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   1 <html><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8"><title>Wykonane zgodnie z licencją Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets Vsnapshot"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="pl" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Wykonane zgodnie z licencją Creative Commons</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">Copyright © 2017 Creative Commons</p></div><div><div class="legalnotice"><a name="idm18"></a><p>
   2     Ta książka jest wydana zgodnie z licencją CC BY-SA co oznacza, że można ją
   3 kopiować, rozpowszechniać ponownie, remiksować, przekształcać i tworzyć nowe
   4 teksty na podstawie jej zawartości — w dowolnym celu, nawet komercyjnie, pod
   5 warunkiem, że załączone zostaną odpowiednie podziękowania, udostępniony
   6 zostanie odsyłacz do licencji i wskazane zostaną zmiany (jeśli zostały
   7 wprowadzone). Jeśli remiksujesz, przekształcasz lub wykorzystujesz ten
   8 materiał, musisz go rozpowszechniać na tej samej licencji, co
   9 oryginał. Szczegóły licencji: <a class="ulink" href="http://creativecommons.org/licenses/by-sa/4.0/" target="_top">http://creativecommons.org/licenses/by-sa/4.0/</a>
  10   </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>Niewiele wiem o dziennikarstwie faktów. . . Sposób, w jaki myślę o tych
  11 rzeczach i w kategoriach tego, co mogę zrobić, to. . . eseje takie jak ten
  12 są okazją, aby przyjrzeć się, jak ktoś dość bystry, ale też dość przeciętny,
  13 przywiązuje znacznie większą uwagę i myśli o wiele więcej różnych rzeczy,
  14 niż większość z nas ma szansę w naszym codziennym życiu.</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>Spis treści</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Przedmowa</a></span></dt><dt><span class="preface"><a href="#introduction">Wprowadzenie</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. Jak może być zrobione na licencji Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. Licencje Creative Commons</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>Spis rysunków</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>Przedmowa</h1></div></div></div><p>
  17     Trzy lata temu, jak tylko otrzymałem najwyższe stanowisko zarządzające w
  18 Creative Commons (ang. Chief Executive Officer — CEO), spotkałem się z Cory
  19 Doctorow w barze hotelu Gladstone w Toronto. Jako jeden z najbardziej
  20 znanych zwolenników CC — jako zwolennik, który również zrobił karierę jako
  21 pisarz, dzielący się swoją pracą z innymi za pomocą CC — powiedziałem mu, że
  22 sądzę, iż CC odegrały pewną rolę w zdefiniowaniu i pogłębianiu modeli
  23 otwartego biznesu. Cory Doctorow uprzejmie nie zgodził się ze mną, nazywając
  24 prowadzenie opłacalnych modeli biznesowych, zgodnych z CC, mianem
  25 <span class="quote">„<span class="quote">fałszywego tropu (ang. red herring).</span>”</span>)
  26   </p><p>
  27     W pewien sposób, miał całkowitą rację — ci, którzy coś robią zgodnie z
  28 Creative Commons, mają ukryte motywy, jak to Paul Stacey wyjaśnia w tej
  29 książce: <span class="quote">„<span class="quote">Bez względu na status prawny, wszyscy oni mają do spełnienia
  30 misję społeczną. Ich głównym powodem bycia jest uczynić świat miejscem
  31 lepszym do życia, a nie wyłącznie do osiągania korzyści. Pieniądze są
  32 środkami do osiągania celów społecznych, a nie celem samym w sobie.</span>”</span>
  33   </p><p>
  34     Sarah Hinchliff Pearson, w studium przypadku o Cory Doctorow, cytuje słowa z
  35 jego książki <span class="quote">„<span class="quote">Information Doesn’t Want to Be Free:</span>”</span>
  36 <span class="quote">„<span class="quote">Wejście w dziedzinę sztuki tylko dlatego, aby stać się bogatym, jest
  37 jak kupno losu na loterię tylko w tym celu, aby się wzbogacić. To może
  38 zadziałać, ale przeważnie nie ma szans powodzenia. Chociaż, oczywiście, ktoś
  39 zawsze na loterii wygrywa.</span>”</span>
  40   </p><p>
  41     Obecnie, prawa autorskie są jak bilety na loterię — każdy ma jakieś prawa,
  42 lecz przeważnie nikt nie wygrywa. To, co nam zwykle nie mówią, to fakt, że
  43 jeśli podzielimy sie z innymi ludźmi swoją pracą — korzyści mogą być
  44 znaczące i długotrwałe. Ta książka jest wypełniona opowieściami tych, którzy
  45 podjęli o wiele większe ryzyko niż tylko zapłacenie kilku złotych za bilet
  46 na loterię — zamiast tego, odnieśli oni korzyści z przeforsowania swoich
  47 osobistych pasji, zgodnie z własnymi wartościami życiowymi.
  48   </p><p>
  49     A więc, ta książka nie jest o pieniądzach. Ale także: jest. Znajdowanie
  50 środków, aby tworzyć i dzielić się swoją pracą
  51 z innymi, często wymaga nakładów finansowych. Max Temkin, z Cards Against
  52 Humanity, ujął to w swoim studium przypadku następująco: <span class="quote">„<span class="quote">Nie robimy
  53 dowcipów i gier, aby robić pieniądze — robimy pieniądze, abyśmy mogli robić
  54 więcej dowcipów i gier.</span>”</span>
  55   </p><p>
  56     Creative Commons skupia się na budowaniu dynamicznego, powszechnego
  57 dziedzictwa, opartego na współpracy
  58 i wdzięczności. Centralnym punktem w naszej strategii jest stworzenie pola
  59 dla społecznej współpracy w różnych dziedzinach twórczości. Projekt tej
  60 książki został rozpoczęty właśnie dlatego, aby ukazać i wzmocnić wszystkie,
  61 wspomniane powyżej, aspekty naszej działalności. Projekt, prowadzony przez
  62 Paul'a i Sarah, powstał po to, aby określić i rozszerzyć najlepsze modele
  63 otwartego biznesu. Paul i Sarah okazali się idealnymi autorami do napisania
  64 książki Zrobione na licencji Creative Commons.
  65   </p><p>
  66     Paul marzy o przyszłości, w której nowe modele twórczości oraz innowacyności
  67 przezwyciężą nierówności i braki najgorszych obszarów kapitalizmu. Siłą
  68 napędową działań Paul'a są relacje międzyludzkie w społecznościach
  69 twórców. Posiada on szerokie horyzonty myślowe, które sprawiają, że jest o
  70 wiele lepszym, bardziej wnikliwym pedagogiem i badaczem, niż wiekszość
  71 podobnych mu ludzi, a także — uzdolnionym ogrodnikiem. Jego spokojny,
  72 zrównoważony głos i ton wypowiedzi sprawia, że potrafi swoją pasją
  73 zainspirować kolegów i społeczności lokalne.
  74   </p><p>
  75     Sarah jest najlepszym rodzajem prawnika — prawdziwym adwokatem, który wierzy
  76 w naturalne dobro tkwiące w każdym człowieku. Posiada też moc do
  77 kolektywnego działania, nakierowanego na przemianę świata na lepszy. Przez
  78 cały ubiegły rok byłem świadkiem heroicznych zmagań Sarah, zaangażowanej w
  79 kampanię polityczną, która nie do końca spełniła jej oczekiwania. Obecnie,
  80 Sarah jest jak nigdy dotąd zdeterminowana, aby żyć zgodnie ze swoimi
  81 wartościami życiowymi. Zawsze mogę liczyć na Sarah i jestem przekonany, że
  82 potrafi ona przeforsować każde działanie Creative Commons skupione na jednym
  83 celu — uczynić rzecz główną, rzeczą faktycznie główną. Sarah jest kobietą
  84 bystrą, praktyczną, zorientowaną na szczegóły. W moim zespole nie ma nikogo,
  85 z kim mógłbym tak przyjemnie debatować o wielu różnych sprawach.
  86   </p><p>
  87     Jako współautorzy, Paul i Sarah doskonale się wzajemnie
  88 uzupełniają. Prowadzili badania, analizowali, dowodzili swoich racji i
  89 pracowali jako zespół, czasami razem, czasami osobno. Zagłębiali się w
  90 badania i pracę pisemną z pasją i zaciekawieniem, a także z głebokim
  91 szacunkiem do tego, co składa się na budowanie powszechnego dziedzictwa i
  92 współdzielenie go w skali ogólnoświatowej. Pozostawali otwarci na nowe idee,
  93 łacznie z taką możliwością, że ich wstępne teorie mogą wymagać
  94 przeorganizowania lub mogą okazać się całkowicie błędne. To była odważna
  95 postawa, która sprawiła, że książka stała się lepsza, bardziej wnikliwa i
  96 pożyteczna.
  97   </p><p>
  98     CC od samego początku chciała stworzyć ten projekt w oparciu o zasady i
  99 wartości otwartej współpracy. Książka została stworzona, sfinansowana,
 100 oparta na badaniach naukowych i napisana w sposób całkowicie otwarty. Jest
 101 współdzielona otwarcie na licencji CC BY-SA  — dla każdego, kto chce jej
 102 używać lub remiksować /modyfikować w oparciu o przypisane jej cechy,
 103 wynikające /zawarte w licencji. Jest to, sam w sobie, przykład otwartego
 104 modelu biznesowego.
 105   </p><p>
 106     Sarah organizowała i prowadziła kampanię na witrynie Kickstarter, generując
 107 podstawowe fundusze dla książki, przez cały sierpień 2015 roku. Pozostałe
 108 fundusze pochodziły od szlachetnych darczyńców CC i osoby /instytucje
 109 wspierające. Ostatecznie, projekt stał się najbardziej udanym projektem
 110 książkowym na Kickstarter, z rewelacyjnie wysoką liczbą ponad 1600
 111 darczyńców, z których większość to nowe osoby /instytucje wspierajace
 112 Creative Commons.
 113   </p><p>
 114     Paul i Sarah, przez cały czas realizacji projektu, pracowali całkowicie
 115 otwarcie: publikowali plany, szkice, studia przypadków i analizy;
 116 zaangażowali też do współpracy społeczności z całego świata, co okazało się
 117 bardzo pomocne przy pisaniu książki. Ponieważ opinie Sarah i Paul'a różniły
 118 się wobec niektórych spraw, w różny też sposób skupiali swoje
 119 zainteresowania, więc zdecydowali się na dwa odrębne, autorskie punkty
 120 widzenia, w wyniku których powstały dwa odrębne — choć nawzajem
 121 uzupełniające się — rozdziały książki. Tego rodzaju praca wymagała zarówno
 122 pokory jak i wzajemnego zaufania. Bez wątpienia — tego rodzaju działania
 123 przyczyniły się do wysokiej jakości książki i sukcesu wydawniczego «Made
 124 with Creative Commons».
 125   </p><p>
 126     Ci, którzy pracują i dzielą się swoją pracą z innymi, mając świadomość
 127 własnego wkładu w ogólnoświatowe dziedzictwo kulturowe, nie są zwykłymi
 128 twórcami. Tworząc w ten sposób — stają się częścią większej całości, o wiele
 129 większej niż oni sami. Przekazujac w darze owoce swojej pracy innym ludziom
 130 — zyskują ich wdzięczność i stają się częścią wspólnoty powszechnego
 131 dziedzictwa.
 132   </p><p>
 133     Jonathan Mann, którego profil jest ukazany w tej książce, codziennie pisze
 134 jedną piosenkę. Kiedy poprosiłam go, aby napisał piosenkę dla naszego
 135 Kickstarter'a (i zaoferowałam mu pomoc, jeśli „nasz” Kickstarter odniesie
 136 sukces), zgodził się natychmiast. Dlaczego zgodził się na to? Ponieważ
 137 podstawą dziedzictwa kulturowego jest współpraca, a wspólnota/społeczność
 138 jest wartością kluczową tego dziedzictwa; ponieważ licencje CC pomogły tak
 139 wielu ludziom dzielić się swoją twórczością, na tak wiele sposobów, z
 140 odbiorcami na całym świecie.
 141   </p><p>
 142     Sara pisze: <span class="quote">„<span class="quote">Prace nad Made with Creative Commons nabierają rozmachu,
 143 ponieważ wokół tego projektu jest budowana wspólnota celu. Może to oznaczać,
 144 że ta społeczność współpracuje nad stworzeniem czegoś nowego, lub że tworzy
 145 się zbiór ludzi podobnie myślących, wzajemnie się poznających, i
 146 „maszerujących” w rytm wspólnych zainteresowań i przekonań. Do pewnego
 147 stopnia, utożsamianie się z Made with Creative Commons niesie ze sobą
 148 element społeczny, pomagający łączyć się z ludźmi podobnie myślącymi,
 149 uznającymi — i kształtowanymi poprzez — wartości symbolizowane podczas
 150 używania CC</span>”</span>. Amanda Palmer, również przedstawicielka „muzycznego”
 151 profilu tej książki, mogłaby z pewnością od siebie dodać: <span class="quote">„<span class="quote">Nie ma
 152 bardziej satysfakcjonującej nagrody po osiagnięciu ostatecznego celu, niż
 153 usłyszenie od kogoś, że „[...] to, co ty robisz, ma dla mnie wartość
 154 wyjątkową”.</span>”</span>
 155   </p><p>
 156     To nie jest typowa książka biznesowa. Ci, którzy w niej szukają recepty lub
 157 „mapy drogowej”, mogą być rozczarowani. Lecz, ci, którzy szukają w niej
 158 tego, jak realizować cele społeczne, jak budować coś wielkiego poprzez
 159 wsþółpracę, jak dołączyć do wielkiej, stale rosnącej społeczności globalnej,
 160 z pewnością odniosą wiele korzyści z lektury książki. Zrobione na licencji
 161 Creative Commons oferuje zestaw wartości i zasad, mogących odmienić świat;
 162 udostępnia Tobie, czytelniku, narzędzia do eksploracji własnego biznesu, a
 163 także — dwa tuziny dawek „czystej inspiracji”.
 164   </p><p>
 165     Założyciel CC, Lawrence Lessig, w artykule <span class="quote">„<span class="quote">The Zones of
 166 Cyberspace</span>”</span> (Stanford Law Review, 1996) napisał: <span class="quote">„<span class="quote">[...]
 167 Cyberprzestrzeń jest miejscem. Tam żyją ludzie. Doświadczają oni różnego
 168 rodzaju rzeczy, których doświadczają też w realnym świecie. Niektórzy
 169 doświadczają więcej. Odczuwają to nie tylko jako pojedyncze osoby, grające w
 170 technicznie zaawansowane gry komputerowe; odczuwają to w grupach, w
 171 społecznościach, wśród obcych, wśród osób, których chcą poznać, i których
 172 czasami lubią.</span>”</span>
 173   </p><p>
 174     Jestem niezmiernie dumny, że Creative Commons jest w stanie opublikować tę
 175 książkę dla wielu społeczności, które chcemy poznać, i które chcemy
 176 polubić. Jestem wdzięczny Paulowi i Sarze za ich kreatywność i wnikliwość, a
 177 globalnym społecznościom za to, że pomogły nam przybliżyć tę książkę Tobie,
 178 drogi czytelniku. Jak często mówi członek zarządu CC, Johnathan Nightingale:
 179 <span class="quote">„<span class="quote">To wszystko zostało zrobione przez ludzi (ang. It's all made of
 180 people).</span>”</span>
 181   </p><p>
 182     To jest właśnie prawdziwa wartość rzeczy, które są Zrobione na licencji
 183 Creative Commons.
 184   </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}
 185     \textit{ Ryan Merkley, CEO, Creative Commons}
 186     \end{flushright}</td></tr></table></div></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="introduction"></a>Wprowadzenie</h1></div></div></div><p>
 187     Ta książka pokazuje światu — w niecodzienny sposób — że dzielenie się z
 188 innymi może być dobre dla biznesu.
 189   </p><p>
 190     Rozpoczęliśmy ten projekt, mając na celu zbadanie, w jaki sposób twórcy,
 191 organizacje i firmy zarabiają na tym, co robią, dzieląc się swoją pracą przy
 192 uzyciu licencji Creative Commons. Naszym celem nie była identyfikacja
 193 formuły, której używają modele biznesowe, chcieliśmy natomiast zebrać świeże
 194 idee i dynamiczne przykłady tego, co prowadzi do powstania nowych,
 195 innowacyjnych modeli i do pomagania innym w podążaniu za tym, co już
 196 działa. Na początku ustaliliśmy ramy pojęciowe dla naszych poszukiwań za
 197 pomocą znanych terminów biznesowych. Stworzyliśmy pusty
 198 <span class="quote">„<span class="quote">arkusz</span>”</span> modelu otwartego biznesu, interaktywne narzędzie
 199 online, które może pomóc ludziom zaprojektować i przeanalizować ich własny
 200 model biznesu.
 201   </p><p>
 202     Dzięki hojnemu finansowaniu osób wspierających Kickstarter w pierwszej
 203 kolejności przystąpiliśmy do realizacji tego projektu, identyfikując i
 204 wybierając zróżnicowaną grupę twórców, organizacji i firm, które w sposób
 205 integralny korzystają z Creative Commons — co nazywamy byciem Made with
 206 Creative Commons. Przeprowadzaliśmy z nimi wywiady i spisywaliśmy ich
 207 historie. Przeanalizowaliśmy to, co usłyszeliśmy i zagłębiliśmy się w
 208 literaturę.
 209   </p><p>
 210     Ale kiedy prowadziliśmy nasze badania, wydarzyło się coś
 211 interesującego. Nasz początkowy sposób kadrowania pracy nie pasował do
 212 historii, które słyszeliśmy.
 213   </p><p>
 214     Ci, z którymi przeprowadziliśmy wywiady, nie byli typowymi firmami
 215 sprzedającymi swoje produkty konsumentom i dążącymi do maksymalizacji zysków
 216 i wyniku końcowego.  Zamiast tego dzieliły się, by uczynić świat lepszym
 217 miejscem, tworzyły relacje i społeczność wokół udostępnianych dzieł i
 218 generowały przychody nie po to, by się rozwijać, ale by podtrzymywać
 219 działalność.
 220   </p><p>
 221     They often didn’t like hearing what they do described as an open business
 222 model. Their endeavor was something more than that.  Something
 223 different. Something that generates not just economic value but social and
 224 cultural value. Something that involves human connection. Being Made with
 225 Creative Commons is not <span class="quote">„<span class="quote">business as usual.</span>”</span>
 226   </p><p>
 227     We had to rethink the way we conceived of this project. And it didn’t happen
 228 overnight. From the fall of 2015 through 2016, we documented our thoughts in
 229 blog posts on Medium and with regular updates to our Kickstarter backers. We
 230 shared drafts of case studies and analysis with our Kickstarter cocreators,
 231 who provided invaluable edits, feedback, and advice. Our thinking changed
 232 dramatically over the course of a year and a half.
 233   </p><p>
 234     Throughout the process, the two of us have often had very different ways of
 235 understanding and describing what we were learning. Learning from each other
 236 has been one of the great joys of this work, and, we hope, something that
 237 has made the final product much richer than it ever could have been if
 238 either of us undertook this project alone.  We have preserved our voices
 239 throughout, and you’ll be able to sense our different but complementary
 240 approaches as you read through our different sections.
 241   </p><p>
 242     Chociaż zalecamy przeczytanie książki od początku do końca, każdy rozdział
 243 czyta się mniej więcej niezależnie. Książka składa się z dwóch głównych
 244 części.
 245   </p><p>
 246     Część pierwsza, przegląd, zaczyna się od ogólnego zarysu napisanego przez
 247 Paula. Przedstawia historyczny kontekst dla cyfrowych dóbr wspólnych,
 248 opisując trzy sposoby, w jakie społeczeństwo zarządza zasobami i wspólnym
 249 bogactwem – wspólne, rynek i państwo. Opowiada się za myśleniem
 250 wykraczającym poza biznesowe i rynkowe terminy i wymownie opowiada się za
 251 dzieleniem się i powiększaniem cyfrowych dóbr wspólnych.
 252   </p><p>
 253     Przegląd jest kontynuowany w rozdziale Sary, która zastanawia się, co to
 254 znaczy być pomyślnie Made with Creative Commons. Chociaż zarabianie
 255 pieniędzy to jeden kawałek tortu, istnieje również zestaw wartości
 256 społecznych i rodzaj ludzkich powiązań, które sprawiają, że dzielenie się
 257 naprawdę ma sens. W tej sekcji opisano, w jaki sposób twórcy, organizacje i
 258 firmy, z którymi przeprowadziliśmy wywiady, przynoszą dochody, w jaki sposób
 259 wspierają interes publiczny i realizują swoje wartości oraz w jaki sposób
 260 nawiązują kontakty z ludźmi, z którymi się dzielą.
 261   </p><p>
 262     Na zakończenie części pierwszej mamy krótką sekcję wyjaśniającą różne
 263 licencje Creative Commons. Mówimy o błędnym przekonaniu, że bardziej
 264 restrykcyjne licencje — te, które są najbliższe modelowi tradycyjnego prawa
 265 autorskiego z zachowaniem wszelkich praw — są jedynymi sposobami na
 266 zarabianie pieniędzy.
 267   </p><p>
 268     Part two of the book is made up of the twenty-four stories of the creators,
 269 businesses, and organizations we interviewed. While both of us participated
 270 in the interviews, we divided up the writing of these profiles.
 271   </p><p>
 272     Of course, we are pleased to make the book available using a Creative
 273 Commons Attribution-ShareAlike license. Please copy, distribute, translate,
 274 localize, and build upon this work.
 275   </p><p>
 276     Writing this book has transformed and inspired us. The way we now look at
 277 and think about what it means to be Made with Creative Commons has
 278 irrevocably changed. We hope this book inspires you and your enterprise to
 279 use Creative Commons and in so doing contribute to the transformation of our
 280 economy and world for the better.
 281   </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}
 282     \textit{ Paul and Sarah }
 283     \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Część I. The Big Picture</h1></div></div></div><div class="toc"><p><b>Spis treści</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. Jak może być zrobione na licencji Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. Licencje Creative Commons</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>Rozdział 1. The New World of Digital Commons</h2></div></div></div><div class="toc"><p><b>Spis treści</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">Narodziny 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}
 284     \textit{ Paul Stacey}
 285     \end{flushright}</td></tr></table></div><p>
 286       Jonathan Rowe eloquently describes the commons as <span class="quote">„<span class="quote">the air and oceans,
 287 the web of species, wilderness and flowing water—all are parts of the
 288 commons. So are language and knowledge, sidewalks and public squares, the
 289 stories of childhood and the processes of democracy. Some parts of the
 290 commons are gifts of nature, others the product of human endeavor. Some are
 291 new, such as the Internet; others are as ancient as soil and
 292 calligraphy.</span>”</span><a href="#ftn.idm112" class="footnote" name="idm112"><sup class="footnote">[1]</sup></a>
 293     </p><p>
 294       In Made with Creative Commons, we focus on our current era of digital
 295 commons, a commons of human-produced works. This commons cuts across a broad
 296 range of areas including cultural heritage, education, research, technology,
 297 art, design, literature, entertainment, business, and data. Human-produced
 298 works in all these areas are increasingly digital. The Internet is a kind of
 299 global, digital commons. The individuals, organizations, and businesses we
 300 profile in our case studies use Creative Commons to share their resources
 301 online over the Internet.
 302     </p><p>
 303       The commons is not just about shared resources, however. It’s also about the
 304 social practices and values that manage them. A resource is a noun, but to
 305 common—to put the resource into the commons—is a verb.<a href="#ftn.idm116" class="footnote" name="idm116"><sup class="footnote">[2]</sup></a> The creators, organizations, and businesses we
 306 profile are all engaged with commoning. Their use of Creative Commons
 307 involves them in the social practice of commoning, managing resources in a
 308 collective manner with a community of users.<a href="#ftn.idm118" class="footnote" name="idm118"><sup class="footnote">[3]</sup></a> Commoning is guided by a set of values and norms that balance the
 309 costs and benefits of the enterprise with those of the community. Special
 310 regard is given to equitable access, use, and sustainability.
 311     </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>
 312         Historically, there have been three ways to manage resources and share
 313 wealth: the commons (managed collectively), the state (i.e., the
 314 government), and the market—with the last two being the dominant forms
 315 today.<a href="#ftn.idm123" class="footnote" name="idm123"><sup class="footnote">[4]</sup></a>
 316       </p><p>
 317         The organizations and businesses in our case studies are unique in the way
 318 they participate in the commons while still engaging with the market and/or
 319 state. The extent of engagement with market or state varies. Some operate
 320 primarily as a commons with minimal or no reliance on the market or
 321 state.<a href="#ftn.idm126" class="footnote" name="idm126"><sup class="footnote">[5]</sup></a> Others are very much a part of
 322 the market or state, depending on them for financial sustainability. All
 323 operate as hybrids, blending the norms of the commons with those of the
 324 market or state.
 325       </p><p>
 326         Fig. <a class="xref" href="#fig-1" title="Rysunek 1.1. Enterprise engagement with commons, state and market.">1.1</a> is a depiction of how
 327 an enterprise can have varying levels of engagement with commons, state, and
 328 market.
 329       </p><p>
 330         Some of our case studies are simply commons and market enterprises with
 331 little or no engagement with the state. A depiction of those case studies
 332 would show the state sphere as tiny or even absent. Other case studies are
 333 primarily market-based with only a small engagement with the commons. A
 334 depiction of those case studies would show the market sphere as large and
 335 the commons sphere as small. The extent to which an enterprise sees itself
 336 as being primarily of one type or another affects the balance of norms by
 337 which they operate.
 338       </p><p>
 339         All our case studies generate money as a means of livelihood and
 340 sustainability. Money is primarily of the market. Finding ways to generate
 341 revenue while holding true to the core values of the commons (usually
 342 expressed in mission statements) is challenging. To manage interaction and
 343 engagement between the commons and the market requires a deft touch, a
 344 strong sense of values, and the ability to blend the best of both.
 345       </p><p>
 346         The state has an important role to play in fostering the use and adoption of
 347 the commons. State programs and funding can deliberately contribute to and
 348 build the commons. Beyond money, laws and regulations regarding property,
 349 copyright, business, and finance can all be designed to foster the commons.
 350       </p><div class="figure"><a name="fig-1"></a><p class="title"><b>Rysunek 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>
 351         It’s helpful to understand how the commons, market, and state manage
 352 resources differently, and not just for those who consider themselves
 353 primarily as a commons. For businesses or governmental organizations who
 354 want to engage in and use the commons, knowing how the commons operates will
 355 help them understand how best to do so. Participating in and using the
 356 commons the same way you do the market or state is not a strategy for
 357 success.
 358       </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>
 359         As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework
 360 for analyzing how natural resources are managed in a commons.<a href="#ftn.idm144" class="footnote" name="idm144"><sup class="footnote">[6]</sup></a> Her framework considered things like the
 361 biophysical characteristics of common resources, the community’s actors and
 362 the interactions that take place between them, rules-in-use, and
 363 outcomes. That framework has been simplified and generalized to apply to the
 364 commons, the market, and the state for this chapter.
 365       </p><p>
 366         To compare and contrast the ways in which the commons, market, and state
 367 work, let’s consider four aspects of resource management: resource
 368 characteristics, the people involved and the process they use, the norms and
 369 rules they develop to govern use, and finally actual resource use along with
 370 outcomes of that use (see Fig. <a class="xref" href="#fig-2" title="Rysunek 1.2. Four aspects of resource management">1.2</a>).
 371       </p><div class="figure"><a name="fig-2"></a><p class="title"><b>Rysunek 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>
 372           Resources have particular characteristics or attributes that affect the way
 373 they can be used. Some resources are natural; others are human
 374 produced. And—significantly for today’s commons—resources can be physical or
 375 digital, which affects a resource’s inherent potential.
 376         </p><p>
 377           Physical resources exist in limited supply. If I have a physical resource
 378 and give it to you, I no longer have it.  When a resource is removed and
 379 used, the supply becomes scarce or depleted. Scarcity can result in
 380 competing rivalry for the resource. Made with Creative Commons enterprises
 381 are usually digitally based but some of our case studies also produce
 382 resources in physical form. The costs of producing and distributing a
 383 physical good usually require them to engage with the market.
 384         </p><p>
 385           Physical resources are depletable, exclusive, and rivalrous.  Digital
 386 resources, on the other hand, are nondepletable, nonexclusive, and
 387 nonrivalrous. If I share a digital resource with you, we both have the
 388 resource. Giving it to you does not mean I no longer have it. Digital
 389 resources can be infinitely stored, copied, and distributed without becoming
 390 depleted, and at close to zero cost. Abundance rather than scarcity is an
 391 inherent characteristic of digital resources.
 392         </p><p>
 393           The nondepletable, nonexclusive, and nonrivalrous nature of digital
 394 resources means the rules and norms for managing them can (and ought to) be
 395 different from how physical resources are managed. However, this is not
 396 always the case. Digital resources are frequently made artificially
 397 scarce. Placing digital resources in the commons makes them free and
 398 abundant.
 399         </p><p>
 400           Our case studies frequently manage hybrid resources, which start out as
 401 digital with the possibility of being made into a physical resource. The
 402 digital file of a book can be printed on paper and made into a physical
 403 book. A computer-rendered design for furniture can be physically
 404 manufactured in wood.  This conversion from digital to physical invariably
 405 has costs.  Often the digital resources are managed in a free and open way,
 406 but money is charged to convert a digital resource into a physical one.
 407         </p><p>
 408           Beyond this idea of physical versus digital, the commons, market, and state
 409 conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="Rysunek 1.3. How the market, commons and state concieve of resources.">1.3</a>). The market sees resources as private goods—commodities
 410 for sale—from which value is extracted. The state sees resources as public
 411 goods that provide value to state citizens. The commons sees resources as
 412 common goods, providing a common wealth extending beyond state boundaries,
 413 to be passed on in undiminished or enhanced form to future generations.
 414         </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>
 415           In the commons, the market, and the state, different people and processes
 416 are used to manage resources. The processes used define both who has a say
 417 and how a resource is managed.
 418         </p><p>
 419           In the state, a government of elected officials is responsible for managing
 420 resources on behalf of the public. The citizens who produce and use those
 421 resources are not directly involved; instead, that responsibility is given
 422 over to the government.  State ministries and departments staffed with
 423 public servants set budgets, implement programs, and manage resources based
 424 on government priorities and procedures.
 425         </p><p>
 426           In the market, the people involved are producers, buyers, sellers, and
 427 consumers. Businesses act as intermediaries between those who produce
 428 resources and those who consume or use them. Market processes seek to
 429 extract as much monetary value from resources as possible. In the market,
 430 resources are managed as commodities, frequently mass-produced, and sold to
 431 consumers on the basis of a cash transaction.
