who
4818 bring the designs to life. Opendesk and the designer receive a portion of
4819 every sale that is made by a maker.
4820     </p><p>
4821       Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as
4822 architects together. They also made goods. Their first client was Mint
4823 Digital, who had an interest in open licensing. Nick and Joni were exploring
4824 digital fabrication, and Mint’s interest in open licensing got them to
4825 thinking how the open-source world may interact and apply to physical
4826 goods. They sought to design something for their client that was also
4827 reproducible. As they put it, they decided to <span class="quote">“<span class="quote">ship the recipe, but
4828 not the goods.</span>”</span> They created the design using software, put it under
4829 an open license, and had it manufactured locally near the client. This was
4830 the start of the idea for Opendesk. The idea for Wikihouse—another open
4831 project dedicated to accessible housing for all—started as discussions
4832 around the same table. The two projects ultimately went on separate paths,
4833 with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit
4834 company.
4835     </p><p>
4836       When Nick and Joni set out to create Opendesk, there were a lot of questions
4837 about the viability of distributed manufacturing. No one was doing it in a
4838 way that was even close to realistic or competitive. The design community
4839 had the intent, but fulfilling this vision was still a long way away.
4840     </p><p>
4841       And now this sector is emerging, and Nick and Joni are highly interested in
4842 the commercialization aspects of it. As part of coming up with a business
4843 model, they began investigating intellectual property and licensing
4844 options. It was a thorny space, especially for designs. Just what aspect of
4845 a design is copyrightable? What is patentable? How can allowing for digital
4846 sharing and distribution be balanced against the designer’s desire to still
4847 hold ownership? In the end, they decided there was no need to reinvent the
4848 wheel and settled on using Creative Commons.
4849     </p><p>
4850       When designing the Opendesk system, they had two goals. They wanted anyone,
4851 anywhere in the world, to be able to download designs so that they could be
4852 made locally, and they wanted a viable model that benefited designers when
4853 their designs were sold. Coming up with a business model was going to be
4854 complex.
4855     </p><p>
4856       They gave a lot of thought to three angles—the potential for social sharing,
4857 allowing designers to choose their license, and the impact these choices
4858 would have on the business model.
4859     </p><p>
4860       In support of social sharing, Opendesk actively advocates for (but doesn’t
4861 demand) open licensing. And Nick and Joni are agnostic about which Creative
4862 Commons license is used; it’s up to the designer. They can be proprietary or
4863 choose from the full suite of Creative Commons licenses, deciding for
4864 themselves how open or closed they want to be.
4865     </p><p>
4866       For the most part, designers love the idea of sharing content.  They
4867 understand that you get positive feedback when you’re attributed, what Nick
4868 and Joni called <span class="quote">“<span class="quote">reputational glow.</span>”</span> And Opendesk does an
4869 awesome job profiling the designers.<a href="#ftn.idm1572" class="footnote" name="idm1572"><sup class="footnote">[134]</sup></a>
4870     </p><p>
4871       While designers are largely OK with personal sharing, there is a concern
4872 that someone will take the design and manufacture the furniture in bulk,
4873 with the designer not getting any benefits. So most Opendesk designers
4874 choose the Attribution-NonCommercial license (CC BY-NC).
4875     </p><p>
4876       Anyone can download a design and make it themselves, provided it’s for
4877 noncommercial use — and there have been many, many downloads.  Or users can
4878 buy the product from Opendesk, or from a registered maker in Opendesk’s
4879 network, for on-demand personal fabrication.  The network of Opendesk makers
4880 currently is made up of those who do digital fabrication using a
4881 computer-controlled CNC (Computer Numeric Control) machining device that
4882 cuts shapes out of wooden sheets according to the specifications in the
4883 design file.
4884     </p><p>
4885       Makers benefit from being part of Opendesk’s network. Making furniture for
4886 local customers is paid work, and Opendesk generates business for them. Joni
4887 said, <span class="quote">“<span class="quote">Finding a whole network and community of makers was pretty easy
4888 because we built a site where people could write in about their
4889 capabilities. Building the community by learning from the maker community is
4890 how we have moved forward.</span>”</span> Opendesk now has relationships with
4891 hundreds of makers in countries all around the world.<a href="#ftn.idm1579" class="footnote" name="idm1579"><sup class="footnote">[135]</sup></a>
4892     </p><p>
4893       The makers are a critical part of the Opendesk business model.  Their model
4894 builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
4895 website:
4896     </p><p>
4897       When customers buy an Opendesk product directly from a registered maker,
4898 they pay:
4899     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4900           the manufacturing cost as set by the maker (this covers material and labour
4901 costs for the product to be manufactured and any extra assembly costs
4902 charged by the maker)
4903         </p></li><li class="listitem"><p>
4904           a design fee for the designer (a design fee that is paid to the designer
4905 every time their design is used)
4906         </p></li><li class="listitem"><p>
4907           a percentage fee to the Opendesk platform (this supports the infrastructure
4908 and ongoing development of the platform that helps us build out our
4909 marketplace)
4910         </p></li><li class="listitem"><p>
4911           a percentage fee to the channel through which the sale is made (at the
4912 moment this is Opendesk, but in the future we aim to open this up to
4913 third-party sellers who can sell Opendesk products through their own
4914 channels—this covers sales and marketing fees for the relevant channel)
4915         </p></li><li class="listitem"><p>
4916           a local delivery service charge (the delivery is typically charged by the
4917 maker, but in some cases may be paid to a third-party delivery partner)
4918         </p></li><li class="listitem"><p>
4919           charges for any additional services the customer chooses, such as on-site
4920 assembly (additional services are discretionary—in many cases makers will be
4921 happy to quote for assembly on-site and designers may offer bespoke design
4922 options)
4923         </p></li><li class="listitem"><p>
4924           local sales taxes (variable by customer and maker location)<a href="#ftn.idm1599" class="footnote" name="idm1599"><sup class="footnote">[136]</sup></a>
4925         </p></li></ul></div><p>
4926       They then go into detail how makers’ quotes are created:
4927     </p><p>
4928       When a customer wants to buy an Opendesk . . . they are provided with a
4929 transparent breakdown of fees including the manufacturing cost, design fee,
4930 Opendesk platform fee and channel fees. If a customer opts to buy by getting
4931 in touch directly with a registered local maker using a downloaded Opendesk
4932 file, the maker is responsible for ensuring the design fee, Opendesk
4933 platform fee and channel fees are included in any quote at the time of
4934 sale.  Percentage fees are always based on the underlying manufacturing cost
4935 and are typically apportioned as follows:
4936     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4937           manufacturing cost: fabrication, finishing and any other costs as set by the
4938 maker (excluding any services like delivery or on-site assembly)
4939         </p></li><li class="listitem"><p>
4940           design fee: 8 percent of the manufacturing cost
4941         </p></li><li class="listitem"><p>
4942           platform fee: 12 percent of the manufacturing cost
4943         </p></li><li class="listitem"><p>
4944           channel fee: 18 percent of the manufacturing cost
4945         </p></li><li class="listitem"><p>
4946           sales tax: as applicable (depends on product and location)
4947         </p></li></ul></div><p>
4948       Opendesk shares revenue with their community of designers.  According to
4949 Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
4950 percent is more generous, and providing a higher value to the designer.
4951     </p><p>
4952       The Opendesk website features stories of designers and makers.  Denis Fuzii
4953 published the design for the Valovi Chair from his studio in São Paulo. His
4954 designs have been downloaded over five thousand times in ninety-five
4955 countries. I.J. CNC Services is Ian Jinks, a professional maker based in the
4956 United Kingdom. Opendesk now makes up a large proportion of his business.
4957     </p><p>
4958       To manage resources and remain effective, Opendesk has so far focused on a
4959 very narrow niche—primarily office furniture of a certain simple aesthetic,
4960 which uses only one type of material and one manufacturing technique. This
4961 allows them to be more strategic and more disruptive in the market, by
4962 getting things to market quickly with competitive prices. It also reflects
4963 their vision of creating reproducible and functional pieces.
4964     </p><p>
4965       On their website, Opendesk describes what they do as <span class="quote">“<span class="quote">open
4966 making</span>”</span>: <span class="quote">“<span class="quote">Designers get a global distribution channel. Makers
4967 get profitable jobs and new customers. You get designer products without the
4968 designer price tag, a more social, eco-friendly alternative to
4969 mass-production and an affordable way to buy custom-made products.</span>”</span>
4970     </p><p>
4971       Nick and Joni say that customers like the fact that the furniture has a
4972 known provenance. People really like that their furniture was designed by a
4973 certain international designer but was made by a maker in their local
4974 community; it’s a great story to tell. It certainly sets apart Opendesk
4975 furniture from the usual mass-produced items from a store.
4976     </p><p>
4977       Nick and Joni are taking a community-based approach to define and evolve
4978 Opendesk and the <span class="quote">“<span class="quote">open making</span>”</span> business model.  They’re
4979 engaging thought leaders and practitioners to define this new movement. They
4980 have a separate Open Making site, which includes a manifesto, a field guide,
4981 and an invitation to get involved in the Open Making community.<a href="#ftn.idm1624" class="footnote" name="idm1624"><sup class="footnote">[137]</sup></a> People can submit ideas and discuss the principles
4982 and business practices they’d like to see used.
4983     </p><p>
4984       Nick and Joni talked a lot with us about intellectual property (IP) and
4985 commercialization. Many of their designers fear the idea that someone could
4986 take one of their design files and make and sell infinite number of pieces
4987 of furniture with it. As a consequence, most Opendesk designers choose the
4988 Attribution-NonCommercial license (CC BY-NC).
4989     </p><p>
4990       Opendesk established a set of principles for what their community considers
4991 commercial and noncommercial use. Their website states:
4992     </p><p>
4993       It is unambiguously commercial use when anyone:
4994     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4995           charges a fee or makes a profit when making an Opendesk
4996         </p></li><li class="listitem"><p>
4997           sells (or bases a commercial service on) an Opendesk
4998         </p></li></ul></div><p>
4999       It follows from this that noncommercial use is when you make an Opendesk
5000 yourself, with no intention to gain commercial advantage or monetary
5001 compensation. For example, these qualify as noncommercial:
5002     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5003           you are an individual with your own CNC machine, or access to a shared CNC
5004 machine, and will personally cut and make a few pieces of furniture yourself
5005         </p></li><li class="listitem"><p>
5006           you are a student (or teacher) and you use the design files for educational
5007 purposes or training (and do not intend to sell the resulting pieces)
5008         </p></li><li class="listitem"><p>
5009           you work for a charity and get furniture cut by volunteers, or by employees
5010 at a fab lab or maker space
5011         </p></li></ul></div><p>
5012       Whether or not people technically are doing things that implicate IP, Nick
5013 and Joni have found that people tend to comply with the wishes of creators
5014 out of a sense of fairness. They have found that behavioral economics can
5015 replace some of the thorny legal issues. In their business model, Nick and
5016 Joni are trying to suspend the focus on IP and build an open business model
5017 that works for all stakeholders—designers, channels, manufacturers, and
5018 customers. For them, the value Opendesk generates hangs off
5019 <span class="quote">“<span class="quote">open,</span>”</span> not IP.
5020     </p><p>
5021       The mission of Opendesk is about relocalizing manufacturing, which changes
5022 the way we think about how goods are made.  Commercialization is integral to
5023 their mission, and they’ve begun to focus on success metrics that track how
5024 many makers and designers are engaged through Opendesk in revenue-making
5025 work.
5026     </p><p>
5027       As a global platform for local making, Opendesk’s business model has been
5028 built on honesty, transparency, and inclusivity. As Nick and Joni describe
5029 it, they put ideas out there that get traction and then have faith in
5030 people.
5031     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1572" class="footnote"><p><a href="#idm1572" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1579" class="footnote"><p><a href="#idm1579" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1599" class="footnote"><p><a href="#idm1599" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1624" class="footnote"><p><a href="#idm1624" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>บทที่ 18. OpenStax</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
5032         OpenStax is a nonprofit that provides free, openly licensed textbooks for
5033 high-enrollment introductory college courses and Advanced Placement
5034 courses. Founded in 2012 in the U.S.
5035       </p><p>
5036           <a class="ulink" href="http://www.openstaxcollege.org" target="_top">http://www.openstaxcollege.org</a>
5037         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding, charging
5038 for custom services, charging for physical copies (textbook sales)
5039       </p><p><span class="strong"><strong>Interview date</strong></span>: December 16, 2015
5040       </p><p><span class="strong"><strong>Interviewee</strong></span>: David Harris,
5041 editor-in-chief
5042       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
5043     \textit{
5044         Profile written by Paul Stacey
5045       }
5046     \end{flushright}</td></tr></table></div><p>
5047       OpenStax is an extension of a program called Connexions, which was started
5048 in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of
5049 Electrical and Computer Engineering at Rice University in Houston,
5050 Texas. Frustrated by the limitations of traditional textbooks and courses,
5051 Dr. Baraniuk wanted to provide authors and learners a way to share and
5052 freely adapt educational materials such as courses, books, and
5053 reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
5054 best libraries of customizable educational materials, all licensed with
5055 Creative Commons and available to anyone, anywhere, anytime—for free.
5056     </p><p>
5057       In 2008, while in a senior leadership role at WebAssign and looking at ways
5058 to reduce the risk that came with relying on publishers, David Harris began
5059 investigating open educational resources (OER) and discovered Connexions. A
5060 year and a half later, Connexions received a grant to help grow the use of
5061 OER so that it could meet the needs of students who couldn’t afford
5062 textbooks. David came on board to spearhead this effort.  Connexions became
5063 OpenStax CNX; the program to create open textbooks became OpenStax College,
5064 now simply called OpenStax.
5065     </p><p>
5066       David brought with him a deep understanding of the best practices of
5067 publishing along with where publishers have inefficiencies. In David’s view,
5068 peer review and high standards for quality are critically important if you
5069 want to scale easily. Books have to have logical scope and sequence, they
5070 have to exist as a whole and not in pieces, and they have to be easy to
5071 find. The working hypothesis for the launch of OpenStax was to
5072 professionally produce a turnkey textbook by investing effort up front, with
5073 the expectation that this would lead to rapid growth through easy downstream
5074 adoptions by faculty and students.
5075     </p><p>
5076       In 2012, OpenStax College launched as a nonprofit with the aim of producing
5077 high-quality, peer-reviewed full-color textbooks that would be available for
5078 free for the twenty-five most heavily attended college courses in the
5079 nation. Today they are fast approaching that number. There is data that
5080 proves the success of their original hypothesis on how many students they
5081 could help and how much money they could help save.<a href="#ftn.idm1664" class="footnote" name="idm1664"><sup class="footnote">[138]</sup></a> Professionally produced content scales rapidly. All
5082 with no sales force!
5083     </p><p>
5084       OpenStax textbooks are all Attribution (CC BY) licensed, and each textbook
5085 is available as a PDF, an e-book, or web pages. Those who want a physical
5086 copy can buy one for an affordable price. Given the cost of education and
5087 student debt in North America, free or very low-cost textbooks are very
5088 appealing. OpenStax encourages students to talk to their professor and
5089 librarians about these textbooks and to advocate for their use.
5090     </p><p>
5091       Teachers are invited to try out a single chapter from one of the textbooks
5092 with students. If that goes well, they’re encouraged to adopt the entire
5093 book. They can simply paste a URL into their course syllabus, for free and
5094 unlimited access. And with the CC BY license, teachers are free to delete
5095 chapters, make changes, and customize any book to fit their needs.
5096     </p><p>
5097       Any teacher can post corrections, suggest examples for difficult concepts,
5098 or volunteer as an editor or author. As many teachers also want supplemental
5099 material to accompany a textbook, OpenStax also provides slide
5100 presentations, test banks, answer keys, and so on.
5101     </p><p>
5102       Institutions can stand out by offering students a lower-cost education
5103 through the use of OpenStax textbooks; there’s even a textbook-savings
5104 calculator they can use to see how much students would save. OpenStax keeps
5105 a running list of institutions that have adopted their
5106 textbooks.<a href="#ftn.idm1671" class="footnote" name="idm1671"><sup class="footnote">[139]</sup></a>
5107     </p><p>
5108       Unlike traditional publishers’ monolithic approach of controlling
5109 intellectual property, distribution, and so many other aspects, OpenStax has
5110 adopted a model that embraces open licensing and relies on an extensive
5111 network of partners.
5112     </p><p>
5113       Up-front funding of a professionally produced all-color turnkey textbook is
5114 expensive. For this part of their model, OpenStax relies on
5115 philanthropy. They have initially been funded by the William and Flora
5116 Hewlett Foundation, the Laura and John Arnold Foundation, the Bill and
5117 Melinda Gates Foundation, the 20 Million Minds Foundation, the Maxfield
5118 Foundation, the Calvin K. Kazanjian Foundation, and Rice University. To
5119 develop additional titles and supporting technology is probably still going
5120 to require philanthropic investment.
5121     </p><p>
5122       However, ongoing operations will not rely on foundation grants but instead
5123 on funds received through an ecosystem of over forty partners, whereby a
5124 partner takes core content from OpenStax and adds features that it can
5125 create revenue from. For example, WebAssign, an online homework and
5126 assessment tool, takes the physics book and adds algorithmically generated
5127 physics problems, with problem-specific feedback, detailed solutions, and
5128 tutorial support. WebAssign resources are available to students for a fee.
5129     </p><p>
5130       Another example is Odigia, who has turned OpenStax books into interactive
5131 learning experiences and created additional tools to measure and promote
5132 student engagement. Odigia licenses its learning platform to
5133 institutions. Partners like Odigia and WebAssign give a percentage of the
5134 revenue they earn back to OpenStax, as mission-support fees. OpenStax has
5135 already published revisions of their titles, such as Introduction to
5136 Sociology 2e, using these funds.
5137     </p><p>
5138       In David’s view, this approach lets the market operate at peak
5139 efficiency. OpenStax’s partners don’t have to worry about developing
5140 textbook content, freeing them up from those development costs and letting
5141 them focus on what they do best.  With OpenStax textbooks available at no
5142 cost, they can provide their services at a lower cost—not free, but still
5143 saving students money. OpenStax benefits not only by receiving
5144 mission-support fees but through free publicity and marketing. OpenStax
5145 doesn’t have a sales force; partners are out there showcasing their
5146 materials.
5147     </p><p>
5148       OpenStax’s cost of sales to acquire a single student is very, very low and
5149 is a fraction of what traditional players in the market face. This year,
5150 Tyton Partners is actually evaluating the costs of sales for an OER effort
5151 like OpenStax in comparison with incumbents. David looks forward to sharing
5152 these findings with the community.
5153     </p><p>
5154       While OpenStax books are available online for free, many students still want
5155 a print copy. Through a partnership with a print and courier company,
5156 OpenStax offers a complete solution that scales.  OpenStax sells tens of
5157 thousands of print books. The price of an OpenStax sociology textbook is
5158 about twenty-eight dollars, a fraction of what sociology textbooks usually
5159 cost. OpenStax keeps the prices low but does aim to earn a small margin on
5160 each book sold, which also contributes to ongoing operations.
5161     </p><p>
5162       Campus-based bookstores are part of the OpenStax solution.  OpenStax
5163 collaborates with NACSCORP (the National Association of College Stores
5164 Corporation) to provide print versions of their textbooks in the
5165 stores. While the overall cost of the textbook is significantly less than a
5166 traditional textbook, bookstores can still make a profit on sales. Sometimes
5167 students take the savings they have from the lower-priced book and use it to
5168 buy other things in the bookstore. And OpenStax is trying to break the
5169 expensive behavior of excessive returns by having a no-returns policy. This
5170 is working well, since the sell-through of their print titles is virtually a
5171 hundred percent.
5172     </p><p>
5173       David thinks of the OpenStax model as <span class="quote">“<span class="quote">OER 2.0.</span>”</span> So what is OER
5174 1.0? Historically in the OER field, many OER initiatives have been locally
5175 funded by institutions or government ministries. In David’s view, this
5176 results in content that has high local value but is infrequently adopted
5177 nationally. It’s therefore difficult to show payback over a time scale that
5178 is reasonable.
5179     </p><p>
5180       OER 2.0 is about OER intended to be used and adopted on a national level
5181 right from the start. This requires a bigger investment up front but pays
5182 off through wide geographic adoption. The OER 2.0 process for OpenStax
5183 involves two development models. The first is what David calls the
5184 acquisition model, where OpenStax purchases the rights from a publisher or
5185 author for an already published book and then extensively revises it. The
5186 OpenStax physics textbook, for example, was licensed from an author after
5187 the publisher released the rights back to the authors. The second model is
5188 to develop a book from scratch, a good example being their biology book.