 432         </p><p>
 433           In contrast to the state and market, resources in a commons are managed more
 434 directly by the people involved.<a href="#ftn.idm171" class="footnote" name="idm171"><sup class="footnote">[7]</sup></a>
 435 Creators of human produced resources can put them in the commons by personal
 436 choice. No permission from state or market is required. Anyone can
 437 participate in the commons and determine for themselves the extent to which
 438 they want to be involved—as a contributor, user, or manager. The people
 439 involved include not only those who create and use resources but those
 440 affected by outcome of use. Who you are affects your say, actions you can
 441 take, and extent of decision making. In the commons, the community as a
 442 whole manages the resources.  Resources put into the commons using Creative
 443 Commons require users to give the original creator credit. Knowing the
 444 person behind a resource makes the commons less anonymous and more personal.
 445         </p><div class="figure"><a name="fig-3"></a><p class="title"><b>Rysunek 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>
 446           The social interactions between people, and the processes used by the state,
 447 market, and commons, evolve social norms and rules. These norms and rules
 448 define permissions, allocate entitlements, and resolve disputes.
 449         </p><p>
 450           State authority is governed by national constitutions. Norms related to
 451 priorities and decision making are defined by elected officials and
 452 parliamentary procedures. State rules are expressed through policies,
 453 regulations, and laws. The state influences the norms and rules of the
 454 market and commons through the rules it passes.
 455         </p><p>
 456           Market norms are influenced by economics and competition for scarce
 457 resources. Market rules follow property, business, and financial laws
 458 defined by the state.
 459         </p><p>
 460           As with the market, a commons can be influenced by state policies,
 461 regulations, and laws. But the norms and rules of a commons are largely
 462 defined by the community. They weigh individual costs and benefits against
 463 the costs and benefits to the whole community. Consideration is given not
 464 just to economic efficiency but also to equity and
 465 sustainability.<a href="#ftn.idm186" class="footnote" name="idm186"><sup class="footnote">[8]</sup></a>
 466         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="goals"></a>Goals</h3></div></div></div><p>
 467           The combination of the aspects we’ve discussed so far—the resource’s
 468 inherent characteristics, people and processes, and norms and rules—shape
 469 how resources are used. Use is also influenced by the different goals the
 470 state, market, and commons have.
 471         </p><p>
 472           In the market, the focus is on maximizing the utility of a resource. What we
 473 pay for the goods we consume is seen as an objective measure of the utility
 474 they provide. The goal then becomes maximizing total monetary value in the
 475 economy.<a href="#ftn.idm192" class="footnote" name="idm192"><sup class="footnote">[9]</sup></a> Units consumed translates to
 476 sales, revenue, profit, and growth, and these are all ways to measure goals
 477 of the market.
 478         </p><p>
 479           The state aims to use and manage resources in a way that balances the
 480 economy with the social and cultural needs of its citizens. Health care,
 481 education, jobs, the environment, transportation, security, heritage, and
 482 justice are all facets of a healthy society, and the state applies its
 483 resources toward these aims. State goals are reflected in quality of life
 484 measures.
 485         </p><p>
 486           In the commons, the goal is maximizing access, equity, distribution,
 487 participation, innovation, and sustainability.  You can measure success by
 488 looking at how many people access and use a resource; how users are
 489 distributed across gender, income, and location; if a community to extend
 490 and enhance the resources is being formed; and if the resources are being
 491 used in innovative ways for personal and social good.
 492         </p><p>
 493           As hybrid combinations of the commons with the market or state, the success
 494 and sustainability of all our case study enterprises depends on their
 495 ability to strategically utilize and balance these different aspects of
 496 managing resources.
 497         </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>
 498         Using the commons to manage resources is part of a long historical
 499 continuum. However, in contemporary society, the market and the state
 500 dominate the discourse on how resources are best managed. Rarely is the
 501 commons even considered as an option. The commons has largely disappeared
 502 from consciousness and consideration. There are no news reports or speeches
 503 about the commons.
 504       </p><p>
 505         But the more than 1.1 billion resources licensed with Creative Commons
 506 around the world are indications of a grassroots move toward the
 507 commons. The commons is making a resurgence. To understand the resilience of
 508 the commons and its current renewal, it’s helpful to know something of its
 509 history.
 510       </p><p>
 511         For centuries, indigenous people and preindustrialized societies managed
 512 resources, including water, food, firewood, irrigation, fish, wild game, and
 513 many other things collectively as a commons.<a href="#ftn.idm203" class="footnote" name="idm203"><sup class="footnote">[10]</sup></a> There was no market, no global economy. The state in the form of
 514 rulers influenced the commons but by no means controlled it. Direct social
 515 participation in a commons was the primary way in which resources were
 516 managed and needs met. (Fig. <a class="xref" href="#fig-4" title="Rysunek 1.4. In preindustrialized society.">1.4</a>
 517 illustrates the commons in relation to the state and the market.)
 518       </p><div class="figure"><a name="fig-4"></a><p class="title"><b>Rysunek 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>
 519         This is followed by a long history of the state (a monarchy or ruler) taking
 520 over the commons for their own purposes. This is called enclosure of the
 521 commons.<a href="#ftn.idm214" class="footnote" name="idm214"><sup class="footnote">[11]</sup></a> In olden days,
 522 <span class="quote">„<span class="quote">commoners</span>”</span> were evicted from the land, fences and hedges
 523 erected, laws passed, and security set up to forbid access.<a href="#ftn.idm217" class="footnote" name="idm217"><sup class="footnote">[12]</sup></a> Gradually, resources became the property of the
 524 state and the state became the primary means by which resources were
 525 managed. (See Fig. <a class="xref" href="#fig-5" title="Rysunek 1.5. The commons is gradually superseded by the state.">1.5</a>).
 526       </p><p>
 527         Holdings of land, water, and game were distributed to ruling family and
 528 political appointees. Commoners displaced from the land migrated to
 529 cities. With the emergence of the industrial revolution, land and resources
 530 became commodities sold to businesses to support production. Monarchies
 531 evolved into elected parliaments. Commoners became labourers earning money
 532 operating the machinery of industry. Financial, business, and property laws
 533 were revised by governments to support markets, growth, and
 534 productivity. Over time ready access to market produced goods resulted in a
 535 rising standard of living, improved health, and education. Fig. <a class="xref" href="#fig-6" title="Rysunek 1.6. How the market, the state and the commons look today.">1.6</a> shows how today the market is the
 536 primary means by which resources are managed.
 537       </p><div class="figure"><a name="fig-5"></a><p class="title"><b>Rysunek 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>
 538         However, the world today is going through turbulent times. The benefits of
 539 the market have been offset by unequal distribution and overexploitation.
 540       </p><p>
 541         Overexploitation was the topic of Garrett Hardin’s influential essay
 542 <span class="quote">„<span class="quote">The Tragedy of the Commons,</span>”</span> published in Science in
 543 1968. Hardin argues that everyone in a commons seeks to maximize personal
 544 gain and will continue to do so even when the limits of the commons are
 545 reached. The commons is then tragically depleted to the point where it can
 546 no longer support anyone. Hardin’s essay became widely accepted as an
 547 economic truism and a justification for private property and free markets.
 548       </p><p>
 549         However, there is one serious flaw with Hardin’s <span class="quote">„<span class="quote">The Tragedy of the
 550 Commons</span>”</span>—it’s fiction. Hardin did not actually study how real commons
 551 work. Elinor Ostrom won the 2009 Nobel Prize in economics for her work
 552 studying different commons all around the world. Ostrom’s work shows that
 553 natural resource commons can be successfully managed by local communities
 554 without any regulation by central authorities or without privatization.
 555 Government and privatization are not the only two choices. There is a third
 556 way: management by the people, where those that are directly impacted are
 557 directly involved. With natural resources, there is a regional locality. The
 558 people in the region are the most familiar with the natural resource, have
 559 the most direct relationship and history with it, and are therefore best
 560 situated to manage it. Ostrom’s approach to the governance of natural
 561 resources broke with convention; she recognized the importance of the
 562 commons as an alternative to the market or state for solving problems of
 563 collective action.<a href="#ftn.idm234" class="footnote" name="idm234"><sup class="footnote">[13]</sup></a>
 564       </p><p>
 565         Hardin failed to consider the actual social dynamic of the commons. His
 566 model assumed that people in the commons act autonomously, out of pure
 567 self-interest, without interaction or consideration of others. But as Ostrom
 568 found, in reality, managing common resources together forms a community and
 569 encourages discourse. This naturally generates norms and rules that help
 570 people work collectively and ensure a sustainable commons. Paradoxically,
 571 while Hardin’s essay is called The Tragedy of the Commons it might more
 572 accurately be titled The Tragedy of the Market.
 573       </p><p>
 574         Hardin’s story is based on the premise of depletable resources.  Economists
 575 have focused almost exclusively on scarcity-based markets. Very little is
 576 known about how abundance works.<a href="#ftn.idm239" class="footnote" name="idm239"><sup class="footnote">[14]</sup></a> The
 577 emergence of information technology and the Internet has led to an explosion
 578 in digital resources and new means of sharing and distribution. Digital
 579 resources can never be depleted. An absence of a theory or model for how
 580 abundance works, however, has led the market to make digital resources
 581 artificially scarce and makes it possible for the usual market norms and
 582 rules to be applied.
 583       </p><p>
 584         When it comes to use of state funds to create digital goods, however, there
 585 is really no justification for artificial scarcity. The norm for state
 586 funded digital works should be that they are freely and openly available to
 587 the public that paid for them.
 588       </p><div class="figure"><a name="fig-6"></a><p class="title"><b>Rysunek 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>
 589         In the early days of computing, programmers and developers learned from each
 590 other by sharing software. In the 1980s, the free-software movement codified
 591 this practice of sharing into a set of principles and freedoms:
 592       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
 593             The freedom to run a software program as you wish, for any purpose.
 594           </p></li><li class="listitem"><p>
 595             The freedom to study how a software program works (because access to the
 596 source code has been freely given), and change it so it does your computing
 597 as you wish.
 598           </p></li><li class="listitem"><p>
 599             The freedom to redistribute copies.
 600           </p></li><li class="listitem"><p>
 601             The freedom to distribute copies of your modified versions to
 602 others.<a href="#ftn.idm262" class="footnote" name="idm262"><sup class="footnote">[15]</sup></a>
 603           </p></li></ul></div><p>
 604         These principles and freedoms constitute a set of norms and rules that
 605 typify a digital commons.
 606       </p><p>
 607         In the late 1990s, to make the sharing of source code and collaboration more
 608 appealing to companies, the open-source-software initiative converted these
 609 principles into licenses and standards for managing access to and
 610 distribution of software. The benefits of open source—such as reliability,
 611 scalability, and quality verified by independent peer review—became widely
 612 recognized and accepted. Customers liked the way open source gave them
 613 control without being locked into a closed, proprietary technology. Free and
 614 open-source software also generated a network effect where the value of a
 615 product or service increases with the number of people using it.<a href="#ftn.idm268" class="footnote" name="idm268"><sup class="footnote">[16]</sup></a> The dramatic growth of the Internet itself owes
 616 much to the fact that nobody has a proprietary lock on core Internet
 617 protocols.
 618       </p><p>
 619         While open-source software functions as a commons, many businesses and
 620 markets did build up around it. Business models based on the licenses and
 621 standards of open-source software evolved alongside organizations that
 622 managed software code on principles of abundance rather than scarcity. Eric
 623 Raymond’s essay <span class="quote">„<span class="quote">The Magic Cauldron</span>”</span> does a great job of
 624 analyzing the economics and business models associated with open-source
 625 software.<a href="#ftn.idm273" class="footnote" name="idm273"><sup class="footnote">[17]</sup></a> These models can provide
 626 examples of sustainable approaches for those Made with Creative Commons.
 627       </p><p>
 628         It isn’t just about an abundant availability of digital assets but also
 629 about abundance of participation. The growth of personal computing,
 630 information technology, and the Internet made it possible for mass
 631 participation in producing creative works and distributing them. Photos,
 632 books, music, and many other forms of digital content could now be readily
 633 created and distributed by almost anyone. Despite this potential for
 634 abundance, by default these digital works are governed by copyright
 635 laws. Under copyright, a digital work is the property of the creator, and by
 636 law others are excluded from accessing and using it without the creator’s
 637 permission.
 638       </p><p>
 639         But people like to share. One of the ways we define ourselves is by sharing
 640 valuable and entertaining content. Doing so grows and nourishes
 641 relationships, seeks to change opinions, encourages action, and informs
 642 others about who we are and what we care about. Sharing lets us feel more
 643 involved with the world.<a href="#ftn.idm279" class="footnote" name="idm279"><sup class="footnote">[18]</sup></a>
 644       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-birth-of-creative-commons"></a>Narodziny Creative Commons</h2></div></div></div><p>
 645         In 2001, Creative Commons was created as a nonprofit to support all those
 646 who wanted to share digital content. A suite of Creative Commons licenses
 647 was modeled on those of open-source software but for use with digital
 648 content rather than software code. The licenses give everyone from
 649 individual creators to large companies and institutions a simple,
 650 standardized way to grant copyright permissions to their creative work.
 651       </p><p>
 652         Creative Commons licenses have a three-layer design. The norms and rules of
 653 each license are first expressed in full legal language as used by
 654 lawyers. This layer is called the legal code. But since most creators and
 655 users are not lawyers, the licenses also have a commons deed, expressing the
 656 permissions in plain language, which regular people can read and quickly
 657 understand. It acts as a user-friendly interface to the legal-code layer
 658 beneath. The third layer is the machine-readable one, making it easy for the
 659 Web to know a work is Creative Commons–licensed by expressing permissions in
 660 a way that software systems, search engines, and other kinds of technology
 661 can understand.<a href="#ftn.idm286" class="footnote" name="idm286"><sup class="footnote">[19]</sup></a> Taken together, these
 662 three layers ensure creators, users, and even the Web itself understand the
 663 norms and rules associated with digital content in a commons.
 664       </p><p>
 665         In 2015, there were over one billion Creative Commons licensed works in a
 666 global commons. These works were viewed online 136 billion times. People are
 667 using Creative Commons licenses all around the world, in thirty-four
 668 languages. These resources include photos, artwork, research articles in
 669 journals, educational resources, music and other audio tracks, and videos.
 670       </p><p>
 671         Individual artists, photographers, musicians, and filmmakers use Creative
 672 Commons, but so do museums, governments, creative industries, manufacturers,
 673 and publishers. Millions of websites use CC licenses, including major
 674 platforms like Wikipedia and Flickr and smaller ones like blogs.<a href="#ftn.idm292" class="footnote" name="idm292"><sup class="footnote">[20]</sup></a> Users of Creative Commons are diverse and cut
 675 across many different sectors. (Our case studies were chosen to reflect that
 676 diversity.)
 677       </p><p>
 678         Some see Creative Commons as a way to share a gift with others, a way of
 679 getting known, or a way to provide social benefit.  Others are simply
 680 committed to the norms associated with a commons. And for some,
 681 participation has been spurred by the free-culture movement, a social
 682 movement that promotes the freedom to distribute and modify creative
 683 works. The free-culture movement sees a commons as providing significant
 684 benefits compared to restrictive copyright laws. This ethos of free exchange
 685 in a commons aligns the free-culture movement with the free and open-source
 686 software movement.
 687       </p><p>
 688         Over time, Creative Commons has spawned a range of open movements, including
 689 open educational resources, open access, open science, and open data. The
 690 goal in every case has been to democratize participation and share digital
 691 resources at no cost, with legal permissions for anyone to freely access,
 692 use, and modify.
 693       </p><p>
 694         The state is increasingly involved in supporting open movements.  The Open
 695 Government Partnership was launched in 2011 to provide an international
 696 platform for governments to become more open, accountable, and responsive to
 697 citizens. Since then, it has grown from eight participating countries to
 698 seventy.<a href="#ftn.idm298" class="footnote" name="idm298"><sup class="footnote">[21]</sup></a> In all these countries,
 699 government and civil society are working together to develop and implement
 700 ambitious open-government reforms. Governments are increasingly adopting
 701 Creative Commons to ensure works funded with taxpayer dollars are open and
 702 free to the public that paid for them.
 703       </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>
 704         Today’s market is largely driven by global capitalism. Law and financial
 705 systems are structured to support extraction, privatization, and corporate
 706 growth. A perception that the market is more efficient than the state has
 707 led to continual privatization of many public natural resources, utilities,
 708 services, and infrastructures.<a href="#ftn.idm305" class="footnote" name="idm305"><sup class="footnote">[22]</sup></a> While
 709 this system has been highly efficient at generating consumerism and the
 710 growth of gross domestic product, the impact on human well-being has been
 711 mixed. Offsetting rising living standards and improvements to health and
 712 education are ever-increasing wealth inequality, social inequality, poverty,
 713 deterioration of our natural environment, and breakdowns of
 714 democracy.<a href="#ftn.idm307" class="footnote" name="idm307"><sup class="footnote">[23]</sup></a>
 715       </p><p>
 716         In light of these challenges there is a growing recognition that GDP growth
 717 should not be an end in itself, that development needs to be socially and
 718 economically inclusive, that environmental sustainability is a requirement
 719 not an option, and that we need to better balance the market, state and
 720 community.<a href="#ftn.idm310" class="footnote" name="idm310"><sup class="footnote">[24]</sup></a>
 721       </p><p>
 722         These realizations have led to a resurgence of interest in the commons as a
 723 means of enabling that balance. City governments like Bologna, Italy, are
 724 collaborating with their citizens to put in place regulations for the care
 725 and regeneration of urban commons.<a href="#ftn.idm315" class="footnote" name="idm315"><sup class="footnote">[25]</sup></a>
 726 Seoul and Amsterdam call themselves <span class="quote">„<span class="quote">sharing cities,</span>”</span> looking
 727 to make sustainable and more efficient use of scarce resources. They see
 728 sharing as a way to improve the use of public spaces, mobility, social
 729 cohesion, and safety.<a href="#ftn.idm319" class="footnote" name="idm319"><sup class="footnote">[26]</sup></a>
 730       </p><p>
 731         The market itself has taken an interest in the sharing economy, with
 732 businesses like Airbnb providing a peer-to-peer marketplace for short-term
 733 lodging and Uber providing a platform for ride sharing. However, Airbnb and
 734 Uber are still largely operating under the usual norms and rules of the
 735 market, making them less like a commons and more like a traditional business
 736 seeking financial gain. Much of the sharing economy is not about the commons
 737 or building an alternative to a corporate-driven market economy; it’s about
 738 extending the deregulated free market into new areas of our
 739 lives.<a href="#ftn.idm324" class="footnote" name="idm324"><sup class="footnote">[27]</sup></a> While none of the people we
 740 interviewed for our case studies would describe themselves as part of the
 741 sharing economy, there are in fact some significant parallels. Both the
 742 sharing economy and the commons make better use of asset capacity. The
 743 sharing economy sees personal residents and cars as having latent spare
 744 capacity with rental value. The equitable access of the commons broadens and
 745 diversifies the number of people who can use and derive value from an asset.
 746       </p><p>
 747         One way Made with Creative Commons case studies differ from those of the
 748 sharing economy is their focus on digital resources. Digital resources
 749 function under different economic rules than physical ones. In a world where
 750 prices always seem to go up, information technology is an
 751 anomaly. Computer-processing power, storage, and bandwidth are all rapidly
 752 increasing, but rather than costs going up, costs are coming down. Digital
 753 technologies are getting faster, better, and cheaper. The cost of anything
 754 built on these technologies will always go down until it is close to
 755 zero.<a href="#ftn.idm327" class="footnote" name="idm327"><sup class="footnote">[28]</sup></a>
 756       </p><p>
 757         Those that are Made with Creative Commons are looking to leverage the unique
 758 inherent characteristics of digital resources, including lowering costs. The
 759 use of digital-rights-management technologies in the form of locks,
 760 passwords, and controls to prevent digital goods from being accessed,
 761 changed, replicated, and distributed is minimal or nonexistent. Instead,
 762 Creative Commons licenses are used to put digital content out in the
 763 commons, taking advantage of the unique economics associated with being
 764 digital. The aim is to see digital resources used as widely and by as many
 765 people as possible. Maximizing access and participation is a common goal.
 766 They aim for abundance over scarcity.
 767       </p><p>
 768         The incremental cost of storing, copying, and distributing digital goods is
 769 next to zero, making abundance possible. But imagining a market based on
 770 abundance rather than scarcity is so alien to the way we conceive of
 771 economic theory and practice that we struggle to do so.<a href="#ftn.idm331" class="footnote" name="idm331"><sup class="footnote">[29]</sup></a> Those that are Made with Creative Commons are each
 772 pioneering in this new landscape, devising their own economic models and
 773 practice.
 774       </p><p>
 775         Some are looking to minimize their interactions with the market and operate
 776 as autonomously as possible. Others are operating largely as a business
 777 within the existing rules and norms of the market. And still others are
 778 looking to change the norms and rules by which the market operates.
 779       </p><p>
 780         For an ordinary corporation, making social benefit a part of its operations
 781 is difficult, as it’s legally required to make decisions that financially
 782 benefit stockholders. But new forms of business are emerging. There are
 783 benefit corporations and social enterprises, which broaden their business
 784 goals from making a profit to making a positive impact on society, workers,
 785 the community, and the environment.<a href="#ftn.idm335" class="footnote" name="idm335"><sup class="footnote">[30]</sup></a>
 786 Community-owned businesses, worker-owned businesses, cooperatives, guilds,
 787 and other organizational forms offer alternatives to the traditional
 788 corporation. Collectively, these alternative market entities are changing
 789 the rules and norms of the market.<a href="#ftn.idm337" class="footnote" name="idm337"><sup class="footnote">[31]</sup></a>
 790       </p><p><span class="quote">„<span class="quote">A book on open business models</span>”</span> is how we described it in this
 791 book’s Kickstarter campaign. We used a handbook called Business Model
 792 Generation as our reference for defining just what a business model
 793 is. Developed over nine years using an <span class="quote">„<span class="quote">open process</span>”</span> involving
 794 470 coauthors from forty-five countries, it is useful as a framework for
 795 talking about business models.<a href="#ftn.idm342" class="footnote" name="idm342"><sup class="footnote">[32]</sup></a>
 796       </p><p>
 797         It contains a <span class="quote">„<span class="quote">business model canvas,</span>”</span> which conceives of a
 798 business model as having nine building blocks.<a href="#ftn.idm347" class="footnote" name="idm347"><sup class="footnote">[33]</sup></a> This blank canvas can serve as a tool for anyone to design their
 799 own business model. We remixed this business model canvas into an open
 800 business model canvas, adding three more building blocks relevant to hybrid
 801 market, commons enterprises: social good, Creative Commons license, and
 802 <span class="quote">„<span class="quote">type of open environment that the business fits
 803 in.</span>”</span><a href="#ftn.idm351" class="footnote" name="idm351"><sup class="footnote">[34]</sup></a> This enhanced canvas proved
 804 useful when we analyzed businesses and helped start-ups plan their economic
 805 model.
 806       </p><p>
 807         In our case study interviews, many expressed discomfort over describing
 808 themselves as an open business model—the term business model suggested
 809 primarily being situated in the market.  Where you sit on the
 810 commons-to-market spectrum affects the extent to which you see yourself as a
 811 business in the market.  The more central to the mission shared resources
 812 and commons values are, the less comfort there is in describing yourself, or
 813 depicting what you do, as a business. Not all who have endeavors Made with
 814 Creative Commons use business speak; for some the process has been
 815 experimental, emergent, and organic rather than carefully planned using a
 816 predefined model.
 817       </p><p>
 818         The creators, businesses, and organizations we profile all engage with the
 819 market to generate revenue in some way. The ways in which this is done vary
 820 widely. Donations, pay what you can, memberships, <span class="quote">„<span class="quote">digital for free
 821 but physical for a fee,</span>”</span> crowdfunding, matchmaking, value-add
 822 services, patrons . . . the list goes on and on. (Initial description of how
 823 to earn revenue available through reference note. For latest thinking see
 824 How to Bring In Money in the next section.)<a href="#ftn.idm359" class="footnote" name="idm359"><sup class="footnote">[35]</sup></a> There is no single magic bullet, and each endeavor has devised ways
 825 that work for them. Most make use of more than one way. Diversifying revenue
 826 streams lowers risk and provides multiple paths to sustainability.
 827       </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>
 828         While it may be clear why commons-based organizations want to interact and
 829 engage with the market (they need money to survive), it may be less obvious
 830 why the market would engage with the commons. The digital commons offers
 831 many benefits.
 832       </p><p>
 833         The commons speeds dissemination. The free flow of resources in the commons
 834 offers tremendous economies of scale. Distribution is decentralized, with
 835 all those in the commons empowered to share the resources they have access
 836 to. Those that are Made with Creative Commons have a reduced need for sales
 837 or marketing. Decentralized distribution amplifies supply and know-how.
 838       </p><p>
 839         The commons ensures access to all. The market has traditionally operated by
 840 putting resources behind a paywall requiring payment first before
 841 access. The commons puts resources in the open, providing access up front
 842 without payment. Those that are Made with Creative Commons make little or no
 843 use of digital rights management (DRM) to manage resources. Not using DRM
 844 frees them of the costs of acquiring DRM technology and staff resources to
 845 engage in the punitive practices associated with restricting access. The way
 846 the commons provides access to everyone levels the playing field and
 847 promotes inclusiveness, equity, and fairness.
 848       </p><p>
 849         The commons maximizes participation. Resources in the commons can be used
 850 and contributed to by everyone. Using the resources of others, contributing
 851 your own, and mixing yours with others to create new works are all dynamic
 852 forms of participation made possible by the commons. Being Made with
 853 Creative Commons means you’re engaging as many users with your resources as
 854 possible.  Users are also authoring, editing, remixing, curating,
 855 localizing, translating, and distributing. The commons makes it possible for
 856 people to directly participate in culture, knowledge building, and even
 857 democracy, and many other socially beneficial practices.
 858       </p><p>
 859         The commons spurs innovation. Resources in the hands of more people who can
 860 use them leads to new ideas. The way commons resources can be modified,
 861 customized, and improved results in derivative works never imagined by the
 862 original creator. Some endeavors that are Made with Creative Commons
 863 deliberately encourage users to take the resources being shared and innovate
 864 them. Doing so moves research and development (R&amp;D) from being solely
 865 inside the organization to being in the community.<a href="#ftn.idm370" class="footnote" name="idm370"><sup class="footnote">[36]</sup></a> Community-based innovation will keep an
 866 organization or business on its toes. It must continue to contribute new
 867 ideas, absorb and build on top of the innovations of others, and steward the
 868 resources and the relationship with the community.
 869       </p><p>
 870         The commons boosts reach and impact. The digital commons is
 871 global. Resources may be created for a local or regional need, but they go
 872 far and wide generating a global impact. In the digital world, there are no
 873 borders between countries. When you are Made with Creative Commons, you are
 874 often local and global at the same time: Digital designs being globally
 875 distributed but made and manufactured locally. Digital books or music being
 876 globally distributed but readings and concerts performed locally. The
 877 digital commons magnifies impact by connecting creators to those who use and
 878 build on their work both locally and globally.
 879       </p><p>
 880         The commons is generative. Instead of extracting value, the commons adds
 881 value. Digitized resources persist without becoming depleted, and through
 882 use are improved, personalized, and localized. Each use adds value. The
 883 market focuses on generating value for the business and the customer. The
 884 commons generates value for a broader range of beneficiaries including the
 885 business, the customer, the creator, the public, and the commons itself. The
 886 generative nature of the commons means that it is more cost-effective and
 887 produces a greater return on investment.  Value is not just measured in
 888 financial terms. Each new resource added to the commons provides value to
 889 the public and contributes to the overall value of the commons.
 890       </p><p>
 891         The commons brings people together for a common cause. The commons vests
 892 people directly with the responsibility to manage the resources for the
 893 common good. The costs and benefits for the individual are balanced with the
 894 costs and benefits for the community and for future generations. Resources
 895 are not anonymous or mass produced. Their provenance is known and
 896 acknowledged through attribution and other means. Those that are Made with
 897 Creative Commons generate awareness and reputation based on their
 898 contributions to the commons. The reach, impact, and sustainability of those
 899 contributions rest largely on their ability to forge relationships and
 900 connections with those who use and improve them. By functioning on the basis
 901 of social engagement, not monetary exchange, the commons unifies people.
 902       </p><p>
 903         The benefits of the commons are many. When these benefits align with the
 904 goals of individuals, communities, businesses in the market, or state
 905 enterprises, choosing to manage resources as a commons ought to be the
 906 option of choice.
 907       </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>
 908         The creators, organizations, and businesses in our case studies operate as
 909 nonprofits, for-profits, and social enterprises.  Regardless of legal
 910 status, they all have a social mission.  Their primary reason for being is
 911 to make the world a better place, not to profit. Money is a means to a
 912 social end, not the end itself. They factor public interest into decisions,
 913 behavior, and practices. Transparency and trust are really important. Impact
 914 and success are measured against social aims expressed in mission
 915 statements, and are not just about the financial bottom line.
 916       </p><p>
 917         The case studies are based on the narratives told to us by founders and key
 918 staff. Instead of solely using financials as the measure of success and
 919 sustainability, they emphasized their mission, practices, and means by which
 920 they measure success.  Metrics of success are a blend of how social goals
 921 are being met and how sustainable the enterprise is.
 922       </p><p>
 923         Our case studies are diverse, ranging from publishing to education and
 924 manufacturing. All of the organizations, businesses, and creators in the
 925 case studies produce digital resources. Those resources exist in many forms
 926 including books, designs, songs, research, data, cultural works, education
 927 materials, graphic icons, and video. Some are digital representations of
 928 physical resources. Others are born digital but can be made into physical
 929 resources.
 930       </p><p>
 931         They are creating new resources, or using the resources of others, or mixing
 932 existing resources together to make something new. They, and their audience,
 933 all play a direct, participatory role in managing those resources, including
 934 their preservation, curation, distribution, and enhancement. Access and
 935 participation is open to all regardless of monetary means.
 936       </p><p>
 937         And as users of Creative Commons licenses, they are automatically part of a
 938 global community. The new digital commons is global. Those we profiled come
 939 from nearly every continent in the world. To build and interact within this
 940 global community is conducive to success.
 941       </p><p>
 942         Creative Commons licenses may express legal rules around the use of
 943 resources in a commons, but success in the commons requires more than
 944 following the letter of the law and acquiring financial means. Over and over
 945 we heard in our interviews how success and sustainability are tied to a set
 946 of beliefs, values, and principles that underlie their actions: Give more
 947 than you take. Be open and inclusive. Add value. Make visible what you are
 948 using from the commons, what you are adding, and what you are
 949 monetizing. Maximize abundance. Give attribution. Express gratitude. Develop
 950 trust; don’t exploit. Build relationship and community. Be
 951 transparent. Defend the commons.
 952       </p><p>
 953         The new digital commons is here to stay. Made With Creative Commons case
 954 studies show how it’s possible to be part of this commons while still
 955 functioning within market and state systems.  The commons generates benefits
 956 neither the market nor state can achieve on their own. Rather than the
 957 market or state dominating as primary means of resource management, a more
 958 balanced alternative is possible.
 959       </p><p>
 960         Enterprise use of Creative Commons has only just begun. The case studies in
 961 this book are merely starting points. Each is changing and evolving over
 962 time. Many more are joining and inventing new models. This overview aims to
 963 provide a framework and language for thinking and talking about the new
 964 digital commons. The remaining sections go deeper providing further guidance
 965 and insights on how it works.
 966       </p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm112" class="footnote"><p><a href="#idm112" class="para"><sup class="para">[1] </sup></a>
 967           Jonathan Rowe, Our Common Wealth (San Francisco: Berrett-Koehler, 2013), 14.
 968         </p></div><div id="ftn.idm116" class="footnote"><p><a href="#idm116" class="para"><sup class="para">[2] </sup></a>
 969           David Bollier, Think Like a Commoner: A Short Introduction to the Life of
 970 the Commons (Gabriola Island, BC: New Society, 2014), 176.
 971         </p></div><div id="ftn.idm118" class="footnote"><p><a href="#idm118" class="para"><sup class="para">[3] </sup></a>
 972           Ibid., 15.
 973         </p></div><div id="ftn.idm123" class="footnote"><p><a href="#idm123" class="para"><sup class="para">[4] </sup></a>
 974             Ibid., 145.
 975           </p></div><div id="ftn.idm126" class="footnote"><p><a href="#idm126" class="para"><sup class="para">[5] </sup></a>
 976             Ibid., 175.
 977           </p></div><div id="ftn.idm144" class="footnote"><p><a href="#idm144" class="para"><sup class="para">[6] </sup></a>
 978             Daniel H. Cole, <span class="quote">„<span class="quote">Learning from Lin: Lessons and Cautions from the
 979 Natural Commons for the Knowledge Commons,</span>”</span> in Governing Knowledge
 980 Commons, eds. Brett M. Frischmann, Michael J. Madison, and Katherine J.
 981 Strandburg (New York: Oxford University Press, 2014), 53.
 982           </p></div><div id="ftn.idm171" class="footnote"><p><a href="#idm171" class="para"><sup class="para">[7] </sup></a>
 983               Max Haiven, Crises of Imagination, Crises of Power: Capitalism, Creativity
 984 and the Commons (New York: Zed Books, 2014), 93.
 985             </p></div><div id="ftn.idm186" class="footnote"><p><a href="#idm186" class="para"><sup class="para">[8] </sup></a>
 986               Bollier, Think Like a Commoner, 175.
 987             </p></div><div id="ftn.idm192" class="footnote"><p><a href="#idm192" class="para"><sup class="para">[9] </sup></a>
 988               Joshua Farley and Ida Kubiszewski, <span class="quote">„<span class="quote">The Economics of Information in a
 989 Post-Carbon Economy,</span>”</span> in Free Knowledge: Confronting the
 990 Commodification of Human Discovery, eds. Patricia W. Elliott and Daryl
 991 H. Hepting (Regina, SK: University of Regina Press, 2015), 201–4.
 992             </p></div><div id="ftn.idm203" class="footnote"><p><a href="#idm203" class="para"><sup class="para">[10] </sup></a>
 993             Rowe, Our Common Wealth, 19; and Heather Menzies, Reclaiming the Commons for
 994 the Common Good: A Memoir and Manifesto (Gabriola Island, BC: New Society,
 995 2014), 42–43.
 996           </p></div><div id="ftn.idm214" class="footnote"><p><a href="#idm214" class="para"><sup class="para">[11] </sup></a>
 997             Bollier, Think Like a Commoner, 55–78.
 998           </p></div><div id="ftn.idm217" class="footnote"><p><a href="#idm217" class="para"><sup class="para">[12] </sup></a>
 999             Fritjof Capra and Ugo Mattei, The Ecology of Law: Toward a Legal System in
1000 Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57;
1001 and Bollier, Think Like a Commoner, 88.
1002           </p></div><div id="ftn.idm234" class="footnote"><p><a href="#idm234" class="para"><sup class="para">[13] </sup></a>
1003             Brett M. Frischmann, Michael J. Madison, and Katherine J.  Strandburg,
1004 <span class="quote">„<span class="quote">Governing Knowledge Commons,</span>”</span> in Frischmann, Madison, and
1005 Strandburg Governing Knowledge Commons, 12.
1006           </p></div><div id="ftn.idm239" class="footnote"><p><a href="#idm239" class="para"><sup class="para">[14] </sup></a>
1007             Farley and Kubiszewski, <span class="quote">„<span class="quote">Economics of Information,</span>”</span> in Elliott
1008 and Hepting, Free Knowledge, 203.
1009           </p></div><div id="ftn.idm262" class="footnote"><p><a href="#idm262" 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
1010 Software Foundation’s Licensing and Compliance Lab, accessed December 30,
1011 2016, <a class="ulink" href="http://www.gnu.org/philosophy/free-sw" target="_top">http://www.gnu.org/philosophy/free-sw</a>.
1012               </p></div><div id="ftn.idm268" class="footnote"><p><a href="#idm268" class="para"><sup class="para">[16] </sup></a>
1013             Wikipedia, s.v. <span class="quote">„<span class="quote">Open-source software,</span>”</span> last modified November
1014 22, 2016.
1015           </p></div><div id="ftn.idm273" class="footnote"><p><a href="#idm273" class="para"><sup class="para">[17] </sup></a>
1016             Eric S. Raymond, <span class="quote">„<span class="quote">The Magic Cauldron,</span>”</span> in The Cathedral and the
1017 Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary,
1018 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>.
1019           </p></div><div id="ftn.idm279" class="footnote"><p><a href="#idm279" class="para"><sup class="para">[18] </sup></a>
1020             New York Times Customer Insight Group, The Psychology of Sharing: Why Do
1021 People Share Online? (New York: New York Times Customer Insight Group,
1022 2011), <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
1023           </p></div><div id="ftn.idm286" class="footnote"><p><a href="#idm286" class="para"><sup class="para">[19] </sup></a><span class="quote">„<span class="quote">Licensing Considerations,</span>”</span> Creative Commons, accessed December
1024 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>.
1025           </p></div><div id="ftn.idm292" class="footnote"><p><a href="#idm292" class="para"><sup class="para">[20] </sup></a>
1026             Creative Commons, 2015 State of the Commons (Mountain View, CA: Creative
1027 Commons, 2015), <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
1028           </p></div><div id="ftn.idm298" class="footnote"><p><a href="#idm298" class="para"><sup class="para">[21] </sup></a>
1029             Wikipedia, s.v. <span class="quote">„<span class="quote">Open Government Partnership,</span>”</span> last modified
1030 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>.
1031           </p></div><div id="ftn.idm305" class="footnote"><p><a href="#idm305" class="para"><sup class="para">[22] </sup></a>
1032             Capra and Mattei, Ecology of Law, 114.
1033           </p></div><div id="ftn.idm307" class="footnote"><p><a href="#idm307" class="para"><sup class="para">[23] </sup></a>
1034             Ibid., 116.
1035           </p></div><div id="ftn.idm310" class="footnote"><p><a href="#idm310" class="para"><sup class="para">[24] </sup></a>
1036             The Swedish International Development Cooperation Agency, <span class="quote">„<span class="quote">Stockholm
1037 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>
1038           </p></div><div id="ftn.idm315" class="footnote"><p><a href="#idm315" class="para"><sup class="para">[25] </sup></a>
1039             City of Bologna, Regulation on Collaboration between Citizens and the City
1040 for the Care and Regeneration of Urban Commons, trans. LabGov (LABoratory
1041 for the GOVernance of Commons) (Bologna, Italy: City of Bologna, 2014),
1042 <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>.
1043           </p></div><div id="ftn.idm319" class="footnote"><p><a href="#idm319" class="para"><sup class="para">[26] </sup></a>
1044             The Seoul Sharing City website is <a class="ulink" href="http://english.sharehub.kr" target="_top">http://english.sharehub.kr</a>;
1045 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>.
1046           </p></div><div id="ftn.idm324" class="footnote"><p><a href="#idm324" class="para"><sup class="para">[27] </sup></a>
1047             Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
1048 Books, 2015), 42.
1049           </p></div><div id="ftn.idm327" class="footnote"><p><a href="#idm327" class="para"><sup class="para">[28] </sup></a>
1050             Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
1051 Something for Nothing, Reprint with new preface.  (New York: Hyperion,
1052 2010), 78.
1053           </p></div><div id="ftn.idm331" class="footnote"><p><a href="#idm331" class="para"><sup class="para">[29] </sup></a>
1054             Jeremy Rifkin, The Zero Marginal Cost Society: The Internet of Things, the
1055 Collaborative Commons, and the Eclipse of Capitalism (New York: Palgrave
1056 Macmillan, 2014), 273.
1057           </p></div><div id="ftn.idm335" class="footnote"><p><a href="#idm335" class="para"><sup class="para">[30] </sup></a>
1058             Gar Alperovitz, What Then Must We Do? Straight Talk about the Next American
1059 Revolution: Democratizing Wealth and Building a Community-Sustaining Economy
1060 from the Ground Up (White River Junction, VT: Chelsea Green, 2013), 39.
1061           </p></div><div id="ftn.idm337" class="footnote"><p><a href="#idm337" class="para"><sup class="para">[31] </sup></a>
1062             Marjorie Kelly, Owning Our Future: The Emerging Ownership Revolution;
1063 Journeys to a Generative Economy (San Francisco: Berrett-Koehler, 2012),
1064 8–9.
1065           </p></div><div id="ftn.idm342" class="footnote"><p><a href="#idm342" class="para"><sup class="para">[32] </sup></a>
1066             Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
1067 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>.
1068           </p></div><div id="ftn.idm347" class="footnote"><p><a href="#idm347" class="para"><sup class="para">[33] </sup></a>
1069             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>.
1070           </p></div><div id="ftn.idm351" class="footnote"><p><a href="#idm351" class="para"><sup class="para">[34] </sup></a>
1071             We’ve made the <span class="quote">„<span class="quote">Open Business Model Canvas,</span>”</span> designed by the
1072 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>.
1073 You can also find the accompanying Open Business Model Canvas Questions at
1074 <a class="ulink" href="http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit" target="_top">http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit</a>.
1075           </p></div><div id="ftn.idm359" class="footnote"><p><a href="#idm359" class="para"><sup class="para">[35] </sup></a>
1076             A more comprehensive list of revenue streams is available in this post I
1077 wrote on Medium on March 6, 2016. <span class="quote">„<span class="quote">What Is an Open Business Model and
1078 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>.
1079           </p></div><div id="ftn.idm370" class="footnote"><p><a href="#idm370" class="para"><sup class="para">[36] </sup></a>
1080             Henry Chesbrough, Open Innovation: The New Imperative for Creating and
1081 Profiting from Technology (Boston: Harvard Business Review Press, 2006),
1082 31–44.
1083           </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>Rozdział 2. Jak może być zrobione na licencji Creative Commons</h2></div></div></div><div class="toc"><p><b>Spis treści</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}
1084     \textit{ Sarah Hinchliff Pearson}
1085     \end{flushright}</td></tr></table></div><p>
1086       When we began this project in August 2015, we set out to write a book about
1087 business models that involve Creative Commons licenses in some significant
1088 way—what we call being Made with Creative Commons. With the help of our
1089 Kickstarter backers, we chose twenty-four endeavors from all around the
1090 world that are Made with Creative Commons. The mix is diverse, from an
1091 individual musician to a university-textbook publisher to an electronics
1092 manufacturer.  Some make their own content and share under Creative Commons
1093 licensing. Others are platforms for CC-licensed creative work made by
1094 others. Many sit somewhere in between, both using and contributing creative
1095 work that’s shared with the public. Like all who use the licenses, these
1096 endeavors share their work—whether it’s open data or furniture designs—in a
1097 way that enables the public not only to access it but also to make use of
1098 it.
1099     </p><p>
1100       We analyzed the revenue models, customer segments, and value propositions of
1101 each endeavor. We searched for ways that putting their content under
1102 Creative Commons licenses helped boost sales or increase reach. Using
1103 traditional measures of economic success, we tried to map these business
1104 models in a way that meaningfully incorporated the impact of Creative
1105 Commons. In our interviews, we dug into the motivations, the role of CC
1106 licenses, modes of revenue generation, definitions of success.
1107     </p><p>
1108       In fairly short order, we realized the book we set out to write was quite
1109 different from the one that was revealing itself in our interviews and
1110 research.
1111     </p><p>
1112       It isn’t that we were wrong to think you can make money while using Creative
1113 Commons licenses. In many instances, CC can help make you more money. Nor
1114 were we wrong that there are business models out there that others who want
1115 to use CC licensing as part of their livelihood or business could
1116 replicate. What we didn’t realize was just how misguided it would be to
1117 write a book about being Made with Creative Commons using only a business
1118 lens.
1119     </p><p>
1120       According to the seminal handbook Business Model Generation, a business
1121 model <span class="quote">„<span class="quote">describes the rationale of how an organization creates,
1122 delivers, and captures value.</span>”</span><a href="#ftn.idm397" class="footnote" name="idm397"><sup class="footnote">[37]</sup></a>
1123 Thinking about sharing in terms of creating and capturing value always felt
1124 inappropriately transactional and out of place, something we heard time and
1125 time again in our interviews. And as Cory Doctorow told us in our interview
1126 with him, <span class="quote">„<span class="quote">Business model can mean anything you want it to
1127 mean.</span>”</span>
1128     </p><p>
1129       Eventually, we got it. Being Made with Creative Commons is more than a
1130 business model. While we will talk about specific revenue models as one
1131 piece of our analysis (and in more detail in the case studies), we scrapped
1132 that as our guiding rubric for the book.
1133     </p><p>
1134       Admittedly, it took me a long time to get there. When Paul and I divided up
1135 our writing after finishing the research, my charge was to distill
1136 everything we learned from the case studies and write up the practical
1137 lessons and takeaways. I spent months trying to jam what we learned into the
1138 business-model box, convinced there must be some formula for the way things
1139 interacted. But there is no formula. You’ll probably have to discard that
1140 way of thinking before you read any further.
1141     </p><p>
1142       In every interview, we started from the same simple questions.  Amid all the
1143 diversity among the creators, organizations, and businesses we profiled,
1144 there was one constant. Being Made with Creative Commons may be good for
1145 business, but that is not why they do it. Sharing work with Creative Commons
1146 is, at its core, a moral decision. The commercial and other self-interested
1147 benefits are secondary. Most decided to use CC licenses first and found a
1148 revenue model later. This was our first hint that writing a book solely
1149 about the impact of sharing on business might be a little off track.
1150     </p><p>
1151       But we also started to realize something about what it means to be Made with
1152 Creative Commons. When people talked to us about how and why they used CC,
1153 it was clear that it meant something more than using a copyright license. It
1154 also represented a set of values.  There is symbolism behind using CC, and
1155 that symbolism has many layers.
1156     </p><p>
1157       At one level, being Made with Creative Commons expresses an affinity for the
1158 value of Creative Commons. While there are many different flavors of CC
1159 licenses and nearly infinite ways to be Made with Creative Commons, the
1160 basic value system is rooted in a fundamental belief that knowledge and
1161 creativity are building blocks of our culture rather than just commodities
1162 from which to extract market value. These values reflect a belief that the
1163 common good should always be part of the equation when we determine how to
1164 regulate our cultural outputs. They reflect a belief that everyone has
1165 something to contribute, and that no one can own our shared culture. They
1166 reflect a belief in the promise of sharing.
1167     </p><p>
1168       Whether the public makes use of the opportunity to copy and adapt your work,
1169 sharing with a Creative Commons license is a symbol of how you want to
1170 interact with the people who consume your work.  Whenever you create
1171 something, <span class="quote">„<span class="quote">all rights reserved</span>”</span> under copyright is automatic,
1172 so the copyright symbol (©) on the work does not necessarily come across as
1173 a marker of distrust or excessive protectionism. But using a CC license can
1174 be a symbol of the opposite—of wanting a real human relationship, rather
1175 than an impersonal market transaction. It leaves open the possibility of
1176 connection.
1177     </p><p>
1178       Being Made with Creative Commons not only demonstrates values connected to
1179 CC and sharing. It also demonstrates that something other than profit drives
1180 what you do. In our interviews, we always asked what success looked like for
1181 them. It was stunning how rarely money was mentioned. Most have a deeper
1182 purpose and a different vision of success.
1183     </p><p>
1184       The driving motivation varies depending on the type of endeavor.  For
1185 individual creators, it is most often about personal inspiration. In some
1186 ways, this is nothing new. As Doctorow has written, <span class="quote">„<span class="quote">Creators usually
1187 start doing what they do for love.</span>”</span><a href="#ftn.idm411" class="footnote" name="idm411"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC license, that
1188 dynamic is even more pronounced. Similarly, for technological innovators, it
1189 is often less about creating a specific new thing that will make you rich
1190 and more about solving a specific problem you have. The creators of Arduino
1191 told us that the key question when creating something is <span class="quote">„<span class="quote">Do you as
1192 the creator want to use it? It has to have personal use and meaning.</span>”</span>
1193     </p><p>
1194       Many that are Made with Creative Commons have an express social mission that
1195 underpins everything they do. In many cases, sharing with Creative Commons
1196 expressly advances that social mission, and using the licenses can be the
1197 difference between legitimacy and hypocrisy. Noun Project co-founder Edward
1198 Boatman told us they could not have stated their social mission of sharing
1199 with a straight face if they weren’t willing to show the world that it was
1200 OK to share their content using a Creative Commons license.
1201     </p><p>
1202       This dynamic is probably one reason why there are so many nonprofit examples
1203 of being Made with Creative Commons. The content is the result of a labor of
1204 love or a tool to drive social change, and money is like gas in the car,
1205 something that you need to keep going but not an end in itself. Being Made
1206 with Creative Commons is a different vision of a business or livelihood,
1207 where profit is not paramount, and producing social good and human
1208 connection are integral to success.
1209     </p><p>
1210       Even if profit isn’t the end goal, you have to bring in money to be
1211 successfully Made with Creative Commons. At a bare minimum, you have to make
1212 enough money to keep the lights on.
1213     </p><p>
1214       The costs of doing business vary widely for those made with CC, but there is
1215 generally a much lower threshold for sustainability than there used to be
1216 for any creative endeavor. Digital technology has made it easier than ever
1217 to create, and easier than ever to distribute. As Doctorow put it in his
1218 book Information Doesn’t Want to Be Free, <span class="quote">„<span class="quote">If analog dollars have
1219 turned into digital dimes (as the critics of ad-supported media have it),
1220 there is the fact that it’s possible to run a business that gets the same
1221 amount of advertising as its forebears at a fraction of the price.</span>”</span>
1222     </p><p>
1223       Some creation costs are the same as they always were. It takes the same
1224 amount of time and money to write a peer-reviewed journal article or paint a
1225 painting. Technology can’t change that. But other costs are dramatically
1226 reduced by technology, particularly in production-heavy domains like
1227 filmmaking.<a href="#ftn.idm420" class="footnote" name="idm420"><sup class="footnote">[39]</sup></a> CC-licensed content and
1228 content in the public domain, as well as the work of volunteer
1229 collaborators, can also dramatically reduce costs if they’re being used as
1230 resources to create something new. And, of course, there is the reality that
1231 some content would be created whether or not the creator is paid because it
1232 is a labor of love.
1233     </p><p>
1234       Distributing content is almost universally cheaper than ever. Once content
1235 is created, the costs to distribute copies digitally are essentially
1236 zero.<a href="#ftn.idm423" class="footnote" name="idm423"><sup class="footnote">[40]</sup></a> The costs to distribute physical
1237 copies are still significant, but lower than they have been
1238 historically. And it is now much easier to print and distribute physical
1239 copies on-demand, which also reduces costs. Depending on the endeavor, there
1240 can be a whole host of other possible expenses like marketing and promotion,
1241 and even expenses associated with the various ways money is being made, like
1242 touring or custom training.
1243     </p><p>
1244       It’s important to recognize that the biggest impact of technology on
1245 creative endeavors is that creators can now foot the costs of creation and
1246 distribution themselves. People now often have a direct route to their
1247 potential public without necessarily needing intermediaries like record
1248 labels and book publishers. Doctorow wrote, <span class="quote">„<span class="quote">If you’re a creator who
1249 never got the time of day from one of the great imperial powers, this is
1250 your time. Where once you had no means of reaching an audience without the
1251 assistance of the industry-dominating megacompanies, now you have hundreds
1252 of ways to do it without them.</span>”</span><a href="#ftn.idm427" class="footnote" name="idm427"><sup class="footnote">[41]</sup></a>
1253 Previously, distribution of creative work involved the costs associated with
1254 sustaining a monolithic entity, now creators can do the work
1255 themselves. That means the financial needs of creative endeavors can be a
1256 lot more modest.
1257     </p><p>
1258       Whether for an individual creator or a larger endeavor, it usually isn’t
1259 enough to break even if you want to make what you’re doing a livelihood. You
1260 need to build in some support for the general operation. This extra bit
1261 looks different for everyone, but importantly, in nearly all cases for those
1262 Made with Creative Commons, the definition of <span class="quote">„<span class="quote">enough money</span>”</span>
1263 looks a lot different than it does in the world of venture capital and stock
1264 options. It is more about sustainability and less about unlimited growth and
1265 profit. SparkFun founder Nathan Seidle told us, <span class="quote">„<span class="quote">Business model is a
1266 really grandiose word for it. It is really just about keeping the operation
1267 going day to day.</span>”</span>
1268     </p><p>
1269       This book is a testament to the notion that it is possible to make money
1270 while using CC licenses and CC-licensed content, but we are still very much
1271 at an experimental stage. The creators, organizations, and businesses we
1272 profile in this book are blazing the trail and adapting in real time as they
1273 pursue this new way of operating.
1274     </p><p>
1275       There are, however, plenty of ways in which CC licensing can be good for
1276 business in fairly predictable ways. The first is how it helps solve
1277 <span class="quote">„<span class="quote">problem zero.</span>”</span>
1278     </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>
1279         Once you create or collect your content, the next step is finding users,
1280 customers, fans—in other words, your people. As Amanda Palmer wrote,
1281 <span class="quote">„<span class="quote">It has to start with the art. The songs had to touch people
1282 initially, and mean something, for anything to work at
1283 all.</span>”</span><a href="#ftn.idm439" class="footnote" name="idm439"><sup class="footnote">[42]</sup></a> There isn’t any magic to
1284 finding your people, and there is certainly no formula. Your work has to
1285 connect with people and offer them some artistic and/or utilitarian
1286 value. In some ways, this is easier than ever. Online we are not limited by
1287 shelf space, so there is room for every obscure interest, taste, and need
1288 imaginable. This is what Chris Anderson dubbed the Long Tail, where
1289 consumption becomes less about mainstream mass <span class="quote">„<span class="quote">hits</span>”</span> and more
1290 about micromarkets for every particular niche. As Anderson wrote, <span class="quote">„<span class="quote">We
1291 are all different, with different wants and needs, and the Internet now has
1292 a place for all of them in the way that physical markets did
1293 not.</span>”</span><a href="#ftn.idm443" class="footnote" name="idm443"><sup class="footnote">[43]</sup></a> We are no longer limited
1294 to what appeals to the masses.
1295       </p><p>
1296         While finding <span class="quote">„<span class="quote">your people</span>”</span> online is theoretically easier than
1297 in the analog world, as a practical matter it can still be difficult to
1298 actually get noticed. The Internet is a firehose of content, one that only
1299 grows larger by the minute.  As a content creator, not only are you
1300 competing for attention against more content creators than ever before, you
1301 are competing against creativity generated outside the market as
1302 well.<a href="#ftn.idm447" class="footnote" name="idm447"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">„<span class="quote">The
1303 greatest change of the past decade has been the shift in time people spend
1304 consuming amateur content instead of professional
1305 content.</span>”</span><a href="#ftn.idm450" class="footnote" name="idm450"><sup class="footnote">[45]</sup></a> To top it all off, you
1306 have to compete against the rest of their lives, too—<span class="quote">„<span class="quote">friends, family,
1307 music playlists, soccer games, and nights on the town.</span>”</span><a href="#ftn.idm453" class="footnote" name="idm453"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
1308 right people.
1309       </p><p>
1310         When you come to the Internet armed with an all-rights-reserved mentality
1311 from the start, you are often restricting access to your work before there
1312 is even any demand for it. In many cases, requiring payment for your work is
1313 part of the traditional copyright system. Even a tiny cost has a big effect
1314 on demand.  It’s called the penny gap—the large difference in demand between
1315 something that is available at the price of one cent versus the price of
1316 zero.<a href="#ftn.idm456" class="footnote" name="idm456"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
1317 charge money for your content. It simply means you need to recognize the
1318 effect that doing so will have on demand. The same principle applies to
1319 restricting access to copy the work. If your problem is how to get
1320 discovered and find <span class="quote">„<span class="quote">your people,</span>”</span> prohibiting people from
1321 copying your work and sharing it with others is counterproductive.
1322       </p><p>
1323         Of course, it’s not that being discovered by people who like your work will
1324 make you rich—far from it. But as Cory Doctorow says, <span class="quote">„<span class="quote">Recognition is
1325 one of many necessary preconditions for artistic
1326 success.</span>”</span><a href="#ftn.idm461" class="footnote" name="idm461"><sup class="footnote">[48]</sup></a>
1327       </p><p>
1328         Choosing not to spend time and energy restricting access to your work and
1329 policing infringement also builds goodwill. Lumen Learning, a for-profit
1330 company that publishes online educational materials, made an early decision
1331 not to prevent students from accessing their content, even in the form of a
1332 tiny paywall, because it would negatively impact student success in a way
1333 that would undermine the social mission behind what they do. They believe
1334 this decision has generated an immense amount of goodwill within the
1335 community.
1336       </p><p>
1337         It is not just that restricting access to your work may undermine your
1338 social mission. It also may alienate the people who most value your creative
1339 work. If people like your work, their natural instinct will be to share it
1340 with others. But as David Bollier wrote, <span class="quote">„<span class="quote">Our natural human impulses
1341 to imitate and share—the essence of culture—have been
1342 criminalized.</span>”</span><a href="#ftn.idm466" class="footnote" name="idm466"><sup class="footnote">[49]</sup></a>
1343       </p><p>
1344         The fact that copying can carry criminal penalties undoubtedly deters
1345 copying it, but copying with the click of a button is too easy and
1346 convenient to ever fully stop it. Try as the copyright industry might to
1347 persuade us otherwise, copying a copyrighted work just doesn’t feel like
1348 stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
1349 creative work has no impact on anyone else’s ability to make use of it.
1350       </p><p>
1351         If you take some amount of copying and sharing your work as a given, you can
1352 invest your time and resources elsewhere, rather than wasting them on
1353 playing a cat and mouse game with people who want to copy and share your
1354 work. Lizzy Jongma from the Rijksmuseum said, <span class="quote">„<span class="quote">We could spend a lot of
1355 money trying to protect works, but people are going to do it anyway. And
1356 they will use bad-quality versions.</span>”</span> Instead, they started releasing
1357 high-resolution digital copies of their collection into the public domain
1358 and making them available for free on their website. For them, sharing was a
1359 form of quality control over the copies that were inevitably being shared
1360 online. Doing this meant forgoing the revenue they previously got from
1361 selling digital images. But Lizzy says that was a small price to pay for all
1362 of the opportunities that sharing unlocked for them.
1363       </p><p>
1364         Being Made with Creative Commons means you stop thinking about ways to
1365 artificially make your content scarce, and instead leverage it as the
1366 potentially abundant resource it is.<a href="#ftn.idm472" class="footnote" name="idm472"><sup class="footnote">[50]</sup></a>
1367 When you see information abundance as a feature, not a bug, you start
1368 thinking about the ways to use the idling capacity of your content to your
1369 advantage. As my friend and colleague Eric Steuer once said, <span class="quote">„<span class="quote">Using CC
1370 licenses shows you get the Internet.</span>”</span>
1371       </p><p>
1372         Cory Doctorow says it costs him nothing when other people make copies of his
1373 work, and it opens the possibility that he might get something in
1374 return.<a href="#ftn.idm476" class="footnote" name="idm476"><sup class="footnote">[51]</sup></a> Similarly, the makers of the
1375 Arduino boards knew it was impossible to stop people from copying their
1376 hardware, so they decided not to even try and instead look for the benefits
1377 of being open. For them, the result is one of the most ubiquitous pieces of
1378 hardware in the world, with a thriving online community of tinkerers and
1379 innovators that have done things with their work they never could have done
1380 otherwise.
1381       </p><p>
1382         There are all kinds of way to leverage the power of sharing and remix to
1383 your benefit. Here are a few.
1384       </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>
1385           Putting a Creative Commons license on your content won’t make it
1386 automatically go viral, but eliminating legal barriers to copying the work
1387 certainly can’t hurt the chances that your work will be shared. The CC
1388 license symbolizes that sharing is welcome. It can act as a little tap on
1389 the shoulder to those who come across the work—a nudge to copy the work if
1390 they have any inkling of doing so. All things being equal, if one piece of
1391 content has a sign that says Share and the other says Don’t Share (which is
1392 what <span class="quote">„<span class="quote">©</span>”</span> means), which do you think people are more likely to
1393 share?
1394         </p><p>
1395           The Conversation is an online news site with in-depth articles written by
1396 academics who are experts on particular topics. All of the articles are
1397 CC-licensed, and they are copied and reshared on other sites by design. This
1398 proliferating effect, which they track, is a central part of the value to
1399 their academic authors who want to reach as many readers as possible.
1400         </p><p>
1401           The idea that more eyeballs equates with more success is a form of the max
1402 strategy, adopted by Google and other technology companies. According to
1403 Google’s Eric Schmidt, the idea is simple: <span class="quote">„<span class="quote">Take whatever it is you
1404 are doing and do it at the max in terms of distribution. The other way of
1405 saying this is that since marginal cost of distribution is free, you might
1406 as well put things everywhere.</span>”</span><a href="#ftn.idm486" class="footnote" name="idm486"><sup class="footnote">[52]</sup></a>
1407 This strategy is what often motivates companies to make their products and
1408 services free (i.e., no cost), but the same logic applies to making content
1409 freely shareable. Because CC-licensed content is free (as in cost) and can
1410 be freely copied, CC licensing makes it even more accessible and likely to
1411 spread.