5189     </p><p>
5190       The process is similar for both models. First they look at the scope and
5191 sequence of existing textbooks. They ask questions like what does the
5192 customer need? Where are students having challenges? Then they identify
5193 potential authors and put them through a rigorous evaluation—only one in ten
5194 authors make it through.  OpenStax selects a team of authors who come
5195 together to develop a template for a chapter and collectively write the
5196 first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
5197 books with just a single author as David says it risks the project going
5198 longer than scheduled.) The draft is peer-reviewed with no less than three
5199 reviewers per chapter. A second draft is generated, with artists producing
5200 illustrations and visuals to go along with the text. The book is then
5201 copyedited to ensure grammatical correctness and a singular voice. Finally,
5202 it goes into production and through a final proofread. The whole process is
5203 very time-consuming.
5204     </p><p>
5205       All the people involved in this process are paid. OpenStax does not rely on
5206 volunteers. Writers, reviewers, illustrators, and editors are all paid an
5207 up-front fee—OpenStax does not use a royalty model. A best-selling author
5208 might make more money under the traditional publishing model, but that is
5209 only maybe 5 percent of all authors. From David’s perspective, 95 percent of
5210 all authors do better under the OER 2.0 model, as there is no risk to them
5211 and they earn all the money up front.
5212     </p><p>
5213       David thinks of the Attribution license (CC BY) as the <span class="quote">“<span class="quote">innovation
5214 license.</span>”</span> It’s core to the mission of OpenStax, letting people use
5215 their textbooks in innovative ways without having to ask for permission. It
5216 frees up the whole market and has been central to OpenStax being able to
5217 bring on partners.  OpenStax sees a lot of customization of their
5218 materials. By enabling frictionless remixing, CC BY gives teachers control
5219 and academic freedom.
5220     </p><p>
5221       Using CC BY is also a good example of using strategies that traditional
5222 publishers can’t. Traditional publishers rely on copyright to prevent others
5223 from making copies and heavily invest in digital rights management to ensure
5224 their books aren’t shared.  By using CC BY, OpenStax avoids having to deal
5225 with digital rights management and its costs. OpenStax books can be copied
5226 and shared over and over again. CC BY changes the rules of engagement and
5227 takes advantage of traditional market inefficiencies.
5228     </p><p>
5229       As of September 16, 2016, OpenStax has achieved some impressive
5230 results. From the OpenStax at a Glance fact sheet from their recent press
5231 kit:
5232     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5233           Books published: 23
5234         </p></li><li class="listitem"><p>
5235           Students who have used OpenStax: 1.6 million
5236         </p></li><li class="listitem"><p>
5237           Money saved for students: $155 million
5238         </p></li><li class="listitem"><p>
5239           Money saved for students in the 2016/17 academic year: $77 million
5240         </p></li><li class="listitem"><p>
5241           Schools that have used OpenStax: 2,668 (This number reflects all
5242 institutions using at least one OpenStax textbook. Out of 2,668 schools, 517
5243 are two-year colleges, 835 four-year colleges and universities, and 344
5244 colleges and universities outside the U.S.)
5245         </p></li></ul></div><p>
5246       While OpenStax has to date been focused on the United States, there is
5247 overseas adoption especially in the science, technology, engineering, and
5248 math (STEM) fields. Large scale adoption in the United States is seen as a
5249 necessary precursor to international interest.
5250     </p><p>
5251       OpenStax has primarily focused on introductory-level college courses where
5252 there is high enrollment, but they are starting to think about verticals—a
5253 broad offering for a specific group or need. David thinks it would be
5254 terrific if OpenStax could provide access to free textbooks through the
5255 entire curriculum of a nursing degree, for example.
5256     </p><p>
5257       Finally, for OpenStax success is not just about the adoption of their
5258 textbooks and student savings. There is a human aspect to the work that is
5259 hard to quantify but incredibly important. They get emails from students
5260 saying how OpenStax saved them from making difficult choices like buying
5261 food or a textbook. OpenStax would also like to assess the impact their
5262 books have on learning efficiency, persistence, and completion. By building
5263 an open business model based on Creative Commons, OpenStax is making it
5264 possible for every student who wants access to education to get it.
5265     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1664" class="footnote"><p><a href="#idm1664" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1671" class="footnote"><p><a href="#idm1671" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>บทที่ 19. Amanda Palmer</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
5266         Amanda Palmer is a musician, artist, and writer. Based in the U.S.
5267       </p><p>
5268           <a class="ulink" href="http://amandapalmer.net" target="_top">http://amandapalmer.net</a>
5269         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
5270 (subscription-based), pay-what-you-want, charging for physical copies (book
5271 and album sales), charg-ing for in-person version (performances), selling
5272 merchandise
5273       </p><p><span class="strong"><strong>Interview date</strong></span>: December 15, 2015
5274       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
5275     \textit{
5276         Profile written by Sarah Hinchliff Pearson
5277       }
5278     \end{flushright}</td></tr></table></div><p>
5279       Since the beginning of her career, Amanda Palmer has been on what she calls
5280 a <span class="quote">“<span class="quote">journey with no roadmap,</span>”</span> continually experimenting to find
5281 new ways to sustain her creative work.<a href="#ftn.idm1718" class="footnote" name="idm1718"><sup class="footnote">[140]</sup></a>
5282     </p><p>
5283       In her best-selling book, The Art of Asking, Amanda articulates exactly what
5284 she has been and continues to strive for—<span class="quote">“<span class="quote">the ideal sweet spot
5285 . . . in which the artist can share freely and directly feel the
5286 reverberations of their artistic gifts to the community, and make a living
5287 doing that.</span>”</span>
5288     </p><p>
5289       While she seems to have successfully found that sweet spot for herself,
5290 Amanda is the first to acknowledge there is no silver bullet. She thinks the
5291 digital age is both an exciting and frustrating time for creators. <span class="quote">“<span class="quote">On
5292 the one hand, we have this beautiful shareability,</span>”</span> Amanda
5293 said. <span class="quote">“<span class="quote">On the other, you’ve got a bunch of confused artists wondering
5294 how to make money to buy food so we can make more art.</span>”</span>
5295     </p><p>
5296       Amanda began her artistic career as a street performer. She would dress up
5297 in an antique wedding gown, paint her face white, stand on a stack of milk
5298 crates, and hand out flowers to strangers as part of a silent dramatic
5299 performance. She collected money in a hat. Most people walked by her without
5300 stopping, but an essential few stopped to watch and drop some money into her
5301 hat to show their appreciation. Rather than dwelling on the majority of
5302 people who ignored her, she felt thankful for those who stopped.  <span class="quote">“<span class="quote">All
5303 I needed was . . . some people,</span>”</span> she wrote in her book. <span class="quote">“<span class="quote">Enough
5304 people. Enough to make it worth coming back the next day, enough people to
5305 help me make rent and put food on the table. Enough so I could keep making
5306 art.</span>”</span>
5307     </p><p>
5308       Amanda has come a long way from her street-performing days, but her career
5309 remains dominated by that same sentiment—finding ways to reach <span class="quote">“<span class="quote">her
5310 crowd</span>”</span> and feeling gratitude when she does. With her band the Dresden
5311 Dolls, Amanda tried the traditional path of signing with a record label. It
5312 didn’t take for a variety of reasons, but one of them was that the label had
5313 absolutely no interest in Amanda’s view of success. They wanted hits, but
5314 making music for the masses was never what Amanda and the Dresden Dolls set
5315 out to do.
5316     </p><p>
5317       After leaving the record label in 2008, she began experimenting with
5318 different ways to make a living. She released music directly to the public
5319 without involving a middle man, releasing digital files on a <span class="quote">“<span class="quote">pay what
5320 you want</span>”</span> basis and selling CDs and vinyl. She also made money from
5321 live performances and merchandise sales. Eventually, in 2012 she decided to
5322 try her hand at the sort of crowdfunding we know so well today. Her
5323 Kickstarter project started with a goal of $100,000, and she made $1.2
5324 million. It remains one of the most successful Kickstarter projects of all
5325 time.
5326     </p><p>
5327       Today, Amanda has switched gears away from crowdfunding for specific
5328 projects to instead getting consistent financial support from her fan base
5329 on Patreon, a crowdfunding site that allows artists to get recurring
5330 donations from fans. More than eight thousand people have signed up to
5331 support her so she can create music, art, and any other creative
5332 <span class="quote">“<span class="quote">thing</span>”</span> that she is inspired to make. The recurring pledges are
5333 made on a <span class="quote">“<span class="quote">per thing</span>”</span> basis. All of the content she makes is
5334 made freely available under an Attribution-NonCommercial-ShareAlike license
5335 (CC BY-NC-SA).
5336     </p><p>
5337       Making her music and art available under Creative Commons licensing
5338 undoubtedly limits her options for how she makes a living. But sharing her
5339 work has been part of her model since the beginning of her career, even
5340 before she discovered Creative Commons. Amanda says the Dresden Dolls used
5341 to get ten emails per week from fans asking if they could use their music
5342 for different projects. They said yes to all of the requests, as long as it
5343 wasn’t for a completely for-profit venture. At the time, they used a
5344 short-form agreement written by Amanda herself. <span class="quote">“<span class="quote">I made everyone sign
5345 that contract so at least I wouldn’t be leaving the band vulnerable to
5346 someone later going on and putting our music in a Camel cigarette
5347 ad,</span>”</span> Amanda said. Once she discovered Creative Commons, adopting the
5348 licenses was an easy decision because it gave them a more formal,
5349 standardized way of doing what they had been doing all along. The
5350 NonCommercial licenses were a natural fit.
5351     </p><p>
5352       Amanda embraces the way her fans share and build upon her music.  In The Art
5353 of Asking, she wrote that some of her fans’ unofficial videos using her
5354 music surpass the official videos in number of views on YouTube. Rather than
5355 seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">“<span class="quote">We
5356 got into this because we wanted to share the joy of music,</span>”</span> she said.
5357     </p><p>
5358       This is symbolic of how nearly everything she does in her career is
5359 motivated by a desire to connect with her fans. At the start of her career,
5360 she and the band would throw concerts at house parties. As the gatherings
5361 grew, the line between fans and friends was completely blurred. <span class="quote">“<span class="quote">Not
5362 only did most our early fans know where I lived and where we practiced, but
5363 most of them had also been in my kitchen,</span>”</span> Amanda wrote in The Art of
5364 Asking.
5365     </p><p>
5366       Even though her fan base is now huge and global, she continues to seek this
5367 sort of human connection with her fans. She seeks out face-to-face contact
5368 with her fans every chance she can get. Her hugely successful Kickstarter
5369 featured fifty concerts at house parties for backers. She spends hours in
5370 the signing line after shows. It helps that Amanda has the kind of dynamic,
5371 engaging personality that instantly draws people to her, but a big component
5372 of her ability to connect with people is her willingness to
5373 listen. <span class="quote">“<span class="quote">Listening fast and caring immediately is a skill unto
5374 itself,</span>”</span> Amanda wrote.
5375     </p><p>
5376       Another part of the connection fans feel with Amanda is how much they know
5377 about her life. Rather than trying to craft a public persona or image, she
5378 essentially lives her life as an open book.  She has written openly about
5379 incredibly personal events in her life, and she isn’t afraid to be
5380 vulnerable. Having that kind of trust in her fans—the trust it takes to be
5381 truly honest—begets trust from her fans in return. When she meets fans for
5382 the first time after a show, they can legitimately feel like they know her.
5383     </p><p><span class="quote">“<span class="quote">With social media, we’re so concerned with the picture looking
5384 palatable and consumable that we forget that being human and showing the
5385 flaws and exposing the vulnerability actually create a deeper connection
5386 than just looking fantastic,</span>”</span> Amanda said. <span class="quote">“<span class="quote">Everything in our
5387 culture is telling us otherwise. But my experience has shown me that the
5388 risk of making yourself vulnerable is almost always worth it.</span>”</span>
5389     </p><p>
5390       Not only does she disclose intimate details of her life to them, she sleeps
5391 on their couches, listens to their stories, cries with them. In short, she
5392 treats her fans like friends in nearly every possible way, even when they
5393 are complete strangers. This mentality—that fans are friends—is completely
5394 intertwined with Amanda’s success as an artist. It is also intertwined with
5395 her use of Creative Commons licenses. Because that is what you do with your
5396 friends—you share.
5397     </p><p>
5398       After years of investing time and energy into building trust with her fans,
5399 she has a strong enough relationship with them to ask for support—through
5400 pay-what-you-want donations, Kickstarter, Patreon, or even asking them to
5401 lend a hand at a concert. As Amanda explains it, crowdfunding (which is
5402 really what all of these different things are) is about asking for support
5403 from people who know and trust you. People who feel personally invested in
5404 your success.
5405     </p><p><span class="quote">“<span class="quote">When you openly, radically trust people, they not only take care of
5406 you, they become your allies, your family,</span>”</span> she wrote. There really
5407 is a feeling of solidarity within her core fan base. From the beginning,
5408 Amanda and her band encouraged people to dress up for their shows. They
5409 consciously cultivated a feeling of belonging to their <span class="quote">“<span class="quote">weird little
5410 family.</span>”</span>
5411     </p><p>
5412       This sort of intimacy with fans is not possible or even desirable for every
5413 creator. <span class="quote">“<span class="quote">I don’t take for granted that I happen to be the type of
5414 person who loves cavorting with strangers,</span>”</span> Amanda said. <span class="quote">“<span class="quote">I
5415 recognize that it’s not necessarily everyone’s idea of a good time. Everyone
5416 does it differently. Replicating what I have done won’t work for others if
5417 it isn’t joyful to them. It’s about finding a way to channel energy in a way
5418 that is joyful to you.</span>”</span>
5419     </p><p>
5420       Yet while Amanda joyfully interacts with her fans and involves them in her
5421 work as much as possible, she does keep one job primarily to herself—writing
5422 the music. She loves the creativity with which her fans use and adapt her
5423 work, but she intentionally does not involve them at the first stage of
5424 creating her artistic work. And, of course, the songs and music are what
5425 initially draw people to Amanda Palmer. It is only once she has connected to
5426 people through her music that she can then begin to build ties with them on
5427 a more personal level, both in person and online. In her book, Amanda
5428 describes it as casting a net. It starts with the art and then the bond
5429 strengthens with human connection.
5430     </p><p>
5431       For Amanda, the entire point of being an artist is to establish and maintain
5432 this connection. <span class="quote">“<span class="quote">It sounds so corny,</span>”</span> she said, <span class="quote">“<span class="quote">but my
5433 experience in forty years on this planet has pointed me to an obvious
5434 truth—that connection with human beings feels so much better and more
5435 fulfilling than approaching art through a capitalist lens. There is no more
5436 satisfying end goal than having someone tell you that what you do is
5437 genuinely of value to them.</span>”</span>
5438     </p><p>
5439       As she explains it, when a fan gives her a ten-dollar bill, usually what
5440 they are saying is that the money symbolizes some deeper value the music
5441 provided them. For Amanda, art is not just a product; it’s a
5442 relationship. Viewed from this lens, what Amanda does today is not that
5443 different from what she did as a young street performer. She shares her
5444 music and other artistic gifts.  She shares herself. And then rather than
5445 forcing people to help her, she lets them.
5446     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1718" class="footnote"><p><a href="#idm1718" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>บทที่ 20. PLOS (Public Library of Science)</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
5447         PLOS (Public Library of Science) is a nonprofit that publishes a library of
5448 academic journals and other scientific literature.  Founded in 2000 in the
5449 U.S.
5450       </p><p>
5451           <a class="ulink" href="http://plos.org" target="_top">http://plos.org</a>
5452         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
5453 an author processing charge to be featured in the journal
5454       </p><p><span class="strong"><strong>Interview date</strong></span>: March 7, 2016
5455       </p><p><span class="strong"><strong>Interviewee</strong></span>: Louise Page, publisher
5456       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
5457     \textit{
5458         Profile written by Paul Stacey
5459       }
5460     \end{flushright}</td></tr></table></div><p>
5461       The Public Library of Science (PLOS) began in 2000 when three leading
5462 scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
5463 online petition. They were calling for scientists to stop submitting papers
5464 to journals that didn’t make the full text of their papers freely available
5465 immediately or within six months. Although tens of thousands signed the
5466 petition, most did not follow through. In August 2001, Patrick and Michael
5467 announced that they would start their own nonprofit publishing operation to
5468 do just what the petition promised. With start-up grant support from the
5469 Gordon and Betty Moore Foundation, PLOS was launched to provide new
5470 open-access journals for biomedicine, with research articles being released
5471 under Attribution (CC BY) licenses.
5472     </p><p>
5473       Traditionally, academic publishing begins with an author submitting a
5474 manuscript to a publisher. After in-house technical and ethical
5475 considerations, the article is then peer-reviewed to determine if the
5476 quality of the work is acceptable for publishing.  Once accepted, the
5477 publisher takes the article through the process of copyediting, typesetting,
5478 and eventual publishing in a print or online publication. Traditional
5479 journal publishers recover costs and earn profit by charging a subscription
5480 fee to libraries or an access fee to users wanting to read the journal or
5481 article.
5482     </p><p>
5483       For Louise Page, the current publisher of PLOS, this traditional model
5484 results in inequity. Access is restricted to those who can pay. Most
5485 research is funded through government-appointed agencies, that is, with
5486 public funds. It’s unjust that the public who funded the research would be
5487 required to pay again to access the results. Not everyone can afford the
5488 ever-escalating subscription fees publishers charge, especially when library
5489 budgets are being reduced. Restricting access to the results of scientific
5490 research slows the dissemination of this research and advancement of the
5491 field. It was time for a new model.
5492     </p><p>
5493       That new model became known as open access. That is, free and open
5494 availability on the Internet. Open-access research articles are not behind a
5495 paywall and do not require a login. A key benefit of open access is that it
5496 allows people to freely use, copy, and distribute the articles, as they are
5497 primarily published under an Attribution (CC BY) license (which only
5498 requires the user to provide appropriate attribution). And more importantly,
5499 policy makers, clinicians, entrepreneurs, educators, and students around the
5500 world have free and timely access to the latest research immediately on
5501 publication.
5502     </p><p>
5503       However, open access requires rethinking the business model of research
5504 publication. Rather than charge a subscription fee to access the journal,
5505 PLOS decided to turn the model on its head and charge a publication fee,
5506 known as an article-processing charge.  This up-front fee, generally paid by
5507 the funder of the research or the author’s institution, covers the expenses
5508 such as editorial oversight, peer-review management, journal production,
5509 online hosting, and support for discovery. Fees are per article and are
5510 billed upon acceptance for publishing. There are no additional charges based
5511 on word length, figures, or other elements.
5512     </p><p>
5513       Calculating the article-processing charge involves taking all the costs
5514 associated with publishing the journal and determining a cost per article
5515 that collectively recovers costs. For PLOS’s journals in biology, medicine,
5516 genetics, computational biology, neglected tropical diseases, and pathogens,
5517 the article-processing charge ranges from $2,250 to
5518 $2,900. Article-publication charges for PLOS ONE, a journal started in 2006,
5519 are just under $1,500.
5520     </p><p>
5521       PLOS believes that lack of funds should not be a barrier to
5522 publication. Since its inception, PLOS has provided fee support for
5523 individuals and institutions to help authors who can’t afford the
5524 article-processing charges.
5525     </p><p>
5526       Louise identifies marketing as one area of big difference between PLOS and
5527 traditional journal publishers. Traditional journals have to invest heavily
5528 in staff, buildings, and infrastructure to market their journal and convince
5529 customers to subscribe.  Restricting access to subscribers means that tools
5530 for managing access control are necessary. They spend millions of dollars on
5531 access-control systems, staff to manage them, and sales staff.  With PLOS’s
5532 open-access publishing, there’s no need for these massive expenses; the
5533 articles are free, open, and accessible to all upon
5534 publication. Additionally, traditional publishers tend to spend more on
5535 marketing to libraries, who ultimately pay the subscription fees. PLOS
5536 provides a better service for authors by promoting their research directly
5537 to the research community and giving the authors exposure. And this
5538 encourages other authors to submit their work for publication.