1412         </p><p>
1413           If you are successful in reaching more users, readers, listeners, or other
1414 consumers of your work, you can start to benefit from the bandwagon
1415 effect. The simple fact that there are other people consuming or following
1416 your work spurs others to want to do the same.<a href="#ftn.idm489" class="footnote" name="idm489"><sup class="footnote">[53]</sup></a> This is, in part, because we simply have a tendency to engage in
1417 herd behavior, but it is also because a large following is at least a
1418 partial indicator of quality or usefulness.<a href="#ftn.idm491" class="footnote" name="idm491"><sup class="footnote">[54]</sup></a>
1419         </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>
1420           Every Creative Commons license requires that credit be given to the author,
1421 and that reusers supply a link back to the original source of the
1422 material. CC0, not a license but a tool used to put work in the public
1423 domain, does not make attribution a legal requirement, but many communities
1424 still give credit as a matter of best practices and social norms. In fact,
1425 it is social norms, rather than the threat of legal enforcement, that most
1426 often motivate people to provide attribution and otherwise comply with the
1427 CC license terms anyway. This is the mark of any well-functioning community,
1428 within both the marketplace and the society at large.<a href="#ftn.idm496" class="footnote" name="idm496"><sup class="footnote">[55]</sup></a> CC licenses reflect a set of wishes on the part of
1429 creators, and in the vast majority of circumstances, people are naturally
1430 inclined to follow those wishes. This is particularly the case for something
1431 as straightforward and consistent with basic notions of fairness as
1432 providing credit.
1433         </p><p>
1434           The fact that the name of the creator follows a CC-licensed work makes the
1435 licenses an important means to develop a reputation or, in corporate speak,
1436 a brand. The drive to associate your name with your work is not just based
1437 on commercial motivations, it is fundamental to authorship.  Knowledge
1438 Unlatched is a nonprofit that helps to subsidize the print production of
1439 CC-licensed academic texts by pooling contributions from libraries around
1440 the United States. The CEO, Frances Pinter, says that the Creative Commons
1441 license on the works has a huge value to authors because reputation is the
1442 most important currency for academics. Sharing with CC is a way of having
1443 the most people see and cite your work.
1444         </p><p>
1445           Attribution can be about more than just receiving credit. It can also be
1446 about establishing provenance. People naturally want to know where content
1447 came from—the source of a work is sometimes just as interesting as the work
1448 itself. Opendesk is a platform for furniture designers to share their
1449 designs.  Consumers who like those designs can then get matched with local
1450 makers who turn the designs into real-life furniture.  The fact that I,
1451 sitting in the middle of the United States, can pick out a design created by
1452 a designer in Tokyo and then use a maker within my own community to
1453 transform the design into something tangible is part of the power of their
1454 platform. The provenance of the design is a special part of the product.
1455         </p><p>
1456           Knowing the source of a work is also critical to ensuring its
1457 credibility. Just as a trademark is designed to give consumers a way to
1458 identify the source and quality of a particular good and service, knowing
1459 the author of a work gives the public a way to assess its credibility. In a
1460 time when online discourse is plagued with misinformation, being a trusted
1461 information source is more valuable than ever.
1462         </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>
1463           As we will cover in more detail later, many endeavors that are Made with
1464 Creative Commons make money by providing a product or service other than the
1465 CC-licensed work. Sometimes that other product or service is completely
1466 unrelated to the CC content. Other times it’s a physical copy or live
1467 performance of the CC content. In all cases, the CC content can attract
1468 people to your other product or service.
1469         </p><p>
1470           Knowledge Unlatched’s Pinter told us she has seen time and again how
1471 offering CC-licensed content—that is, digitally for free—actually increases
1472 sales of the printed goods because it functions as a marketing tool. We see
1473 this phenomenon regularly with famous artwork. The Mona Lisa is likely the
1474 most recognizable painting on the planet. Its ubiquity has the effect of
1475 catalyzing interest in seeing the painting in person, and in owning physical
1476 goods with the image. Abundant copies of the content often entice more
1477 demand, not blunt it.  Another example came with the advent of the
1478 radio. Although the music industry did not see it coming (and fought it!),
1479 free music on the radio functioned as advertising for the paid version
1480 people bought in music stores.<a href="#ftn.idm506" class="footnote" name="idm506"><sup class="footnote">[56]</sup></a> Free can
1481 be a form of promotion.
1482         </p><p>
1483           In some cases, endeavors that are Made with Creative Commons do not even
1484 need dedicated marketing teams or marketing budgets. Cards Against Humanity
1485 is a CC-licensed card game available as a free download. And because of this
1486 (thanks to the CC license on the game), the creators say it is one of the
1487 best-marketed games in the world, and they have never spent a dime on
1488 marketing. The textbook publisher OpenStax has also avoided hiring a
1489 marketing team. Their products are free, or cheaper to buy in the case of
1490 physical copies, which makes them much more attractive to students who then
1491 demand them from their universities. They also partner with service
1492 providers who build atop the CC-licensed content and, in turn, spend money
1493 and resources marketing those services (and by extension, the OpenStax
1494 textbooks).
1495         </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>
1496           The great promise of Creative Commons licensing is that it signifies an
1497 embrace of remix culture. Indeed, this is the great promise of digital
1498 technology. The Internet opened up a whole new world of possibilities for
1499 public participation in creative work.
1500         </p><p>
1501           Four of the six CC licenses enable reusers to take apart, build upon, or
1502 otherwise adapt the work. Depending on the context, adaptation can mean
1503 wildly different things—translating, updating, localizing, improving,
1504 transforming. It enables a work to be customized for particular needs, uses,
1505 people, and communities, which is another distinct value to offer the
1506 public.<a href="#ftn.idm513" class="footnote" name="idm513"><sup class="footnote">[57]</sup></a> Adaptation is more game
1507 changing in some contexts than others. With educational materials, the
1508 ability to customize and update the content is critically important for its
1509 usefulness. For photography, the ability to adapt a photo is less important.
1510         </p><p>
1511           This is a way to counteract a potential downside of the abundance of free
1512 and open content described above. As Anderson wrote in Free, <span class="quote">„<span class="quote">People
1513 often don’t care as much about things they don’t pay for, and as a result
1514 they don’t think as much about how they consume them.</span>”</span><a href="#ftn.idm517" class="footnote" name="idm517"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
1515 penny for something changes our perception of that thing, then surely the
1516 act of remixing it enhances our perception exponentially.<a href="#ftn.idm519" class="footnote" name="idm519"><sup class="footnote">[59]</sup></a> We know that people will pay more for products they
1517 had a part in creating.<a href="#ftn.idm521" class="footnote" name="idm521"><sup class="footnote">[60]</sup></a> And we know
1518 that creating something, no matter what quality, brings with it a type of
1519 creative satisfaction that can never be replaced by consuming something
1520 created by someone else.<a href="#ftn.idm523" class="footnote" name="idm523"><sup class="footnote">[61]</sup></a>
1521         </p><p>
1522           Actively engaging with the content helps us avoid the type of aimless
1523 consumption that anyone who has absentmindedly scrolled through their
1524 social-media feeds for an hour knows all too well. In his book, Cognitive
1525 Surplus, Clay Shirky says, <span class="quote">„<span class="quote">To participate is to act as if your
1526 presence matters, as if, when you see something or hear something, your
1527 response is part of the event.</span>”</span><a href="#ftn.idm527" class="footnote" name="idm527"><sup class="footnote">[62]</sup></a>
1528 Opening the door to your content can get people more deeply tied to your
1529 work.
1530         </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>
1531           Operating under a traditional copyright regime usually means operating under
1532 the rules of establishment players in the media. Business strategies that
1533 are embedded in the traditional copyright system, like using digital rights
1534 management (DRM) and signing exclusivity contracts, can tie the hands of
1535 creators, often at the expense of the creator’s best interest.<a href="#ftn.idm532" class="footnote" name="idm532"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
1536 function without those barriers and, in many cases, use the increased
1537 openness as a competitive advantage. David Harris from OpenStax said they
1538 specifically pursue strategies they know that traditional publishers
1539 cannot. <span class="quote">„<span class="quote">Don’t go into a market and play by the incumbent
1540 rules,</span>”</span> David said.  <span class="quote">„<span class="quote">Change the rules of engagement.</span>”</span>
1541         </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>
1542         Like any moneymaking endeavor, those that are Made with Creative Commons
1543 have to generate some type of value for their audience or
1544 customers. Sometimes that value is subsidized by funders who are not
1545 actually beneficiaries of that value. Funders, whether philanthropic
1546 institutions, governments, or concerned individuals, provide money to the
1547 organization out of a sense of pure altruism. This is the way traditional
1548 nonprofit funding operates.<a href="#ftn.idm539" class="footnote" name="idm539"><sup class="footnote">[64]</sup></a> But in many
1549 cases, the revenue streams used by endeavors that are Made with Creative
1550 Commons are directly tied to the value they generate, where the recipient is
1551 paying for the value they receive like any standard market transaction. In
1552 still other cases, rather than the quid pro quo exchange of money for value
1553 that typically drives market transactions, the recipient gives money out of
1554 a sense of reciprocity.
1555       </p><p>
1556         Most who are Made with Creative Commons use a variety of methods to bring in
1557 revenue, some market-based and some not. One common strategy is using grant
1558 funding for content creation when research-and-development costs are
1559 particularly high, and then finding a different revenue stream (or streams)
1560 for ongoing expenses. As Shirky wrote, <span class="quote">„<span class="quote">The trick is in knowing when
1561 markets are an optimal way of organizing interactions and when they are
1562 not.</span>”</span><a href="#ftn.idm545" class="footnote" name="idm545"><sup class="footnote">[65]</sup></a>
1563       </p><p>
1564         Our case studies explore in more detail the various revenue-generating
1565 mechanisms used by the creators, organizations, and businesses we
1566 interviewed. There is nuance hidden within the specific ways each of them
1567 makes money, so it is a bit dangerous to generalize too much about what we
1568 learned.  Nonetheless, zooming out and viewing things from a higher level of
1569 abstraction can be instructive.
1570       </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>
1571           In the market, the central question when determining how to bring in revenue
1572 is what value people are willing to pay for.<a href="#ftn.idm551" class="footnote" name="idm551"><sup class="footnote">[66]</sup></a> By definition, if you are Made with Creative Commons, the content
1573 you provide is available for free and not a market commodity. Like the
1574 ubiquitous freemium business model, any possible market transaction with a
1575 consumer of your content has to be based on some added value you
1576 provide.<a href="#ftn.idm553" class="footnote" name="idm553"><sup class="footnote">[67]</sup></a>
1577         </p><p>
1578           In many ways, this is the way of the future for all content-driven
1579 endeavors. In the market, value lives in things that are scarce. Because the
1580 Internet makes a universe of content available to all of us for free, it is
1581 difficult to get people to pay for content online. The struggling newspaper
1582 industry is a testament to this fact. This is compounded by the fact that at
1583 least some amount of copying is probably inevitable. That means you may end
1584 up competing with free versions of your own content, whether you condone it
1585 or not.<a href="#ftn.idm556" class="footnote" name="idm556"><sup class="footnote">[68]</sup></a> If people can easily find your
1586 content for free, getting people to buy it will be difficult, particularly
1587 in a context where access to content is more important than owning it. In
1588 Free, Anderson wrote, <span class="quote">„<span class="quote">Copyright protection schemes, whether coded
1589 into either law or software, are simply holding up a price against the force
1590 of gravity.</span>”</span>
1591         </p><p>
1592           Of course, this doesn’t mean that content-driven endeavors have no future in
1593 the traditional marketplace. In Free, Anderson explains how when one product
1594 or service becomes free, as information and content largely have in the
1595 digital age, other things become more valuable. <span class="quote">„<span class="quote">Every abundance
1596 creates a new scarcity,</span>”</span> he wrote. You just have to find some way
1597 other than the content to provide value to your audience or customers. As
1598 Anderson says, <span class="quote">„<span class="quote">It’s easy to compete with Free: simply offer something
1599 better or at least different from the free version.</span>”</span><a href="#ftn.idm562" class="footnote" name="idm562"><sup class="footnote">[69]</sup></a>
1600         </p><p>
1601           In light of this reality, in some ways endeavors that are Made with Creative
1602 Commons are at a level playing field with all content-based endeavors in the
1603 digital age. In fact, they may even have an advantage because they can use
1604 the abundance of content to derive revenue from something scarce. They can
1605 also benefit from the goodwill that stems from the values behind being Made
1606 with Creative Commons.
1607         </p><p>
1608           For content creators and distributors, there are nearly infinite ways to
1609 provide value to the consumers of your work, above and beyond the value that
1610 lives within your free digital content. Often, the CC-licensed content
1611 functions as a marketing tool for the paid product or service.
1612         </p><p>
1613           Here are the most common high-level categories.
1614         </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
1615 <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1616           In this age of information abundance, we don’t lack for content. The trick
1617 is finding content that matches our needs and wants, so customized services
1618 are particularly valuable.  As Anderson wrote, <span class="quote">„<span class="quote">Commodity information
1619 (everybody gets the same version) wants to be free. Customized information
1620 (you get something unique and meaningful to you)  wants to be
1621 expensive.</span>”</span><a href="#ftn.idm572" class="footnote" name="idm572"><sup class="footnote">[70]</sup></a> This can be anything
1622 from the artistic and cultural consulting services provided by Ártica to the
1623 custom-song business of Jonathan <span class="quote">„<span class="quote">Song-A-Day</span>”</span> Mann.
1624         </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>
1625           In his book about maker culture, Anderson characterizes this model as giving
1626 away the bits and selling the atoms (where bits refers to digital content
1627 and atoms refer to a physical object).<a href="#ftn.idm579" class="footnote" name="idm579"><sup class="footnote">[71]</sup></a>
1628 This is particularly successful in domains where the digital version of the
1629 content isn’t as valuable as the analog version, like book publishing where
1630 a significant subset of people still prefer reading something they can hold
1631 in their hands. Or in domains where the content isn’t useful until it is in
1632 physical form, like furniture designs. In those situations, a significant
1633 portion of consumers will pay for the convenience of having someone else put
1634 the physical version together for them. Some endeavors squeeze even more out
1635 of this revenue stream by using a Creative Commons license that only allows
1636 noncommercial uses, which means no one else can sell physical copies of
1637 their work in competition with them. This strategy of reserving commercial
1638 rights can be particularly important for items like books, where every
1639 printed copy of the same work is likely to be the same quality, so it is
1640 harder to differentiate one publishing service from another. On the other
1641 hand, for items like furniture or electronics, the provider of the physical
1642 goods can compete with other providers of the same works based on quality,
1643 service, or other traditional business principles.
1644         </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>
1645           As anyone who has ever gone to a concert will tell you, experiencing
1646 creativity in person is a completely different experience from consuming a
1647 digital copy on your own. Far from acting as a substitute for face-to-face
1648 interaction, CC-licensed content can actually create demand for the
1649 in-person version of experience. You can see this effect when people go view
1650 original art in person or pay to attend a talk or training course.
1651         </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>
1652           In many cases, people who like your work will pay for products demonstrating
1653 a connection to your work. As a child of the 1980s, I can personally attest
1654 to the power of a good concert T-shirt. This can also be an important
1655 revenue stream for museums and galleries.
1656         </p><p>
1657           Sometimes the way to find a market-based revenue stream is by providing
1658 value to people other than those who consume your CC-licensed content. In
1659 these revenue streams, the free content is being subsidized by an entirely
1660 different category of people or businesses. Often, those people or
1661 businesses are paying to access your main audience. The fact that the
1662 content is free increases the size of the audience, which in turn makes the
1663 offer more valuable to the paying customers. This is a variation of a
1664 traditional business model built on free called multi-sided
1665 platforms.<a href="#ftn.idm590" class="footnote" name="idm590"><sup class="footnote">[72]</sup></a> Access to your audience
1666 isn’t the only thing people are willing to pay for—there are other services
1667 you can provide as well.
1668         </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>
1669           The traditional model of subsidizing free content is advertising. In this
1670 version of multi-sided platforms, advertisers pay for the opportunity to
1671 reach the set of eyeballs the content creators provide in the form of their
1672 audience.<a href="#ftn.idm596" class="footnote" name="idm596"><sup class="footnote">[73]</sup></a> The Internet has made this
1673 model more difficult because the number of potential channels available to
1674 reach those eyeballs has become essentially infinite.<a href="#ftn.idm598" class="footnote" name="idm598"><sup class="footnote">[74]</sup></a> Nonetheless, it remains a viable revenue stream for
1675 many content creators, including those who are Made with Creative
1676 Commons. Often, instead of paying to display advertising, the advertiser
1677 pays to be an official sponsor of particular content or projects, or of the
1678 overall endeavor.
1679         </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>
1680           Another type of multisided platform is where the content creators themselves
1681 pay to be featured on the platform.  Obviously, this revenue stream is only
1682 available to those who rely on work created, at least in part, by
1683 others. The most well-known version of this model is the
1684 <span class="quote">„<span class="quote">author-processing charge</span>”</span> of open-access journals like those
1685 published by the Public Library of Science, but there are other
1686 variations. The Conversation is primarily funded by a university-membership
1687 model, where universities pay to have their faculties participate as writers
1688 of the content on the Conversation website.
1689         </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>
1690           This is a version of a traditional business model based on brokering
1691 transactions between parties.<a href="#ftn.idm609" class="footnote" name="idm609"><sup class="footnote">[75]</sup></a> Curation
1692 is an important element of this model.  Platforms like the Noun Project add
1693 value by wading through CC-licensed content to curate a high-quality set and
1694 then derive revenue when creators of that content make transactions with
1695 customers. Other platforms make money when service providers transact with
1696 their customers; for example, Opendesk makes money every time someone on
1697 their site pays a maker to make furniture based on one of the designs on the
1698 platform.
1699         </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>
1700           As mentioned above, endeavors can make money by providing customized
1701 services to their users. Platforms can undertake a variation of this service
1702 model directed at the creators that provide the content they feature. The
1703 data platforms Figure.NZ and Figshare both capitalize on this model by
1704 providing paid tools to help their users make the data they contribute to
1705 the platform more discoverable and reusable.
1706         </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>
1707           Finally, some that are Made with Creative Commons make money by selling use
1708 of their trademarks. Well known brands that consumers associate with
1709 quality, credibility, or even an ethos can license that trademark to
1710 companies that want to take advantage of that goodwill. By definition,
1711 trademarks are scarce because they represent a particular source of a good
1712 or service. Charging for the ability to use that trademark is a way of
1713 deriving revenue from something scarce while taking advantage of the
1714 abundance of CC content.
1715         </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>
1716           Even if we set aside grant funding, we found that the traditional economic
1717 framework of understanding the market failed to fully capture the ways the
1718 endeavors we analyzed were making money. It was not simply about monetizing
1719 scarcity.
1720         </p><p>
1721           Rather than devising a scheme to get people to pay money in exchange for
1722 some direct value provided to them, many of the revenue streams were more
1723 about providing value, building a relationship, and then eventually finding
1724 some money that flows back out of a sense of reciprocity. While some look
1725 like traditional nonprofit funding models, they aren’t charity. The endeavor
1726 exchange value with people, just not necessarily synchronously or in a way
1727 that requires that those values be equal. As David Bollier wrote in Think
1728 Like a Commoner, <span class="quote">„<span class="quote">There is no self-serving calculation of whether the
1729 value given and received is strictly equal.</span>”</span>
1730         </p><p>
1731           This should be a familiar dynamic—it is the way you deal with your friends
1732 and family. We give without regard for what and when we will get back. David
1733 Bollier wrote, <span class="quote">„<span class="quote">Reciprocal social exchange lies at the heart of human
1734 identity, community and culture. It is a vital brain function that helps the
1735 human species survive and evolve.</span>”</span>
1736         </p><p>
1737           What is rare is to incorporate this sort of relationship into an endeavor
1738 that also engages with the market.<a href="#ftn.idm627" class="footnote" name="idm627"><sup class="footnote">[76]</sup></a> We
1739 almost can’t help but think of relationships in the market as being centered
1740 on an even-steven exchange of value.<a href="#ftn.idm629" class="footnote" name="idm629"><sup class="footnote">[77]</sup></a>
1741         </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
1742 <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
1743           While memberships and donations are traditional nonprofit funding models, in
1744 the Made with Creative Commons context, they are directly tied to the
1745 reciprocal relationship that is cultivated with the beneficiaries of their
1746 work. The bigger the pool of those receiving value from the content, the
1747 more likely this strategy will work, given that only a small percentage of
1748 people are likely to contribute. Since using CC licenses can grease the
1749 wheels for content to reach more people, this strategy can be more effective
1750 for endeavors that are Made with Creative Commons. The greater the argument
1751 that the content is a public good or that the entire endeavor is furthering
1752 a social mission, the more likely this strategy is to succeed.
1753         </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>
1754           In the pay-what-you-want model, the beneficiary of Creative Commons content
1755 is invited to give—at any amount they can and feel is appropriate, based on
1756 the public and personal value they feel is generated by the open
1757 content. Critically, these models are not touted as <span class="quote">„<span class="quote">buying</span>”</span>
1758 something free.  They are similar to a tip jar. People make financial
1759 contributions as an act of gratitude. These models capitalize on the fact
1760 that we are naturally inclined to give money for things we value in the
1761 marketplace, even in situations where we could find a way to get it for
1762 free.
1763         </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>
1764           Crowdfunding models are based on recouping the costs of creating and
1765 distributing content before the content is created. If the endeavor is Made
1766 with Creative Commons, anyone who wants the work in question could simply
1767 wait until it’s created and then access it for free. That means, for this
1768 model to work, people have to care about more than just receiving the
1769 work. They have to want you to succeed. Amanda Palmer credits the success of
1770 her crowdfunding on Kickstarter and Patreon to the years she spent building
1771 her community and creating a connection with her fans. She wrote in The Art
1772 of Asking, <span class="quote">„<span class="quote">Good art is made, good art is shared, help is offered,
1773 ears are bent, emotions are exchanged, the compost of real, deep connection
1774 is sprayed all over the fields. Then one day, the artist steps up and asks
1775 for something. And if the ground has been fertilized enough, the audience
1776 says, without hesitation: of course.</span>”</span>
1777         </p><p>
1778           Other types of crowdfunding rely on a sense of responsibility that a
1779 particular community may feel. Knowledge Unlatched pools funds from major
1780 U.S. libraries to subsidize CC-licensed academic work that will be, by
1781 definition, available to everyone for free. Libraries with bigger budgets
1782 tend to give more out of a sense of commitment to the library community and
1783 to the idea of open access generally.
1784         </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>
1785         Regardless of how they made money, in our interviews, we repeatedly heard
1786 language like <span class="quote">„<span class="quote">persuading people to buy</span>”</span> and <span class="quote">„<span class="quote">inviting
1787 people to pay.</span>”</span> We heard it even in connection with revenue streams
1788 that sit squarely within the market. Cory Doctorow told us, <span class="quote">„<span class="quote">I have to
1789 convince my readers that the right thing to do is to pay me.</span>”</span> The
1790 founders of the for-profit company Lumen Learning showed us the letter they
1791 send to those who opt not to pay for the services they provide in connection
1792 with their CC-licensed educational content. It isn’t a cease-and-desist
1793 letter; it’s an invitation to pay because it’s the right thing to do. This
1794 sort of behavior toward what could be considered nonpaying customers is
1795 largely unheard of in the traditional marketplace. But it seems to be part
1796 of the fabric of being Made with Creative Commons.
1797       </p><p>
1798         Nearly every endeavor we profiled relied, at least in part, on people being
1799 invested in what they do. The closer the Creative Commons content is to
1800 being <span class="quote">„<span class="quote">the product,</span>”</span> the more pronounced this dynamic has to
1801 be. Rather than simply selling a product or service, they are making
1802 ideological, personal, and creative connections with the people who value
1803 what they do.
1804       </p><p>
1805         It took me a very long time to see how this avoidance of thinking about what
1806 they do in pure market terms was deeply tied to being Made with Creative
1807 Commons.
1808       </p><p>
1809         I came to the research with preconceived notions about what Creative Commons
1810 is and what it means to be Made with Creative Commons. It turned out I was
1811 wrong on so many counts.
1812       </p><p>
1813         Obviously, being Made with Creative Commons means using Creative Commons
1814 licenses. That much I knew. But in our interviews, people spoke of so much
1815 more than copyright permissions when they explained how sharing fit into
1816 what they do. I was thinking about sharing too narrowly, and as a result, I
1817 was missing vast swaths of the meaning packed within Creative
1818 Commons. Rather than parsing the specific and narrow role of the copyright
1819 license in the equation, it is important not to disaggregate the rest of
1820 what comes with sharing. You have to widen the lens.
1821       </p><p>
1822         Being Made with Creative Commons is not just about the simple act of
1823 licensing a copyrighted work under a set of standardized terms, but also
1824 about community, social good, contributing ideas, expressing a value system,
1825 working together. These components of sharing are hard to cultivate if you
1826 think about what you do in purely market terms. Decent social behavior isn’t
1827 as intuitive when we are doing something that involves monetary exchange. It
1828 takes a conscious effort to foster the context for real sharing, based not
1829 strictly on impersonal market exchange, but on connections with the people
1830 with whom you share—connections with you, with your work, with your values,
1831 with each other.
1832       </p><p>
1833         The rest of this section will explore some of the common strategies that
1834 creators, companies, and organizations use to remind us that there are
1835 humans behind every creative endeavor.  To remind us we have obligations to
1836 each other. To remind us what sharing really looks like.
1837       </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-human"></a>Be human</h3></div></div></div><p>
1838           Humans are social animals, which means we are naturally inclined to treat
1839 each other well.<a href="#ftn.idm662" class="footnote" name="idm662"><sup class="footnote">[78]</sup></a> But the further
1840 removed we are from the person with whom we are interacting, the less caring
1841 our behavior will be. While the Internet has democratized cultural
1842 production, increased access to knowledge, and connected us in extraordinary
1843 ways, it can also make it easy forget we are dealing with another human.
1844         </p><p>
1845           To counteract the anonymous and impersonal tendencies of how we operate
1846 online, individual creators and corporations who use Creative Commons
1847 licenses work to demonstrate their humanity. For some, this means pouring
1848 their lives out on the page. For others, it means showing their creative
1849 process, giving a glimpse into how they do what they do. As writer Austin
1850 Kleon wrote, <span class="quote">„<span class="quote">Our work doesn’t speak for itself.  Human beings want to
1851 know where things came from, how they were made, and who made them. The
1852 stories you tell about the work you do have a huge effect on how people feel
1853 and what they understand about your work, and how people feel and what they
1854 understand about your work affects how they value it.</span>”</span><a href="#ftn.idm666" class="footnote" name="idm666"><sup class="footnote">[79]</sup></a>
1855         </p><p>
1856           A critical component to doing this effectively is not worrying about being a
1857 <span class="quote">„<span class="quote">brand.</span>”</span> That means not being afraid to be vulnerable. Amanda
1858 Palmer says, <span class="quote">„<span class="quote">When you’re afraid of someone’s judgment, you can’t
1859 connect with them. You’re too preoccupied with the task of impressing
1860 them.</span>”</span> Not everyone is suited to live life as an open book like
1861 Palmer, and that’s OK. There are a lot of ways to be human. The trick is
1862 just avoiding pretense and the temptation to artificially craft an
1863 image. People don’t just want the glossy version of you. They can’t relate
1864 to it, at least not in a meaningful way.
1865         </p><p>
1866           This advice is probably even more important for businesses and organizations
1867 because we instinctively conceive of them as nonhuman (though in the United
1868 States, corporations are people!). When corporations and organizations make
1869 the people behind them more apparent, it reminds people that they are
1870 dealing with something other than an anonymous corporate entity. In
1871 business-speak, this is about <span class="quote">„<span class="quote">humanizing your interactions</span>”</span>
1872 with the public.<a href="#ftn.idm673" class="footnote" name="idm673"><sup class="footnote">[80]</sup></a> But it can’t be a
1873 gimmick. You can’t fake being human.
1874         </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>
1875           Transparency helps people understand who you are and why you do what you do,
1876 but it also inspires trust. Max Temkin of Cards Against Humanity told us,
1877 <span class="quote">„<span class="quote">One of the most surprising things you can do in capitalism is just be
1878 honest with people.</span>”</span> That means sharing the good and the bad.  As
1879 Amanda Palmer wrote, <span class="quote">„<span class="quote">You can fix almost anything by authentically
1880 communicating.</span>”</span><a href="#ftn.idm680" class="footnote" name="idm680"><sup class="footnote">[81]</sup></a> It isn’t about
1881 trying to satisfy everyone or trying to sugarcoat mistakes or bad news, but
1882 instead about explaining your rationale and then being prepared to defend it
1883 when people are critical.<a href="#ftn.idm682" class="footnote" name="idm682"><sup class="footnote">[82]</sup></a>
1884         </p><p>
1885           Being accountable does not mean operating on consensus.  According to James
1886 Surowiecki, consensus-driven groups tend to resort to
1887 lowest-common-denominator solutions and avoid the sort of candid exchange of
1888 ideas that cultivates healthy collaboration.<a href="#ftn.idm685" class="footnote" name="idm685"><sup class="footnote">[83]</sup></a> Instead, it can be as simple as asking for input and then giving
1889 context and explanation about decisions you make, even if soliciting
1890 feedback and inviting discourse is time-consuming. If you don’t go through
1891 the effort to actually respond to the input you receive, it can be worse
1892 than not inviting input in the first place.<a href="#ftn.idm687" class="footnote" name="idm687"><sup class="footnote">[84]</sup></a> But when you get it right, it can guarantee the type of diversity
1893 of thought that helps endeavors excel. And it is another way to get people
1894 involved and invested in what you do.
1895         </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>
1896           Traditional economics assumes people make decisions based solely on their
1897 own economic self-interest.<a href="#ftn.idm692" class="footnote" name="idm692"><sup class="footnote">[85]</sup></a> Any
1898 relatively introspective human knows this is a fiction—we are much more
1899 complicated beings with a whole range of needs, emotions, and
1900 motivations. In fact, we are hardwired to work together and ensure
1901 fairness.<a href="#ftn.idm694" class="footnote" name="idm694"><sup class="footnote">[86]</sup></a> Being Made with Creative
1902 Commons requires an assumption that people will largely act on those social
1903 motivations, motivations that would be considered <span class="quote">„<span class="quote">irrational</span>”</span>
1904 in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">„<span class="quote">It is
1905 best to ignore people who try to scare you about free riding. That fear is
1906 based on a very shallow view of what motivates human behavior.</span>”</span> There
1907 will always be people who will act in purely selfish ways, but endeavors
1908 that are Made with Creative Commons design for the good actors.
1909         </p><p>
1910           The assumption that people will largely do the right thing can be a
1911 self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">„<span class="quote">Systems
1912 that assume people will act in ways that create public goods, and that give
1913 them opportunities and rewards for doing so, often let them work together
1914 better than neoclassical economics would predict.</span>”</span><a href="#ftn.idm700" class="footnote" name="idm700"><sup class="footnote">[87]</sup></a> When we acknowledge that people are often motivated
1915 by something other than financial self-interest, we design our endeavors in
1916 ways that encourage and accentuate our social instincts.
1917         </p><p>
1918           Rather than trying to exert control over people’s behavior, this mode of
1919 operating requires a certain level of trust. We might not realize it, but
1920 our daily lives are already built on trust. As Surowiecki wrote in The
1921 Wisdom of Crowds, <span class="quote">„<span class="quote">It’s impossible for a society to rely on law alone
1922 to make sure citizens act honestly and responsibly. And it’s impossible for
1923 any organization to rely on contracts alone to make sure that its managers
1924 and workers live up to their obligation.</span>”</span> Instead, we largely trust
1925 that people—mostly strangers—will do what they are supposed to
1926 do.<a href="#ftn.idm704" class="footnote" name="idm704"><sup class="footnote">[88]</sup></a> And most often, they do.
1927         </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>
1928           For creators, treating people as humans means not treating them like
1929 fans. As Kleon says, <span class="quote">„<span class="quote">If you want fans, you have to be a fan
1930 first.</span>”</span><a href="#ftn.idm710" class="footnote" name="idm710"><sup class="footnote">[89]</sup></a> Even if you happen to be
1931 one of the few to reach celebrity levels of fame, you are better off
1932 remembering that the people who follow your work are human, too. Cory
1933 Doctorow makes a point to answer every single email someone sends him.
1934 Amanda Palmer spends vast quantities of time going online to communicate
1935 with her public, making a point to listen just as much as she
1936 talks.<a href="#ftn.idm712" class="footnote" name="idm712"><sup class="footnote">[90]</sup></a>
1937         </p><p>
1938           The same idea goes for businesses and organizations. Rather than automating
1939 its customer service, the music platform Tribe of Noise makes a point to
1940 ensure its employees have personal, one-on-one interaction with users.
1941         </p><p>
1942           When we treat people like humans, they typically return the gift in
1943 kind. It’s called karma. But social relationships are fragile. It is all too
1944 easy to destroy them if you make the mistake of treating people as anonymous
1945 customers or free labor.<a href="#ftn.idm716" class="footnote" name="idm716"><sup class="footnote">[91]</sup></a> Platforms that
1946 rely on content from contributors are especially at risk of creating an
1947 exploitative dynamic. It is important to find ways to acknowledge and pay
1948 back the value that contributors generate. That does not mean you can solve
1949 this problem by simply paying contributors for their time or
1950 contributions. As soon as we introduce money into a relationship—at least
1951 when it takes a form of paying monetary value in exchange for other value—it
1952 can dramatically change the dynamic.<a href="#ftn.idm718" class="footnote" name="idm718"><sup class="footnote">[92]</sup></a>
1953         </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>
1954           Being Made with Creative Commons makes a statement about who you are and
1955 what you do. The symbolism is powerful. Using Creative Commons licenses
1956 demonstrates adherence to a particular belief system, which generates
1957 goodwill and connects like-minded people to your work. Sometimes people will
1958 be drawn to endeavors that are Made with Creative Commons as a way of
1959 demonstrating their own commitment to the Creative Commons value system,
1960 akin to a political statement. Other times people will identify and feel
1961 connected with an endeavor’s separate social mission. Often both.
1962         </p><p>
1963           The expression of your values doesn’t have to be implicit. In fact, many of
1964 the people we interviewed talked about how important it is to state your
1965 guiding principles up front.  Lumen Learning attributes a lot of their
1966 success to having been outspoken about the fundamental values that guide
1967 what they do. As a for-profit company, they think their expressed commitment
1968 to low-income students and open licensing has been critical to their
1969 credibility in the OER (open educational resources) community in which they
1970 operate.
1971         </p><p>
1972           When your end goal is not about making a profit, people trust that you
1973 aren’t just trying to extract value for your own gain. People notice when
1974 you have a sense of purpose that transcends your own
1975 self-interest.<a href="#ftn.idm725" class="footnote" name="idm725"><sup class="footnote">[93]</sup></a> It attracts committed
1976 employees, motivates contributors, and builds trust.
1977         </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>
1978           Endeavors that are Made with Creative Commons thrive when community is built
1979 around what they do. This may mean a community collaborating together to
1980 create something new, or it may simply be a collection of like-minded people
1981 who get to know each other and rally around common interests or
1982 beliefs.<a href="#ftn.idm730" class="footnote" name="idm730"><sup class="footnote">[94]</sup></a> To a certain extent, simply
1983 being Made with Creative Commons automatically brings with it some element
1984 of community, by helping connect you to like-minded others who recognize and
1985 are drawn to the values symbolized by using CC.
1986         </p><p>
1987           To be sustainable, though, you have to work to nurture community. People
1988 have to care—about you and each other. One critical piece to this is
1989 fostering a sense of belonging. As Jono Bacon writes in The Art of
1990 Community, <span class="quote">„<span class="quote">If there is no belonging, there is no community.</span>”</span>
1991 For Amanda Palmer and her band, that meant creating an accepting and
1992 inclusive environment where people felt a part of their <span class="quote">„<span class="quote">weird little
1993 family.</span>”</span><a href="#ftn.idm735" class="footnote" name="idm735"><sup class="footnote">[95]</sup></a> For organizations like
1994 Red Hat, that means connecting around common beliefs or goals. As the CEO
1995 Jim Whitehurst wrote in The Open Organization, <span class="quote">„<span class="quote">Tapping into passion
1996 is especially important in building the kinds of participative communities
1997 that drive open organizations.</span>”</span><a href="#ftn.idm738" class="footnote" name="idm738"><sup class="footnote">[96]</sup></a>
1998         </p><p>
1999           Communities that collaborate together take deliberate planning. Surowiecki
2000 wrote, <span class="quote">„<span class="quote">It takes a lot of work to put the group together. It’s
2001 difficult to ensure that people are working in the group’s interest and not
2002 in their own. And when there’s a lack of trust between the members of the
2003 group (which isn’t surprising given that they don’t really know each other),
2004 considerable energy is wasted trying to determine each other’s bona
2005 fides.</span>”</span><a href="#ftn.idm742" class="footnote" name="idm742"><sup class="footnote">[97]</sup></a> Building true community
2006 requires giving people within the community the power to create or influence
2007 the rules that govern the community.<a href="#ftn.idm744" class="footnote" name="idm744"><sup class="footnote">[98]</sup></a> If
2008 the rules are created and imposed in a top-down manner, people feel like
2009 they don’t have a voice, which in turn leads to disengagement.
2010         </p><p>
2011           Community takes work, but working together, or even simply being connected
2012 around common interests or values, is in many ways what sharing is about.
2013         </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>
2014           Conventional wisdom in the marketplace dictates that people should try to
2015 extract as much money as possible from resources. This is essentially what
2016 defines so much of the so-called sharing economy. In an article on the
2017 Harvard Business Review website called <span class="quote">„<span class="quote">The Sharing Economy Isn’t
2018 about Sharing at All,</span>”</span> authors Giana Eckhardt and Fleura Bardhi
2019 explained how the anonymous market-driven trans-actions in most
2020 sharing-economy businesses are purely about monetizing access.<a href="#ftn.idm751" class="footnote" name="idm751"><sup class="footnote">[99]</sup></a> As Lisa Gansky put it in her book The Mesh, the
2021 primary strategy of the sharing economy is to sell the same product multiple
2022 times, by selling access rather than ownership.<a href="#ftn.idm755" class="footnote" name="idm755"><sup class="footnote">[100]</sup></a> That is not sharing.
2023         </p><p>
2024           Sharing requires adding as much or more value to the ecosystem than you
2025 take. You can’t simply treat open content as a free pool of resources from
2026 which to extract value. Part of giving back to the ecosystem is contributing
2027 content back to the public under CC licenses. But it doesn’t have to just be
2028 about creating content; it can be about adding value in other ways.  The
2029 social blogging platform Medium provides value to its community by
2030 incentivizing good behavior, and the result is an online space with
2031 remarkably high-quality user-generated content and limited
2032 trolling.<a href="#ftn.idm758" class="footnote" name="idm758"><sup class="footnote">[101]</sup></a> Opendesk contributes to its
2033 community by committing to help its designers make money, in part by
2034 actively curating and displaying their work on its platform effectively.
2035         </p><p>
2036           In all cases, it is important to openly acknowledge the amount of value you
2037 add versus that which you draw on that was created by others. Being
2038 transparent about this builds credibility and shows you are a contributing
2039 player in the commons. When your endeavor is making money, that also means
2040 apportioning financial compensation in a way that reflects the value
2041 contributed by others, providing more to contributors when the value they
2042 add outweighs the value provided by you.
2043         </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>
2044           Thanks to the Internet, we can tap into the talents and expertise of people
2045 around the globe. Chris Anderson calls it the Long Tail of
2046 talent.<a href="#ftn.idm766" class="footnote" name="idm766"><sup class="footnote">[102]</sup></a> But to make collaboration work,
2047 the group has to be effective at what it is doing, and the people within the
2048 group have to find satisfaction from being involved.<a href="#ftn.idm768" class="footnote" name="idm768"><sup class="footnote">[103]</sup></a> This is easier to facilitate for some types of
2049 creative work than it is for others. Groups tied together online collaborate
2050 best when people can work independently and asynchronously, and particularly
2051 for larger groups with loose ties, when contributors can make simple
2052 improvements without a particularly heavy time commitment.<a href="#ftn.idm770" class="footnote" name="idm770"><sup class="footnote">[104]</sup></a>
2053         </p><p>
2054           As the success of Wikipedia demonstrates, editing an online encyclopedia is
2055 exactly the sort of activity that is perfect for massive co-creation because
2056 small, incremental edits made by a diverse range of people acting on their
2057 own are immensely valuable in the aggregate. Those same sorts of small
2058 contributions would be less useful for many other types of creative work,
2059 and people are inherently less motivated to contribute when it doesn’t
2060 appear that their efforts will make much of a difference.<a href="#ftn.idm773" class="footnote" name="idm773"><sup class="footnote">[105]</sup></a>
2061         </p><p>
2062           It is easy to romanticize the opportunities for global cocreation made
2063 possible by the Internet, and, indeed, the successful examples of it are
2064 truly incredible and inspiring.  But in a wide range of
2065 circumstances—perhaps more often than not—community cocreation is not part
2066 of the equation, even within endeavors built on CC content. Shirky wrote,
2067 <span class="quote">„<span class="quote">Sometimes the value of professional work trumps the value of amateur
2068 sharing or a feeling of belonging.<a href="#ftn.idm777" class="footnote" name="idm777"><sup class="footnote">[106]</sup></a> The
2069 textbook publisher OpenStax, which distributes all of its material for free
2070 under CC licensing, is an example of this dynamic. Rather than tapping the
2071 community to help cocreate their college textbooks, they invest a
2072 significant amount of time and money to develop professional content. For
2073 individual creators, where the creative work is the basis for what they do,
2074 community cocreation is only rarely a part of the picture. Even musician
2075 Amanda Palmer, who is famous for her openness and involvement with her fans,
2076 said,</span>”</span>The only department where I wasn’t open to input was the
2077 writing, the music itself."<a href="#ftn.idm779" class="footnote" name="idm779"><sup class="footnote">[107]</sup></a>
2078         </p><p>
2079           While we tend to immediately think of cocreation and remixing when we hear
2080 the word collaboration, you can also involve others in your creative process
2081 in more informal ways, by sharing half-baked ideas and early drafts, and
2082 interacting with the public to incubate ideas and get feedback. So-called
2083 <span class="quote">„<span class="quote">making in public</span>”</span> opens the door to letting people feel more
2084 invested in your creative work.<a href="#ftn.idm783" class="footnote" name="idm783"><sup class="footnote">[108]</sup></a> And it
2085 shows a nonterritorial approach to ideas and information. Stephen Covey (of
2086 The 7 Habits of Highly Effective People fame) calls this the abundance
2087 mentality—treating ideas like something plentiful—and it can create an
2088 environment where collaboration flourishes.<a href="#ftn.idm785" class="footnote" name="idm785"><sup class="footnote">[109]</sup></a>
2089         </p><p>
2090           There is no one way to involve people in what you do. They key is finding a
2091 way for people to contribute on their terms, compelled by their own
2092 motivations.<a href="#ftn.idm788" class="footnote" name="idm788"><sup class="footnote">[110]</sup></a> What that looks like
2093 varies wildly depending on the project. Not every endeavor that is Made with
2094 Creative Commons can be Wikipedia, but every endeavor can find ways to
2095 invite the public into what they do. The goal for any form of collaboration
2096 is to move away from thinking of consumers as passive recipients of your
2097 content and transition them into active participants.<a href="#ftn.idm790" class="footnote" name="idm790"><sup class="footnote">[111]</sup></a>
2098         </p></div></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm397" class="footnote"><p><a href="#idm397" class="para"><sup class="para">[37] </sup></a>
2099           Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
2100 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>.
2101         </p></div><div id="ftn.idm411" class="footnote"><p><a href="#idm411" class="para"><sup class="para">[38] </sup></a>
2102           Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
2103 Age (San Francisco, CA: McSweeney’s, 2014) 68.
2104         </p></div><div id="ftn.idm420" class="footnote"><p><a href="#idm420" class="para"><sup class="para">[39] </sup></a>
2105           Ibid., 55.
2106         </p></div><div id="ftn.idm423" class="footnote"><p><a href="#idm423" class="para"><sup class="para">[40] </sup></a>
2107           Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
2108 Something for Nothing, reprint with new preface (New York: Hyperion, 2010),
2109 224.
2110         </p></div><div id="ftn.idm427" class="footnote"><p><a href="#idm427" class="para"><sup class="para">[41] </sup></a>
2111           Doctorow, Information Doesn’t Want to Be Free, 44.
2112         </p></div><div id="ftn.idm439" class="footnote"><p><a href="#idm439" class="para"><sup class="para">[42] </sup></a>
2113             Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let
2114 People Help (New York: Grand Central, 2014), 121.
2115           </p></div><div id="ftn.idm443" class="footnote"><p><a href="#idm443" class="para"><sup class="para">[43] </sup></a>
2116             Chris Anderson, Makers: The New Industrial Revolution (New York: Signal,
2117 2012), 64.
2118           </p></div><div id="ftn.idm447" class="footnote"><p><a href="#idm447" class="para"><sup class="para">[44] </sup></a>
2119             David Bollier, Think Like a Commoner: A Short Introduction to the Life of
2120 the Commons (Gabriola Island, BC: New Society, 2014), 70.
2121           </p></div><div id="ftn.idm450" class="footnote"><p><a href="#idm450" class="para"><sup class="para">[45] </sup></a>
2122             Anderson, Makers, 66.
2123           </p></div><div id="ftn.idm453" class="footnote"><p><a href="#idm453" class="para"><sup class="para">[46] </sup></a>
2124             Bryan Kramer, Shareology: How Sharing Is Powering the Human Economy (New
2125 York: Morgan James, 2016), 10.
2126           </p></div><div id="ftn.idm456" class="footnote"><p><a href="#idm456" class="para"><sup class="para">[47] </sup></a>
2127             Anderson, Free, 62.
2128           </p></div><div id="ftn.idm461" class="footnote"><p><a href="#idm461" class="para"><sup class="para">[48] </sup></a>
2129             Doctorow, Information Doesn’t Want to Be Free, 38.
2130           </p></div><div id="ftn.idm466" class="footnote"><p><a href="#idm466" class="para"><sup class="para">[49] </sup></a>
2131             Bollier, Think Like a Commoner, 68.
2132           </p></div><div id="ftn.idm472" class="footnote"><p><a href="#idm472" class="para"><sup class="para">[50] </sup></a>
2133             Anderson, Free, 86.
2134           </p></div><div id="ftn.idm476" class="footnote"><p><a href="#idm476" class="para"><sup class="para">[51] </sup></a>
2135             Doctorow, Information Doesn’t Want to Be Free, 144.
2136           </p></div><div id="ftn.idm486" class="footnote"><p><a href="#idm486" class="para"><sup class="para">[52] </sup></a>
2137               Anderson, Free, 123.
2138             </p></div><div id="ftn.idm489" class="footnote"><p><a href="#idm489" class="para"><sup class="para">[53] </sup></a>
2139               Ibid., 132.
2140             </p></div><div id="ftn.idm491" class="footnote"><p><a href="#idm491" class="para"><sup class="para">[54] </sup></a>
2141               Ibid., 70.
2142             </p></div><div id="ftn.idm496" class="footnote"><p><a href="#idm496" class="para"><sup class="para">[55] </sup></a>
2143               James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005),
2144 124. Surowiecki says, <span class="quote">„<span class="quote">The measure of success of laws and contracts is
2145 how rarely they are invoked.</span>”</span>
2146             </p></div><div id="ftn.idm506" class="footnote"><p><a href="#idm506" class="para"><sup class="para">[56] </sup></a>
2147               Anderson, Free, 44.
2148             </p></div><div id="ftn.idm513" class="footnote"><p><a href="#idm513" class="para"><sup class="para">[57] </sup></a>
2149               Osterwalder and Pigneur, Business Model Generation, 23.
2150             </p></div><div id="ftn.idm517" class="footnote"><p><a href="#idm517" class="para"><sup class="para">[58] </sup></a>
2151               Anderson, Free, 67.
2152             </p></div><div id="ftn.idm519" class="footnote"><p><a href="#idm519" class="para"><sup class="para">[59] </sup></a>
2153               Ibid., 58.
2154             </p></div><div id="ftn.idm521" class="footnote"><p><a href="#idm521" class="para"><sup class="para">[60] </sup></a>
2155               Anderson, Makers, 71.
2156             </p></div><div id="ftn.idm523" class="footnote"><p><a href="#idm523" class="para"><sup class="para">[61] </sup></a>
2157               Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into
2158 Collaborators (London: Penguin Books, 2010), 78.
2159             </p></div><div id="ftn.idm527" class="footnote"><p><a href="#idm527" class="para"><sup class="para">[62] </sup></a>
2160               Ibid., 21.
2161             </p></div><div id="ftn.idm532" class="footnote"><p><a href="#idm532" class="para"><sup class="para">[63] </sup></a>
2162               Doctorow, Information Doesn’t Want to Be Free, 43.
2163             </p></div><div id="ftn.idm539" class="footnote"><p><a href="#idm539" class="para"><sup class="para">[64] </sup></a>
2164             William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">„<span class="quote">Ten
2165 Nonprofit Funding Models,</span>”</span> Stanford Social Innovation Review, Spring
2166 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>.
2167           </p></div><div id="ftn.idm545" class="footnote"><p><a href="#idm545" class="para"><sup class="para">[65] </sup></a>
2168             Shirky, Cognitive Surplus, 111.
2169           </p></div><div id="ftn.idm551" class="footnote"><p><a href="#idm551" class="para"><sup class="para">[66] </sup></a>
2170               Osterwalder and Pigneur, Business Model Generation, 30.
2171             </p></div><div id="ftn.idm553" class="footnote"><p><a href="#idm553" class="para"><sup class="para">[67] </sup></a>
2172               Jim Whitehurst, The Open Organization: Igniting Passion and Performance
2173 (Boston: Harvard Business Review Press, 2015), 202.
2174             </p></div><div id="ftn.idm556" class="footnote"><p><a href="#idm556" class="para"><sup class="para">[68] </sup></a>
2175               Anderson, Free, 71.
2176             </p></div><div id="ftn.idm562" class="footnote"><p><a href="#idm562" class="para"><sup class="para">[69] </sup></a>
2177               Ibid., 231.
2178             </p></div><div id="ftn.idm572" class="footnote"><p><a href="#idm572" class="para"><sup class="para">[70] </sup></a>
2179               Ibid., 97.
2180             </p></div><div id="ftn.idm579" class="footnote"><p><a href="#idm579" class="para"><sup class="para">[71] </sup></a>
2181               Anderson, Makers, 107.
2182             </p></div><div id="ftn.idm590" class="footnote"><p><a href="#idm590" class="para"><sup class="para">[72] </sup></a>
2183               Osterwalder and Pigneur, Business Model Generation, 89.
2184             </p></div><div id="ftn.idm596" class="footnote"><p><a href="#idm596" class="para"><sup class="para">[73] </sup></a>
2185               Ibid., 92.
2186             </p></div><div id="ftn.idm598" class="footnote"><p><a href="#idm598" class="para"><sup class="para">[74] </sup></a>
2187               Anderson, Free, 142.
2188             </p></div><div id="ftn.idm609" class="footnote"><p><a href="#idm609" class="para"><sup class="para">[75] </sup></a>
2189               Osterwalder and Pigneur, Business Model Generation, 32.
2190             </p></div><div id="ftn.idm627" class="footnote"><p><a href="#idm627" class="para"><sup class="para">[76] </sup></a>
2191               Bollier, Think Like a Commoner, 150.
2192             </p></div><div id="ftn.idm629" class="footnote"><p><a href="#idm629" class="para"><sup class="para">[77] </sup></a>
2193               Ibid., 134.
2194             </p></div><div id="ftn.idm662" class="footnote"><p><a href="#idm662" class="para"><sup class="para">[78] </sup></a>
2195               Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our
2196 Decisions, rev. ed. (New York: Harper Perennial, 2010), 109.
2197             </p></div><div id="ftn.idm666" class="footnote"><p><a href="#idm666" class="para"><sup class="para">[79] </sup></a>
2198               Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and Get
2199 Discovered (New York: Workman, 2014), 93.
2200             </p></div><div id="ftn.idm673" class="footnote"><p><a href="#idm673" class="para"><sup class="para">[80] </sup></a>
2201               Kramer, Shareology, 76.
2202             </p></div><div id="ftn.idm680" class="footnote"><p><a href="#idm680" class="para"><sup class="para">[81] </sup></a>
2203               Palmer, Art of Asking, 252.
2204             </p></div><div id="ftn.idm682" class="footnote"><p><a href="#idm682" class="para"><sup class="para">[82] </sup></a>
2205               Whitehurst, Open Organization, 145.
2206             </p></div><div id="ftn.idm685" class="footnote"><p><a href="#idm685" class="para"><sup class="para">[83] </sup></a>
2207               Surowiecki, Wisdom of Crowds, 203.
2208             </p></div><div id="ftn.idm687" class="footnote"><p><a href="#idm687" class="para"><sup class="para">[84] </sup></a>
2209               Whitehurst, Open Organization, 80.
2210             </p></div><div id="ftn.idm692" class="footnote"><p><a href="#idm692" class="para"><sup class="para">[85] </sup></a>
2211               Bollier, Think Like a Commoner, 25.
2212             </p></div><div id="ftn.idm694" class="footnote"><p><a href="#idm694" class="para"><sup class="para">[86] </sup></a>
2213               Ibid., 31.
2214             </p></div><div id="ftn.idm700" class="footnote"><p><a href="#idm700" class="para"><sup class="para">[87] </sup></a>
2215               Shirky, Cognitive Surplus, 112.
2216             </p></div><div id="ftn.idm704" class="footnote"><p><a href="#idm704" class="para"><sup class="para">[88] </sup></a>
2217               Surowiecki, Wisdom of Crowds, 124.
2218             </p></div><div id="ftn.idm710" class="footnote"><p><a href="#idm710" class="para"><sup class="para">[89] </sup></a>
2219               Kleon, Show Your Work, 127.
2220             </p></div><div id="ftn.idm712" class="footnote"><p><a href="#idm712" class="para"><sup class="para">[90] </sup></a>
2221               Palmer, Art of Asking, 121.
2222             </p></div><div id="ftn.idm716" class="footnote"><p><a href="#idm716" class="para"><sup class="para">[91] </sup></a>
2223               Ariely, Predictably Irrational, 87.
2224             </p></div><div id="ftn.idm718" class="footnote"><p><a href="#idm718" class="para"><sup class="para">[92] </sup></a>
2225               Ibid., 105.
2226             </p></div><div id="ftn.idm725" class="footnote"><p><a href="#idm725" class="para"><sup class="para">[93] </sup></a>
2227               Ibid., 36.
2228             </p></div><div id="ftn.idm730" class="footnote"><p><a href="#idm730" class="para"><sup class="para">[94] </sup></a>
2229               Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
2230 2012), 36.
2231             </p></div><div id="ftn.idm735" class="footnote"><p><a href="#idm735" class="para"><sup class="para">[95] </sup></a>
2232               Palmer, Art of Asking, 98.
2233             </p></div><div id="ftn.idm738" class="footnote"><p><a href="#idm738" class="para"><sup class="para">[96] </sup></a>
2234               Whitehurst, Open Organization, 34.
2235             </p></div><div id="ftn.idm742" class="footnote"><p><a href="#idm742" class="para"><sup class="para">[97] </sup></a>
2236               Surowiecki, Wisdom of Crowds, 200.
2237             </p></div><div id="ftn.idm744" class="footnote"><p><a href="#idm744" class="para"><sup class="para">[98] </sup></a>
2238               Bollier, Think Like a Commoner, 29.
2239             </p></div><div id="ftn.idm751" class="footnote"><p><a href="#idm751" class="para"><sup class="para">[99] </sup></a>
2240               Giana Eckhardt and Fleura Bardhi, <span class="quote">„<span class="quote">The Sharing Economy Isn’t about
2241 Sharing at All,</span>”</span> Harvard Business Review (website), January 28, 2015,
2242 <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>.
2243             </p></div><div id="ftn.idm755" class="footnote"><p><a href="#idm755" class="para"><sup class="para">[100] </sup></a>
2244               Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with
2245 new epilogue (New York: Portfolio, 2012).
2246             </p></div><div id="ftn.idm758" class="footnote"><p><a href="#idm758" class="para"><sup class="para">[101] </sup></a>
2247               David Lee, <span class="quote">„<span class="quote">Inside Medium: An Attempt to Bring Civility to the
2248 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>.
2249             </p></div><div id="ftn.idm766" class="footnote"><p><a href="#idm766" class="para"><sup class="para">[102] </sup></a>
2250               Anderson, Makers, 148.
2251             </p></div><div id="ftn.idm768" class="footnote"><p><a href="#idm768" class="para"><sup class="para">[103] </sup></a>
2252               Shirky, Cognitive Surplus, 164.
2253             </p></div><div id="ftn.idm770" class="footnote"><p><a href="#idm770" class="para"><sup class="para">[104] </sup></a>
2254               Whitehurst, foreword to Open Organization.
2255             </p></div><div id="ftn.idm773" class="footnote"><p><a href="#idm773" class="para"><sup class="para">[105] </sup></a>
2256               Shirky, Cognitive Surplus, 144.
2257             </p></div><div id="ftn.idm777" class="footnote"><p><a href="#idm777" class="para"><sup class="para">[106] </sup></a>
2258               Ibid., 154.
2259             </p></div><div id="ftn.idm779" class="footnote"><p><a href="#idm779" class="para"><sup class="para">[107] </sup></a>
2260               Palmer, Art of Asking, 163.
2261             </p></div><div id="ftn.idm783" class="footnote"><p><a href="#idm783" class="para"><sup class="para">[108] </sup></a>
2262               Anderson, Makers, 173.
2263             </p></div><div id="ftn.idm785" class="footnote"><p><a href="#idm785" class="para"><sup class="para">[109] </sup></a>
2264               Tom Kelley and David Kelley, Creative Confidence: Unleashing the Potential
2265 within Us All (New York: Crown, 2013), 82.
2266             </p></div><div id="ftn.idm788" class="footnote"><p><a href="#idm788" class="para"><sup class="para">[110] </sup></a>
2267               Whitehurst, foreword to Open Organization.
2268             </p></div><div id="ftn.idm790" class="footnote"><p><a href="#idm790" class="para"><sup class="para">[111] </sup></a>
2269               Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
2270 Collaborative Consumption (New York: Harper Business, 2010), 188.
2271             </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>Rozdział 3. Licencje Creative Commons</h2></div></div></div><p>
2272       All of the Creative Commons licenses grant a basic set of permissions. At a
2273 minimum, a CC- licensed work can be copied and shared in its original form
2274 for noncommercial purposes so long as attribution is given to the
2275 creator. There are six licenses in the CC license suite that build on that
2276 basic set of permissions, ranging from the most restrictive (allowing only
2277 those basic permissions to share unmodified copies for noncommercial
2278 purposes)  to the most permissive (reusers can do anything they want with
2279 the work, even for commercial purposes, as long as they give the creator
2280 credit). The licenses are built on copyright and do not cover other types of
2281 rights that creators might have in their works, like patents or trademarks.
2282     </p><p>
2283       Here are the six licenses:
2284     </p><p>
2285         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D83BF99FC0821C489.png" width="40.0%"></span>
2286       </p><p>
2287       The Attribution license (CC BY) lets others distribute, remix, tweak, and
2288 build upon your work, even commercially, as long as they credit you for the
2289 original creation. This is the most accommodating of licenses
2290 offered. Recommended for maximum dissemination and use of licensed
2291 materials.
2292     </p><p>
2293         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DFD3592CB17C4EC38.png" width="40.0%"></span>
2294       </p><p>
2295       The Attribution-Share-Alike license (CC BY-SA) lets others remix, tweak, and
2296 build upon your work, even for commercial purposes, as long as they credit
2297 you and license their new creations under identical terms. This license is
2298 often compared to <span class="quote">„<span class="quote">copyleft</span>”</span> free and open source software
2299 licenses.  All new works based on yours will carry the same license, so any
2300 derivatives will also allow commercial use.
2301     </p><p>
2302         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D254882DE24793FEA.png" width="40.0%"></span>
2303       </p><p>
2304       The Attribution-NoDerivs license (CC BY-ND) allows for redistribution,
2305 commercial and noncommercial, as long as it is passed along unchanged with
2306 credit to you.
2307     </p><p>
2308         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png" width="40.0%"></span>
2309       </p><p>
2310       The Attribution-NonCommercial license (CC BY-NC) lets others remix, tweak,
2311 and build upon your work noncommercially. Although their new works must also
2312 acknowledge you, they don’t have to license their derivative works on the
2313 same terms.
2314     </p><p>
2315         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D16DA603376395620.png" width="40.0%"></span>
2316       </p><p>
2317       The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA)  lets others
2318 remix, tweak, and build upon your work noncommercially, as long as they
2319 credit you and license their new creations under the same terms.
2320     </p><p>
2321         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DC3FEF92B21310965.png" width="40.0%"></span>
2322       </p><p>
2323       The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most
2324 restrictive of our six main licenses, only allowing others to download your
2325 works and share them with others as long as they credit you, but they can’t
2326 change them or use them commercially.
2327     </p><p>
2328       In addition to these six licenses, Creative Commons has two public-domain
2329 tools—one for creators and the other for those who manage collections of
2330 existing works by authors whose terms of copyright have expired:
2331     </p><p>
2332         <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008DBE3414994CD27786.png" width="40.0%"></span>
2333       </p><p>
2334       CC0 enables authors and copyright owners to dedicate their works to the
2335 worldwide public domain (<span class="quote">„<span class="quote">no rights reserved</span>”</span>).