5539     </p><p>
5540       For Louise, PLOS would not exist without the Attribution license (CC
5541 BY). This makes it very clear what rights are associated with the content
5542 and provides a safe way for researchers to make their work available while
5543 ensuring they get recognition (appropriate attribution). For PLOS, all of
5544 this aligns with how they think research content should be published and
5545 disseminated.
5546     </p><p>
5547       PLOS also has a broad open-data policy. To get their research paper
5548 published, PLOS authors must also make their data available in a public
5549 repository and provide a data-availability statement.
5550     </p><p>
5551       Business-operation costs associated with the open-access model still largely
5552 follow the existing publishing model. PLOS journals are online only, but the
5553 editorial, peer-review, production, typesetting, and publishing stages are
5554 all the same as for a traditional publisher. The editorial teams must be top
5555 notch. PLOS has to function as well as or better than other premier
5556 journals, as researchers have a choice about where to publish.
5557     </p><p>
5558       Researchers are influenced by journal rankings, which reflect the place of a
5559 journal within its field, the relative difficulty of being published in that
5560 journal, and the prestige associated with it. PLOS journals rank high, even
5561 though they are relatively new.
5562     </p><p>
5563       The promotion and tenure of researchers are partially based how many times
5564 other researchers cite their articles. Louise says when researchers want to
5565 discover and read the work of others in their field, they go to an online
5566 aggregator or search engine, and not typically to a particular journal. The
5567 CC BY licensing of PLOS research articles ensures easy access for readers
5568 and generates more discovery and citations for authors.
5569     </p><p>
5570       Louise believes that open access has been a huge success, progressing from a
5571 movement led by a small cadre of researchers to something that is now
5572 widespread and used in some form by every journal publisher. PLOS has had a
5573 big impact. In 2012 to 2014, they published more open-access articles than
5574 BioMed Central, the original open-access publisher, or anyone else.
5575     </p><p>
5576       PLOS further disrupted the traditional journal-publishing model by
5577 pioneering the concept of a megajournal. The PLOS ONE megajournal, launched
5578 in 2006, is an open-access peer-reviewed academic journal that is much
5579 larger than a traditional journal, publishing thousands of articles per year
5580 and benefiting from economies of scale. PLOS ONE has a broad scope, covering
5581 science and medicine as well as social sciences and the humanities. The
5582 review and editorial process is less subjective. Articles are accepted for
5583 publication based on whether they are technically sound rather than
5584 perceived importance or relevance. This is very important in the current
5585 debate about the integrity and reproducibility of research because negative
5586 or null results can then be published as well, which are generally rejected
5587 by traditional journals. PLOS ONE, like all the PLOS journals, is online
5588 only with no print version. PLOS passes on the financial savings accrued
5589 through economies of scale to researchers and the public by lowering the
5590 article-processing charges, which are below that of other journals. PLOS ONE
5591 is the biggest journal in the world and has really set the bar for
5592 publishing academic journal articles on a large scale. Other publishers see
5593 the value of the PLOS ONE model and are now offering their own
5594 multidisciplinary forums for publishing all sound science.
5595     </p><p>
5596       Louise outlined some other aspects of the research-journal business model
5597 PLOS is experimenting with, describing each as a kind of slider that could
5598 be adjusted to change current practice.
5599     </p><p>
5600       One slider is time to publication. Time to publication may shorten as
5601 journals get better at providing quicker decisions to authors.  However,
5602 there is always a trade-off with scale, as the bigger the volume of
5603 articles, the more time the approval process inevitably takes.
5604     </p><p>
5605       Peer review is another part of the process that could change. It’s possible
5606 to redefine what peer review actually is, when to review, and what
5607 constitutes the final article for publication. Louise talked about the
5608 potential to shift to an open-review process, placing the emphasis on
5609 transparency rather than double-blind reviews. Louise thinks we’re moving
5610 into a direction where it’s actually beneficial for an author to know who is
5611 reviewing their paper and for the reviewer to know their review will be
5612 public. An open-review process can also ensure everyone gets credit; right
5613 now, credit is limited to the publisher and author.
5614     </p><p>
5615       Louise says research with negative outcomes is almost as important as
5616 positive results. If journals published more research with negative
5617 outcomes, we’d learn from what didn’t work. It could also reduce how much
5618 the research wheel gets reinvented around the world.
5619     </p><p>
5620       Another adjustable practice is the sharing of articles at early preprint
5621 stages. Publication of research in a peer-reviewed journal can take a long
5622 time because articles must undergo extensive peer review. The need to
5623 quickly circulate current results within a scientific community has led to a
5624 practice of distributing pre-print documents that have not yet undergone
5625 peer review. Preprints broaden the peer-review process, allowing authors to
5626 receive early feedback from a wide group of peers, which can help revise and
5627 prepare the article for submission.  Offsetting the advantages of preprints
5628 are author concerns over ensuring their primacy of being first to come up
5629 with findings based on their research. Other researches may see findings the
5630 preprint author has not yet thought of. However, preprints help researchers
5631 get their discoveries out early and establish precedence. A big challenge is
5632 that researchers don’t have a lot of time to comment on preprints.
5633     </p><p>
5634       What constitutes a journal article could also change. The idea of a research
5635 article as printed, bound, and in a library stack is outdated. Digital and
5636 online open up new possibilities, such as a living document evolving over
5637 time, inclusion of audio and video, and interactivity, like discussion and
5638 recommendations. Even the size of what gets published could change. With
5639 these changes the current form factor for what constitutes a research
5640 article would undergo transformation.
5641     </p><p>
5642       As journals scale up, and new journals are introduced, more and more
5643 information is being pushed out to readers, making the experience feel like
5644 drinking from a fire hose. To help mitigate this, PLOS aggregates and
5645 curates content from PLOS journals and their network of blogs.<a href="#ftn.idm1796" class="footnote" name="idm1796"><sup class="footnote">[141]</sup></a> It also offers something called Article-Level
5646 Metrics, which helps users assess research most relevant to the field
5647 itself, based on indicators like usage, citations, social bookmarking and
5648 dissemination activity, media and blog coverage, discussions, and
5649 ratings.<a href="#ftn.idm1799" class="footnote" name="idm1799"><sup class="footnote">[142]</sup></a> Louise believes that the
5650 journal model could evolve to provide a more friendly and interactive user
5651 experience, including a way for readers to communicate with authors.
5652     </p><p>
5653       The big picture for PLOS going forward is to combine and adjust these
5654 experimental practices in ways that continue to improve accessibility and
5655 dissemination of research, while ensuring its integrity and reliability. The
5656 ways they interlink are complex.  The process of change and adjustment is
5657 not linear. PLOS sees itself as a very flexible publisher interested in
5658 exploring all the permutations research-publishing can take, with authors
5659 and readers who are open to experimentation.
5660     </p><p>
5661       For PLOS, success is not about revenue. Success is about proving that
5662 scientific research can be communicated rapidly and economically at scale,
5663 for the benefit of researchers and society.  The CC BY license makes it
5664 possible for PLOS to publish in a way that is unfettered, open, and fast,
5665 while ensuring that the authors get credit for their work. More than two
5666 million scientists, scholars, and clinicians visit PLOS every month, with
5667 more than 135,000 quality articles to peruse for free.
5668     </p><p>
5669       Ultimately, for PLOS, its authors, and its readers, success is about making
5670 research discoverable, available, and reproducible for the advancement of
5671 science.
5672     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1796" class="footnote"><p><a href="#idm1796" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1799" class="footnote"><p><a href="#idm1799" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>บทที่ 21. Rijksmuseum</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
5673         The Rijksmuseum is a Dutch national museum dedicated to art and
5674 history. Founded in 1800 in the Netherlands
5675       </p><p>
5676           <a class="ulink" href="http://www.rijksmuseum.nl" target="_top">http://www.rijksmuseum.nl</a>
5677         </p><p><span class="strong"><strong>Revenue model</strong></span>: grants and government
5678 funding, charging for in-person version (museum admission), selling
5679 merchandise
5680       </p><p><span class="strong"><strong>Interview date</strong></span>: December 11, 2015
5681       </p><p><span class="strong"><strong>Interviewee</strong></span>: Lizzy Jongma, the data
5682 manager of the collections information department
5683       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
5684     \textit{
5685         Profile written by Paul Stacey
5686       }
5687     \end{flushright}</td></tr></table></div><p>
5688       The Rijksmuseum, a national museum in the Netherlands dedicated to art and
5689 history, has been housed in its current building since 1885. The monumental
5690 building enjoyed more than 125 years of intensive use before needing a
5691 thorough overhaul. In 2003, the museum was closed for renovations. Asbestos
5692 was found in the roof, and although the museum was scheduled to be closed
5693 for only three to four years, renovations ended up taking ten years. During
5694 this time, the collection was moved to a different part of Amsterdam, which
5695 created a physical distance with the curators. Out of necessity, they
5696 started digitally photographing the collection and creating metadata
5697 (information about each object to put into a database). With the renovations
5698 going on for so long, the museum became largely forgotten by the public. Out
5699 of these circumstances emerged a new and more open model for the museum.
5700     </p><p>
5701       By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager,
5702 staff were fed up with the situation the museum was in.  They also realized
5703 that even with the new and larger space, it still wouldn’t be able to show
5704 very much of the whole collection—eight thousand of over one million works
5705 representing just 1 percent. Staff began exploring ways to express
5706 themselves, to have something to show for all of the work they had been
5707 doing.  The Rijksmuseum is primarily funded by Dutch taxpayers, so was there
5708 a way for the museum provide benefit to the public while it was closed? They
5709 began thinking about sharing Rijksmuseum’s collection using information
5710 technology. And they put up a card-catalog like database of the entire
5711 collection online.
5712     </p><p>
5713       It was effective but a bit boring. It was just data. A hackathon they were
5714 invited to got them to start talking about events like that as having
5715 potential. They liked the idea of inviting people to do cool stuff with
5716 their collection. What about giving online access to digital representations
5717 of the one hundred most important pieces in the Rijksmuseum collection? That
5718 eventually led to why not put the whole collection online?
5719     </p><p>
5720       Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
5721 library, museum, and archive for cultural heritage.<a href="#ftn.idm1822" class="footnote" name="idm1822"><sup class="footnote">[143]</sup></a> As an online portal to museum collections all
5722 across Europe, Europeana had become an important online platform. In October
5723 2010 Creative Commons released CC0 and its public-domain mark as tools
5724 people could use to identify works as free of known copyright. Europeana was
5725 the first major adopter, using CC0 to release metadata about their
5726 collection and the public domain mark for millions of digital works in their
5727 collection. Lizzy says the Rijksmuseum initially found this change in
5728 business practice a bit scary, but at the same time it stimulated even more
5729 discussion on whether the Rijksmuseum should follow suit.
5730     </p><p>
5731       They realized that they don’t <span class="quote">“<span class="quote">own</span>”</span> the collection and couldn’t
5732 realistically monitor and enforce compliance with the restrictive licensing
5733 terms they currently had in place. For example, many copies and versions of
5734 Vermeer’s Milkmaid (part of their collection) were already online, many of
5735 them of very poor quality. They could spend time and money policing its use,
5736 but it would probably be futile and wouldn’t make people stop using their
5737 images online. They ended up thinking it’s an utter waste of time to hunt
5738 down people who use the Rijksmuseum collection. And anyway, restricting
5739 access meant the people they were frustrating the most were schoolkids.
5740     </p><p>
5741       In 2011 the Rijksmuseum began making their digital photos of works known to
5742 be free of copyright available online, using Creative Commons CC0 to place
5743 works in the public domain. A medium-resolution image was offered for free,
5744 but a high-resolution version cost forty euros. People started paying, but
5745 Lizzy says getting the money was frequently a nightmare, especially from
5746 overseas customers. The administrative costs often offset revenue, and
5747 income above costs was relatively low. In addition, having to pay for an
5748 image of a work in the public domain from a collection owned by the Dutch
5749 government (i.e., paid for by the public) was contentious and frustrating
5750 for some. Lizzy says they had lots of fierce debates about what to do.
5751     </p><p>
5752       In 2013 the Rijksmuseum changed its business model. They Creative Commons
5753 licensed their highest-quality images and released them online for
5754 free. Digitization still cost money, however; they decided to define
5755 discrete digitization projects and find sponsors willing to fund each
5756 project. This turned out to be a successful strategy, generating high
5757 interest from sponsors and lower administrative effort for the
5758 Rijksmuseum. They started out making 150,000 high-quality images of their
5759 collection available, with the goal to eventually have the entire collection
5760 online.
5761     </p><p>
5762       Releasing these high-quality images for free reduced the number of
5763 poor-quality images that were proliferating. The high-quality image of
5764 Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
5765 month. On the Internet, images from a source like the Rijksmuseum are more
5766 trusted, and releasing them with a Creative Commons CC0 means they can
5767 easily be found in other platforms. For example, Rijksmuseum images are now
5768 used in thousands of Wikipedia articles, receiving ten to eleven million
5769 views per month. This extends Rijksmuseum’s reach far beyond the scope of
5770 its website. Sharing these images online creates what Lizzy calls the
5771 <span class="quote">“<span class="quote">Mona Lisa effect,</span>”</span> where a work of art becomes so famous that
5772 people want to see it in real life by visiting the actual museum.
5773     </p><p>
5774       Every museum tends to be driven by the number of physical visitors. The
5775 Rijksmuseum is primarily publicly funded, receiving roughly 70 percent of
5776 its operating budget from the government.  But like many museums, it must
5777 generate the rest of the funding through other means. The admission fee has
5778 long been a way to generate revenue generation, including for the
5779 Rijksmuseum.
5780     </p><p>
5781       As museums create a digital presence for themselves and put up digital
5782 representations of their collection online, there’s frequently a worry that
5783 it will lead to a drop in actual physical visits. For the Rijksmuseum, this
5784 has not turned out to be the case. Lizzy told us the Rijksmuseum used to get
5785 about one million visitors a year before closing and now gets more than two
5786 million a year. Making the collection available online has generated
5787 publicity and acts as a form of marketing. The Creative Commons mark
5788 encourages reuse as well. When the image is found on protest leaflets, milk
5789 cartons, and children’s toys, people also see what museum the image comes
5790 from and this increases the museum’s visibility.
5791     </p><p>
5792       In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
5793 a new web presence that would be different from any other museum’s. In
5794 addition to redesigning their main website to be mobile friendly and
5795 responsive to devices like the iPad, the Rijksmuseum also created the
5796 Rijksstudio, where users and artists could use and do various things with
5797 the Rijksmuseum collection.<a href="#ftn.idm1834" class="footnote" name="idm1834"><sup class="footnote">[144]</sup></a>
5798     </p><p>
5799       The Rijksstudio gives users access to over two hundred thousand high-quality
5800 digital representations of masterworks from the collection. Users can zoom
5801 in to any work and even clip small parts of images they like. Rijksstudio is
5802 a bit like Pinterest.  You can <span class="quote">“<span class="quote">like</span>”</span> works and compile your
5803 personal favorites, and you can share them with friends or download them
5804 free of charge. All the images in the Rijksstudio are copyright and royalty
5805 free, and users are encouraged to use them as they like, for private or even
5806 commercial purposes.
5807     </p><p>
5808       Users have created over 276,000 Rijksstudios, generating their own themed
5809 virtual exhibitions on a wide variety of topics ranging from tapestries to
5810 ugly babies and birds. Sets of images have also been created for educational
5811 purposes including use for school exams.
5812     </p><p>
5813       Some contemporary artists who have works in the Rijksmuseum collection
5814 contacted them to ask why their works were not included in the
5815 Rijksstudio. The answer was that contemporary artists’ works are still bound
5816 by copyright. The Rijksmuseum does encourage contemporary artists to use a
5817 Creative Commons license for their works, usually a CC BY-SA license
5818 (Attribution-ShareAlike), or a CC BY-NC (Attribution-NonCommercial) if they
5819 want to preclude commercial use. That way, their works can be made available
5820 to the public, but within limits the artists have specified.
5821     </p><p>
5822       The Rijksmuseum believes that art stimulates entrepreneurial activity. The
5823 line between creative and commercial can be blurry.  As Lizzy says, even
5824 Rembrandt was commercial, making his livelihood from selling his
5825 paintings. The Rijksmuseum encourages entrepreneurial commercial use of the
5826 images in Rijksstudio.  They’ve even partnered with the DIY marketplace Etsy
5827 to inspire people to sell their creations. One great example you can find on
5828 Etsy is a kimono designed by Angie Johnson, who used an image of an
5829 elaborate cabinet along with an oil painting by Jan Asselijn called The
5830 Threatened Swan.<a href="#ftn.idm1842" class="footnote" name="idm1842"><sup class="footnote">[145]</sup></a>
5831     </p><p>
5832       In 2013 the Rijksmuseum organized their first high-profile design
5833 competition, known as the Rijksstudio Award.<a href="#ftn.idm1846" class="footnote" name="idm1846"><sup class="footnote">[146]</sup></a> With the call to action Make Your Own Masterpiece, the competition
5834 invites the public to use Rijksstudio images to make new creative designs. A
5835 jury of renowned designers and curators selects ten finalists and three
5836 winners. The final award comes with a prize of €10,000. The second edition
5837 in 2015 attracted a staggering 892 top-class entries. Some award winners end
5838 up with their work sold through the Rijksmuseum store, such as the 2014
5839 entry featuring makeup based on a specific color scheme of a work of
5840 art.<a href="#ftn.idm1851" class="footnote" name="idm1851"><sup class="footnote">[147]</sup></a> The Rijksmuseum has been thrilled
5841 with the results.  Entries range from the fun to the weird to the
5842 inspirational. The third international edition of the Rijksstudio Award
5843 started in September 2016.
5844     </p><p>
5845       For the next iteration of the Rijksstudio, the Rijksmuseum is considering an
5846 upload tool, for people to upload their own works of art, and enhanced
5847 social elements so users can interact with each other more.
5848     </p><p>
5849       Going with a more open business model generated lots of publicity for the
5850 Rijksmuseum. They were one of the first museums to open up their collection
5851 (that is, give free access) with high-quality images. This strategy, along
5852 with the many improvements to the Rijksmuseum’s website, dramatically
5853 increased visits to their website from thirty-five thousand visits per month
5854 to three hundred thousand.
5855     </p><p>
5856       The Rijksmuseum has been experimenting with other ways to invite the public
5857 to look at and interact with their collection. On an international day
5858 celebrating animals, they ran a successful bird-themed event. The museum put
5859 together a showing of two thousand works that featured birds and invited
5860 bird-watchers to identify the birds depicted. Lizzy notes that while museum
5861 curators know a lot about the works in their collections, they may not know
5862 about certain details in the paintings such as bird species. Over eight
5863 hundred different birds were identified, including a specific species of
5864 crane bird that was unknown to the scientific community at the time of the
5865 painting.
5866     </p><p>
5867       For the Rijksmuseum, adopting an open business model was scary.  They came
5868 up with many worst-case scenarios, imagining all kinds of awful things
5869 people might do with the museum’s works. But Lizzy says those fears did not
5870 come true because <span class="quote">“<span class="quote">ninety-nine percent of people have respect for
5871 great art.</span>”</span> Many museums think they can make a lot of money by
5872 selling things related to their collection. But in Lizzy’s experience,
5873 museums are usually bad at selling things, and sometimes efforts to generate
5874 a small amount of money block something much bigger—the real value that the
5875 collection has. For Lizzy, clinging to small amounts of revenue is being
5876 penny-wise but pound-foolish. For the Rijksmuseum, a key lesson has been to
5877 never lose sight of its vision for the collection. Allowing access to and
5878 use of their collection has generated great promotional value—far more than
5879 the previous practice of charging fees for access and use. Lizzy sums up
5880 their experience: <span class="quote">“<span class="quote">Give away; get something in return.  Generosity
5881 makes people happy to join you and help out.</span>”</span>
5882     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1822" class="footnote"><p><a href="#idm1822" class="para"><sup class="para">[143] </sup></a><a class="ulink" href="http://www.europeana.eu/portal/en" target="_top">http://www.europeana.eu/portal/en</a></p></div><div id="ftn.idm1834" class="footnote"><p><a href="#idm1834" class="para"><sup class="para">[144] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio" target="_top">http://www.rijksmuseum.nl/en/rijksstudio</a></p></div><div id="ftn.idm1842" class="footnote"><p><a href="#idm1842" class="para"><sup class="para">[145] </sup></a><a class="ulink" href="http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe" target="_top">http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe</a></p></div><div id="ftn.idm1846" class="footnote"><p><a href="#idm1846" class="para"><sup class="para">[146] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award</a>; the 2014
5883 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2014" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2014</a>;
5884 the 2015 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1851" class="footnote"><p><a href="#idm1851" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>บทที่ 22. Shareable</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
5885         Shareable is an online magazine about sharing. Founded in 2009 in the U.S.
5886       </p><p>
5887           <a class="ulink" href="http://www.shareable.net" target="_top">http://www.shareable.net</a>
5888         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding,
5889 crowdfunding (project-based), donations, sponsorships
5890       </p><p><span class="strong"><strong>Interview date</strong></span>: February 24, 2016
5891       </p><p><span class="strong"><strong>Interviewee</strong></span>: Neal Gorenflo, cofounder and
5892 executive editor
5893       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
5894     \textit{
5895         Profile written by Sarah Hinchliff Pearson
5896       }
5897     \end{flushright}</td></tr></table></div><p>
5898       In 2013, Shareable faced an impasse. The nonprofit online publication had
5899 helped start a sharing movement four years prior, but over time, they
5900 watched one part of the movement stray from its ideals. As giants like Uber
5901 and Airbnb gained ground, attention began to center on the <span class="quote">“<span class="quote">sharing
5902 economy</span>”</span> we know now—profit-driven, transactional, and loaded with
5903 venture-capital money. Leaders of corporate start-ups in this domain invited
5904 Shareable to advocate for them. The magazine faced a choice: ride the wave
5905 or stand on principle.
5906     </p><p>
5907       As an organization, Shareable decided to draw a line in the sand.  In 2013,
5908 the cofounder and executive editor Neal Gorenflo wrote an opinion piece in
5909 the PandoDaily that charted Shareable’s new critical stance on the Silicon
5910 Valley version of the sharing economy, while contrasting it with aspects of
5911 the real sharing economy like open-source software, participatory budgeting
5912 (where citizens decide how a public budget is spent), cooperatives, and
5913 more. He wrote, <span class="quote">“<span class="quote">It’s not so much that collaborative consumption is
5914 dead, it’s more that it risks dying as it gets absorbed by the
5915 <span class="quote">‘<span class="quote">Borg.</span>’</span></span>”</span>
5916     </p><p>
5917       Neal said their public critique of the corporate sharing economy defined
5918 what Shareable was and is. He does not think the magazine would still be
5919 around had they chosen differently. <span class="quote">“<span class="quote">We would have gotten another type
5920 of audience, but it would have spelled the end of us,</span>”</span> he
5921 said. <span class="quote">“<span class="quote">We are a small, mission-driven organization. We would never
5922 have been able to weather the criticism that Airbnb and Uber are getting
5923 now.</span>”</span>
5924     </p><p>
5925       Interestingly, impassioned supporters are only a small sliver of Shareable’s
5926 total audience. Most are casual readers who come across a Shareable story
5927 because it happens to align with a project or interest they have. But
5928 choosing principles over the possibility of riding the coattails of the
5929 major corporate players in the sharing space saved Shareable’s
5930 credibility. Although they became detached from the corporate sharing
5931 economy, the online magazine became the voice of the <span class="quote">“<span class="quote">real sharing
5932 economy</span>”</span> and continued to grow their audience.
5933     </p><p>
5934       Shareable is a magazine, but the content they publish is a means to
5935 furthering their role as a leader and catalyst of a movement.  Shareable
5936 became a leader in the movement in 2009. <span class="quote">“<span class="quote">At that time, there was a
5937 sharing movement bubbling beneath the surface, but no one was connecting the
5938 dots,</span>”</span> Neal said. <span class="quote">“<span class="quote">We decided to step into that space and take
5939 on that role.</span>”</span> The small team behind the nonprofit publication truly
5940 believed sharing could be central to solving some of the major problems
5941 human beings face—resource inequality, social isolation, and global warming.
5942     </p><p>
5943       They have worked hard to find ways to tell stories that show different
5944 metrics for success. <span class="quote">“<span class="quote">We wanted to change the notion of what
5945 constitutes the good life,</span>”</span> Neal said. While they started out with a
5946 very broad focus on sharing generally, today they emphasize stories about
5947 the physical commons like <span class="quote">“<span class="quote">sharing cities</span>”</span> (i.e., urban areas
5948 managed in a sustainable, cooperative way), as well as digital platforms
5949 that are run democratically. They particularly focus on how-to content that
5950 help their readers make changes in their own lives and communities.
5951     </p><p>
5952       More than half of Shareable’s stories are written by paid journalists that
5953 are contracted by the magazine.  <span class="quote">“<span class="quote">Particularly in content areas that
5954 are a priority for us, we really want to go deep and control the
5955 quality,</span>”</span> Neal said. The rest of the content is either contributed by
5956 guest writers, often for free, or written by other publications from their
5957 network of content publishers. Shareable is a member of the Post Growth
5958 Alliance, which facilitates the sharing of content and audiences among a
5959 large and growing group of mostly nonprofits.  Each organization gets a
5960 chance to present stories to the group, and the organizations can use and
5961 promote each other’s stories.  Much of the content created by the network is
5962 licensed with Creative Commons.
5963     </p><p>
5964       All of Shareable’s original content is published under the Attribution
5965 license (CC BY), meaning it can be used for any purpose as long as credit is
5966 given to Shareable. Creative Commons licensing is aligned with Shareable’s
5967 vision, mission, and identity. That alone explains the organization’s
5968 embrace of the licenses for their content, but Neal also believes CC
5969 licensing helps them increase their reach. <span class="quote">“<span class="quote">By using CC
5970 licensing,</span>”</span> he said, <span class="quote">“<span class="quote">we realized we could reach far more
5971 people through a formal and informal network of republishers or
5972 affiliates. That has definitely been the case. It’s hard for us to measure
5973 the reach of other media properties, but most of the outlets who republish
5974 our work have much bigger audiences than we do.</span>”</span>
5975     </p><p>
5976       In addition to their regular news and commentary online, Shareable has also
5977 experimented with book publishing. In 2012, they worked with a traditional
5978 publisher to release Share or Die: Voices of the Get Lost Generation in an
5979 Age of Crisis. The CC-licensed book was available in print form for purchase
5980 or online for free. To this day, the book—along with their CC-licensed guide
5981 Policies for Shareable Cities—are two of the biggest generators of traffic
5982 on their website.
5983     </p><p>
5984       In 2016, Shareable self-published a book of curated Shareable stories called
5985 How to: Share, Save Money and Have Fun. The book was available for sale, but
5986 a PDF version of the book was available for free. Shareable plans to offer
5987 the book in upcoming fund-raising campaigns.
5988     </p><p>
5989       This recent book is one of many fund-raising experiments Shareable has
5990 conducted in recent years. Currently, Shareable is primarily funded by
5991 grants from foundations, but they are actively moving toward a more
5992 diversified model. They have organizational sponsors and are working to
5993 expand their base of individual donors.  Ideally, they will eventually be a
5994 hundred percent funded by their audience. Neal believes being fully
5995 community-supported will better represent their vision of the world.
5996     </p><p>
5997       For Shareable, success is very much about their impact on the world. This is
5998 true for Neal, but also for everyone who works for Shareable. <span class="quote">“<span class="quote">We
5999 attract passionate people,</span>”</span> Neal said.  At times, that means
6000 employees work so hard they burn out. Neal tries to stress to the Shareable
6001 team that another part of success is having fun and taking care of yourself
6002 while you do something you love. <span class="quote">“<span class="quote">A central part of human beings is
6003 that we long to be on a great adventure with people we love,</span>”</span> he
6004 said.  <span class="quote">“<span class="quote">We are a species who look over the horizon and imagine and
6005 create new worlds, but we also seek the comfort of hearth and home.</span>”</span>
6006     </p><p>
6007       In 2013, Shareable ran its first crowdfunding campaign to launch their
6008 Sharing Cities Network. Neal said at first they were on pace to fail
6009 spectacularly. They called in their advisers in a panic and asked for
6010 help. The advice they received was simple—<span class="quote">“<span class="quote">Sit your ass in a chair and
6011 start making calls.</span>”</span> That’s exactly what they did, and they ended up
6012 reaching their $50,000 goal. Neal said the campaign helped them reach new
6013 people, but the vast majority of backers were people in their existing base.
6014     </p><p>
6015       For Neal, this symbolized how so much of success comes down to
6016 relationships. Over time, Shareable has invested time and energy into the
6017 relationships they have forged with their readers and supporters. They have
6018 also invested resources into building relationships between their readers
6019 and supporters.
6020     </p><p>
6021       Shareable began hosting events in 2010. These events were designed to bring
6022 the sharing community together. But over time they realized they could reach
6023 far more people if they helped their readers to host their own
6024 events. <span class="quote">“<span class="quote">If we wanted to go big on a conference, there was a huge risk
6025 and huge staffing needs, plus only a fraction of our community could travel
6026 to the event,</span>”</span> Neal said. Enabling others to create their own events
6027 around the globe allowed them to scale up their work more effectively and
6028 reach far more people. Shareable has catalyzed three hundred different
6029 events reaching over twenty thousand people since implementing this strategy
6030 three years ago. Going forward, Shareable is focusing the network on
6031 creating and distributing content meant to spur local action. For instance,
6032 Shareable will publish a new CC-licensed book in 2017 filled with ideas for
6033 their network to implement.
6034     </p><p>
6035       Neal says Shareable stumbled upon this strategy, but it seems to perfectly
6036 encapsulate just how the commons is supposed to work.  Rather than a
6037 one-size-fits-all approach, Shareable puts the tools out there for people
6038 take the ideas and adapt them to their own communities.
6039     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>บทที่ 23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
6040         Siyavula is a for-profit educational-technology company that creates
6041 textbooks and integrated learning experiences. Founded in 2012 in South
6042 Africa.
6043       </p><p>
6044           <a class="ulink" href="http://www.siyavula.com" target="_top">http://www.siyavula.com</a>
6045         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
6046 services, sponsorships
6047       </p><p><span class="strong"><strong>Interview date</strong></span>: April 5, 2016
6048       </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Horner, CEO
6049       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
6050     \textit{
6051         Profile written by Paul Stacey
6052       }
6053     \end{flushright}</td></tr></table></div><p>
6054       Openness is a key principle for Siyavula. They believe that every learner
6055 and teacher should have access to high-quality educational resources, as
6056 this forms the basis for long-term growth and development. Siyavula has been
6057 a pioneer in creating high-quality open textbooks on mathematics and science
6058 subjects for grades 4 to 12 in South Africa.
6059     </p><p>
6060       In terms of creating an open business model that involves Creative Commons,
6061 Siyavula—and its founder, Mark Horner—have been around the block a few
6062 times. Siyavula has significantly shifted directions and strategies to
6063 survive and prosper. Mark says it’s been very organic.
6064     </p><p>
6065       It all started in 2002, when Mark and several other colleagues at the
6066 University of Cape Town in South Africa founded the Free High School Science
6067 Texts project. Most students in South Africa high schools didn’t have access
6068 to high-quality, comprehensive science and math textbooks, so Mark and his
6069 colleagues set out to write them and make them freely available.
6070     </p><p>
6071       As physicists, Mark and his colleagues were advocates of open-source
6072 software. To make the books open and free, they adopted the Free Software
6073 Foundation’s GNU Free Documentation License.<a href="#ftn.idm1924" class="footnote" name="idm1924"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
6074 documents, to author the books. Over a period of five years, the Free High
6075 School Science Texts project produced math and physical-science textbooks
6076 for grades 10 to 12.
6077     </p><p>
6078       In 2007, the Shuttleworth Foundation offered funding support to make the
6079 textbooks available for trial use at more schools.  Surveys before and after
6080 the textbooks were adopted showed there were no substantial criticisms of
6081 the textbooks’ pedagogical content. This pleased both the authors and
6082 Shuttleworth; Mark remains incredibly proud of this accomplishment.
6083     </p><p>
6084       But the development of new textbooks froze at this stage. Mark shifted his
6085 focus to rural schools, which didn’t have textbooks at all, and looked into
6086 the printing and distribution options. A few sponsors came on board but not
6087 enough to meet the need.
6088     </p><p>
6089       In 2007, Shuttleworth and the Open Society Institute convened a group of
6090 open-education activists for a small but lively meeting in Cape Town. One
6091 result was the Cape Town Open Education Declaration, a statement of
6092 principles, strategies, and commitment to help the open-education movement
6093 grow.<a href="#ftn.idm1930" class="footnote" name="idm1930"><sup class="footnote">[149]</sup></a> Shuttleworth also invited Mark to
6094 run a project writing open content for all subjects for K–12 in
6095 English. That project became Siyavula.
6096     </p><p>
6097       They wrote six original textbooks. A small publishing company offered
6098 Shuttleworth the option to buy out the publisher’s existing K–9 content for
6099 every subject in South African schools in both English and Afrikaans. A deal
6100 was struck, and all the acquired content was licensed with Creative Commons,
6101 significantly expanding the collection beyond the six original books.
6102     </p><p>
6103       Mark wanted to build out the remaining curricula collaboratively through
6104 communities of practice—that is, with fellow educators and writers. Although
6105 sharing is fundamental to teaching, there can be a few challenges when you
6106 create educational resources collectively. One concern is legal. It is
6107 standard practice in education to copy diagrams and snippets of text, but of
6108 course this doesn’t always comply with copyright law. Another concern is
6109 transparency. Sharing what you’ve authored means everyone can see it and
6110 opens you up to criticism. To alleviate these concerns, Mark adopted a
6111 team-based approach to authoring and insisted the curricula be based
6112 entirely on resources with Creative Commons licenses, thereby ensuring they
6113 were safe to share and free from legal repercussions.
6114     </p><p>
6115       Not only did Mark want the resources to be shareable, he wanted all teachers
6116 to be able to remix and edit the content. Mark and his team had to come up
6117 with an open editable format and provide tools for editing. They ended up
6118 putting all the books they’d acquired and authored on a platform called
6119 Connexions.<a href="#ftn.idm1936" class="footnote" name="idm1936"><sup class="footnote">[150]</sup></a> Siyavula trained many
6120 teachers to use Connexions, but it proved to be too complex and the
6121 textbooks were rarely edited.
6122     </p><p>
6123       Then the Shuttleworth Foundation decided to completely restructure its work
6124 as a foundation into a fellowship model (for reasons completely unrelated to
6125 Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
6126 an independent entity and took ownership over it as a Shuttleworth fellow.
6127     </p><p>
6128       Mark and his team experimented with several different strategies.  They
6129 tried creating an authoring and hosting platform called Full Marks so that
6130 teachers could share assessment items. They tried creating a service called
6131 Open Press, where teachers could ask for open educational resources to be
6132 aggregated into a package and printed for them. These services never really
6133 panned out.
6134     </p><p>
6135       Then the South African government approached Siyavula with an interest in
6136 printing out the original six Free High School Science Texts (math and
6137 physical-science textbooks for grades 10 to 12)  for all high school
6138 students in South Africa. Although at this point Siyavula was a bit
6139 discouraged by open educational resources, they saw this as a big
6140 opportunity.
6141     </p><p>
6142       They began to conceive of the six books as having massive marketing
6143 potential for Siyavula. Printing Siyavula books for every kid in South
6144 Africa would give their brand huge exposure and could drive vast amounts of
6145 traffic to their website. In addition to print books, Siyavula could also
6146 make the books available on their website, making it possible for learners
6147 to access them using any device—computer, tablet, or mobile phone.
6148     </p><p>
6149       Mark and his team began imagining what they could develop beyond what was in
6150 the textbooks as a service they charge for. One key thing you can’t do well
6151 in a printed textbook is demonstrate solutions. Typically, a one-line answer
6152 is given at the end of the book but nothing on the process for arriving at
6153 that solution.  Mark and his team developed practice items and detailed
6154 solutions, giving learners plenty of opportunity to test out what they’ve
6155 learned. Furthermore, an algorithm could adapt these practice items to the
6156 individual needs of each learner. They called this service Intelligent
6157 Practice and embedded links to it in the open textbooks.
6158     </p><p>
6159       The costs for using Intelligent Practice were set very low, making it
6160 accessible even to those with limited financial means. Siyavula was going
6161 for large volumes and wide-scale use rather than an expensive product
6162 targeting only the high end of the market.
6163     </p><p>
6164       The government distributed the books to 1.5 million students, but there was
6165 an unexpected wrinkle: the books were delivered late.  Rather than wait,
6166 schools who could afford it provided students with a different textbook. The
6167 Siyavula books were eventually distributed, but with well-off schools mainly
6168 using a different book, the primary market for Siyavula’s Intelligent
6169 Practice service inadvertently became low-income learners.
6170     </p><p>
6171       Siyavula’s site did see a dramatic increase in traffic. They got five
6172 hundred thousand visitors per month to their math site and the same number
6173 to their science site. Two-fifths of the traffic was reading on a
6174 <span class="quote">“<span class="quote">feature phone</span>”</span> (a nonsmartphone with no apps). People on basic
6175 phones were reading math and science on a two-inch screen at all hours of
6176 the day. To Mark, it was quite amazing and spoke to a need they were
6177 servicing.
6178     </p><p>
6179       At first, the Intelligent Practice services could only be paid using a
6180 credit card. This proved problematic, especially for those in the low-income
6181 demographic, as credit cards were not prevalent.  Mark says Siyavula got a
6182 harsh business-model lesson early on. As he describes it, it’s not just
6183 about product, but how you sell it, who the market is, what the price is,
6184 and what the barriers to entry are.
6185     </p><p>
6186       Mark describes this as the first version of Siyavula’s business model: open
6187 textbooks serving as marketing material and driving traffic to your site,
6188 where you can offer a related service and convert some people into a paid
6189 customer.
6190     </p><p>
6191       For Mark a key decision for Siyavula’s business was to focus on how they can
6192 add value on top of their basic service. They’ll charge only if they are
6193 adding unique value. The actual content of the textbook isn’t unique at all,
6194 so Siyavula sees no value in locking it down and charging for it. Mark
6195 contrasts this with traditional publishers who charge over and over again
6196 for the same content without adding value.
6197     </p><p>
6198       Version two of Siyavula’s business model was a big, ambitious idea—scale
6199 up. They also decided to sell the Intelligent Practice service to schools
6200 directly. Schools can subscribe on a per-student, per-subject basis. A
6201 single subscription gives a learner access to a single subject, including
6202 practice content from every grade available for that subject. Lower
6203 subscription rates are provided when there are over two hundred students,
6204 and big schools have a price cap. A 40 percent discount is offered to
6205 schools where both the science and math departments subscribe.
6206     </p><p>
6207       Teachers get a dashboard that allows them to monitor the progress of an
6208 entire class or view an individual learner’s results. They can see the
6209 questions that learners are working on, identify areas of difficulty, and be
6210 more strategic in their teaching. Students also have their own personalized
6211 dashboard, where they can view the sections they’ve practiced, how many
6212 points they’ve earned, and how their performance is improving.
6213     </p><p>
6214       Based on the success of this effort, Siyavula decided to substantially
6215 increase the production of open educational resources so they could provide
6216 the Intelligent Practice service for a wider range of books. Grades 10 to 12
6217 math and science books were reworked each year, and new books created for
6218 grades 4 to 6 and later grades 7 to 9.
6219     </p><p>
6220       In partnership with, and sponsored by, the Sasol Inzalo Foundation, Siyavula
6221 produced a series of natural sciences and technology workbooks for grades 4
6222 to 6 called Thunderbolt Kids that uses a fun comic-book style.<a href="#ftn.idm1955" class="footnote" name="idm1955"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
6223 teacher’s guides and other resources.
6224     </p><p>
6225       Through this experience, Siyavula learned they could get sponsors to help
6226 fund openly licensed textbooks. It helped that Siyavula had by this time
6227 nailed the production model. It cost roughly $150,000 to produce a book in
6228 two languages. Sponsors liked the social-benefit aspect of textbooks
6229 unlocked via a Creative Commons license. They also liked the exposure their
6230 brand got. For roughly $150,000, their logo would be visible on books
6231 distributed to over one million students.
6232     </p><p>
6233       The Siyavula books that are reviewed, approved, and branded by the
6234 government are freely and openly available on Siyavula’s website under an
6235 Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
6236 cannot be modified. Non-government-branded books are available under an
6237 Attribution license (CC BY), allowing others to modify and redistribute the
6238 books.