2336     </p><p>
2337         <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008D36DCD649C5B1411F.png" width="40.0%"></span>
2338       </p><p>
2339       The Creative Commons Public Domain Mark facilitates the labeling and
2340 discovery of works that are already free of known copyright restrictions.
2341     </p><p>
2342       In our case studies, some use just one Creative Commons license, others use
2343 several. Attribution (found in thirteen case studies)  and
2344 Attribution-ShareAlike (found in eight studies) were the most common, with
2345 the other licenses coming up in four or so case studies, including the
2346 public-domain tool CC0. Some of the organizations we profiled offer both
2347 digital content and software: by using open-source-software licenses for the
2348 software code and Creative Commons licenses for digital content, they
2349 amplify their involvement with and commitment to sharing.
2350     </p><p>
2351       There is a popular misconception that the three NonCommercial licenses
2352 offered by CC are the only options for those who want to make money off
2353 their work. As we hope this book makes clear, there are many ways to make
2354 endeavors that are Made with Creative Commons sustainable. Reserving
2355 commercial rights is only one of those ways. It is certainly true that a
2356 license that allows others to make commercial use of your work (CC BY, CC
2357 BY-SA, and CC BY-ND) forecloses some traditional revenue streams. If you
2358 apply an Attribution (CC BY) license to your book, you can’t force a film
2359 company to pay you royalties if they turn your book into a feature-length
2360 film, or prevent another company from selling physical copies of your work.
2361     </p><p>
2362       The decision to choose a NonCommercial and/or NoDerivs license comes down to
2363 how much you need to retain control over the creative work. The
2364 NonCommercial and NoDerivs licenses are ways of reserving some significant
2365 portion of the exclusive bundle of rights that copyright grants to
2366 creators. In some cases, reserving those rights is important to how you
2367 bring in revenue. In other cases, creators use a NonCommercial or NoDerivs
2368 license because they can’t give up on the dream of hitting the creative
2369 jackpot.  The music platform Tribe of Noise told us the NonCommercial
2370 licenses were popular among their users because people still held out the
2371 dream of having a major record label discover their work.
2372     </p><p>
2373       Other times the decision to use a more restrictive license is due to a
2374 concern about the integrity of the work. For example, the nonprofit
2375 TeachAIDS uses a NoDerivs license for its educational materials because the
2376 medical subject matter is particularly important to get right.
2377     </p><p>
2378       There is no one right way. The NonCommercial and NoDerivs restrictions
2379 reflect the values and preferences of creators about how their creative work
2380 should be reused, just as the ShareAlike license reflects a different set of
2381 values, one that is less about controlling access to their own work and more
2382 about ensuring that whatever gets created with their work is available to
2383 all on the same terms. Since the beginning of the commons, people have been
2384 setting up structures that helped regulate the way in which shared resources
2385 were used. The CC licenses are an attempt to standardize norms across all
2386 domains.
2387     </p><p>
2388       Note
2389     </p><p>
2390       For more about the licenses including examples and tips on sharing your work
2391 in the digital commons, start with the Creative Commons page called
2392 <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>.
2393     </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Część II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
2394     The twenty-four case studies in this section were chosen from hundreds of
2395 nominations received from Kickstarter backers, Creative Commons staff, and
2396 the global Creative Commons community. We selected eighty potential
2397 candidates that represented a mix of industries, content types, revenue
2398 streams, and parts of the world.  Twelve of the case studies were selected
2399 from that group based on votes cast by Kickstarter backers, and the other
2400 twelve were selected by us.
2401   </p><p>
2402     We did background research and conducted interviews for each case study,
2403 based on the same set of basic questions about the endeavor.  The idea for
2404 each case study is to tell the story about the endeavor and the role sharing
2405 plays within it, largely the way in which it was told to us by those we
2406 interviewed.
2407   </p><div class="toc"><p><b>Spis treści</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>Rozdział 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>
2408         Arduino is a for-profit open-source electronics platform and computer
2409 hardware and software company. Founded in 2005 in Italy.
2410       </p><p>
2411           <a class="ulink" href="http://www.arduino.cc" target="_top">http://www.arduino.cc</a>
2412         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
2413 copies (sales of boards, modules, shields, and kits), licensing a trademark
2414 (fees paid by those who want to sell Arduino products using their name)
2415       </p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
2416       </p><p><span class="strong"><strong>Interviewees</strong></span>: David Cuartielles and Tom
2417 Igoe, cofounders
2418       </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}
2419     \textit{
2420         Profile written by Paul Stacey
2421       }
2422     \end{flushright}</td></tr></table></div><p>
2423       In 2005, at the Interaction Design Institute Ivrea in northern Italy,
2424 teachers and students needed an easy way to use electronics and programming
2425 to quickly prototype design ideas. As musicians, artists, and designers,
2426 they needed a platform that didn’t require engineering expertise. A group of
2427 teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe,
2428 Gianluca Martino, and David Mellis, built a platform that combined different
2429 open technologies. They called it Arduino. The platform integrated software,
2430 hardware, microcontrollers, and electronics. All aspects of the platform
2431 were openly licensed: hardware designs and documentation with the
2432 Attribution-Share-Alike license (CC BY-SA), and software with the GNU
2433 General Public License.
2434     </p><p>
2435       Arduino boards are able to read inputs—light on a sensor, a finger on a
2436 button, or a Twitter message—and turn it into outputs—activating a motor,
2437 turning on an LED, publishing something online. You send a set of
2438 instructions to the microcontroller on the board by using the Arduino
2439 programming language and Arduino software (based on a piece of open-source
2440 software called Processing, a programming tool used to make visual art).
2441     </p><p><span class="quote">„<span class="quote">The reasons for making Arduino open source are complicated,</span>”</span>
2442 Tom says. Partly it was about supporting flexibility. The open-source nature
2443 of Arduino empowers users to modify it and create a lot of different
2444 variations, adding on top of what the founders build. David says this
2445 <span class="quote">„<span class="quote">ended up strengthening the platform far beyond what we had even
2446 thought of building.</span>”</span>
2447     </p><p>
2448       For Tom another factor was the impending closure of the Ivrea design
2449 school. He’d seen other organizations close their doors and all their work
2450 and research just disappear. Open-sourcing ensured that Arduino would
2451 outlive the Ivrea closure. Persistence is one thing Tom really likes about
2452 open source. If key people leave, or a company shuts down, an open-source
2453 product lives on. In Tom’s view, <span class="quote">„<span class="quote">Open sourcing makes it easier to
2454 trust a product.</span>”</span>
2455     </p><p>
2456       With the school closing, David and some of the other Arduino founders
2457 started a consulting firm and multidisciplinary design studio they called
2458 Tinker, in London. Tinker designed products and services that bridged the
2459 digital and the physical, and they taught people how to use new technologies
2460 in creative ways.  Revenue from Tinker was invested in sustaining and
2461 enhancing Arduino.
2462     </p><p>
2463       For Tom, part of Arduino’s success is because the founders made themselves
2464 the first customer of their product. They made products they themselves
2465 personally wanted. It was a matter of <span class="quote">„<span class="quote">I need this thing,</span>”</span> not
2466 <span class="quote">„<span class="quote">If we make this, we’ll make a lot of money.</span>”</span> Tom notes that
2467 being your own first customer makes you more confident and convincing at
2468 selling your product.
2469     </p><p>
2470       Arduino’s business model has evolved over time—and Tom says model is a
2471 grandiose term for it. Originally, they just wanted to make a few boards and
2472 get them out into the world. They started out with two hundred boards, sold
2473 them, and made a little profit. They used that to make another thousand,
2474 which generated enough revenue to make five thousand. In the early days,
2475 they simply tried to generate enough funding to keep the venture going day
2476 to day. When they hit the ten thousand mark, they started to think about
2477 Arduino as a company. By then it was clear you can open-source the design
2478 but still manufacture the physical product. As long as it’s a quality
2479 product and sold at a reasonable price, people will buy it.
2480     </p><p>
2481       Arduino now has a worldwide community of makers—students, hobbyists,
2482 artists, programmers, and professionals. Arduino provides a wiki called
2483 Playground (a wiki is where all users can edit and add pages, contributing
2484 to and benefiting from collective research). People share code, circuit
2485 diagrams, tutorials, DIY instructions, and tips and tricks, and show off
2486 their projects. In addition, there’s a multilanguage discussion forum where
2487 users can get help using Arduino, discuss topics like robotics, and make
2488 suggestions for new Arduino product designs. As of January 2017, 324,928
2489 members had made 2,989,489 posts on 379,044 topics. The worldwide community
2490 of makers has contributed an incredible amount of accessible knowledge
2491 helpful to novices and experts alike.
2492     </p><p>
2493       Transitioning Arduino from a project to a company was a big step.  Other
2494 businesses who made boards were charging a lot of money for them. Arduino
2495 wanted to make theirs available at a low price to people across a wide range
2496 of industries. As with any business, pricing was key. They wanted prices
2497 that would get lots of customers but were also high enough to sustain the
2498 business.
2499     </p><p>
2500       For a business, getting to the end of the year and not being in the red is a
2501 success. Arduino may have an open-licensing strategy, but they are still a
2502 business, and all the things needed to successfully run one still
2503 apply. David says, <span class="quote">„<span class="quote">If you do those other things well, sharing things
2504 in an open-source way can only help you.</span>”</span>
2505     </p><p>
2506       While openly licensing the designs, documentation, and software ensures
2507 longevity, it does have risks. There’s a possibility that others will create
2508 knockoffs, clones, and copies. The CC BY-SA license means anyone can produce
2509 copies of their boards, redesign them, and even sell boards that copy the
2510 design. They don’t have to pay a license fee to Arduino or even ask
2511 permission. However, if they republish the design of the board, they have to
2512 give attribution to Arduino. If they change the design, they must release
2513 the new design using the same Creative Commons license to ensure that the
2514 new version is equally free and open.
2515     </p><p>
2516       Tom and David say that a lot of people have built companies off of Arduino,
2517 with dozens of Arduino derivatives out there. But in contrast to closed
2518 business models that can wring money out of the system over many years
2519 because there is no competition, Arduino founders saw competition as keeping
2520 them honest, and aimed for an environment of collaboration. A benefit of
2521 open over closed is the many new ideas and designs others have contributed
2522 back to the Arduino ecosystem, ideas and designs that Arduino and the
2523 Arduino community use and incorporate into new products.
2524     </p><p>
2525       Over time, the range of Arduino products has diversified, changing and
2526 adapting to new needs and challenges. In addition to simple entry level
2527 boards, new products have been added ranging from enhanced boards that
2528 provide advanced functionality and faster performance, to boards for
2529 creating Internet of Things applications, wearables, and 3-D printing. The
2530 full range of official Arduino products includes boards, modules (a smaller
2531 form-factor of classic boards), shields (elements that can be plugged onto a
2532 board to give it extra features), and kits.<a href="#ftn.idm885" class="footnote" name="idm885"><sup class="footnote">[112]</sup></a>
2533     </p><p>
2534       Arduino’s focus is on high-quality boards, well-designed support materials,
2535 and the building of community; this focus is one of the keys to their
2536 success. And being open lets you build a real community. David says
2537 Arduino’s community is a big strength and something that really does
2538 matter—in his words, <span class="quote">„<span class="quote">It’s good business.</span>”</span> When they started,
2539 the Arduino team had almost entirely no idea how to build a community. They
2540 started by conducting numerous workshops, working directly with people using
2541 the platform to make sure the hardware and software worked the way it was
2542 meant to work and solved people’s problems. The community grew organically
2543 from there.
2544     </p><p>
2545       A key decision for Arduino was trademarking the name. The founders needed a
2546 way to guarantee to people that they were buying a quality product from a
2547 company committed to open-source values and knowledge sharing. Trademarking
2548 the Arduino name and logo expresses that guarantee and helps customers
2549 easily identify their products, and the products sanctioned by them. If
2550 others want to sell boards using the Arduino name and logo, they have to pay
2551 a small fee to Arduino. This allows Arduino to scale up manufacturing and
2552 distribution while at the same time ensuring the Arduino brand isn’t hurt by
2553 low-quality copies.
2554     </p><p>
2555       Current official manufacturers are Smart Projects in Italy, SparkFun in the
2556 United States, and Dog Hunter in Taiwan/China.  These are the only
2557 manufacturers that are allowed to use the Arduino logo on their
2558 boards. Trademarking their brand provided the founders with a way to protect
2559 Arduino, build it out further, and fund software and tutorial
2560 development. The trademark-licensing fee for the brand became Arduino’s
2561 revenue-generating model.
2562     </p><p>
2563       How far to open things up wasn’t always something the founders perfectly
2564 agreed on. David, who was always one to advocate for opening things up more,
2565 had some fears about protecting the Arduino name, thinking people would be
2566 mad if they policed their brand. There was some early backlash with a
2567 project called Freeduino, but overall, trademarking and branding has been a
2568 critical tool for Arduino.
2569     </p><p>
2570       David encourages people and businesses to start by sharing everything as a
2571 default strategy, and then think about whether there is anything that really
2572 needs to be protected and why. There are lots of good reasons to not open up
2573 certain elements. This strategy of sharing everything is certainly the
2574 complete opposite of how today’s world operates, where nothing is
2575 shared. Tom suggests a business formalize which elements are based on open
2576 sharing and which are closed. An Arduino blog post from 2013 entitled
2577 <span class="quote">„<span class="quote">Send In the Clones,</span>”</span> by one of the founders Massimo Banzi,
2578 does a great job of explaining the full complexities of how trademarking
2579 their brand has played out, distinguishing between official boards and those
2580 that are clones, derivatives, compatibles, and counterfeits.<a href="#ftn.idm895" class="footnote" name="idm895"><sup class="footnote">[113]</sup></a>
2581     </p><p>
2582       For David, an exciting aspect of Arduino is the way lots of people can use
2583 it to adapt technology in many different ways. Technology is always making
2584 more things possible but doesn’t always focus on making it easy to use and
2585 adapt. This is where Arduino steps in.  Arduino’s goal is <span class="quote">„<span class="quote">making
2586 things that help other people make things.</span>”</span>
2587     </p><p>
2588       Arduino has been hugely successful in making technology and electronics
2589 reach a larger audience. For Tom, Arduino has been about <span class="quote">„<span class="quote">the
2590 democratization of technology.</span>”</span> Tom sees Arduino’s open-source
2591 strategy as helping the world get over the idea that technology has to be
2592 protected. Tom says, <span class="quote">„<span class="quote">Technology is a literacy everyone should
2593 learn.</span>”</span>
2594     </p><p>
2595       Ultimately, for Arduino, going open has been good business—good for product
2596 development, good for distribution, good for pricing, and good for
2597 manufacturing.
2598     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm885" class="footnote"><p><a href="#idm885" 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.idm895" class="footnote"><p><a href="#idm895" 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>Rozdział 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>
2599         Ártica provides online courses and consulting services focused on how to use
2600 digital technology to share knowledge and enable collaboration in arts and
2601 culture. Founded in 2011 in Uruguay.
2602       </p><p>
2603           <a class="ulink" href="http://www.articaonline.com" target="_top">http://www.articaonline.com</a>
2604         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
2605 services
2606       </p><p><span class="strong"><strong>Interview date</strong></span>: March 9, 2016
2607       </p><p><span class="strong"><strong>Interviewees</strong></span>: Mariana Fossatti and Jorge
2608 Gemetto, cofounders
2609       </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}
2610     \textit{
2611         Profile written by Sarah Hinchliff Pearson
2612       }
2613     \end{flushright}</td></tr></table></div><p>
2614       The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
2615 ultimate example of DIY. Not only are they successful entrepreneurs, the
2616 niche in which their small business operates is essentially one they built
2617 themselves.
2618     </p><p>
2619       Their dream jobs didn’t exist, so they created them.
2620     </p><p>
2621       In 2011, Mariana was a sociologist working for an international organization
2622 to develop research and online education about rural-development
2623 issues. Jorge was a psychologist, also working in online education. Both
2624 were bloggers and heavy users of social media, and both had a passion for
2625 arts and culture. They decided to take their skills in digital technology
2626 and online learning and apply them to a topic area they loved. They launched
2627 Ártica, an online business that provides education and consulting for people
2628 and institutions creating artistic and cultural projects on the Internet.
2629     </p><p>
2630       Ártica feels like a uniquely twenty-first century business. The small
2631 company has a global online presence with no physical offices. Jorge and
2632 Mariana live in Uruguay, and the other two full-time employees, who Jorge
2633 and Mariana have never actually met in person, live in Spain. They started
2634 by creating a MOOC (massive open online course) about remix culture and
2635 collaboration in the arts, which gave them a direct way to reach an
2636 international audience, attracting students from across Latin America and
2637 Spain.  In other words, it is the classic Internet story of being able to
2638 directly tap into an audience without relying upon gatekeepers or
2639 intermediaries.
2640     </p><p>
2641       Ártica offers personalized education and consulting services, and helps
2642 clients implement projects. All of these services are customized. They call
2643 it an <span class="quote">„<span class="quote">artisan</span>”</span> process because of the time and effort it takes
2644 to adapt their work for the particular needs of students and
2645 clients. <span class="quote">„<span class="quote">Each student or client is paying for a specific solution to
2646 his or her problems and questions,</span>”</span> Mariana said. Rather than sell
2647 access to their content, they provide it for free and charge for the
2648 personalized services.
2649     </p><p>
2650       When they started, they offered a smaller number of courses designed to
2651 attract large audiences. <span class="quote">„<span class="quote">Over the years, we realized that online
2652 communities are more specific than we thought,</span>”</span> Mariana said. Ártica
2653 now provides more options for classes and has lower enrollment in each
2654 course. This means they can provide more attention to individual students
2655 and offer classes on more specialized topics.
2656     </p><p>
2657       Online courses are their biggest revenue stream, but they also do more than
2658 a dozen consulting projects each year, ranging from digitization to event
2659 planning to marketing campaigns. Some are significant in scope, particularly
2660 when they work with cultural institutions, and some are smaller projects
2661 commissioned by individual artists.
2662     </p><p>
2663       Ártica also seeks out public and private funding for specific
2664 projects. Sometimes, even if they are unsuccessful in subsidizing a project
2665 like a new course or e-book, they will go ahead because they believe in
2666 it. They take the stance that every new project leads them to something new,
2667 every new resource they create opens new doors.
2668     </p><p>
2669       Ártica relies heavily on their free Creative Commons–licensed content to
2670 attract new students and clients. Everything they create—online education,
2671 blog posts, videos—is published under an Attribution-ShareAlike license (CC
2672 BY-SA). <span class="quote">„<span class="quote">We use a ShareAlike license because we want to give the
2673 greatest freedom to our students and readers, and we also want that freedom
2674 to be viral,</span>”</span> Jorge said. For them, giving others the right to reuse
2675 and remix their content is a fundamental value. <span class="quote">„<span class="quote">How can you offer an
2676 online educational service without giving permission to download, make and
2677 keep copies, or print the educational resources?</span>”</span> Jorge
2678 said. <span class="quote">„<span class="quote">If we want to do the best for our students—those who trust in
2679 us to the point that they are willing to pay online without face-to-face
2680 contact—we have to offer them a fair and ethical agreement.</span>”</span>
2681     </p><p>
2682       They also believe sharing their ideas and expertise openly helps them build
2683 their reputation and visibility. People often share and cite their work. A
2684 few years ago, a publisher even picked up one of their e-books and
2685 distributed printed copies. Ártica views reuse of their work as a way to
2686 open up new opportunities for their business.
2687     </p><p>
2688       This belief that openness creates new opportunities reflects another
2689 belief—in serendipity. When describing their process for creating content,
2690 they spoke of all of the spontaneous and organic ways they find
2691 inspiration. <span class="quote">„<span class="quote">Sometimes, the collaborative process starts with a
2692 conversation between us, or with friends from other projects,</span>”</span> Jorge
2693 said. <span class="quote">„<span class="quote">That can be the first step for a new blog post or another
2694 simple piece of content, which can evolve to a more complex product in the
2695 future, like a course or a book.</span>”</span>
2696     </p><p>
2697       Rather than planning their work in advance, they let their creative process
2698 be dynamic. <span class="quote">„<span class="quote">This doesn’t mean that we don’t need to work hard in
2699 order to get good professional results, but the design process is more
2700 flexible,</span>”</span> Jorge said. They share early and often, and they adjust
2701 based on what they learn, always exploring and testing new ideas and ways of
2702 operating. In many ways, for them, the process is just as important as the
2703 final product.
2704     </p><p>
2705       People and relationships are also just as important, sometimes
2706 more. <span class="quote">„<span class="quote">In the educational and cultural business, it is more important
2707 to pay attention to people and process, rather than content or specific
2708 formats or materials,</span>”</span> Mariana said.  <span class="quote">„<span class="quote">Materials and content
2709 are fluid. The important thing is the relationships.</span>”</span>
2710     </p><p>
2711       Ártica believes in the power of the network. They seek to make connections
2712 with people and institutions across the globe so they can learn from them
2713 and share their knowledge.
2714     </p><p>
2715       At the core of everything Ártica does is a set of values.  <span class="quote">„<span class="quote">Good
2716 content is not enough,</span>”</span> Jorge said. <span class="quote">„<span class="quote">We also think that it is
2717 very important to take a stand for some things in the cultural
2718 sector.</span>”</span> Mariana and Jorge are activists. They defend free culture
2719 (the movement promoting the freedom to modify and distribute creative work)
2720 and work to demonstrate the intersection between free culture and other
2721 social-justice movements. Their efforts to involve people in their work and
2722 enable artists and cultural institutions to better use technology are all
2723 tied closely to their belief system.  Ultimately, what drives their work is
2724 a mission to democratize art and culture.
2725     </p><p>
2726       Of course, Ártica also has to make enough money to cover its expenses. Human
2727 resources are, by far, their biggest expense. They tap a network of
2728 collaborators on a case-by-case basis and hire contractors for specific
2729 projects. Whenever possible, they draw from artistic and cultural resources
2730 in the commons, and they rely on free software. Their operation is small,
2731 efficient, and sustainable, and because of that, it is a success.
2732     </p><p><span class="quote">„<span class="quote">There are lots of people offering online courses,</span>”</span> Jorge
2733 said. <span class="quote">„<span class="quote">But it is easy to differentiate us. We have an approach that is
2734 very specific and personal.</span>”</span> Ártica’s model is rooted in the personal
2735 at every level. For Mariana and Jorge, success means doing what brings them
2736 personal meaning and purpose, and doing it sustainably and collaboratively.
2737     </p><p>
2738       In their work with younger artists, Mariana and Jorge try to emphasize that
2739 this model of success is just as valuable as the picture of success we get
2740 from the media. <span class="quote">„<span class="quote">If they seek only the traditional type of success,
2741 they will get frustrated,</span>”</span> Mariana said. <span class="quote">„<span class="quote">We try to show them
2742 another image of what it looks like.</span>”</span>
2743     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Rozdział 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>
2744         The Blender Institute is an animation studio that creates 3-D films using
2745 Blender software. Founded in 2006 in the Netherlands.
2746       </p><p>
2747           <a class="ulink" href="http://www.blender.org" target="_top">http://www.blender.org</a>
2748         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
2749 (subscription-based), charging for physical copies, selling merchandise
2750       </p><p><span class="strong"><strong>Interview date</strong></span>: March 8, 2016
2751       </p><p><span class="strong"><strong>Interviewee</strong></span>: Francesco Siddi, production
2752 coordinator
2753       </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}
2754     \textit{
2755         Profile written by Sarah Hinchliff Pearson
2756       }
2757     \end{flushright}</td></tr></table></div><p>
2758       For Ton Roosendaal, the creator of Blender software and its related
2759 entities, sharing is practical. Making their 3-D content creation software
2760 available under a free software license has been integral to its development
2761 and popularity. Using that software to make movies that were licensed with
2762 Creative Commons pushed that development even further. Sharing enables
2763 people to participate and to interact with and build upon the technology and
2764 content they create in a way that benefits Blender and its community in
2765 concrete ways.
2766     </p><p>
2767       Each open-movie project Blender runs produces a host of openly licensed
2768 outputs, not just the final film itself but all of the source material as
2769 well. The creative process also enhances the development of the Blender
2770 software because the technical team responds directly to the needs of the
2771 film production team, creating tools and features that make their lives
2772 easier. And, of course, each project involves a long, rewarding process for
2773 the creative and technical community working together.
2774     </p><p>
2775       Rather than just talking about the theoretical benefits of sharing and free
2776 culture, Ton is very much about doing and making free culture. Blender’s
2777 production coordinator Francesco Siddi told us, <span class="quote">„<span class="quote">Ton believes if you
2778 don’t make content using your tools, then you’re not doing anything.</span>”</span>
2779     </p><p>
2780       Blender’s history begins in the late 1990s, when Ton created the Blender
2781 software. Originally, the software was an in-house resource for his
2782 animation studio based in the Netherlands.  Investors became interested in
2783 the software, so he began marketing the software to the public, offering a
2784 free version in addition to a paid version. Sales were disappointing, and
2785 his investors gave up on the endeavor in the early 2000s. He made a deal
2786 with investors—if he could raise enough money, he could then make the
2787 Blender software available under the GNU General Public License.
2788     </p><p>
2789       This was long before Kickstarter and other online crowdfunding sites
2790 existed, but Ton ran his own version of a crowdfunding campaign and quickly
2791 raised the money he needed. The Blender software became freely available for
2792 anyone to use. Simply applying the General Public License to the software,
2793 however, was not enough to create a thriving community around it. Francesco
2794 told us, <span class="quote">„<span class="quote">Software of this complexity relies on people and their
2795 vision of how people work together. Ton is a fantastic community builder and
2796 manager, and he put a lot of work into fostering a community of developers
2797 so that the project could live.</span>”</span>
2798     </p><p>
2799       Like any successful free and open-source software project, Blender developed
2800 quickly because the community could make fixes and
2801 improvements. <span class="quote">„<span class="quote">Software should be free and open to hack,</span>”</span>
2802 Francesco said. <span class="quote">„<span class="quote">Otherwise, everyone is doing the same thing in the
2803 dark for ten years.</span>”</span> Ton set up the Blender Foundation to oversee and
2804 steward the software development and maintenance.
2805     </p><p>
2806       After a few years, Ton began looking for new ways to push development of the
2807 software. He came up with the idea of creating CC-licensed films using the
2808 Blender software. Ton put a call online for all interested and skilled
2809 artists. Francesco said the idea was to get the best artists available, put
2810 them in a building together with the best developers, and have them work
2811 together.  They would not only produce high-quality openly licensed content,
2812 they would improve the Blender software in the process.
2813     </p><p>
2814       They turned to crowdfunding to subsidize the costs of the project.  They had
2815 about twenty people working full-time for six to ten months, so the costs
2816 were significant. Francesco said that when their crowdfunding campaign
2817 succeeded, people were astounded.  <span class="quote">„<span class="quote">The idea that making money was
2818 possible by producing CC-licensed material was mind-blowing to
2819 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
2820 believe it.</span>»</span></span>”</span>
2821     </p><p>
2822       The first film, which was released in 2006, was an experiment. It was so
2823 successful that Ton decided to set up the Blender Institute, an entity
2824 dedicated to hosting open-movie projects. The Blender Institute’s next
2825 project was an even bigger success. The film, Big Buck Bunny, went viral,
2826 and its animated characters were picked up by marketers.
2827     </p><p>
2828       Francesco said that, over time, the Blender Institute projects have gotten
2829 bigger and more prominent. That means the filmmaking process has become more
2830 complex, combining technical experts and artists who focus on
2831 storytelling. Francesco says the process is almost on an industrial scale
2832 because of the number of moving parts. This requires a lot of specialized
2833 assistance, but the Blender Institute has no problem finding the talent it
2834 needs to help on projects. <span class="quote">„<span class="quote">Blender hardly does any recruiting for
2835 film projects because the talent emerges naturally,</span>”</span> Francesco
2836 said. <span class="quote">„<span class="quote">So many people want to work with us, and we can’t always hire
2837 them because of budget constraints.</span>”</span>
2838     </p><p>
2839       Blender has had a lot of success raising money from its community over the
2840 years. In many ways, the pitch has gotten easier to make.  Not only is
2841 crowdfunding simply more familiar to the public, but people know and trust
2842 Blender to deliver, and Ton has developed a reputation as an effective
2843 community leader and visionary for their work. <span class="quote">„<span class="quote">There is a whole
2844 community who sees and understands the benefit of these projects,</span>”</span>
2845 Francesco said.
2846     </p><p>
2847       While these benefits of each open-movie project make a compelling pitch for
2848 crowdfunding campaigns, Francesco told us the Blender Institute has found
2849 some limitations in the standard crowdfunding model where you propose a
2850 specific project and ask for funding.  <span class="quote">„<span class="quote">Once a project is over,
2851 everyone goes home,</span>”</span> he said. <span class="quote">„<span class="quote">It is great fun, but then it
2852 ends. That is a problem.</span>”</span>
2853     </p><p>
2854       To make their work more sustainable, they needed a way to receive ongoing
2855 support rather than on a project-by-project basis. Their solution is Blender
2856 Cloud, a subscription-style crowdfunding model akin to the online
2857 crowdfunding platform, Patreon. For about ten euros each month, subscribers
2858 get access to download everything the Blender Institute produces—software,
2859 art, training, and more.  All of the assets are available under an
2860 Attribution license (CC BY) or placed in the public domain (CC0), but they
2861 are initially made available only to subscribers. Blender Cloud enables
2862 subscribers to follow Blender’s movie projects as they develop, sharing
2863 detailed information and content used in the creative process. Blender Cloud
2864 also has extensive training materials and libraries of characters and other
2865 assets used in various projects.
2866     </p><p>
2867       The continuous financial support provided by Blender Cloud subsidizes five
2868 to six full-time employees at the Blender Institute. Francesco says their
2869 goal is to grow their subscriber base. <span class="quote">„<span class="quote">This is our freedom,</span>”</span>
2870 he told us, <span class="quote">„<span class="quote">and for artists, freedom is everything.</span>”</span>
2871     </p><p>
2872       Blender Cloud is the primary revenue stream of the Blender Institute. The
2873 Blender Foundation is funded primarily by donations, and that money goes
2874 toward software development and maintenance. The revenue streams of the
2875 Institute and Foundation are deliberately kept separate. Blender also has
2876 other revenue streams, such as the Blender Store, where people can purchase
2877 DVDs, T-shirts, and other Blender products.
2878     </p><p>
2879       Ton has worked on projects relating to his Blender software for nearly
2880 twenty years. Throughout most of that time, he has been committed to making
2881 the software and the content produced with the software free and
2882 open. Selling a license has never been part of the business model.