6239     </p><p>
6240       Although the South African government paid to print and distribute hard
6241 copies of the books to schoolkids, Siyavula itself received no funding from
6242 the government. Siyavula initially tried to convince the government to
6243 provide them with five rand per book (about US35¢). With those funds, Mark
6244 says that Siyavula could have run its entire operation, built a
6245 community-based model for producing more books, and provide Intelligent
6246 Practice for free to every child in the country. But after a lengthy
6247 negotiation, the government said no.
6248     </p><p>
6249       Using Siyavula books generated huge savings for the government.  Providing
6250 students with a traditionally published grade 12 science or math textbook
6251 costs around 250 rand per book (about US$18).  Providing the Siyavula
6252 version cost around 36 rand (about $2.60), a savings of over 200 rand per
6253 book. But none of those savings were passed on to Siyavula. In retrospect,
6254 Mark thinks this may have turned out in their favor as it allowed them to
6255 remain independent from the government.
6256     </p><p>
6257       Just as Siyavula was planning to scale up the production of open textbooks
6258 even more, the South African government changed its textbook policy. To save
6259 costs, the government declared there would be only one authorized textbook
6260 for each grade and each subject. There was no guarantee that Siyavula’s
6261 would be chosen.  This scared away potential sponsors.
6262     </p><p>
6263       Rather than producing more textbooks, Siyavula focused on improving its
6264 Intelligent Practice technology for its existing books. Mark calls this
6265 version three of Siyavula’s business model—focusing on the technology that
6266 provides the revenue-generating service and generating more users of this
6267 service. Version three got a significant boost in 2014 with an investment by
6268 the Omidyar Network (the philanthropic venture started by eBay founder
6269 Pierre Omidyar and his spouse), and continues to be the model Siyavula uses
6270 today.
6271     </p><p>
6272       Mark says sales are way up, and they are really nailing Intelligent
6273 Practice. Schools continue to use their open textbooks. The
6274 government-announced policy that there would be only one textbook per
6275 subject turned out to be highly contentious and is in limbo.
6276     </p><p>
6277       Siyavula is exploring a range of enhancements to their business model. These
6278 include charging a small amount for assessment services provided over the
6279 phone, diversifying their market to all English-speaking countries in
6280 Africa, and setting up a consortium that makes Intelligent Practice free to
6281 all kids by selling the nonpersonal data Intelligent Practice collects.
6282     </p><p>
6283       Siyavula is a for-profit business but one with a social mission.  Their
6284 shareholders’ agreement lists lots of requirements around openness for
6285 Siyavula, including stipulations that content always be put under an open
6286 license and that they can’t charge for something that people volunteered to
6287 do for them. They believe each individual should have access to the
6288 resources and support they need to achieve the education they
6289 deserve. Having educational resources openly licensed with Creative Commons
6290 means they can fulfill their social mission, on top of which they can build
6291 revenue-generating services to sustain the ongoing operation of Siyavula. In
6292 terms of open business models, Mark and Siyavula may have been around the
6293 block a few times, but both he and the company are stronger for it.
6294     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1924" class="footnote"><p><a href="#idm1924" class="para"><sup class="para">[148] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1930" class="footnote"><p><a href="#idm1930" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm1936" class="footnote"><p><a href="#idm1936" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm1955" class="footnote"><p><a href="#idm1955" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>บทที่ 24. SparkFun</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
6295         SparkFun is an online electronics retailer specializing in open
6296 hardware. Founded in 2003 in the U.S.
6297       </p><p>
6298           <a class="ulink" href="http://www.sparkfun.com" target="_top">http://www.sparkfun.com</a>
6299         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
6300 copies (electronics sales)
6301       </p><p><span class="strong"><strong>Interview date</strong></span>: February 29, 2016
6302       </p><p><span class="strong"><strong>Interviewee</strong></span>: Nathan Seidle, founder
6303       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
6304     \textit{
6305         Profile written by Sarah Hinchliff Pearson
6306       }
6307     \end{flushright}</td></tr></table></div><p>
6308       SparkFun founder and former CEO Nathan Seidle has a picture of himself
6309 holding up a clone of a SparkFun product in an electronics market in China,
6310 with a huge grin on his face. He was traveling in China when he came across
6311 their LilyPad wearable technology being made by someone else. His reaction
6312 was glee.
6313     </p><p><span class="quote">“<span class="quote">Being copied is the greatest earmark of flattery and success,</span>”</span>
6314 Nathan said. <span class="quote">“<span class="quote">I thought it was so cool that they were selling to a
6315 market we were never going to get access to otherwise. It was evidence of
6316 our impact on the world.</span>”</span>
6317     </p><p>
6318       This worldview runs through everything SparkFun does. SparkFun is an
6319 electronics manufacturer. The company sells its products directly to the
6320 public online, and it bundles them with educational tools to sell to schools
6321 and teachers. SparkFun applies Creative Commons licenses to all of its
6322 schematics, images, tutorial content, and curricula, so anyone can make
6323 their products on their own. Being copied is part of the design.
6324     </p><p>
6325       Nathan believes open licensing is good for the world. <span class="quote">“<span class="quote">It touches on
6326 our natural human instinct to share,</span>”</span> he said.  But he also strongly
6327 believes it makes SparkFun better at what they do. They encourage copying,
6328 and their products are copied at a very fast rate, often within ten to
6329 twelve weeks of release.  This forces the company to compete on something
6330 other than product design, or what most commonly consider their intellectual
6331 property.
6332     </p><p><span class="quote">“<span class="quote">We compete on business principles,</span>”</span> Nathan said.
6333 <span class="quote">“<span class="quote">Claiming your territory with intellectual property allows you to get
6334 comfy and rest on your laurels. It gives you a safety net. We took away that
6335 safety net.</span>”</span>
6336     </p><p>
6337       The result is an intense company-wide focus on product development and
6338 improvement. <span class="quote">“<span class="quote">Our products are so much better than they were five
6339 years ago,</span>”</span> Nathan said. <span class="quote">“<span class="quote">We used to just sell products. Now
6340 it’s a product plus a video, a seventeen-page hookup guide, and example
6341 firmware on three different platforms to get you up and running faster. We
6342 have gotten better because we had to in order to compete. As painful as it
6343 is for us, it’s better for the customers.</span>”</span>
6344     </p><p>
6345       SparkFun parts are available on eBay for lower prices. But people come
6346 directly to SparkFun because SparkFun makes their lives easier. The example
6347 code works; there is a service number to call; they ship replacement parts
6348 the day they get a service call. They invest heavily in service and
6349 support. <span class="quote">“<span class="quote">I don’t believe businesses should be competing with IP
6350 [intellectual property] barriers,</span>”</span> Nathan said. <span class="quote">“<span class="quote">This is the
6351 stuff they should be competing on.</span>”</span>
6352     </p><p>
6353       SparkFun’s company history began in Nathan’s college dorm room. He spent a
6354 lot of time experimenting with and building electronics, and he realized
6355 there was a void in the market. <span class="quote">“<span class="quote">If you wanted to place an order for
6356 something,</span>”</span> he said, <span class="quote">“<span class="quote">you first had to search far and wide to
6357 find it, and then you had to call or fax someone.</span>”</span> In 2003, during
6358 his third year of college, he registered <a class="ulink" href="http://sparkfun.com" target="_top">http://sparkfun.com</a>
6359 and started reselling products out of his bedroom. After he graduated, he
6360 started making and selling his own products.
6361     </p><p>
6362       Once he started designing his own products, he began putting the software
6363 and schematics online to help with technical support.  After doing some
6364 research on licensing options, he chose Creative Commons licenses because he
6365 was drawn to the <span class="quote">“<span class="quote">human-readable deeds</span>”</span> that explain the
6366 licensing terms in simple terms.  SparkFun still uses CC licenses for all of
6367 the schematics and firmware for the products they create.
6368     </p><p>
6369       The company has grown from a solo project to a corporation with 140
6370 employees. In 2015, SparkFun earned $33 million in revenue.  Selling
6371 components and widgets to hobbyists, professionals, and artists remains a
6372 major part of SparkFun’s business. They sell their own products, but they
6373 also partner with Arduino (also profiled in this book) by manufacturing
6374 boards for resale using Arduino’s brand.
6375     </p><p>
6376       SparkFun also has an educational department dedicated to creating a hands-on
6377 curriculum to teach students about electronics using prototyping
6378 parts. Because SparkFun has always been dedicated to enabling others to
6379 re-create and fix their products on their own, the more recent focus on
6380 introducing young people to technology is a natural extension of their core
6381 business.
6382     </p><p><span class="quote">“<span class="quote">We have the burden and opportunity to educate the next generation of
6383 technical citizens,</span>”</span> Nathan said. <span class="quote">“<span class="quote">Our goal is to affect the
6384 lives of three hundred and fifty thousand high school students by
6385 2020.</span>”</span>
6386     </p><p>
6387       The Creative Commons license underlying all of SparkFun’s products is
6388 central to this mission. The license not only signals a willingness to
6389 share, but it also expresses a desire for others to get in and tinker with
6390 their products, both to learn and to make their products better. SparkFun
6391 uses the Attribution-ShareAlike license (CC BY-SA), which is a
6392 <span class="quote">“<span class="quote">copyleft</span>”</span> license that allows people to do anything with the
6393 content as long as they provide credit and make any adaptations available
6394 under the same licensing terms.
6395     </p><p>
6396       From the beginning, Nathan has tried to create a work environment at
6397 SparkFun that he himself would want to work in. The result is what appears
6398 to be a pretty fun workplace. The U.S. company is based in Boulder,
6399 Colorado. They have an eighty-thousand-square-foot facility (approximately
6400 seventy-four-hundred square meters), where they design and manufacture their
6401 products. They offer public tours of the space several times a week, and
6402 they open their doors to the public for a competition once a year.
6403     </p><p>
6404       The public event, called the Autonomous Vehicle Competition, brings in a
6405 thousand to two thousand customers and other technology enthusiasts from
6406 around the area to race their own self-created bots against each other,
6407 participate in training workshops, and socialize. From a business
6408 perspective, Nathan says it’s a terrible idea. But they don’t hold the event
6409 for business reasons. <span class="quote">“<span class="quote">The reason we do it is because I get to travel
6410 and have interactions with our customers all the time, but most of our
6411 employees don’t,</span>”</span> he said. <span class="quote">“<span class="quote">This event gives our employees the
6412 opportunity to get face-to-face contact with our customers.</span>”</span> The
6413 event infuses their work with a human element, which makes it more
6414 meaningful.
6415     </p><p>
6416       Nathan has worked hard to imbue a deeper meaning into the work SparkFun
6417 does. The company is, of course, focused on being fiscally responsible, but
6418 they are ultimately driven by something other than money. <span class="quote">“<span class="quote">Profit is
6419 not the goal; it is the outcome of a well-executed plan,</span>”</span> Nathan
6420 said. <span class="quote">“<span class="quote">We focus on having a bigger impact on the world.</span>”</span> Nathan
6421 believes they get some of the brightest and most amazing employees because
6422 they aren’t singularly focused on the bottom line.
6423     </p><p>
6424       The company is committed to transparency and shares all of its financials
6425 with its employees. They also generally strive to avoid being another
6426 soulless corporation. They actively try to reveal the humans behind the
6427 company, and they work to ensure people coming to their site don’t find only
6428 unchanging content.
6429     </p><p>
6430       SparkFun’s customer base is largely made up of industrious electronics
6431 enthusiasts. They have customers who are regularly involved in the company’s
6432 customer support, independently responding to questions in forums and
6433 product-comment sections.  Customers also bring product ideas to the
6434 company. SparkFun regularly sifts through suggestions from customers and
6435 tries to build on them where they can. <span class="quote">“<span class="quote">From the beginning, we have
6436 been listening to the community,</span>”</span> Nathan said.  <span class="quote">“<span class="quote">Customers
6437 would identify a pain point, and we would design something to address
6438 it.</span>”</span>
6439     </p><p>
6440       However, this sort of customer engagement does not always translate to
6441 people actively contributing to SparkFun’s projects.  The company has a
6442 public repository of software code for each of its devices online. On a
6443 particularly active project, there will only be about two dozen people
6444 contributing significant improvements. The vast majority of projects are
6445 relatively untouched by the public. <span class="quote">“<span class="quote">There is a theory that if you
6446 open-source it, they will come,</span>”</span> Nathan said. <span class="quote">“<span class="quote">That’s not
6447 really true.</span>”</span>
6448     </p><p>
6449       Rather than focusing on cocreation with their customers, SparkFun instead
6450 focuses on enabling people to copy, tinker, and improve products on their
6451 own. They heavily invest in tutorials and other material designed to help
6452 people understand how the products work so they can fix and improve things
6453 independently. <span class="quote">“<span class="quote">What gives me joy is when people take open-source
6454 layouts and then build their own circuit boards from our designs,</span>”</span>
6455 Nathan said.
6456     </p><p>
6457       Obviously, opening up the design of their products is a necessary step if
6458 their goal is to empower the public. Nathan also firmly believes it makes
6459 them more money because it requires them to focus on how to provide maximum
6460 value. Rather than designing a new product and protecting it in order to
6461 extract as much money as possible from it, they release the keys necessary
6462 for others to build it themselves and then spend company time and resources
6463 on innovation and service. From a short-term perspective, SparkFun may lose
6464 a few dollars when others copy their products. But in the long run, it makes
6465 them a more nimble, innovative business. In other words, it makes them the
6466 kind of company they set out to be.
6467     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>บทที่ 25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
6468         TeachAIDS is a nonprofit that creates educational materials designed to
6469 teach people around the world about HIV and AIDS.  Founded in 2005 in the
6470 U.S.
6471       </p><p>
6472           <a class="ulink" href="http://teachaids.org" target="_top">http://teachaids.org</a>
6473         </p><p><span class="strong"><strong>Revenue model</strong></span>: sponsorships
6474       </p><p><span class="strong"><strong>Interview date</strong></span>: March 24, 2016
6475       </p><p><span class="strong"><strong>Interviewees</strong></span>: Piya Sorcar, the CEO, and
6476 Shuman Ghosemajumder, the chair
6477       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
6478     \textit{
6479         Profile written by Sarah Hinchliff Pearson
6480       }
6481     \end{flushright}</td></tr></table></div><p>
6482       TeachAIDS is an unconventional media company with a conventional revenue
6483 model. Like most media companies, they are subsidized by
6484 advertising. Corporations pay to have their logos appear on the educational
6485 materials TeachAIDS distributes.
6486     </p><p>
6487       But unlike most media companies, Teach-AIDS is a nonprofit organization with
6488 a purely social mission. TeachAIDS is dedicated to educating the global
6489 population about HIV and AIDS, particularly in parts of the world where
6490 education efforts have been historically unsuccessful. Their educational
6491 content is conveyed through interactive software, using methods based on the
6492 latest research about how people learn. TeachAIDS serves content in more
6493 than eighty countries around the world. In each instance, the content is
6494 translated to the local language and adjusted to conform to local norms and
6495 customs. All content is free and made available under a Creative Commons
6496 license.
6497     </p><p>
6498       TeachAIDS is a labor of love for founder and CEO Piya Sorcar, who earns a
6499 salary of one dollar per year from the nonprofit. The project grew out of
6500 research she was doing while pursuing her doctorate at Stanford
6501 University. She was reading reports about India, noting it would be the next
6502 hot zone of people living with HIV. Despite international and national
6503 entities pouring in hundreds of millions of dollars on HIV-prevention
6504 efforts, the reports showed knowledge levels were still low. People were
6505 unaware of whether the virus could be transmitted through coughing and
6506 sneezing, for instance. Supported by an interdisciplinary team of experts at
6507 Stanford, Piya conducted similar studies, which corroborated the previous
6508 research. They found that the primary cause of the limited understanding was
6509 that HIV, and issues relating to it, were often considered too taboo to
6510 discuss comprehensively. The other major problem was that most of the
6511 education on this topic was being taught through television advertising,
6512 billboards, and other mass-media campaigns, which meant people were only
6513 receiving bits and pieces of information.
6514     </p><p>
6515       In late 2005, Piya and her team used research-based design to create new
6516 educational materials and worked with local partners in India to help
6517 distribute them. As soon as the animated software was posted online, Piya’s
6518 team started receiving requests from individuals and governments who were
6519 interested in bringing this model to more countries. <span class="quote">“<span class="quote">We realized
6520 fairly quickly that educating large populations about a topic that was
6521 considered taboo would be challenging. We began by identifying optimal local
6522 partners and worked toward creating an effective, culturally appropriate
6523 education,</span>”</span> Piya said.
6524     </p><p>
6525       Very shortly after the initial release, Piya’s team decided to spin the
6526 endeavor into an independent nonprofit out of Stanford University. They also
6527 decided to use Creative Commons licenses on the materials.
6528     </p><p>
6529       Given their educational mission, TeachAIDS had an obvious interest in seeing
6530 the materials as widely shared as possible. But they also needed to preserve
6531 the integrity of the medical information in the content. They chose the
6532 Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND), which essentially
6533 gives the public the right to distribute only verbatim copies of the
6534 content, and for noncommercial purposes. <span class="quote">“<span class="quote">We wanted attribution for
6535 TeachAIDS, and we couldn’t stand by derivatives without vetting
6536 them,</span>”</span> the cofounder and chair Shuman Ghosemajumder said.  <span class="quote">“<span class="quote">It
6537 was almost a no-brainer to go with a CC license because it was a
6538 plug-and-play solution to this exact problem. It has allowed us to scale our
6539 materials safely and quickly worldwide while preserving our content and
6540 protecting us at the same time.</span>”</span>
6541     </p><p>
6542       Choosing a license that does not allow adaptation of the content was an
6543 outgrowth of the careful precision with which TeachAIDS crafts their
6544 content. The organization invests heavily in research and testing to
6545 determine the best method of conveying the information. <span class="quote">“<span class="quote">Creating
6546 high-quality content is what matters most to us,</span>”</span> Piya
6547 said. <span class="quote">“<span class="quote">Research drives everything we do.</span>”</span>
6548     </p><p>
6549       One important finding was that people accept the message best when it comes
6550 from familiar voices they trust and admire. To achieve this, TeachAIDS
6551 researches cultural icons that would best resonate with their target
6552 audiences and recruits them to donate their likenesses and voices for use in
6553 the animated software. The celebrities involved vary for each localized
6554 version of the materials.
6555     </p><p>
6556       Localization is probably the single-most important aspect of the way
6557 TeachAIDS creates its content. While each regional version builds from the
6558 same core scientific materials, they pour a lot of resources into
6559 customizing the content for a particular population. Because they use a CC
6560 license that does not allow the public to adapt the content, TeachAIDS
6561 retains careful control over the localization process. The content is
6562 translated into the local language, but there are also changes in substance
6563 and format to reflect cultural differences. This process results in minor
6564 changes, like choosing different idioms based on the local language, and
6565 significant changes, like creating gendered versions for places where people
6566 are more likely to accept information from someone of the same gender.
6567     </p><p>
6568       The localization process relies heavily on volunteers. Their volunteer base
6569 is deeply committed to the cause, and the organization has had better luck
6570 controlling the quality of the materials when they tap volunteers instead of
6571 using paid translators. For quality control, TeachAIDS has three separate
6572 volunteer teams translate the materials from English to the local language
6573 and customize the content based on local customs and norms. Those three
6574 versions are then analyzed and combined into a single master
6575 translation. TeachAIDS has additional teams of volunteers then translate
6576 that version back into English to see how well it lines up with the original
6577 materials. They repeat this process until they reach a translated version
6578 that meets their standards. For the Tibetan version, they went through this
6579 cycle eleven times.
6580     </p><p>
6581       TeachAIDS employs full-time employees, contractors, and volunteers, all in
6582 different capacities and organizational configurations. They are careful to
6583 use people from diverse backgrounds to create the materials, including
6584 teachers, students, and doctors, as well as individuals experienced in
6585 working in the NGO space. This diversity and breadth of knowledge help
6586 ensure their materials resonate with people from all walks of life.
6587 Additionally, TeachAIDS works closely with film writers and directors to
6588 help keep the concepts entertaining and easy to understand. The inclusive,
6589 but highly controlled, creative process is undertaken entirely by people who
6590 are specifically brought on to help with a particular project, rather than
6591 ongoing staff. The final product they create is designed to require zero
6592 training for people to implement in practice. <span class="quote">“<span class="quote">In our research, we
6593 found we can’t depend on people passing on the information correctly, even
6594 if they have the best of intentions,</span>”</span> Piya said.  <span class="quote">“<span class="quote">We need
6595 materials where you can push play and they will work.</span>”</span>
6596     </p><p>
6597       Piya’s team was able to produce all of these versions over several years
6598 with a head count that never exceeded eight full-time employees. The
6599 organization is able to reduce costs by relying heavily on volunteers and
6600 in-kind donations. Nevertheless, the nonprofit needed a sustainable revenue
6601 model to subsidize content creation and physical distribution of the
6602 materials. Charging even a low price was simply not an
6603 option. <span class="quote">“<span class="quote">Educators from various nonprofits around the world were just
6604 creating their own materials using whatever they could find for free
6605 online,</span>”</span> Shuman said. <span class="quote">“<span class="quote">The only way to persuade them to use our
6606 highly effective model was to make it completely free.</span>”</span>
6607     </p><p>
6608       Like many content creators offering their work for free, they settled on
6609 advertising as a funding model. But they were extremely careful not to let
6610 the advertising compromise their credibility or undermine the heavy
6611 investment they put into creating quality content. Sponsors of the content
6612 have no ability to influence the substance of the content, and they cannot
6613 even create advertising content. Sponsors only get the right to have their
6614 logo appear before and after the educational content. All of the content
6615 remains branded as TeachAIDS.
6616     </p><p>
6617       TeachAIDS is careful not to seek funding to cover the costs of a specific
6618 project. Instead, sponsorships are structured as unrestricted donations to
6619 the nonprofit. This gives the nonprofit more stability, but even more
6620 importantly, it enables them to subsidize projects being localized for an
6621 area with no sponsors.  <span class="quote">“<span class="quote">If we just created versions based on where we
6622 could get sponsorships, we would only have materials for wealthier
6623 countries,</span>”</span> Shuman said.
6624     </p><p>
6625       As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">“<span class="quote">When we go into a new
6626 country, various companies hear about us and reach out to us,</span>”</span> Piya
6627 said. <span class="quote">“<span class="quote">We don’t have to do much to find or attract them.</span>”</span> They
6628 believe the sponsorships are easy to sell because they offer so much value
6629 to sponsors. TeachAIDS sponsorships give corporations the chance to reach
6630 new eyeballs with their brand, but at a much lower cost than other
6631 advertising channels. The audience for TeachAIDS content also tends to skew
6632 young, which is often a desirable demographic for brands. Unlike traditional
6633 advertising, the content is not time-sensitive, so an investment in a
6634 sponsorship can benefit a brand for many years to come.
6635     </p><p>
6636       Importantly, the value to corporate sponsors goes beyond commercial
6637 considerations. As a nonprofit with a clearly articulated social mission,
6638 corporate sponsorships are donations to a cause. <span class="quote">“<span class="quote">This is something
6639 companies can be proud of internally,</span>”</span> Shuman said. Some companies
6640 have even built publicity campaigns around the fact that they have sponsored
6641 these initiatives.
6642     </p><p>
6643       The core mission of TeachAIDS—ensuring global access to life-saving
6644 education—is at the root of everything the organization does. It underpins
6645 the work; it motivates the funders. The CC license on the materials they
6646 create furthers that mission, allowing them to safely and quickly scale
6647 their materials worldwide. <span class="quote">“<span class="quote">The Creative Commons license has been a
6648 game changer for TeachAIDS,</span>”</span> Piya said.
6649     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>บทที่ 26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
6650         Tribe of Noise is a for-profit online music platform serving the film, TV,
6651 video, gaming, and in-store-media industries. Founded in 2008 in the
6652 Netherlands.
6653       </p><p>
6654           <a class="ulink" href="http://www.tribeofnoise.com" target="_top">http://www.tribeofnoise.com</a>
6655         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
6656       </p><p><span class="strong"><strong>Interview date</strong></span>: January 26, 2016
6657       </p><p><span class="strong"><strong>Interviewee</strong></span>: Hessel van Oorschot,
6658 cofounder
6659       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
6660     \textit{
6661         Profile written by Paul Stacey
6662       }
6663     \end{flushright}</td></tr></table></div><p>
6664       In the early 2000s, Hessel van Oorschot was an entrepreneur running a
6665 business where he coached other midsize entrepreneurs how to create an
6666 online business. He also coauthored a number of workbooks for small- to
6667 medium-size enterprises to use to optimize their business for the
6668 Web. Through this early work, Hessel became familiar with the principles of
6669 open licensing, including the use of open-source software and Creative
6670 Commons.
6671     </p><p>
6672       In 2005, Hessel and Sandra Brandenburg launched a niche video-production
6673 initiative. Almost immediately, they ran into issues around finding and
6674 licensing music tracks. All they could find was standard, cold
6675 stock-music. They thought of looking up websites where you could license
6676 music directly from the musician without going through record labels or
6677 agents. But in 2005, the ability to directly license music from a rights
6678 holder was not readily available.
6679     </p><p>
6680       They hired two lawyers to investigate further, and while they uncovered five
6681 or six examples, Hessel found the business models lacking. The lawyers
6682 expressed interest in being their legal team should they decide to pursue
6683 this as an entrepreneurial opportunity. Hessel says, <span class="quote">“<span class="quote">When lawyers are
6684 interested in a venture like this, you might have something special.</span>”</span>
6685 So after some more research, in early 2008, Hessel and Sandra decided to
6686 build a platform.
6687     </p><p>
6688       Building a platform posed a real chicken-and-egg problem. The platform had
6689 to build an online community of music-rights holders and, at the same time,
6690 provide the community with information and ideas about how the new economy
6691 works. Community willingness to try new music business models requires a
6692 trust relationship.
6693     </p><p>
6694       In July 2008, Tribe of Noise opened its virtual doors with a couple hundred
6695 musicians willing to use the CC BY-SA license (Attribution-ShareAlike) for a
6696 limited part of their repertoire.  The two entrepreneurs wanted to take the
6697 pain away for media makers who wanted to license music and solve the
6698 problems the two had personally experienced finding this music.
6699     </p><p>
6700       As they were growing the community, Hessel got a phone call from a company
6701 that made in-store music playlists asking if they had enough music licensed
6702 with Creative Commons that they could use.  Stores need quality,
6703 good-listening music but not necessarily hits, a bit like a radio show
6704 without the DJ. This opened a new opportunity for Tribe of Noise. They
6705 started their In-store Music Service, using music (licensed with CC BY-SA)
6706 uploaded by the Tribe of Noise community of musicians.<a href="#ftn.idm2090" class="footnote" name="idm2090"><sup class="footnote">[152]</sup></a>
6707     </p><p>
6708       In most countries, artists, authors, and musicians join a collecting society
6709 that manages the licensing and helps collect the royalties. Copyright
6710 collecting societies in the European Union usually hold monopolies in their
6711 respective national markets. In addition, they require their members to
6712 transfer exclusive administration rights to them of all of their works.
6713 This complicates the picture for Tribe of Noise, who wants to represent
6714 artists, or at least a portion of their repertoire.  Hessel and his legal
6715 team reached out to collecting societies, starting with those in the
6716 Netherlands. What would be the best legal way forward that would respect the
6717 wishes of composers and musicians who’d be interested in trying out new
6718 models like the In-store Music Service? Collecting societies at first were
6719 hesitant and said no, but Tribe of Noise persisted arguing that they
6720 primarily work with unknown artists and provide them exposure in parts of
6721 the world where they don’t get airtime normally and a source of revenue—and
6722 this convinced them that it was OK. However, Hessel says, <span class="quote">“<span class="quote">We are
6723 still fighting for a good cause every single day.</span>”</span>
6724     </p><p>
6725       Instead of building a large sales force, Tribe of Noise partnered with big
6726 organizations who have lots of clients and can act as a kind of Tribe of
6727 Noise reseller. The largest telecom network in the Netherlands, for example,
6728 sells Tribe’s In-store Music Service subscriptions to their business
6729 clients, which include fashion retailers and fitness centers. They have a
6730 similar deal with the leading trade association representing hotels and
6731 restaurants in the country. Hessel hopes to <span class="quote">“<span class="quote">copy and paste</span>”</span>
6732 this service into other countries where collecting societies understand what
6733 you can do with Creative Commons. Outside of the Netherlands, early
6734 adoptions have happened in Scandinavia, Belgium, and the U.S.
6735     </p><p>
6736       Tribe of Noise doesn’t pay the musicians up front; they get paid when their
6737 music ends up in Tribe of Noise’s in-store music channels. The musicians’
6738 share is 42.5 percent. It’s not uncommon in a traditional model for the
6739 artist to get only 5 to 10 percent, so a share of over 40 percent is a
6740 significantly better deal.  Here’s how they give an example on their
6741 website:
6742     </p><p>
6743       A few of your songs [licensed with CC BY-SA], for example five in total, are
6744 selected for a bespoke in-store music channel broadcasting at a large
6745 retailer with 1,000 stores nationwide. In this case the overall playlist
6746 contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
6747 agreed with this retailer is US$12 per month per play-out. So if 42.5% is
6748 shared with the Tribe musicians in this playlist and your share is 1.43%,
6749 you end up with US$12 * 1000 stores * 0.425 * 0.0143 = US$73 per
6750 month.<a href="#ftn.idm2099" class="footnote" name="idm2099"><sup class="footnote">[153]</sup></a>
6751     </p><p>
6752       Tribe of Noise has another model that does not involve Creative Commons. In
6753 a survey with members, most said they liked the exposure using Creative
6754 Commons gets them and the way it lets them reach out to others to share and
6755 remix. However, they had a bit of a mental struggle with Creative Commons
6756 licenses being perpetual.  A lot of musicians have the mind-set that one day
6757 one of their songs may become an overnight hit. If that happened the CC
6758 BY-SA license would preclude them getting rich off the sale of that song.
6759     </p><p>
6760       Hessel’s legal team took this feedback and created a second model and
6761 separate area of the platform called Tribe of Noise Pro. Songs uploaded to
6762 Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
6763 instead created a <span class="quote">“<span class="quote">nonexclusive exploitation</span>”</span> contract, similar
6764 to a Creative Commons license but allowing musicians to opt out whenever
6765 they want. When you opt out, Tribe of Noise agrees to take your music off
6766 the Tribe of Noise platform within one to two months. This lets the musician
6767 reuse their song for a better deal.
6768     </p><p>
6769       Tribe of Noise Pro is primarily geared toward media makers who are looking
6770 for music. If they buy a license from this catalog, they don’t have to state
6771 the name of the creator; they just license the song for a specific
6772 amount. This is a big plus for media makers.  And musicians can pull their
6773 repertoire at any time. Hessel sees this as a more direct and clean deal.
6774     </p><p>
6775       Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and
6776 the community area of Tribe of Noises. There aren’t that many artists who
6777 upload only to Tribe of Noise Pro, which has a smaller repertoire of music
6778 than the community area.
6779     </p><p>
6780       Hessel sees the two as complementary. Both are needed for the model to
6781 work. With a whole generation of musicians interested in the sharing
6782 economy, the community area of Tribe of Noise is where they can build trust,
6783 create exposure, and generate money. And after that, musicians may become
6784 more interested in exploring other models like Tribe of Noise Pro.
6785     </p><p>
6786       Every musician who joins Tribe of Noise gets their own home page and free
6787 unlimited Web space to upload as much of their own music as they like. Tribe
6788 of Noise is also a social network; fellow musicians and professionals can
6789 vote for, comment on, and like your music. Community managers interact with
6790 and support members, and music supervisors pick and choose from the uploaded
6791 songs for in-store play or to promote them to media producers. Members
6792 really like having people working for the platform who truly engage with
6793 them.
6794     </p><p>
6795       Another way Tribe of Noise creates community and interest is with contests,
6796 which are organized in partnership with Tribe of Noise clients. The client
6797 specifies what they want, and any member can submit a song. Contests usually
6798 involve prizes, exposure, and money. In addition to building member
6799 engagement, contests help members learn how to work with clients: listening
6800 to them, understanding what they want, and creating a song to meet that
6801 need.
6802     </p><p>
6803       Tribe of Noise now has twenty-seven thousand members from 192 countries, and
6804 many are exploring do-it-yourself models for generating revenue. Some came
6805 from music labels and publishers, having gone through the traditional way of
6806 music licensing and now seeing if this new model makes sense for
6807 them. Others are young musicians, who grew up with a DIY mentality and see
6808 little reason to sign with a third party or hand over some of the
6809 control. Still a small but growing group of Tribe members are pursuing a
6810 hybrid model by licensing some of their songs under CC BY-SA and opting in
6811 others with collecting societies like ASCAP or BMI.
6812     </p><p>
6813       It’s not uncommon for performance-rights organizations, record labels, or
6814 music publishers to sign contracts with musicians based on exclusivity. Such
6815 an arrangement prevents those musicians from uploading their music to Tribe
6816 of Noise. In the United States, you can have a collecting society handle
6817 only some of your tracks, whereas in many countries in Europe, a collecting
6818 society prefers to represent your entire repertoire (although the European
6819 Commission is making some changes). Tribe of Noise deals with this issue all
6820 the time and gives you a warning whenever you upload a song. If collecting
6821 societies are willing to be open and flexible and do the most they can for
6822 their members, then they can consider organizations like Tribe of Noise as a
6823 nice add-on, generating more exposure and revenue for the musicians they
6824 represent. So far, Tribe of Noise has been able to make all this work
6825 without litigation.
6826     </p><p>
6827       For Hessel the key to Tribe of Noise’s success is trust. The fact that
6828 Creative Commons licenses work the same way all over the world and have been
6829 translated into all languages really helps build that trust. Tribe of Noise
6830 believes in creating a model where they work together with musicians. They
6831 can only do that if they have a live and kicking community, with people who
6832 think that the Tribe of Noise team has their best interests in
6833 mind. Creative Commons makes it possible to create a new business model for
6834 music, a model that’s based on trust.
6835     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2090" class="footnote"><p><a href="#idm2090" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2099" class="footnote"><p><a href="#idm2099" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>บทที่ 27. Wikimedia Foundation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
6836         The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia
6837 and its sister projects. Founded in 2003 in the U.S.
6838       </p><p>
6839           <a class="ulink" href="http://wikimediafoundation.org" target="_top">http://wikimediafoundation.org</a>
6840         </p><p><span class="strong"><strong>Revenue model</strong></span>: donations
6841       </p><p><span class="strong"><strong>Interview date</strong></span>: December 18, 2015
6842       </p><p><span class="strong"><strong>Interviewees</strong></span>: Luis Villa, former Chief
6843 Officer of Community Engagement, and Stephen LaPorte, legal counsel
6844       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
6845     \textit{
6846         Profile written by Sarah Hinchliff Pearson
6847       }
6848     \end{flushright}</td></tr></table></div><p>
6849       Nearly every person with an online presence knows Wikipedia.
6850     </p><p>
6851       In many ways, it is the preeminent open project: The online encyclopedia is
6852 created entirely by volunteers. Anyone in the world can edit the
6853 articles. All of the content is available for free to anyone online. All of
6854 the content is released under a Creative Commons license that enables people
6855 to reuse and adapt it for any purpose.
6856     </p><p>
6857       As of December 2016, there were more than forty-two million articles in the
6858 295 language editions of the online encyclopedia, according to—what
6859 else?—the Wikipedia article about Wikipedia.
6860     </p><p>
6861       The Wikimedia Foundation is a U.S.-based nonprofit organization that owns
6862 the Wikipedia domain name and hosts the site, along with many other related
6863 sites like Wikidata and Wikimedia Commons. The foundation employs about two
6864 hundred and eighty people, who all work to support the projects it
6865 hosts. But the true heart of Wikipedia and its sister projects is its
6866 community. The numbers of people in the community are variable, but about
6867 seventy-five thousand volunteers edit and improve Wikipedia articles every
6868 month. Volunteers are organized in a variety of ways across the globe,
6869 including formal Wikimedia chapters (mostly national), groups focused on a
6870 particular theme, user groups, and many thousands who are not connected to a
6871 particular organization.
6872     </p><p>
6873       As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">“<span class="quote">There is a common
6874 saying that Wikipedia works in practice but not in theory.</span>”</span> While it
6875 undoubtedly has its challenges and flaws, Wikipedia and its sister projects
6876 are a striking testament to the power of human collaboration.
6877     </p><p>
6878       Because of its extraordinary breadth and scope, it does feel a bit like a
6879 unicorn. Indeed, there is nothing else like Wikipedia.  Still, much of what
6880 makes the projects successful—community, transparency, a strong mission,
6881 trust—are consistent with what it takes to be successfully Made with
6882 Creative Commons more generally. With Wikipedia, everything just happens at
6883 an unprecedented scale.
6884     </p><p>
6885       The story of Wikipedia has been told many times. For our purposes, it is
6886 enough to know the experiment started in 2001 at a small scale, inspired by
6887 the crazy notion that perhaps a truly open, collaborative project could
6888 create something meaningful. At this point, Wikipedia is so ubiquitous and
6889 ingrained in our digital lives that the fact of its existence seems less
6890 remarkable. But outside of software, Wikipedia is perhaps the single most
6891 stunning example of successful community cocreation. Every day, seven
6892 thousand new articles are created on Wikipedia, and nearly fifteen thousand
6893 edits are made every hour.
6894     </p><p>
6895       The nature of the content the community creates is ideal for asynchronous
6896 cocreation. <span class="quote">“<span class="quote">An encyclopedia is something where incremental community
6897 improvement really works,</span>”</span> Luis Villa, former Chief Officer of
6898 Community Engagement, told us. The rules and processes that govern
6899 cocreation on Wikipedia and its sister projects are all community-driven and
6900 vary by language edition. There are entire books written on the intricacies
6901 of their systems, but generally speaking, there are very few exceptions to
6902 the rule that anyone can edit any article, even without an account on their
6903 system. The extensive peer-review process includes elaborate systems to
6904 resolve disputes, methods for managing particularly controversial subject
6905 areas, talk pages explaining decisions, and much, much more. The Wikimedia
6906 Foundation’s decision to leave governance of the projects to the community
6907 is very deliberate. <span class="quote">“<span class="quote">We look at the things that the community can do
6908 well, and we want to let them do those things,</span>”</span> Stephen told
6909 us. Instead, the foundation focuses its time and resources on what the
6910 community cannot do as effectively, like the software engineering that
6911 supports the technical infrastructure of the sites. In 2015-16, about half
6912 of the foundation’s budget went to direct support for the Wikimedia sites.
6913     </p><p>
6914       Some of that is directed at servers and general IT support, but the
6915 foundation also invests a significant amount on architecture designed to
6916 help the site function as effectively as possible.  <span class="quote">“<span class="quote">There is a
6917 constantly evolving system to keep the balance in place to avoid Wikipedia
6918 becoming the world’s biggest graffiti wall,</span>”</span> Luis said. Depending on
6919 how you measure it, somewhere between 90 to 98 percent of edits to Wikipedia
6920 are positive. Some portion of that success is attributable to the tools
6921 Wikimedia has in place to try to incentivize good actors.  <span class="quote">“<span class="quote">The secret
6922 to having any healthy community is bringing back the right people,</span>”</span>
6923 Luis said. <span class="quote">“<span class="quote">Vandals tend to get bored and go away. That is partially
6924 our model working, and partially just human nature.</span>”</span> Most of the
6925 time, people want to do the right thing.