2883     </p><p>
2884       Since 2006, he has been making films available along with all of their
2885 source material. He says he has hardly ever seen people stepping into
2886 Blender’s shoes and trying to make money off of their content. Ton believes
2887 this is because the true value of what they do is in the creative and
2888 production process. <span class="quote">„<span class="quote">Even when you share everything, all your original
2889 sources, it still takes a lot of talent, skills, time, and budget to
2890 reproduce what you did,</span>”</span> Ton said.
2891     </p><p>
2892       For Ton and Blender, it all comes back to doing.
2893     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Rozdział 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>
2894         Cards Against Humanity is a private, for-profit company that makes a popular
2895 party game by the same name. Founded in 2011 in the U.S.
2896       </p><p>
2897           <a class="ulink" href="http://www.cardsagainsthumanity.com" target="_top">http://www.cardsagainsthumanity.com</a>
2898         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
2899 copies
2900       </p><p><span class="strong"><strong>Interview date</strong></span>: February 3, 2016
2901       </p><p><span class="strong"><strong>Interviewee</strong></span>: Max Temkin, cofounder
2902       </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}
2903     \textit{
2904         Profile written by Sarah Hinchliff Pearson
2905       }
2906     \end{flushright}</td></tr></table></div><p>
2907       If you ask cofounder Max Temkin, there is nothing particularly interesting
2908 about the Cards Against Humanity business model.  <span class="quote">„<span class="quote">We make a
2909 product. We sell it for money. Then we spend less money than we
2910 make,</span>”</span> Max said.
2911     </p><p>
2912       He is right. Cards Against Humanity is a simple party game, modeled after
2913 the game Apples to Apples. To play, one player asks a question or
2914 fill-in-the-blank statement from a black card, and the other players submit
2915 their funniest white card in response.  The catch is that all of the cards
2916 are filled with crude, gruesome, and otherwise awful things. For the right
2917 kind of people (<span class="quote">„<span class="quote">horrible people,</span>”</span> according to Cards Against
2918 Humanity advertising), this makes for a hilarious and fun game.
2919     </p><p>
2920       The revenue model is simple. Physical copies of the game are sold for a
2921 profit. And it works. At the time of this writing, Cards Against Humanity is
2922 the number-one best-selling item out of all toys and games on Amazon. There
2923 are official expansion packs available, and several official themed packs
2924 and international editions as well.
2925     </p><p>
2926       But Cards Against Humanity is also available for free. Anyone can download a
2927 digital version of the game on the Cards Against Humanity website. More than
2928 one million people have downloaded the game since the company began tracking
2929 the numbers.
2930     </p><p>
2931       The game is available under an Attribution-NonCommercial-ShareAlike license
2932 (CC BY-NC-SA). That means, in addition to copying the game, anyone can
2933 create new versions of the game as long as they make it available under the
2934 same noncommercial terms. The ability to adapt the game is like an entire
2935 new game unto itself.
2936     </p><p>
2937       All together, these factors—the crass tone of the game and company, the free
2938 download, the openness to fans remixing the game—give the game a massive
2939 cult following.
2940     </p><p>
2941       Their success is not the result of a grand plan. Instead, Cards Against
2942 Humanity was the last in a long line of games and comedy projects that Max
2943 Temkin and his friends put together for their own amusement. As Max tells
2944 the story, they made the game so they could play it themselves on New Year’s
2945 Eve because they were too nerdy to be invited to other parties. The game was
2946 a hit, so they decided to put it up online as a free PDF. People started
2947 asking if they could pay to have the game printed for them, and eventually
2948 they decided to run a Kickstarter to fund the printing.  They set their
2949 Kickstarter goal at $4,000—and raised $15,000. The game was officially
2950 released in May 2011.
2951     </p><p>
2952       The game caught on quickly, and it has only grown more popular over
2953 time. Max says the eight founders never had a meeting where they decided to
2954 make it an ongoing business. <span class="quote">„<span class="quote">It kind of just happened,</span>”</span> he
2955 said.
2956     </p><p>
2957       But this tale of a <span class="quote">„<span class="quote">happy accident</span>”</span> belies marketing
2958 genius. Just like the game, the Cards Against Humanity brand is irreverent
2959 and memorable. It is hard to forget a company that calls the FAQ on their
2960 website <span class="quote">„<span class="quote">Your dumb questions.</span>”</span>
2961     </p><p>
2962       Like most quality satire, however, there is more to the joke than vulgarity
2963 and shock value. The company’s marketing efforts around Black Friday
2964 illustrate this particularly well. For those outside the United States,
2965 Black Friday is the term for the day after the Thanksgiving holiday, the
2966 biggest shopping day of the year. It is an incredibly important day for
2967 Cards Against Humanity, like it is for all U.S. retailers. Max said they
2968 struggled with what to do on Black Friday because they didn’t want to
2969 support what he called the <span class="quote">„<span class="quote">orgy of consumerism</span>”</span> the day has
2970 become, particularly since it follows a day that is about being grateful for
2971 what you have. In 2013, after deliberating, they decided to have an
2972 Everything Costs $5 More sale.
2973     </p><p><span class="quote">„<span class="quote">We sweated it out the night before Black Friday, wondering if our
2974 fans were going to hate us for it,</span>”</span> he said.  <span class="quote">„<span class="quote">But it made us
2975 laugh so we went with it. People totally caught the joke.</span>”</span>
2976     </p><p>
2977       This sort of bold transparency delights the media, but more importantly, it
2978 engages their fans. <span class="quote">„<span class="quote">One of the most surprising things you can do in
2979 capitalism is just be honest with people,</span>”</span> Max said. <span class="quote">„<span class="quote">It shocks
2980 people that there is transparency about what you are doing.</span>”</span>
2981     </p><p>
2982       Max also likened it to a grand improv scene. <span class="quote">„<span class="quote">If we do something a
2983 little subversive and unexpected, the public wants to be a part of the
2984 joke.</span>”</span> One year they did a Give Cards Against Humanity $5 event,
2985 where people literally paid them five dollars for no reason. Their fans
2986 wanted to make the joke funnier by making it successful. They made $70,000
2987 in a single day.
2988     </p><p>
2989       This remarkable trust they have in their customers is what inspired their
2990 decision to apply a Creative Commons license to the game. Trusting your
2991 customers to reuse and remix your work requires a leap of faith. Cards
2992 Against Humanity obviously isn’t afraid of doing the unexpected, but there
2993 are lines even they do not want to cross. Before applying the license, Max
2994 said they worried that some fans would adapt the game to include all of the
2995 jokes they intentionally never made because they crossed that
2996 line. <span class="quote">„<span class="quote">It happened, and the world didn’t end,</span>”</span> Max
2997 said. <span class="quote">„<span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
2998 times over because there are so many benefits.</span>”</span>
2999     </p><p>
3000       Any successful product inspires its biggest fans to create remixes of it,
3001 but unsanctioned adaptations are more likely to fly under the radar. The
3002 Creative Commons license gives fans of Cards Against Humanity the freedom to
3003 run with the game and copy, adapt, and promote their creations openly. Today
3004 there are thousands of fan expansions of the game.
3005     </p><p>
3006       Max said, <span class="quote">„<span class="quote">CC was a no-brainer for us because it gets the most people
3007 involved. Making the game free and available under a CC license led to the
3008 unbelievable situation where we are one of the best-marketed games in the
3009 world, and we have never spent a dime on marketing.</span>”</span>
3010     </p><p>
3011       Of course, there are limits to what the company allows its customers to do
3012 with the game. They chose the Attribution-NonCommercial-ShareAlike license
3013 because it restricts people from using the game to make money. It also
3014 requires that adaptations of the game be made available under the same
3015 licensing terms if they are shared publicly. Cards Against Humanity also
3016 polices its brand. <span class="quote">„<span class="quote">We feel like we’re the only ones who can use our
3017 brand and our game and make money off of it,</span>”</span> Max said. About 99.9
3018 percent of the time, they just send an email to those making commercial use
3019 of the game, and that is the end of it. There have only been a handful of
3020 instances where they had to get a lawyer involved.
3021     </p><p>
3022       Just as there is more than meets the eye to the Cards Against Humanity
3023 business model, the same can be said of the game itself.  To be playable,
3024 every white card has to work syntactically with enough black cards. The
3025 eight creators invest an incredible amount of work into creating new cards
3026 for the game. <span class="quote">„<span class="quote">We have daylong arguments about commas,</span>”</span> Max
3027 said. <span class="quote">„<span class="quote">The slacker tone of the cards gives people the impression that
3028 it is easy to write them, but it is actually a lot of work and
3029 quibbling.</span>”</span>
3030     </p><p>
3031       That means cocreation with their fans really doesn’t work. The company has a
3032 submission mechanism on their website, and they get thousands of
3033 suggestions, but it is very rare that a submitted card is adopted. Instead,
3034 the eight initial creators remain the primary authors of expansion decks and
3035 other new products released by the company. Interestingly, the creativity of
3036 their customer base is really only an asset to the company once their
3037 original work is created and published when people make their own
3038 adaptations of the game.
3039     </p><p>
3040       For all of their success, the creators of Cards Against Humanity are only
3041 partially motivated by money. Max says they have always been interested in
3042 the Walt Disney philosophy of financial success. <span class="quote">„<span class="quote">We don’t make jokes
3043 and games to make money—we make money so we can make more jokes and
3044 games,</span>”</span> he said.
3045     </p><p>
3046       In fact, the company has given more than $4 million to various charities and
3047 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
3048 have other interests and hobbies. We are passionate about other things going
3049 on in our lives. A lot of the activism we have done comes out of us taking
3050 things from the rest of our lives and channeling some of the excitement from
3051 the game into it.</span>”</span>
3052     </p><p>
3053       Seeing money as fuel rather than the ultimate goal is what has enabled them
3054 to embrace Creative Commons licensing without reservation. CC licensing
3055 ended up being a savvy marketing move for the company, but nonetheless,
3056 giving up exclusive control of your work necessarily means giving up some
3057 opportunities to extract more money from customers.
3058     </p><p><span class="quote">„<span class="quote">It’s not right for everyone to release everything under CC
3059 licensing,</span>”</span> Max said. <span class="quote">„<span class="quote">If your only goal is to make a lot of
3060 money, then CC is not best strategy. This kind of business model, though,
3061 speaks to your values, and who you are and why you’re making things.</span>”</span>
3062     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Rozdział 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>
3063         The Conversation is an independent source of news, sourced from the academic
3064 and research community and delivered direct to the public over the
3065 Internet. Founded in 2011 in Australia.
3066       </p><p>
3067           <a class="ulink" href="http://theconversation.com" target="_top">http://theconversation.com</a>
3068         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
3069 (universities pay membership fees to have their faculties serve as writers),
3070 grant funding
3071       </p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
3072       </p><p><span class="strong"><strong>Interviewee</strong></span>: Andrew Jaspan, founder
3073       </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}
3074     \textit{
3075         Profile written by Paul Stacey
3076       }
3077     \end{flushright}</td></tr></table></div><p>
3078       Andrew Jaspan spent years as an editor of major newspapers including the
3079 Observer in London, the Sunday Herald in Glasgow, and the Age in Melbourne,
3080 Australia. He experienced firsthand the decline of newspapers, including the
3081 collapse of revenues, layoffs, and the constant pressure to reduce
3082 costs. After he left the Age in 2005, his concern for the future journalism
3083 didn’t go away. Andrew made a commitment to come up with an alternative
3084 model.
3085     </p><p>
3086       Around the time he left his job as editor of the Melbourne Age, Andrew
3087 wondered where citizens would get news grounded in fact and evidence rather
3088 than opinion or ideology. He believed there was still an appetite for
3089 journalism with depth and substance but was concerned about the increasing
3090 focus on the sensational and sexy.
3091     </p><p>
3092       While at the Age, he’d become friends with a vice-chancellor of a university
3093 in Melbourne who encouraged him to talk to smart people across campus—an
3094 astrophysicist, a Nobel laureate, earth scientists, economists . . . These
3095 were the kind of smart people he wished were more involved in informing the
3096 world about what is going on and correcting the errors that appear in
3097 media. However, they were reluctant to engage with mass media. Often,
3098 journalists didn’t understand what they said, or unilaterally chose what
3099 aspect of a story to tell, putting out a version that these people felt was
3100 wrong or mischaracterized. Newspapers want to attract a mass
3101 audience. Scholars want to communicate serious news, findings, and
3102 insights. It’s not a perfect match. Universities are massive repositories of
3103 knowledge, research, wisdom, and expertise. But a lot of that stays behind a
3104 wall of their own making—there are the walled garden and ivory tower
3105 metaphors, and in more literal terms, the paywall. Broadly speaking,
3106 universities are part of society but disconnected from it. They are an
3107 enormous public resource but not that good at presenting their expertise to
3108 the wider public.
3109     </p><p>
3110       Andrew believed he could to help connect academics back into the public
3111 arena, and maybe help society find solutions to big problems. He thought
3112 about pairing professional editors with university and research experts,
3113 working one-on-one to refine everything from story structure to headline,
3114 captions, and quotes.  The editors could help turn something that is
3115 academic into something understandable and readable. And this would be a key
3116 difference from traditional journalism—the subject matter expert would get a
3117 chance to check the article and give final approval before it is
3118 published. Compare this with reporters just picking and choosing the quotes
3119 and writing whatever they want.
3120     </p><p>
3121       The people he spoke to liked this idea, and Andrew embarked on raising money
3122 and support with the help of the Commonwealth Scientific and Industrial
3123 Research Organisation (CSIRO), the University of Melbourne, Monash
3124 University, the University of Technology Sydney, and the University of
3125 Western Australia. These founding partners saw the value of an independent
3126 information channel that would also showcase the talent and knowledge of the
3127 university and research sector. With their help, in 2011, the Conversation,
3128 was launched as an independent news site in Australia. Everything published
3129 in the Conversation is openly licensed with Creative Commons.
3130     </p><p>
3131       The Conversation is founded on the belief that underpinning a functioning
3132 democracy is access to independent, high-quality, informative
3133 journalism. The Conversation’s aim is for people to have a better
3134 understanding of current affairs and complex issues—and hopefully a better
3135 quality of public discourse. The Conversation sees itself as a source of
3136 trusted information dedicated to the public good. Their core mission is
3137 simple: to provide readers with a reliable source of evidence-based
3138 information.
3139     </p><p>
3140       Andrew worked hard to reinvent a methodology for creating reliable, credible
3141 content. He introduced strict new working practices, a charter, and codes of
3142 conduct.<a href="#ftn.idm1076" class="footnote" name="idm1076"><sup class="footnote">[114]</sup></a> These include fully disclosing
3143 who every author is (with their relevant expertise); who is funding their
3144 research; and if there are any potential or real conflicts of interest. Also
3145 important is where the content originates, and even though it comes from the
3146 university and research community, it still needs to be fully disclosed. The
3147 Conversation does not sit behind a paywall. Andrew believes access to
3148 information is an issue of equality—everyone should have access, like access
3149 to clean water.  The Conversation is committed to an open and free
3150 Internet.  Everyone should have free access to their content, and be able to
3151 share it or republish it.
3152     </p><p>
3153       Creative Commons help with these goals; articles are published with the
3154 Attribution- NoDerivs license (CC BY-ND). They’re freely available for
3155 others to republish elsewhere as long as attribution is given and the
3156 content is not edited. Over five years, more than twenty-two thousand sites
3157 have republished their content. The Conversation website gets about 2.9
3158 million unique views per month, but through republication they have
3159 thirty-five million readers. This couldn’t have been done without the
3160 Creative Commons license, and in Andrew’s view, Creative Commons is central
3161 to everything the Conversation does.
3162     </p><p>
3163       When readers come across the Conversation, they seem to like what they find
3164 and recommend it to their friends, peers, and networks.  Readership has
3165 grown primarily through word of mouth. While they don’t have sales and
3166 marketing, they do promote their work through social media (including
3167 Twitter and Facebook), and by being an accredited supplier to Google News.
3168     </p><p>
3169       It’s usual for the founders of any company to ask themselves what kind of
3170 company it should be. It quickly became clear to the founders of the
3171 Conversation that they wanted to create a public good rather than make money
3172 off of information. Most media companies are working to aggregate as many
3173 eyeballs as possible and sell ads. The Conversation founders didn’t want
3174 this model. It takes no advertising and is a not-for-profit venture.
3175     </p><p>
3176       There are now different editions of the Conversation for Africa, the United
3177 Kingdom, France, and the United States, in addition to the one for
3178 Australia. All five editions have their own editorial mastheads, advisory
3179 boards, and content. The Conversation’s global virtual newsroom has roughly
3180 ninety staff working with thirty-five thousand academics from over sixteen
3181 hundred universities around the world. The Conversation would like to be
3182 working with university scholars from even more parts of the world.
3183     </p><p>
3184       Additionally, each edition has its own set of founding partners, strategic
3185 partners, and funders. They’ve received funding from foundations,
3186 corporates, institutions, and individual donations, but the Conversation is
3187 shifting toward paid memberships by universities and research institutions
3188 to sustain operations. This would safeguard the current service and help
3189 improve coverage and features.
3190     </p><p>
3191       When professors from member universities write an article, there is some
3192 branding of the university associated with the article. On the Conversation
3193 website, paying university members are listed as <span class="quote">„<span class="quote">members and
3194 funders.</span>”</span> Early participants may be designated as <span class="quote">„<span class="quote">founding
3195 members,</span>”</span> with seats on the editorial advisory board.
3196     </p><p>
3197       Academics are not paid for their contributions, but they get free editing
3198 from a professional (four to five hours per piece, on average). They also
3199 get access to a large audience. Every author and member university has
3200 access to a special analytics dashboard where they can check the reach of an
3201 article. The metrics include what people are tweeting, the comments,
3202 countries the readership represents, where the article is being republished,
3203 and the number of readers per article.
3204     </p><p>
3205       The Conversation plans to expand the dashboard to show not just reach but
3206 impact. This tracks activities, behaviors, and events that occurred as a
3207 result of publication, including things like a scholar being asked to go on
3208 a show to discuss their piece, give a talk at a conference, collaborate,
3209 submit a journal paper, and consult a company on a topic.
3210     </p><p>
3211       These reach and impact metrics show the benefits of membership.  With the
3212 Conversation, universities can engage with the public and show why they’re
3213 of value.
3214     </p><p>
3215       With its tagline, <span class="quote">„<span class="quote">Academic Rigor, Journalistic Flair,</span>”</span> the
3216 Conversation represents a new form of journalism that contributes to a more
3217 informed citizenry and improved democracy around the world. Its open
3218 business model and use of Creative Commons show how it’s possible to
3219 generate both a public good and operational revenue at the same time.
3220     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1076" class="footnote"><p><a href="#idm1076" 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>Rozdział 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>
3221         Cory Doctorow is a science fiction writer, activist, blogger, and
3222 journalist. Based in the U.S.
3223       </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>
3224       </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
3225 copies (book sales), pay-what-you-want, selling translation rights to books
3226       </p><p><span class="strong"><strong>Interview date</strong></span>: January 12, 2016
3227       </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}
3228     \textit{
3229         Profile written by Sarah Hinchliff Pearson
3230       }
3231     \end{flushright}</td></tr></table></div><p>
3232       Cory Doctorow hates the term <span class="quote">„<span class="quote">business model,</span>”</span> and he is
3233 adamant that he is not a brand. <span class="quote">„<span class="quote">To me, branding is the idea that you
3234 can take a thing that has certain qualities, remove the qualities, and go on
3235 selling it,</span>”</span> he said. <span class="quote">„<span class="quote">I’m not out there trying to figure out
3236 how to be a brand. I’m doing this thing that animates me to work crazy
3237 insane hours because it’s the most important thing I know how to do.</span>”</span>
3238     </p><p>
3239       Cory calls himself an entrepreneur. He likes to say his success came from
3240 making stuff people happened to like and then getting out of the way of them
3241 sharing it.
3242     </p><p>
3243       He is a science fiction writer, activist, blogger, and journalist.
3244 Beginning with his first novel, Down and Out in the Magic Kingdom, in 2003,
3245 his work has been published under a Creative Commons license. Cory is
3246 coeditor of the popular CC-licensed site Boing Boing, where he writes about
3247 technology, politics, and intellectual property. He has also written several
3248 nonfiction books, including the most recent Information Doesn’t Want to Be
3249 Free, about the ways in which creators can make a living in the Internet
3250 age.
3251     </p><p>
3252       Cory primarily makes money by selling physical books, but he also takes on
3253 paid speaking gigs and is experimenting with pay-what-you-want models for
3254 his work.
3255     </p><p>
3256       While Cory’s extensive body of fiction work has a large following, he is
3257 just as well known for his activism. He is an outspoken opponent of
3258 restrictive copyright and digital-rights-management (DRM) technology used to
3259 lock up content because he thinks both undermine creators and the public
3260 interest. He is currently a special adviser at the Electronic Frontier
3261 Foundation, where he is involved in a lawsuit challenging the U.S. law that
3262 protects DRM.  Cory says his political work doesn’t directly make him money,
3263 but if he gave it up, he thinks he would lose credibility and, more
3264 importantly, lose the drive that propels him to create. <span class="quote">„<span class="quote">My political
3265 work is a different expression of the same artistic-political urge,</span>”</span>
3266 he said. <span class="quote">„<span class="quote">I have this suspicion that if I gave up the things that
3267 didn’t make me money, the genuineness would leach out of what I do, and the
3268 quality that causes people to like what I do would be gone.</span>”</span>
3269     </p><p>
3270       Cory has been financially successful, but money is not his primary
3271 motivation. At the start of his book Information Doesn’t Want to Be Free, he
3272 stresses how important it is not to become an artist if your goal is to get
3273 rich. <span class="quote">„<span class="quote">Entering the arts because you want to get rich is like buying
3274 lottery tickets because you want to get rich,</span>”</span> he wrote. <span class="quote">„<span class="quote">It
3275 might work, but it almost certainly won’t. Though, of course, someone always
3276 wins the lottery.</span>”</span> He acknowledges that he is one of the lucky few to
3277 <span class="quote">„<span class="quote">make it,</span>”</span> but he says he would be writing no matter
3278 what. <span class="quote">„<span class="quote">I am compelled to write,</span>”</span> he wrote.  <span class="quote">„<span class="quote">Long before
3279 I wrote to keep myself fed and sheltered, I was writing to keep myself
3280 sane.</span>”</span>
3281     </p><p>
3282       Just as money is not his primary motivation to create, money is not his
3283 primary motivation to share. For Cory, sharing his work with Creative
3284 Commons is a moral imperative. <span class="quote">„<span class="quote">It felt morally right,</span>”</span> he said
3285 of his decision to adopt Creative Commons licenses. <span class="quote">„<span class="quote">I felt like I
3286 wasn’t contributing to the culture of surveillance and censorship that has
3287 been created to try to stop copying.</span>”</span> In other words, using CC
3288 licenses symbolizes his worldview.
3289     </p><p>
3290       He also feels like there is a solid commercial basis for licensing his work
3291 with Creative Commons. While he acknowledges he hasn’t been able to do a
3292 controlled experiment to compare the commercial benefits of licensing with
3293 CC against reserving all rights, he thinks he has sold more books using a CC
3294 license than he would have without it. Cory says his goal is to convince
3295 people they should pay him for his work. <span class="quote">„<span class="quote">I started by not calling
3296 them thieves,</span>”</span> he said.
3297     </p><p>
3298       Cory started using CC licenses soon after they were first created.  At the
3299 time his first novel came out, he says the science fiction genre was overrun
3300 with people scanning and downloading books without permission. When he and
3301 his publisher took a closer look at who was doing that sort of thing online,
3302 they realized it looked a lot like book promotion. <span class="quote">„<span class="quote">I knew there was a
3303 relationship between having enthusiastic readers and having a successful
3304 career as a writer,</span>”</span> he said. <span class="quote">„<span class="quote">At the time, it took eighty
3305 hours to OCR a book, which is a big effort. I decided to spare them the time
3306 and energy, and give them the book for free in a format destined to
3307 spread.</span>”</span>
3308     </p><p>
3309       Cory admits the stakes were pretty low for him when he first adopted
3310 Creative Commons licenses. He only had to sell two thousand copies of his
3311 book to break even. People often said he was only able to use CC licenses
3312 successfully at that time because he was just starting out. Now they say he
3313 can only do it because he is an established author.
3314     </p><p>
3315       The bottom line, Cory says, is that no one has found a way to prevent people
3316 from copying the stuff they like. Rather than fighting the tide, Cory makes
3317 his work intrinsically shareable.  <span class="quote">„<span class="quote">Getting the hell out of the way
3318 for people who want to share their love of you with other people sounds
3319 obvious, but it’s remarkable how many people don’t do it,</span>”</span> he said.
3320     </p><p>
3321       Making his work available under Creative Commons licenses enables him to
3322 view his biggest fans as his ambassadors. <span class="quote">„<span class="quote">Being open to fan activity
3323 makes you part of the conversation about what fans do with your work and how
3324 they interact with it,</span>”</span> he said.  Cory’s own website routinely
3325 highlights cool things his audience has done with his work. Unlike
3326 corporations like Disney that tend to have a hands-off relationship with
3327 their fan activity, he has a symbiotic relationship with his
3328 audience. <span class="quote">„<span class="quote">Engaging with your audience can’t guarantee you
3329 success,</span>”</span> he said.  <span class="quote">„<span class="quote">And Disney is an example of being able to
3330 remain aloof and still being the most successful company in the creative
3331 industry in history. But I figure my likelihood of being Disney is pretty
3332 slim, so I should take all the help I can get.</span>”</span>
3333     </p><p>
3334       His first book was published under the most restrictive Creative Commons
3335 license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND).  It allows only
3336 verbatim copying for noncommercial purposes. His later work is published
3337 under the Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA), which
3338 gives people the right to adapt his work for noncommercial purposes but only
3339 if they share it back under the same license terms. Before releasing his
3340 work under a CC license that allows adaptations, he always sells the right
3341 to translate the book to other languages to a commercial publisher first. He
3342 wants to reach new potential buyers in other parts of the world, and he
3343 thinks it is more difficult to get people to pay for translations if there
3344 are fan translations already available for free.
3345     </p><p>
3346       In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
3347 to thinking like a dandelion. Dandelions produce thousands of seeds each
3348 spring, and they are blown into the air going in every direction. The
3349 strategy is to maximize the number of blind chances the dandelion has for
3350 continuing its genetic line. Similarly, he says there are lots of people out
3351 there who may want to buy creative work or compensate authors for it in some
3352 other way. <span class="quote">„<span class="quote">The more places your work can find itself, the greater the
3353 likelihood that it will find one of those would-be customers in some
3354 unsuspected crack in the metaphorical pavement,</span>”</span> he wrote. <span class="quote">„<span class="quote">The
3355 copies that others make of my work cost me nothing, and present the
3356 possibility that I’ll get something.</span>”</span>
3357     </p><p>
3358       Applying a CC license to his work increases the chances it will be shared
3359 more widely around the Web. He avoids DRM—and openly opposes the
3360 practice—for similar reasons. DRM has the effect of tying a work to a
3361 particular platform. This digital lock, in turn, strips the authors of
3362 control over their own work and hands that control over to the platform. He
3363 calls it Cory’s First Law: <span class="quote">„<span class="quote">Anytime someone puts a lock on something
3364 that belongs to you and won’t give you the key, that lock isn’t there for
3365 your benefit.</span>”</span>
3366     </p><p>
3367       Cory operates under the premise that artists benefit when there are more,
3368 rather than fewer, places where people can access their work. The Internet
3369 has opened up those avenues, but DRM is designed to limit them. <span class="quote">„<span class="quote">On
3370 the one hand, we can credibly make our work available to a widely dispersed
3371 audience,</span>”</span> he said. <span class="quote">„<span class="quote">On the other hand, the intermediaries we
3372 historically sold to are making it harder to go around them.</span>”</span> Cory
3373 continually looks for ways to reach his audience without relying upon major
3374 platforms that will try to take control over his work.
3375     </p><p>
3376       Cory says his e-book sales have been lower than those of his competitors,
3377 and he attributes some of that to the CC license making the work available
3378 for free. But he believes people are willing to pay for content they like,
3379 even when it is available for free, as long as it is easy to do. He was
3380 extremely successful using Humble Bundle, a platform that allows people to
3381 pay what they want for DRM-free versions of a bundle of a particular
3382 creator’s work. He is planning to try his own pay-what-you-want experiment
3383 soon.
3384     </p><p>
3385       Fans are particularly willing to pay when they feel personally connected to
3386 the artist. Cory works hard to create that personal connection. One way he
3387 does this is by personally answering every single email he gets. <span class="quote">„<span class="quote">If
3388 you look at the history of artists, most die in penury,</span>”</span> he
3389 said. <span class="quote">„<span class="quote">That reality means that for artists, we have to find ways to
3390 support ourselves when public tastes shift, when copyright stops producing.
3391 Future-proofing your artistic career in many ways means figuring out how to
3392 stay connected to those people who have been touched by your work.</span>”</span>
3393     </p><p>
3394       Cory’s realism about the difficulty of making a living in the arts does not
3395 reflect pessimism about the Internet age. Instead, he says the fact that it
3396 is hard to make a living as an artist is nothing new. What is new, he writes
3397 in his book, <span class="quote">„<span class="quote">is how many ways there are to make things, and to get
3398 them into other people’s hands and minds.</span>”</span>
3399     </p><p>
3400       It has never been easier to think like a dandelion.
3401     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Rozdział 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>
3402         Figshare is a for-profit company offering an online repository where
3403 researchers can preserve and share the output of their research, including
3404 figures, data sets, images, and videos.  Founded in 2011 in the UK.
3405       </p><p>
3406           <a class="ulink" href="http://figshare.com" target="_top">http://figshare.com</a>
3407         </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
3408 services to creators
3409       </p><p><span class="strong"><strong>Interview date</strong></span>: January 28, 2016
3410       </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Hahnel, founder
3411       </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}
3412     \textit{
3413         Profile written by Paul Stacey
3414       }
3415     \end{flushright}</td></tr></table></div><p>
3416       Figshare’s mission is to change the face of academic publishing through
3417 improved dissemination, discoverability, and reusability of scholarly
3418 research. Figshare is a repository where users can make all the output of
3419 their research available—from posters and presentations to data sets and
3420 code—in a way that’s easy to discover, cite, and share. Users can upload any
3421 file format, which can then be previewed in a Web browser. Research output
3422 is disseminated in a way that the current scholarly-publishing model does
3423 not allow.
3424     </p><p>
3425       Figshare founder Mark Hahnel often gets asked: How do you make money? How do
3426 we know you’ll be here in five years? Can you, as a for-profit venture, be
3427 trusted? Answers have evolved over time.
3428     </p><p>
3429       Mark traces the origins of Figshare back to when he was a graduate student
3430 getting his PhD in stem cell biology. His research involved working with
3431 videos of stem cells in motion. However, when he went to publish his
3432 research, there was no way for him to also publish the videos, figures,
3433 graphs, and data sets. This was frustrating. Mark believed publishing his
3434 complete research would lead to more citations and be better for his career.