6926     </p><p>
6927       Wikipedia not only relies on good behavior within its community and on its
6928 sites, but also by everyone else once the content leaves Wikipedia. All of
6929 the text of Wikipedia is available under an Attribution-ShareAlike license
6930 (CC BY-SA), which means it can be used for any purpose and modified so long
6931 as credit is given and anything new is shared back with the public under the
6932 same license. In theory, that means anyone can copy the content and start a
6933 new Wikipedia. But as Stephen explained, <span class="quote">“<span class="quote">Being open has only made
6934 Wikipedia bigger and stronger. The desire to protect is not always what is
6935 best for everyone.</span>”</span>
6936     </p><p>
6937       Of course, the primary reason no one has successfully co-opted Wikipedia is
6938 that copycat efforts do not have the Wikipedia community to sustain what
6939 they do. Wikipedia is not simply a source of up-to-the-minute content on
6940 every given topic—it is also a global patchwork of humans working together
6941 in a million different ways, in a million different capacities, for a
6942 million different reasons. While many have tried to guess what makes
6943 Wikipedia work as well it does, the fact is there is no single
6944 explanation. <span class="quote">“<span class="quote">In a movement as large as ours, there is an incredible
6945 diversity of motivations,</span>”</span> Stephen said. For example, there is one
6946 editor of the English Wikipedia edition who has corrected a single
6947 grammatical error in articles more than forty-eight thousand
6948 times.<a href="#ftn.idm2145" class="footnote" name="idm2145"><sup class="footnote">[154]</sup></a> Only a fraction of Wikipedia
6949 users are also editors.  But editing is not the only way to contribute to
6950 Wikipedia.  <span class="quote">“<span class="quote">Some donate text, some donate images, some donate
6951 financially,</span>”</span> Stephen told us. <span class="quote">“<span class="quote">They are all
6952 contributors.</span>”</span>
6953     </p><p>
6954       But the vast majority of us who use Wikipedia are not contributors; we are
6955 passive readers. The Wikimedia Foundation survives primarily on individual
6956 donations, with about $15 as the average. Because Wikipedia is one of the
6957 ten most popular websites in terms of total page views, donations from a
6958 small portion of that audience can translate into a lot of money. In the
6959 2015-16 fiscal year, they received more than $77 million from more than five
6960 million donors.
6961     </p><p>
6962       The foundation has a fund-raising team that works year-round to raise money,
6963 but the bulk of their revenue comes in during the December campaign in
6964 Australia, Canada, Ireland, New Zealand, the United Kingdom, and the United
6965 States. They engage in extensive user testing and research to maximize the
6966 reach of their fund-raising campaigns. Their basic fund-raising message is
6967 simple: We provide our readers and the world immense value, so give
6968 back. Every little bit helps. With enough eyeballs, they are right.
6969     </p><p>
6970       The vision of the Wikimedia Foundation is a world in which every single
6971 human being can freely share in the sum of all knowledge.  They work to
6972 realize this vision by empowering people around the globe to create
6973 educational content made freely available under an open license or in the
6974 public domain. Stephen and Luis said the mission, which is rooted in the
6975 same philosophy behind Creative Commons, drives everything the foundation
6976 does.
6977     </p><p>
6978       The philosophy behind the endeavor also enables the foundation to be
6979 financially sustainable. It instills trust in their readership, which is
6980 critical for a revenue strategy that relies on reader donations. It also
6981 instills trust in their community.
6982     </p><p>
6983       Any given edit on Wikipedia could be motivated by nearly an infinite number
6984 of reasons. But the social mission of the project is what binds the global
6985 community together. <span class="quote">“<span class="quote">Wikipedia is an example of how a mission can
6986 motivate an entire movement,</span>”</span> Stephen told us.
6987     </p><p>
6988       Of course, what results from that movement is one of the Internet’s great
6989 public resources. <span class="quote">“<span class="quote">The Internet has a lot of businesses and stores,
6990 but it is missing the digital equivalent of parks and open public
6991 spaces,</span>”</span> Stephen said.  <span class="quote">“<span class="quote">Wikipedia has found a way to be that
6992 open public space.</span>”</span>
6993     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2145" class="footnote"><p><a href="#idm2145" class="para"><sup class="para">[154] </sup></a><a class="ulink" href="http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/" target="_top">http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/</a></p></div></div></div></div>\chapter*{<title>Bibliography</title>}\addcontentsline{toc}{chapter}{<title>Bibliography</title>}<p>
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7103   </p><p>
7104     Harris, Malcom, ed. Share or Die: Voices of the Get Lost Generation in the
7105 Age of Crisis. With Neal Gorenflo. Gabriola Island, BC: New Society, 2012.
7106   </p><p>
7107     Hermida, Alfred. Tell Everyone: Why We Share and Why It Matters.  Toronto:
7108 Doubleday Canada, 2014.
7109   </p><p>
7110     Hyde, Lewis. Common as Air: Revolution, Art, and Ownership. New York:
7111 Farrar, Straus and Giroux, 2010.
7112   </p><p>
7113     ———. The Gift: Creativity and the Artist in the Modern World. 2nd Vintage
7114 Books edition. New York: Vintage Books, 2007.
7115   </p><p>
7116     Kelley, Tom, and David Kelley. Creative Confidence: Unleashing the Potential
7117 within Us All. New York: Crown, 2013.
7118   </p><p>
7119     Kelly, Marjorie. Owning Our Future: The Emerging Ownership Revolution;
7120 Journeys to a Generative Economy. San Francisco: Berrett-Koehler, 2012.
7121   </p><p>
7122     Kleon, Austin. Show Your Work: 10 Ways to Share Your Creativity and Get
7123 Discovered. New York: Workman, 2014.
7124   </p><p>
7125     ———. Steal Like an Artist: 10 Things Nobody Told You about Being
7126 Creative. New York: Workman, 2012.
7127   </p><p>
7128     Kramer, Bryan. Shareology: How Sharing Is Powering the Human Economy. New
7129 York: Morgan James, 2016.
7130   </p><p>
7131     Lee, David. <span class="quote">“<span class="quote">Inside Medium: An Attempt to Bring Civility to the
7132 Internet.</span>”</span> BBC News, March 3, 2016.  <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>
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7134     Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid
7135 Economy. New York: Penguin Press, 2008.
7136   </p><p>
7137     Menzies, Heather. Reclaiming the Commons for the Common Good: A Memoir and
7138 Manifesto. Gabriola Island, BC: New Society, 2014.
7139   </p><p>
7140     Mason, Paul. Postcapitalism: A Guide to Our Future. New York: Farrar, Straus
7141 and Giroux, 2015.
7142   </p><p>
7143     New York Times Customer Insight Group. The Psychology of Sharing: Why Do
7144 People Share Online? New York: New York Times Customer Insight Group, 2011.
7145 <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
7146   </p><p>
7147     Osterwalder, Alex, and Yves Pigneur. Business Model Generation.  Hoboken,
7148 NJ: John Wiley and Sons, 2010. A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
7149   </p><p>
7150     Osterwalder, Alex, Yves Pigneur, Greg Bernarda, and Adam Smith.  Value
7151 Proposition Design. Hoboken, NJ: John Wiley and Sons, 2014. A preview of the
7152 book is available at <a class="ulink" href="http://strategyzer.com/books/value-proposition-design" target="_top">http://strategyzer.com/books/value-proposition-design</a>.
7153   </p><p>
7154     Palmer, Amanda. The Art of Asking: Or How I Learned to Stop Worrying and Let
7155 People Help. New York: Grand Central, 2014.
7156   </p><p>
7157     Pekel, Joris. Democratising the Rijksmuseum: Why Did the Rijksmuseum Make
7158 Available Their Highest Quality Material without Restrictions, and What Are
7159 the Results? The Hague, Netherlands: Europeana Foundation, 2014.  <a class="ulink" href="http://pro.europeana.eu/publication/democratising-the-rijksmuseum" target="_top">http://pro.europeana.eu/publication/democratising-the-rijksmuseum</a>
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7161   </p><p>
7162     Ramos, José Maria, ed. The City as Commons: A Policy Reader.  Melbourne,
7163 Australia: Commons Transition Coalition, 2016.  <a class="ulink" href="http://www.academia.edu/27143172/The_City_as_Commons_a_Policy_Reader" target="_top">http://www.academia.edu/27143172/The_City_as_Commons_a_Policy_Reader</a>
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7166     Raymond, Eric S. The Cathedral and the Bazaar: Musings on Linux and Open
7167 Source by an Accidental Revolutionary. Rev. ed. Sebastopol, CA: O’Reilly
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7170     Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous
7171 Innovation to Create Radically Successful Businesses. New York: Crown
7172 Business, 2011.
7173   </p><p>
7174     Rifkin, Jeremy. The Zero Marginal Cost Society: The Internet of Things, the
7175 Collaborative Commons, and the Eclipse of Capitalism.  New York: Palgrave
7176 Macmillan, 2014.
7177   </p><p>
7178     Rowe, Jonathan. Our Common Wealth. San Francisco: Berrett-Koehler, 2013.
7179   </p><p>
7180     Rushkoff, Douglas. Throwing Rocks at the Google Bus: How Growth Became the
7181 Enemy of Prosperity. New York: Portfolio, 2016.
7182   </p><p>
7183     Sandel, Michael J. What Money Can’t Buy: The Moral Limits of Markets. New
7184 York: Farrar, Straus and Giroux, 2012.
7185   </p><p>
7186     Shirky, Clay. Cognitive Surplus: How Technology Makes Consumers into
7187 Collaborators. London, England: Penguin Books, 2010.
7188   </p><p>
7189     Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New York: OR
7190 Books, 2015.
7191   </p><p>
7192     Stephany, Alex. The Business of Sharing: Making in the New Sharing
7193 Economy. New York: Palgrave Macmillan, 2015.
7194   </p><p>
7195     Stepper, John. Working Out Loud: For a Better Career and Life. New York:
7196 Ikigai Press, 2015.
7197   </p><p>
7198     Sull, Donald, and Kathleen M. Eisenhardt. Simple Rules: How to Thrive in a
7199 Complex World. Boston: Houghton Mifflin Harcourt, 2015.
7200   </p><p>
7201     Sundararajan, Arun. The Sharing Economy: The End of Employment and the Rise
7202 of Crowd-Based Capitalism. Cambridge, MA: MIT Press, 2016.
7203   </p><p>
7204     Surowiecki, James. The Wisdom of Crowds. New York: Anchor Books, 2005.
7205   </p><p>
7206     Tapscott, Don, and Alex Tapscott. Blockchain Revolution: How the Technology
7207 Behind Bitcoin Is Changing Money, Business, and the World. Toronto:
7208 Portfolio, 2016.
7209   </p><p>
7210     Tharp, Twyla. The Creative Habit: Learn It and Use It for Life. With Mark
7211 Reiter. New York: Simon and Schuster, 2006.
7212   </p><p>
7213     Tkacz, Nathaniel. Wikipedia and the Politics of Openness. Chicago:
7214 University of Chicago Press, 2015.
7215   </p><p>
7216     Van Abel, Bass, Lucas Evers, Roel Klaassen, and Peter Troxler, eds.  Open
7217 Design Now: Why Design Cannot Remain Exclusive. Amsterdam: BIS Publishers,
7218 with Creative Commons Netherlands; Premsela, the Netherlands Institute for
7219 Design and Fashion; and the Waag Society, 2011. <a class="ulink" href="http://opendesignnow.org" target="_top">http://opendesignnow.org</a> (licensed under CC BY-NC-SA).
7220   </p><p>
7221     Van den Hoff, Ronald. Mastering the Global Transition on Our Way to Society
7222 3.0. Utrecht, the Netherlands: Society 3.0 Foundation, 2014.  <a class="ulink" href="http://society30.com/get-the-book/" target="_top">http://society30.com/get-the-book/</a> (licensed under CC BY-NC-ND).
7223   </p><p>
7224     Von Hippel, Eric. Democratizing Innovation. London: MIT Press, 2005.  <a class="ulink" href="http://web.mit.edu/evhippel/www/democ1.htm" target="_top">http://web.mit.edu/evhippel/www/democ1.htm</a> (licensed under CC
7225 BY-NC-ND).
7226   </p><p>
7227     Whitehurst, Jim. The Open Organization: Igniting Passion and
7228 Performance. Boston: Harvard Business Review Press, 2015.
7229   </p>\chapter*{<title>Acknowledgments</title>}\addcontentsline{toc}{chapter}{<title>Acknowledgments</title>}<p>
7230     We extend special thanks to Creative Commons CEO Ryan Merkley, the Creative
7231 Commons Board, and all of our Creative Commons colleagues for
7232 enthusiastically supporting our work. Special gratitude to the William and
7233 Flora Hewlett Foundation for the initial seed funding that got us started on
7234 this project.
7235   </p><p>
7236     Huge appreciation to all the Made with Creative Commons interviewees for
7237 sharing their stories with us. You make the commons come alive.  Thanks for
7238 the inspiration.
7239   </p><p>
7240     We interviewed more than the twenty-four organizations profiled in this
7241 book. We extend special thanks to Gooru, OERu, Sage Bionetworks, and Medium
7242 for sharing their stories with us. While not featured as case studies in
7243 this book, you all are equally interesting, and we encourage our readers to
7244 visit your sites and explore your work.
7245   </p><p>
7246     This book was made possible by the generous support of 1,687 Kickstarter
7247 backers listed below. We especially acknowledge our many Kickstarter
7248 co-editors who read early drafts of our work and provided invaluable
7249 feedback. Heartfelt thanks to all of you.
7250   </p><p>
7251     Co-editor Kickstarter backers (alphabetically by first name): Abraham
7252 Taherivand, Alan Graham, Alfredo Louro, Anatoly Volynets, Aurora Thornton,
7253 Austin Tolentino, Ben Sheridan, Benedikt Foit, Benjamin Costantini, Bernd
7254 Nurnberger, Bernhard Seefeld, Bethanye Blount, Bradford Benn, Bryan Mock,
7255 Carmen Garcia Wiedenhoeft, Carolyn Hinchliff, Casey Milford, Cat Cooper,
7256 Chip McIntosh, Chris Thorne, Chris Weber, Chutika Udomsinn, Claire Wardle,
7257 Claudia Cristiani, Cody Allard, Colleen Cressman, Craig Thomler, Creative
7258 Commons Uruguay, Curt McNamara, Dan Parson, Daniel Dominguez, Daniel Morado,
7259 Darius Irvin, Dave Taillefer, David Lewis, David Mikula, David Varnes, David
7260 Wiley, Deborah Nas, Diderik van Wingerden, Dirk Kiefer, Dom Lane, Domi
7261 Enders, Douglas Van Houweling, Dylan Field, Einar Joergensen, Elad Wieder,
7262 Elie Calhoun, Erika Reid, Evtim Papushev, Fauxton Software, Felix
7263 Maximiliano Obes, Ferdies Food Lab, Gatien de Broucker, Gaurav Kapil, Gavin
7264 Romig-Koch, George Baier IV, George De Bruin, Gianpaolo Rando, Glenn Otis
7265 Brown, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Hamish MacEwan,
7266 Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James Cloos, Jamie
7267 Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo, Jay M
7268 Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme
7269 Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
7270 Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
7271 Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos
7272 Belair, Justin Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie
7273 Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova, Kristoffer Steen,
7274 Kyle Simpson, Laurie Racine, Leonardo Bueno Postacchini, Leticia Britos
7275 Cavagnaro, Livia Leskovec, Louis-David Benyayer, Maik Schmalstich, Mairi
7276 Thomson, Marcia Hofmann, Maria Liberman, Marino Hernandez, Mario R. Hemsley,
7277 MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black,
7278 Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
7279 Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha Batic, Mike
7280 Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall
7281 McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman,
7282 Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
7283 Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny
7284 Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv
7285 Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones,
7286 Robert Thompson, Ronald van den Hoff, Rusi Popov, Ryan Merkley, S Searle,
7287 Salomon Riedo, Samuel A. Rebelsky, Samuel Tait, Sarah McGovern, Scott
7288 Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio,
7289 Simon Law, Solomon Simon, Stefano Guidotti, Subhendu Ghosh, Susan Chun,
7290 Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent,
7291 Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
7292 Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh,
7293 William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque,
7294 Yancey Strickler
7295   </p><p>
7296     All other Kickstarter backers (alphabetically by first name): A.  Lee, Aaron
7297 C. Rathbun, Aaron Stubbs, Aaron Suggs, Abdul Razak Manaf, Abraham
7298 Taherivand, Adam Croom, Adam Finer, Adam Hansen, Adam Morris, Adam Procter,
7299 Adam Quirk, Adam Rory Porter, Adam Simmons, Adam Tinworth, Adam Zimmerman,
7300 Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al Sweigart, Alain
7301 Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert
7302 O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
7303 Blood, Alex C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown,
7304 Alexander Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar,
7305 Alexander Neumann, Alexander Plaum, Alexander Wendland, Alexandre
7306 Rafalovitch, Alexey Volkow, Alexi Wheeler, Alexis Sevault, Alfredo Louro,
7307 Ali Sternburg, Alicia Gibb &amp; Lunchbox Electronics, Alison Link, Alison
7308 Pentecost, Alistair Boettiger, Alistair Walder, Alix Bernier, Allan
7309 Callaghan, Allen Riddell, Allison Breland Crotwell, Allison Jane Smith,
7310 Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
7311 Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
7312 Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen,
7313 Andre Wallace, Andrea Bagnacani, Andrea Pepe, Andrea Pigato, Andreas
7314 Jagelund, Andres Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew
7315 Hearse, Andrew Matangi, Andrew R McHugh, Andrew Tam, Andrew Turvey, Andrew
7316 Walsh, Andrew Wilson, Andrey Novoseltsev, Andy McGhee, Andy Reeve, Andy
7317 Woods, Angela Brett, Angeliki Kapoglou, Angus Keenan, Anne-Marie Scott,
7318 Antero Garcia, Antoine Authier, Antoine Michard, Anton Kurkin, Anton
7319 Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
7320 publishing, April Johnson, Aria F.  Chernik, Ariane Allan, Ariel Katz,
7321 Arithmomaniac, Arnaud Tessier, Arnim Sommer, Ashima Bawa, Ashley Elsdon,
7322 Athanassios Diacakis, Aurora Thornton, Aurore Chavet Henry, Austin
7323 Hartzheim, Austin Tolentino, Avner Shanan, Axel Pettersson, Axel
7324 Stieglbauer, Ay Okpokam, Barb Bartkowiak, Barbara Lindsey, Barry Dayton,
7325 Bastian Hougaard, Ben Chad, Ben Doherty, Ben Hansen, Ben Nuttall, Ben
7326 Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin Costantini,
7327 Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
7328 Bernardo Miguel Antunes, Bernd Nurnberger, Bernhard Seefeld, Beth Gis, Beth
7329 Tillinghast, Bethanye Blount, Bill Bonwitt, Bill Browne, Bill Keaggy, Bill
7330 Maiden, Bill Rafferty, Bill Scanlon, Bill Shields, Bill Slankard, BJ Becker,
7331 Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
7332 Sprotte Kofod, Bob Doran, Bob Recny, Bob Stuart, Bonnie Chiu, Boris Mindzak,
7333 Boriss Lariushin, Borjan Tchakaloff, Brad Kik, Braden Hassett, Bradford
7334 Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka
7335 Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel,
7336 Brett Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian
7337 S. Weis, Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke
7338 Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno Girin, Bryan
7339 Mock, Bryant Durrell, Bryce Barbato, Buzz Technology Limited, Byung-Geun
7340 Jeon, C. Glen Williams, C. L. Couch, Cable Green, Callum Gare, Cameron
7341 Callahan, Cameron Colby Thomson, Cameron Mulder, Camille Bissuel / Nylnook,
7342 Candace Robertson, Carl Morris, Carl Perry, Carl Rigney, Carles Mateu,
7343 Carlos Correa Loyola, Carlos Solis, Carmen Garcia Wiedenhoeft, Carol Long,
7344 Carol marquardsen, Caroline Calomme, Caroline Mailloux, Carolyn Hinchliff,
7345 Carolyn Rude, Carrie Cousins, Carrie Watkins, Casey Hunt, Casey Milford,
7346 Casey Powell Shorthouse, Cat Cooper, Cecilie Maria, Cedric Howe, Cefn Hoile,
7347 @ShrimpingIt, Celia Muller, Ces Keller, Chad Anderson, Charles Butler,
7348 Charles Carstensen, Charles Chi Thoi Le, Charles Kobbe, Charles S. Tritt,
7349 Charles Stanhope, Charlotte Ong-Wisener, Chealsye Bowley, Chelle Destefano,
7350 Chenpang Chou, Cheryl Corte, Cheryl Todd, Chip Dickerson, Chip McIntosh,
7351 Chris Bannister, Chris Betcher, Chris Coleman, Chris Conway, Chris Foote
7352 (Spike), Chris Hurst, Chris Mitchell, Chris Muscat Azzopardi, Chris
7353 Niewiarowski, Chris Opperwall, Chris Stieha, Chris Thorne, Chris Weber,
7354 Chris Woolfrey, Chris Zabriskie, Christi Reid, Christian Holzberger,
7355 Christian Schubert, Christian Sheehy, Christian Thibault, Christian Villum,
7356 Christian Wachter, Christina Bennett, Christine Henry, Christine Rico,
7357 Christopher Burrows, Christopher Chan, Christopher Clay, Christopher Harris,
7358 Christopher Opiah, Christopher Swenson, Christos Keramitsis, Chuck Roslof,
7359 Chutika Udomsinn, Claire Wardle, Clare Forrest, Claudia Cristiani, Claudio
7360 Gallo, Claudio Ruiz, Clayton Dewey, Clement Delort, Cliff Church, Clint
7361 Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
7362 Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie
7363 Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
7364 Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney,
7365 Craig Thomler, Creative Commons Uruguay, Crina Kienle, Cristiano Gozzini,
7366 Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei,
7367 Dagmar M. Meyer, Dan Mcalister, Dan Mohr, Dan Parson, Dana Freeman, Dana
7368 Ospina, Dani Leviss, Daniel Bustamante, Daniel Demmel, Daniel Dominguez,
7369 Daniel Dultz, Daniel Gallant, Daniel Kossmann, Daniel Kruse, Daniel Morado,
7370 Daniel Morgan, Daniel Pimley, Daniel Sabo, Daniel Sobey, Daniel Stein,
7371 Daniel Wildt, Daniele Prati, Danielle Moss, Danny Mendoza, Dario
7372 Taraborelli, Darius Irvin, Darius Whelan, Darla Anderson, Dasha Brezinova,
7373 Dave Ainscough, Dave Bull, Dave Crosby, Dave Eagle, Dave Moskovitz, Dave
7374 Neeteson, Dave Taillefer, Dave Witzel, David Bailey, David Cheung, David
7375 Eriksson, David Gallagher, David H. Bronke, David Hartley, David Hellam,
7376 David Hood, David Hunter, David jlaietta, David Lewis, David Mason, David
7377 Mcconville, David Mikula, David Nelson, David Orban, David Parry, David
7378 Spira, David T.  Kindler, David Varnes, David Wiley, David Wormley, Deborah
7379 Nas, Denis Jean, dennis straub, Dennis Whittle, Denver Gingerich, Derek
7380 Slater, Devon Cooke, Diana Pasek-Atkinson, Diane Johnston Graves, Diane
7381 K. Kovacs, Diane Trout, Diderik van Wingerden, Diego Cuevas, Diego De La
7382 Cruz, Dimitrie Grigorescu, Dina Marie Rodriguez, Dinah Fabela, Dirk Haun,
7383 Dirk Kiefer, Dirk Loop, DJ Fusion - FuseBox Radio Broadcast, Dom jurkewitz,
7384 Dom Lane, Domi Enders, Domingo Gallardo, Dominic de Haas, Dominique
7385 Karadjian, Dongpo Deng, Donnovan Knight, Door de Flines, Doug Fitzpatrick,
7386 Doug Hoover, Douglas Craver, Douglas Van Camp, Douglas Van Houweling,
7387 Dr. Braddlee, Drew Spencer, Duncan Sample, Durand D’souza, Dylan Field, E C
7388 Humphries, Eamon Caddigan, Earleen Smith, Eden Sarid, Eden Spodek, Eduardo
7389 Belinchon, Eduardo Castro, Edwin Vandam, Einar Joergensen, Ejnar Brendsdal,
7390 Elad Wieder, Elar Haljas, Elena Valhalla, Eli Doran, Elias Bouchi, Elie
7391 Calhoun, Elizabeth Holloway, Ellen Buecher, Ellen Kaye- Cheveldayoff, Elli
7392 Verhulst, Elroy Fernandes, Emery Hurst Mikel, Emily Catedral, Enrique
7393 Mandujano R., Eric Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric
7394 Hellman, Eric Steuer, Erica Fletcher, Erik Hedman, Erik Lindholm Bundgaard,
7395 Erika Reid, Erin Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan
7396 Bousse, Erwin Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan
7397 Tangman, Evonne Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton
7398 Software, Felix Deierlein, Felix Gebauer, Felix Maximiliano Obes, Felix
7399 Schmidt, Felix Zephyr Hsiao, Ferdies Food Lab, Fernand Deschambault, Filipe
7400 Rodrigues, Filippo Toso, Fiona MacAlister, fiona.mac.uk, Floor Scheffer,
7401 Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
7402 Games, Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois
7403 Grey, François Gros, François Pelletier, Fred Benenson, Frédéric Abella,
7404 Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
7405 Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath,
7406 Gary Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de
7407 Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George
7408 Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman,
7409 Geronimo de la Lama, Gianpaolo Rando, Gil Stendig, Gino Cingolani Trucco,
7410 Giovanna Sala, Glen Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives
7411 Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman,
7412 Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg
7413 Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
7414 Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho
7415 Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
7416 Sønderland, Hamid Larbi, Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de
7417 Raad, Hans Vd Horst, Harold van Ingen, Harold Watson, Harry Chapman, Harry
7418 Kaczka, Harry Torque, Hayden Glass, Hayley Rosenblum, Heather Leson, Helen
7419 Crisp, Helen Michaud, Helen Qubain, Helle Rekdal Schønemann, Henrique Flach
7420 Latorre Moreno, Henry Finn, Henry Kaiser, Henry Lahore, Henry Steingieser,
7421 Hermann Paar, Hillary Miller, Hironori Kuriaki, Holly Dykes, Holly Lyne,
7422 Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
7423 Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider,
7424 Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah
7425 Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek
7426 Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
7427 Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach,
7428 James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James
7429 Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol,
7430 Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park,
7431 Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason
7432 E. Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy
7433 Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne,
7434 Jean-Philippe Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff
7435 De Cagna, Jeff Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff
7436 Rasalla, Jeff Ski Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen
7437 Garcia, Jens Erat, Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell,
7438 Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret,
7439 Jessica Dickinson Goodman, Jessica Litman, Jessica Mackay, Jessy Kate
7440 Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
7441 O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
7442 Allum, Joachim Brandon LeBlanc, Joachim Pileborg, Joachim von Goetz, Joakim
7443 Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
7444 Sandfort, Joe Cardillo, Joe Carpita, Joe Moross, Joerg Fricke, Johan Adda,
7445 Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
7446 Bevan, John C Patterson, John Crumrine, John Dimatos, John Feyler, John
7447 Huntsman, John Manoogian III, John Muller, John Ober, John Paul Blodgett,
7448 John Pearce, John Shale, John Sharp, John Simpson, John Sumser, John Weeks,
7449 John Wilbanks, John Worland, Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon
7450 Andersen, Jon Cohrs, Jon Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith,
7451 Jonas Öberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan
7452 Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
7453 Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
7454 Sullivan, Joseph Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP
7455 Rangaswami, Juan Carlos Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo
7456 Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
7457 Julia Devonshire, Julian Fietkau, Julie Harboe, Julien Brossoit, Julien
7458 Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
7459 Grimes, Justin Jones, Justin Szlasa, Justin Walsh, JustinChung.com, K. J.
7460 Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant,
7461 Kara Monroe, Karen Pe, Karl Jahn, Karl Jonsson, Karl Nelson, Kasia
7462 Zygmuntowicz, Kat Lim, Kate Chapman, Kate Stewart, Kathleen Beck, Kathleen
7463 Hanrahan, Kathryn Abuzzahab, Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie
7464 Lynn Daniels, Katie Meek, Katie Teague, Katrina Hennessy, Katriona Main,
7465 Kavan Antani, Keith Adams, Keith Berndtson, MD, Keith Luebke, Kellie
7466 Higginbottom, Ken Friis Larsen, Ken Haase, Ken Torbeck, Kendel Ratley,
7467 Kendra Byrne, Kerry Hicks, Kevin Brown, Kevin Coates, Kevin Flynn, Kevin
7468 Rumon, Kevin Shannon, Kevin Taylor, Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane
7469 l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
7470 Rennert, Kris Kasianovitz, Kristian Lundquist, Kristin Buxton, Kristina
7471 Popova, Kristofer Bratt, Kristoffer Steen, Kumar McMillan, Kurt Whittemore,
7472 Kyle Pinches, Kyle Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry
7473 Garfield, Larry Singer, Lars Josephsen, Lars Klaeboe, Laura Anne Brown,
7474 Laura Billings, Laura Ferejohn, Lauren Pedersen, Laurence Gonsalves, Laurent
7475 Muchacho, Laurie Racine, Laurie Reynolds, Lawrence M. Schoen, Leandro
7476 Pangilinan, Leigh Verlandson, Lenka Gondolova, Leonardo Bueno Postacchini,
7477 leonardo menegola, Lesley Mitchell, Leslie Krumholz, Leticia Britos
7478 Cavagnaro, Levi Bostian, Leyla Acaroglu, Liisa Ummelas, Lilly Kashmir
7479 Marques, Lior Mazliah, Lisa Bjerke, Lisa Brewster, Lisa Canning, Lisa
7480 Cronin, Lisa Di Valentino, Lisandro Gaertner, Livia Leskovec, Liynn
7481 Worldlaw, Liz Berg, Liz White, Logan Cox, Loki Carbis, Lora Lynn, Lorna
7482 Prescott, Lou Yufan, Louie Amphlett, Louis-David Benyayer, Louise Denman,
7483 Luca Corsato, Luca Lesinigo, Luca Palli, Luca Pianigiani, Luca S.G. de
7484 Marinis, Lucas Lopez, Lukas Mathis, Luke Chamberlin, Luke Chesser, Luke
7485 Woodbury, Lulu Tang, Lydia Pintscher, M Alexander Jurkat, Maarten Sander,
7486 Macie J Klosowski, Magnus Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh,
7487 Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
7488 Wultsch, Manickkavasakam Rajasekar, Marc Bogonovich, Marc Harpster, Marc
7489 Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
7490 Leeuwe, Marcel Hill, Marcia Hofmann, Marcin Olender, Marco Massarotto, Marco
7491 Montanari, Marco Morales, Marcos Medionegro, Marcus Bitzl, Marcus Norrgren,
7492 Margaret Gary, Mari Moreshead, Maria Liberman, Marielle Hsu, Marino
7493 Hernandez, Mario Lurig, Mario R. Hemsley, MD, Marissa Demers, Mark Chandler,
7494 Mark Cohen, Mark De Solla Price, Mark Gabby, Mark Gray, Mark Koudritsky,
7495 Mark Kupfer, Mark Lednor, Mark McGuire, Mark Moleda, Mark Mullen, Mark
7496 Murphy, Mark Perot, Mark Reeder, Mark Spickett, Mark Vincent Adams, Mark
7497 Waks, Mark Zuccarell II, Markus Deimann, Markus Jaritz, Markus Luethi,
7498 Marshal Miller, Marshall Warner, Martijn Arets, Martin Beaudoin, Martin
7499 Decky, Martin DeMello, Martin Humpolec, Martin Mayr, Martin Peck, Martin
7500 Sanchez, Martino Loco, Martti Remmelgas, Martyn Eggleton, Martyn Lewis, Mary
7501 Ellen Davis, Mary Heacock, Mary Hess, Mary Mi, Masahiro Takagi, Mason Du,
7502 Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
7503 Kruk, Matija Nalis, Matt Alcock, Matt Black, Matt Broach, Matt Hall, Matt
7504 Haughey, Matt Lee, Matt Plec, Matt Skoss, Matt Thompson, Matt Vance, Matt
7505 Wagstaff, Matteo Cocco, Matthew Bendert, Matthew Bergholt, Matthew Darlison,
7506 Matthew Epler, Matthew Hawken, Matthew Heimbecker, Matthew Orstad, Matthew
7507 Peterworth, Matthew Sheehy, Matthew Tucker, Adaptive Handy Apps, LLC,
7508 Mattias Axell, Max Green, Max Kossatz, Max lupo, Max Temkin, Max van
7509 Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
7510 Finlayson, Melissa Aho, Melissa Sterry, Melle Funambuline, Menachem
7511 Goldstein, Micah Bridges, Michael Ailberto, Michael Anderson, Michael
7512 Andersson Skane, Michael C. Stewart, Michael Carroll, Michael Cavette,
7513 Michael Crees, Michael David Johas Teener, Michael Dennis Moore, Michael
7514 Freundt Karlsen, Michael Harries, Michael Hawel, Michael Lewis, Michael May,
7515 Michael Murphy, Michael Murvine, Michael Perkins, Michael Sauers, Michael
7516 St.Onge, Michael Stanford, Michael Stanley, Michael Underwood, Michael
7517 Weiss, Michael Wright, Michael-Andreas Kuttner, Michaela Voigt, Michal
7518 Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
7519 You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike Chelen, Mike Habicher,
7520 Mike Maloney, Mike Masnick, Mike McDaniel, Mike Pouraryan, Mike Sheldon,
7521 Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
7522 Podlaszewski, Millie Gonzalez, Mindi Lovell, Mindy Lin, Mirko
7523 <span class="quote">“<span class="quote">Macro</span>”</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
7524 Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis, Moritz
7525 Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
7526 Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC, Nah Wee Yang,
7527 Natalie Brown, Natalie Freed, Nathan D Howell, Nathan Massey, Nathan Miller,
7528 Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson, Nele Wollert,
7529 Neuchee Chang, Niall McDonagh, Niall Twohig, Nic McPhee, Nicholas Bentley,
7530 Nicholas Koran, Nicholas Norfolk, Nicholas Potter, Nick Bell, Nick Coghlan,
7531 Nick Isaacs, Nick M. Daly, Nick Vance, Nickolay Vedernikov, Nicky
7532 Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole Hickman, Niek
7533 Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, Nikola Chernev,
7534 Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah Kardos-Fein, Noah
7535 Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
7536 Olivia Wilson, Olivier De Doncker, Olivier Schulbaum, Olle Ahnve, Omar
7537 Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
7538 Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
7539 Paris Marx, Parker Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat
7540 Ludwig, Pat Sticks, Patricia Brennan, Patricia Rosnel, Patricia Wolf,
7541 Patrick Berry, Patrick Beseda, Patrick Hurley, Patrick M. Lozeau, Patrick
7542 McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff, Patrik
7543 Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest, Paul Bailey,
7544 Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts, Paul Jacobson, Paul
7545 Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
7546 Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
7547 Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
7548 Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, Peter
7549 O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
7550 Viktorin, Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip
7551 Pangrac, Philip R. Skaggs Jr., Philip Young, Philippa Lorne Channer,
7552 Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan Pauwels,
7553 Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy Kirill,
7554 Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel Mercer,
7555 Rafael Scapin, Rafaela Kunz, Rain Doggerel, Raine Lourie, Rajiv Jhangiani,
7556 Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
7557 Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
7558 Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich
7559 McCue, Richard <span class="quote">“<span class="quote">TalkToMeGuy</span>”</span> Olson, Richard Best, Richard
7560 Blumberg, Richard Fannon, Richard Heying, Richard Karnesky, Richard Kelly,
7561 Richard Littauer, Richard Sobey, Richard White, Richard Winchell, Rik
7562 ToeWater, Rita Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley,
7563 Rob Bertholf, Rob Emanuele, Rob McAuliffe, Rob McKaughan, Rob Tillie, Rob
7564 Utter, Rob Vincent, Robert Gaffney, Robert Jones, Robert Kelly, Robert
7565 Lawlis, Robert McDonald, Robert Orzanna, Robert Paterson Hunter, Robert
7566 R. Daniel Jr., Robert Ryan-Silva, Robert Thompson, Robert Wagoner, Roberto
7567 Selvaggio, Robin DeRosa, Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon,
7568 Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
7569 Mari von Walthausen, Rolf Egstad, Rolf Schaller, Ron Zuijlen, Ronald
7570 Bissell, Ronald van den Hoff, Ronda Snow, Rory Landon Aronson, Ross Findlay,
7571 Ross Pruden, Ross Williams, Rowan Skewes, Roy Ivy III, Ruben Flores, Rupert
7572 Hitzenberger, Rusi Popov, Russ Antonucci, Russ Spollin, Russell Brand, Rute
7573 Correia, Ruth Ann Carpenter, Ruth White, Ryan Mentock, Ryan Merkley, Ryan
7574 Price, Ryan Sasaki, Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin
7575 Kenaid, Salomon Riedo, Sam Hokin, Sam Twidale, Samantha Levin,
7576 Samantha-Jayne Chapman, Samarth Agarwal, Sami Al-AbdRabbuh, Samuel
7577 A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
7578 Cersosimo, Samuel Tait, Sandra Fauconnier, Sandra Markus, Sandy Bjar, Sandy
7579 ONeil, Sang-Phil Ju, Sanjay Basu, Santiago Garcia, Sara Armstrong, Sara
7580 Lucca, Sara Rodriguez Marin, Sarah Brand, Sarah Cove, Sarah Curran, Sarah
7581 Gold, Sarah McGovern, Sarah Smith, Sarinee Achavanuntakul, Sasha Moss, Sasha
7582 VanHoven, Saul Gasca, Scott Abbott, Scott Akerman, Scott Beattie, Scott
7583 Bruinooge, Scott Conroy, Scott Gillespie, Scott Williams, Sean Anderson,
7584 Sean Johnson, Sean Lim, Sean Wickett, Seb Schmoller, Sebastiaan Bekker,
7585 Sebastiaan ter Burg, Sebastian Makowiecki, Sebastian Meyer, Sebastian
7586 Schweizer, Sebastian Sigloch, Sebastien Huchet, Seokwon Yang, Sergey
7587 Chernyshev, Sergey Storchay, Sergio Cardoso, Seth Drebitko, Seth Gover, Seth
7588 Lepore, Shannon Turner, Sharon Clapp, Shauna Redmond, Shawn Gaston, Shawn
7589 Martin, Shay Knohl, Shelby Hatfield, Sheldon (Vila) Widuch, Sheona Thomson,
7590 Si Jie, Sicco van Sas, Siena Oristaglio, Simon Glover, Simon John King,
7591 Simon Klose, Simon Law, Simon Linder, Simon Moffitt, Solomon Kahn, Solomon
7592 Simon, Soujanna Sarkar, Stanislav Trifonov, Stefan Dumont, Stefan Jansson,
7593 Stefan Langer, Stefan Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan
7594 Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
7595 Stephen Pearce, Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson,
7596 Steve Battle, Steve Fisches, Steve Fitzhugh, Steve Guen-gerich, Steve
7597 Ingram, Steve Kroy, Steve Midgley, Steve Rhine, Steven Kasprzyk, Steven
7598 Knudsen, Steven Melvin, Stig-Jørund B. Ö.  Arnesen, Stuart Drewer, Stuart
7599 Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
7600 Susan R Grossman, Suzie Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle,
7601 Sylvain Chery, Sylvia Green, Sylvia van Bruggen, Szabolcs Berecz,
7602 T. L. Mason, Tanbir Baeg, Tanya Hart, Tara Tiger Brown, Tara Westover, Tarmo
7603 Toikkanen, Tasha Turner Lennhoff, Tathagat Varma, Ted Timmons, Tej Dhawan,
7604 Teresa Gonczy, Terry Hook, Theis Madsen, Theo M. Scholl, Theresa Bernardo,
7605 Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
7606 Chang, Thomas Hartman, Thomas Kent, Thomas Morgan, Thomas Philipp-Edmonds,
7607 Thomas Thrush, Thomas Werkmeister, Tieg Zaharia, Tieu Thuy Nguyen, Tim
7608 Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
7609 Timothy Arfsten, Timothy Hinchliff, Timothy Vollmer, Tina Coffman, Tisza
7610 Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
7611 Bamford, Tom Caswell, Tom Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom
7612 Merkli, Tom Merritt, Tom Myers, Tom Olijhoek, Tom Rubin, Tommaso De Benetti,
7613 Tommy Dahlen, Tony Ciak, Tony Nwachukwu, Torsten Skomp, Tracey Depellegrin,
7614 Tracey Henton, Tracey James, Traci Long DeForge, Trent Yarwood, Trevor
7615 Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
7616 Tyler Occhiogrosso, Udo Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum,
7617 Vaughan jenkins, Veethika Mishra, Vic King, Vickie Goode, Victor DePina,
7618 Victor Grigas, Victoria Klassen, Victorien Elvinger, VIGA Manufacture, Vikas
7619 Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
7620 Gentilini, Virginia Kopelman, Vitor Menezes, Vivian Marthell, Wayne
7621 Mackintosh, Wendy Keenan, Werner Wiethege, Wesley Derbyshire, Widar Hellwig,
7622 Willa Köerner, William Bettridge-Radford, William Jefferson, William
7623 Marshall, William Peter Nash, William Ray, William Robins, Willow Rosenberg,
7624 Winie Evers, Wolfgang Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier
7625 Moisant, Xueqi Li, Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian
7626 Sun, Yves Deruisseau, Zach Chandler, Zak Zebrowski, Zane Amiralis and Joshua
7627 de Haan, ZeMarmot Open Movie
7628   </p></div></body></html>