3435     </p><p>
3436       Mark does not consider himself an advanced software programmer.
3437 Fortunately, things like cloud-based computing and wikis had become
3438 mainstream, and he believed it ought to be possible to put all his research
3439 online and share it with anyone. So he began working on a solution.
3440     </p><p>
3441       There were two key needs: licenses to make the data citable, and persistent
3442 identifiers— URL links that always point back to the original object
3443 ensuring the research is citable for the long term.
3444     </p><p>
3445       Mark chose Digital Object Identifiers (DOIs) to meet the need for a
3446 persistent identifier. In the DOI system, an object’s metadata is stored as
3447 a series of numbers in the DOI name. Referring to an object by its DOI is
3448 more stable than referring to it by its URL, because the location of an
3449 object (the web page or URL) can often change. Mark partnered with DataCite
3450 for the provision of DOIs for research data.
3451     </p><p>
3452       As for licenses, Mark chose Creative Commons. The open-access and
3453 open-science communities were already using and recommending Creative
3454 Commons. Based on what was happening in those communities and Mark’s
3455 dialogue with peers, he went with CC0 (in the public domain) for data sets
3456 and CC BY (Attribution) for figures, videos, and data sets.
3457     </p><p>
3458       So Mark began using DOIs and Creative Commons for his own research work. He
3459 had a science blog where he wrote about it and made all his data
3460 open. People started commenting on his blog that they wanted to do the
3461 same. So he opened it up for them to use, too.
3462     </p><p>
3463       People liked the interface and simple upload process. People started asking
3464 if they could also share theses, grant proposals, and code. Inclusion of
3465 code raised new licensing issues, as Creative Commons licenses are not used
3466 for software. To allow the sharing of software code, Mark chose the MIT
3467 license, but GNU and Apache licenses can also be used.
3468     </p><p>
3469       Mark sought investment to make this into a scalable product. After a few
3470 unsuccessful funding pitches, UK-based Digital Science expressed interest
3471 but insisted on a more viable business model.  They made an initial
3472 investment, and together they came up with a freemium-like business model.
3473     </p><p>
3474       Under the freemium model, academics upload their research to Figshare for
3475 storage and sharing for free. Each research object is licensed with Creative
3476 Commons and receives a DOI link. The premium option charges researchers a
3477 fee for gigabytes of private storage space, and for private online space
3478 designed for a set number of research collaborators, which is ideal for
3479 larger teams and geographically dispersed research groups. Figshare sums up
3480 its value proposition to researchers as <span class="quote">„<span class="quote">You retain ownership.  You
3481 license it. You get credit. We just make sure it persists.</span>”</span>
3482     </p><p>
3483       In January 2012, Figshare was launched. (The fig in Figshare stands for
3484 figures.) Using investment funds, Mark made significant improvements to
3485 Figshare. For example, researchers could quickly preview their research
3486 files within a browser without having to download them first or require
3487 third-party software. Journals who were still largely publishing articles as
3488 static noninteractive PDFs became interested in having Figshare provide that
3489 functionality for them.
3490     </p><p>
3491       Figshare diversified its business model to include services for
3492 journals. Figshare began hosting large amounts of data for the journals’
3493 online articles. This additional data improved the quality of the
3494 articles. Outsourcing this service to Figshare freed publishers from having
3495 to develop this functionality as part of their own
3496 infrastructure. Figshare-hosted data also provides a link back to the
3497 article, generating additional click-through and readership—a benefit to
3498 both journal publishers and researchers.  Figshare now provides
3499 research-data infrastructure for a wide variety of publishers including
3500 Wiley, Springer Nature, PLOS, and Taylor and Francis, to name a few, and has
3501 convinced them to use Creative Commons licenses for the data.
3502     </p><p>
3503       Governments allocate significant public funds to research. In parallel with
3504 the launch of Figshare, governments around the world began requesting the
3505 research they fund be open and accessible.  They mandated that researchers
3506 and academic institutions better manage and disseminate their research
3507 outputs. Institutions looking to comply with this new mandate became
3508 interested in Figshare. Figshare once again diversified its business model,
3509 adding services for institutions.
3510     </p><p>
3511       Figshare now offers a range of fee-based services to institutions, including
3512 their own minibranded Figshare space (called Figshare for Institutions) that
3513 securely hosts research data of institutions in the cloud. Services include
3514 not just hosting but data metrics, data dissemination, and user-group
3515 administration.  Figshare’s workflow, and the services they offer for
3516 institutions, take into account the needs of librarians and administrators,
3517 as well as of the researchers.
3518     </p><p>
3519       As with researchers and publishers, Fig-share encouraged institutions to
3520 share their research with CC BY (Attribution) and their data with CC0 (into
3521 the public domain). Funders who require researchers and institutions to use
3522 open licensing believe in the social responsibilities and benefits of making
3523 research accessible to all. Publishing research in this open way has come to
3524 be called open access. But not all funders specify CC BY; some institutions
3525 want to offer their researchers a choice, including less permissive licenses
3526 like CC BY-NC (Attribution-NonCommercial), CC BY-SA
3527 (Attribution-ShareAlike), or CC BY-ND (Attribution-NoDerivs).
3528     </p><p>
3529       For Mark this created a conflict. On the one hand, the principles and
3530 benefits of open science are at the heart of Figshare, and Mark believes CC
3531 BY is the best license for this. On the other hand, institutions were saying
3532 they wouldn’t use Figshare unless it offered a choice in licenses. He
3533 initially refused to offer anything beyond CC0 and CC BY, but after seeing
3534 an open-source CERN project offer all Creative Commons licenses without any
3535 negative repercussions, he decided to follow suit.
3536     </p><p>
3537       Mark is thinking of doing a Figshare study that tracks research
3538 dissemination according to Creative Commons license, and gathering metrics
3539 on views, citations, and downloads. You could see which license generates
3540 the biggest impact. If the data showed that CC BY is more impactful, Mark
3541 believes more and more researchers and institutions will make it their
3542 license of choice.
3543     </p><p>
3544       Figshare has an Application Programming Interface (API) that makes it
3545 possible for data to be pulled from Figshare and used in other
3546 applications. As an example, Mark shared a Figshare data set showing the
3547 journal subscriptions that higher-education institutions in the United
3548 Kingdom paid to ten major publishers.<a href="#ftn.idm1184" class="footnote" name="idm1184"><sup class="footnote">[115]</sup></a>
3549 Figshare’s API enables that data to be pulled into an app developed by a
3550 completely different researcher that converts the data into a visually
3551 interesting graph, which any viewer can alter by changing any of the
3552 variables.<a href="#ftn.idm1187" class="footnote" name="idm1187"><sup class="footnote">[116]</sup></a>
3553     </p><p>
3554       The free version of Figshare has built a community of academics, who through
3555 word of mouth and presentations have promoted and spread awareness of
3556 Figshare. To amplify and reward the community, Figshare established an
3557 Advisor program, providing those who promoted Figshare with hoodies and
3558 T-shirts, early access to new features, and travel expenses when they gave
3559 presentations outside of their area. These Advisors also helped Mark on what
3560 license to use for software code and whether to offer universities an option
3561 of using Creative Commons licenses.
3562     </p><p>
3563       Mark says his success is partly about being in the right place at the right
3564 time. He also believes that the diversification of Figshare’s model over
3565 time has been key to success. Figshare now offers a comprehensive set of
3566 services to researchers, publishers, and institutions.<a href="#ftn.idm1192" class="footnote" name="idm1192"><sup class="footnote">[117]</sup></a> If he had relied solely on revenue from premium
3567 subscriptions, he believes Figshare would have struggled. In Figshare’s
3568 early days, their primary users were early-career and late-career
3569 academics. It has only been because funders mandated open licensing that
3570 Figshare is now being used by the mainstream.
3571     </p><p>
3572       Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
3573 800,000–plus user uploads, 2 million–plus articles, 500,000-plus
3574 collections, and 5,000–plus projects. Sixty percent of their traffic comes
3575 from Google. A sister company called Altmetric tracks the use of Figshare by
3576 others, including Wikipedia and news sources.
3577     </p><p>
3578       Figshare uses the revenue it generates from the premium subscribers, journal
3579 publishers, and institutions to fund and expand what it can offer to
3580 researchers for free. Figshare has publicly stuck to its principles—keeping
3581 the free service free and requiring the use of CC BY and CC0 from the
3582 start—and from Mark’s perspective, this is why people trust Figshare. Mark
3583 sees new competitors coming forward who are just in it for money. If
3584 Figshare was only in it for the money, they wouldn’t care about offering a
3585 free version. Figshare’s principles and advocacy for openness are a key
3586 differentiator. Going forward, Mark sees Figshare not only as supporting
3587 open access to research but also enabling people to collaborate and make new
3588 discoveries.
3589     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1184" class="footnote"><p><a href="#idm1184" 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.idm1187" class="footnote"><p><a href="#idm1187" 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.idm1192" class="footnote"><p><a href="#idm1192" 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>Rozdział 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>
3590         Figure.NZ is a nonprofit charity that makes an online data platform designed
3591 to make data reusable and easy to understand.  Founded in 2012 in New
3592 Zealand.
3593       </p><p>
3594           <a class="ulink" href="http://figure.nz" target="_top">http://figure.nz</a>
3595         </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
3596 services to creators, donations, sponsorships
3597       </p><p><span class="strong"><strong>Interview date</strong></span>: May 3, 2016
3598       </p><p><span class="strong"><strong>Interviewee</strong></span>: Lillian Grace, founder
3599       </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}
3600     \textit{
3601         Profile written by Paul Stacey
3602       }
3603     \end{flushright}</td></tr></table></div><p>
3604       In the paper Harnessing the Economic and Social Power of Data presented at
3605 the New Zealand Data Futures Forum in 2014,<a href="#ftn.idm1211" class="footnote" name="idm1211"><sup class="footnote">[118]</sup></a> Figure.NZ founder Lillian Grace said there are thousands of
3606 valuable and relevant data sets freely available to us right now, but most
3607 people don’t use them. She used to think this meant people didn’t care about
3608 being informed, but she’s come to see that she was wrong. Almost everyone
3609 wants to be informed about issues that matter—not only to them, but also to
3610 their families, their communities, their businesses, and their country.  But
3611 there’s a big difference between availability and accessibility of
3612 information. Data is spread across thousands of sites and is held within
3613 databases and spreadsheets that require both time and skill to engage
3614 with. To use data when making a decision, you have to know what specific
3615 question to ask, identify a source that has collected the data, and
3616 manipulate complex tools to extract and visualize the information within the
3617 data set.  Lillian established Figure.NZ to make data truly accessible to
3618 all, with a specific focus on New Zealand.
3619     </p><p>
3620       Lillian had the idea for Figure.NZ in February 2012 while working for the
3621 New Zealand Institute, a think tank concerned with improving economic
3622 prosperity, social well-being, environmental quality, and environmental
3623 productivity for New Zealand and New Zealanders. While giving talks to
3624 community and business groups, Lillian realized <span class="quote">„<span class="quote">every single issue we
3625 addressed would have been easier to deal with if more people understood the
3626 basic facts.</span>”</span> But understanding the basic facts sometimes requires
3627 data and research that you often have to pay for.
3628     </p><p>
3629       Lillian began to imagine a website that lifted data up to a visual form that
3630 could be easily understood and freely accessed.  Initially launched as Wiki
3631 New Zealand, the original idea was that people could contribute their data
3632 and visuals via a wiki.  However, few people had graphs that could be used
3633 and shared, and there were no standards or consistency around the data and
3634 the visuals. Realizing the wiki model wasn’t working, Lillian brought the
3635 process of data aggregation, curation, and visual presentation in-house, and
3636 invested in the technology to help automate some of it. Wiki New Zealand
3637 became Figure.NZ, and efforts were reoriented toward providing services to
3638 those wanting to open their data and present it visually.
3639     </p><p>
3640       Here’s how it works. Figure.NZ sources data from other organizations,
3641 including corporations, public repositories, government departments, and
3642 academics. Figure.NZ imports and extracts that data, and then validates and
3643 standardizes it—all with a strong eye on what will be best for users. They
3644 then make the data available in a series of standardized forms, both human-
3645 and machine-readable, with rich metadata about the sources, the licenses,
3646 and data types. Figure.NZ has a chart-designing tool that makes simple bar,
3647 line, and area graphs from any data source.  The graphs are posted to the
3648 Figure.NZ website, and they can also be exported in a variety of formats for
3649 print or online use.  Figure.NZ makes its data and graphs available using
3650 the Attribution (CC BY) license. This allows others to reuse, revise, remix,
3651 and redistribute Figure.NZ data and graphs as long as they give attribution
3652 to the original source and to Figure.NZ.
3653     </p><p>
3654       Lillian characterizes the initial decision to use Creative Commons as
3655 naively fortunate. It was first recommended to her by a colleague. Lillian
3656 spent time looking at what Creative Commons offered and thought it looked
3657 good, was clear, and made common sense. It was easy to use and easy for
3658 others to understand. Over time, she’s come to realize just how fortunate
3659 and important that decision turned out to be. New Zealand’s government has
3660 an open-access and licensing framework called NZGOAL, which provides
3661 guidance for agencies when they release copyrighted and noncopyrighted work
3662 and material.<a href="#ftn.idm1219" class="footnote" name="idm1219"><sup class="footnote">[119]</sup></a> It aims to standardize
3663 the licensing of works with government copyright and how they can be reused,
3664 and it does this with Creative Commons licenses. As a result, 98 percent of
3665 all government-agency data is Creative Commons licensed, fitting in nicely
3666 with Figure.NZ’s decision.
3667     </p><p>
3668       Lillian thinks current ideas of what a business is are relatively new, only
3669 a hundred years old or so. She’s convinced that twenty years from now, we
3670 will see new and different models for business.  Figure.NZ is set up as a
3671 nonprofit charity. It is purpose-driven but also strives to pay people well
3672 and thinks like a business.  Lillian sees the charity-nonprofit status as an
3673 essential element for the mission and purpose of Figure.NZ. She believes
3674 Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
3675 nonprofit status assures people who have data and people who want to use it
3676 that they can rely on Figure.NZ’s motives. People see them as a trusted
3677 wrangler and source.
3678     </p><p>
3679       Although Figure.NZ is a social enterprise that openly licenses their data
3680 and graphs for everyone to use for free, they have taken care not to be
3681 perceived as a free service all around the table. Lillian believes hundreds
3682 of millions of dollars are spent by the government and organizations to
3683 collect data. However, very little money is spent on taking that data and
3684 making it accessible, understandable, and useful for decision making.
3685 Government uses some of the data for policy, but Lillian believes that it is
3686 underutilized and the potential value is much larger.  Figure.NZ is focused
3687 on solving that problem. They believe a portion of money allocated to
3688 collecting data should go into making sure that data is useful and generates
3689 value. If the government wants citizens to understand why certain decisions
3690 are being made and to be more aware about what the government is doing, why
3691 not transform the data it collects into easily understood visuals? It could
3692 even become a way for a government or any organization to differentiate,
3693 market, and brand itself.
3694     </p><p>
3695       Figure.NZ spends a lot of time seeking to understand the motivations of data
3696 collectors and to identify the channels where it can provide value. Every
3697 part of their business model has been focused on who is going to get value
3698 from the data and visuals.
3699     </p><p>
3700       Figure.NZ has multiple lines of business. They provide commercial services
3701 to organizations that want their data publicly available and want to use
3702 Figure.NZ as their publishing platform. People who want to publish open data
3703 appreciate Figure.NZ’s ability to do it faster, more easily, and better than
3704 they can. Customers are encouraged to help their users find, use, and make
3705 things from the data they make available on Figure.NZ’s website. Customers
3706 control what is released and the license terms (although Figure.NZ
3707 encourages Creative Commons licensing). Figure.NZ also serves customers who
3708 want a specific collection of charts created—for example, for their website
3709 or annual report. Charging the organizations that want to make their data
3710 available enables Figure.NZ to provide their site free to all users, to
3711 truly democratize data.
3712     </p><p>
3713       Lillian notes that the current state of most data is terrible and often not
3714 well understood by the people who have it. This sometimes makes it difficult
3715 for customers and Figure.NZ to figure out what it would cost to import,
3716 standardize, and display that data in a useful way. To deal with this,
3717 Figure.NZ uses <span class="quote">„<span class="quote">high-trust contracts,</span>”</span> where customers allocate
3718 a certain budget to the task that Figure.NZ is then free to draw from, as
3719 long as Figure.NZ frequently reports on what they’ve produced so the
3720 customer can determine the value for money. This strategy has helped build
3721 trust and transparency about the level of effort associated with doing work
3722 that has never been done before.
3723     </p><p>
3724       A second line of business is what Figure.NZ calls partners. ASB Bank and
3725 Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
3726 example, with their support Figure.NZ has been able to create Business
3727 Figures, a special way for businesses to find useful data without having to
3728 know what questions to ask.<a href="#ftn.idm1229" class="footnote" name="idm1229"><sup class="footnote">[120]</sup></a>
3729     </p><p>
3730       Figure.NZ also has patrons.<a href="#ftn.idm1233" class="footnote" name="idm1233"><sup class="footnote">[121]</sup></a> Patrons
3731 donate to topic areas they care about, directly enabling Figure.NZ to get
3732 data together to flesh out those areas. Patrons do not direct what data is
3733 included or excluded.
3734     </p><p>
3735       Figure.NZ also accepts philanthropic donations, which are used to provide
3736 more content, extend technology, and improve services, or are targeted to
3737 fund a specific effort or provide in-kind support.  As a charity, donations
3738 are tax deductible.
3739     </p><p>
3740       Figure.NZ has morphed and grown over time. With data aggregation, curation,
3741 and visualizing services all in-house, Figure.NZ has developed a deep
3742 expertise in taking random styles of data, standardizing it, and making it
3743 useful. Lillian realized that Figure.NZ could easily become a warehouse of
3744 seventy people doing data. But for Lillian, growth isn’t always good. In her
3745 view, bigger often means less effective. Lillian set artificial constraints
3746 on growth, forcing the organization to think differently and be more
3747 efficient. Rather than in-house growth, they are growing and building
3748 external relationships.
3749     </p><p>
3750       Figure.NZ’s website displays visuals and data associated with a wide range
3751 of categories including crime, economy, education, employment, energy,
3752 environment, health, information and communications technology, industry,
3753 tourism, and many others. A search function helps users find tables and
3754 graphs. Figure.NZ does not provide analysis or interpretation of the data or
3755 visuals.  Their goal is to teach people how to think, not think for them.
3756 Figure.NZ wants to create intuitive experiences, not user manuals.
3757     </p><p>
3758       Figure.NZ believes data and visuals should be useful. They provide their
3759 customers with a data collection template and teach them why it’s important
3760 and how to use it. They’ve begun putting more emphasis on tracking what
3761 users of their website want. They also get requests from social media and
3762 through email for them to share data for a specific topic—for example, can
3763 you share data for water quality? If they have the data, they respond
3764 quickly; if they don’t, they try and identify the organizations that would
3765 have that data and forge a relationship so they can be included on
3766 Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
3767 people to be curious about, access, and interpret data on topics they are
3768 interested in.
3769     </p><p>
3770       Lillian has a deep and profound vision for Figure.NZ that goes well beyond
3771 simply providing open-data services. She says things are different now. "We
3772 used to live in a world where it was really hard to share information
3773 widely. And in that world, the best future was created by having a few great
3774 leaders who essentially had access to the information and made decisions on
3775 behalf of others, whether it was on behalf of a country or companies.
3776     </p><p>
3777       "But now we live in a world where it’s really easy to share information
3778 widely and also to communicate widely. In the world we live in now, the best
3779 future is the one where everyone can make well-informed decisions.
3780     </p><p>
3781       "The use of numbers and data as a way of making well-informed decisions is
3782 one of the areas where there is the biggest gaps. We don’t really use
3783 numbers as a part of our thinking and part of our understanding yet.
3784     </p><p>
3785       "Part of the reason is the way data is spread across hundreds of sites. In
3786 addition, for the most part, deep thinking based on data is constrained to
3787 experts because most people don’t have data literacy. There once was a time
3788 when many citizens in society couldn’t read or write. However, as a society,
3789 we’ve now come to believe that reading and writing skills should be
3790 something all citizens have. We haven’t yet adopted a similar belief around
3791 numbers and data literacy. We largely still believe that only a few
3792 specially trained people can analyze and think with numbers.
3793     </p><p>
3794       "Figure.NZ may be the first organization to assert that everyone can use
3795 numbers in their thinking, and it’s built a technological platform along
3796 with trust and a network of relationships to make that possible. What you
3797 can see on Figure.NZ are tens of thousands of graphs, maps, and data.
3798     </p><p>
3799         <span class="quote">„<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
3800 analyze what they see around them. A way to be thoughtful and informed about
3801 society. A means of engaging in conversation and shaping decision making
3802 that transcends personal experience.  The long-term value and impact is
3803 almost impossible to measure, but the goal is to help citizens gain
3804 understanding and work together in more informed ways to shape the
3805 future.</span>”</span>
3806       </p><p>
3807       Lillian sees Figure.NZ’s model as having global potential. But for now,
3808 their focus is completely on making Figure.NZ work in New Zealand and to get
3809 the <span class="quote">„<span class="quote">network effect</span>”</span>— users dramatically increasing value for
3810 themselves and for others through use of their service. Creative Commons is
3811 core to making the network effect possible.
3812     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1211" class="footnote"><p><a href="#idm1211" 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.idm1219" class="footnote"><p><a href="#idm1219" 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.idm1229" class="footnote"><p><a href="#idm1229" 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.idm1233" class="footnote"><p><a href="#idm1233" 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>Rozdział 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>
3813         Knowledge Unlatched is a not-for-profit community interest company that
3814 brings libraries together to pool funds to publish open-access
3815 books. Founded in 2012 in the UK.
3816       </p><p>
3817           <a class="ulink" href="http://knowledgeunlatched.org" target="_top">http://knowledgeunlatched.org</a>
3818         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding (specialized)
3819       </p><p><span class="strong"><strong>Interview date</strong></span>: February 26, 2016
3820       </p><p><span class="strong"><strong>Interviewee</strong></span>: Frances Pinter, founder
3821       </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}
3822     \textit{
3823         Profile written by Paul Stacey
3824       }
3825     \end{flushright}</td></tr></table></div><p>
3826       The serial entrepreneur Dr. Frances Pinter has been at the forefront of
3827 innovation in the publishing industry for nearly forty years. She founded
3828 the UK-based Knowledge Unlatched with a mission to enable open access to
3829 scholarly books. For Frances, the current scholarly- book-publishing system
3830 is not working for anyone, and especially not for monographs in the
3831 humanities and social sciences. Knowledge Unlatched is committed to changing
3832 this and has been working with libraries to create a sustainable alternative
3833 model for publishing scholarly books, sharing the cost of making monographs
3834 (released under a Creative Commons license)  and savings costs over the long
3835 term. Since its launch, Knowledge Unlatched has received several awards,
3836 including the IFLA/Brill Open Access award in 2014 and a Curtin University
3837 Commercial Innovation Award for Innovation in Education in 2015.
3838     </p><p>
3839       Dr. Pinter has been in academic publishing most of her career.  About ten
3840 years ago, she became acquainted with the Creative Commons founder Lawrence
3841 Lessig and got interested in Creative Commons as a tool for both protecting
3842 content online and distributing it free to users.
3843     </p><p>
3844       Not long after, she ran a project in Africa convincing publishers in Uganda
3845 and South Africa to put some of their content online for free using a
3846 Creative Commons license and to see what happened to print sales. Sales went
3847 up, not down.
3848     </p><p>
3849       In 2008, Bloomsbury Academic, a new imprint of Bloomsbury Publishing in the
3850 United Kingdom, appointed her its founding publisher in London. As part of
3851 the launch, Frances convinced Bloomsbury to differentiate themselves by
3852 putting out monographs for free online under a Creative Commons license
3853 (BY-NC or BY-NC-ND, i.e., Attribution-NonCommercial or
3854 Attribution-NonCommercial-NoDerivs). This was seen as risky, as the biggest
3855 cost for publishers is getting a book to the stage where it can be
3856 printed. If everyone read the online book for free, there would be no
3857 print-book sales at all, and the costs associated with getting the book to
3858 print would be lost.  Surprisingly, Bloomsbury found that sales of the print
3859 versions of these books were 10 to 20 percent higher than normal. Frances
3860 found it intriguing that the Creative Commons–licensed free online book acts
3861 as a marketing vehicle for the print format.
3862     </p><p>
3863       Frances began to look at customer interest in the three forms of the book:
3864 1) the Creative Commons–licensed free online book in PDF form, 2) the
3865 printed book, and 3) a digital version of the book on an aggregator platform
3866 with enhanced features. She thought of this as the <span class="quote">„<span class="quote">ice cream
3867 model</span>”</span>: the free PDF was vanilla ice cream, the printed book was an
3868 ice cream cone, and the enhanced e-book was an ice cream sundae.
3869     </p><p>
3870       After a while, Frances had an epiphany—what if there was a way to get
3871 libraries to underwrite the costs of making these books up until they’re
3872 ready be printed, in other words, cover the fixed costs of getting to the
3873 first digital copy? Then you could either bring down the cost of the printed
3874 book, or do a whole bunch of interesting things with the printed book and
3875 e-book—the ice cream cone or sundae part of the model.
3876     </p><p>
3877       This idea is similar to the article-processing charge some open-access
3878 journals charge researchers to cover publishing costs.  Frances began to
3879 imagine a coalition of libraries paying for the prepress costs—a
3880 <span class="quote">„<span class="quote">book-processing charge</span>”</span>—and providing everyone in the world
3881 with an open-access version of the books released under a Creative Commons
3882 license.
3883     </p><p>
3884       This idea really took hold in her mind. She didn’t really have a name for it
3885 but began talking about it and making presentations to see if there was
3886 interest. The more she talked about it, the more people agreed it had
3887 appeal. She offered a bottle of champagne to anyone who could come up with a
3888 good name for the idea. Her husband came up with Knowledge Unlatched, and
3889 after two years of generating interest, she decided to move forward and
3890 launch a community interest company (a UK term for not-for-profit social
3891 enterprises) in 2012.
3892     </p><p>
3893       She describes the business model in a paper called Knowledge Unlatched:
3894 Toward an Open and Networked Future for Academic Publishing:
3895     </p><div class="orderedlist"><ol class="orderedlist compact" type="1"><li class="listitem"><p>
3896           Publishers offer titles for sale reflecting origination costs only via
3897 Knowledge Unlatched.
3898         </p></li><li class="listitem"><p>
3899           Individual libraries select titles either as individual titles or as
3900 collections (as they do from library suppliers now).
3901         </p></li><li class="listitem"><p>
3902           Their selections are sent to Knowledge Unlatched specifying the titles to be
3903 purchased at the stated price(s).
3904         </p></li><li class="listitem"><p>
3905           The price, called a Title Fee (set by publishers and negotiated by Knowledge
3906 Unlatched), is paid to publishers to cover the fixed costs of publishing
3907 each of the titles that were selected by a minimum number of libraries to
3908 cover the Title Fee.
3909         </p></li><li class="listitem"><p>
3910           Publishers make the selected titles available Open Access (on a Creative
3911 Commons or similar open license) and are then paid the Title Fee which is
3912 the total collected from the libraries.
3913         </p></li><li class="listitem"><p>
3914           Publishers make print copies, e-Pub, and other digital versions of selected
3915 titles available to member libraries at a discount that reflects their
3916 contribution to the Title Fee and incentivizes membership.<a href="#ftn.idm1286" class="footnote" name="idm1286"><sup class="footnote">[122]</sup></a>
3917         </p></li></ol></div><p>
3918       The first round of this model resulted in a collection of twenty-eight
3919 current titles from thirteen recognized scholarly publishers being
3920 unlatched. The target was to have two hundred libraries participate. The
3921 cost of the package per library was capped at $1,680, which was an average
3922 price of sixty dollars per book, but in the end they had nearly three
3923 hundred libraries sharing the costs, and the price per book came in at just
3924 under forty-three dollars.
3925     </p><p>
3926       The open-access, Creative Commons versions of these twenty-eight books are
3927 still available online.<a href="#ftn.idm1291" class="footnote" name="idm1291"><sup class="footnote">[123]</sup></a> Most books have
3928 been licensed with CC BY-NC or CC BY-NC-ND. Authors are the copyright
3929 holder, not the publisher, and negotiate choice of license as part of the
3930 publishing agreement.  Frances has found that most authors want to retain
3931 control over the commercial and remix use of their work. Publishers list the
3932 book in their catalogs, and the noncommercial restriction in the Creative
3933 Commons license ensures authors continue to get royalties on sales of
3934 physical copies.
3935     </p><p>
3936       There are three cost variables to consider for each round: the overall cost
3937 incurred by the publishers, total cost for each library to acquire all the
3938 books, and the individual price per book. The fee publishers charge for each
3939 title is a fixed charge, and Knowledge Unlatched calculates the total amount
3940 for all the books being unlatched at a time. The cost of an order for each
3941 library is capped at a maximum based on a minimum number of libraries
3942 participating. If the number of participating libraries exceeds the minimum,
3943 then the cost of the order and the price per book go down for each library.
3944     </p><p>
3945       The second round, recently completed, unlatched seventy-eight books from
3946 twenty-six publishers. For this round, Frances was experimenting with the
3947 size and shape of the offerings. Books were being bundled into eight small
3948 packages separated by subject (including Anthropology, History, Literature,
3949 Media and Communications, and Politics), of around ten books per package.
3950 Three hundred libraries around the world have to commit to at least six of
3951 the eight packages to enable unlatching. The average cost per book was just
3952 under fifty dollars. The unlatching process took roughly ten months. It
3953 started with a call to publishers for titles, followed by having a library
3954 task force select the titles, getting authors’ permissions, getting the
3955 libraries to pledge, billing the libraries, and finally, unlatching.
3956     </p><p>
3957       The longest part of the whole process is getting libraries to pledge and
3958 commit funds. It takes about five months, as library buy-in has to fit
3959 within acquisition cycles, budget cycles, and library-committee meetings.
3960     </p><p>
3961       Knowledge Unlatched informs and recruits libraries through social media,
3962 mailing lists, listservs, and library associations. Of the three hundred
3963 libraries that participated in the first round, 80 percent are also
3964 participating in the second round, and there are an additional eighty new
3965 libraries taking part. Knowledge Unlatched is also working not just with
3966 individual libraries but also library consortia, which has been getting even
3967 more libraries involved.
3968     </p><p>
3969       Knowledge Unlatched is scaling up, offering 150 new titles in the second
3970 half of 2016. It will also offer backlist titles, and in 2017 will start to
3971 make journals open access too.
3972     </p><p>
3973       Knowledge Unlatched deliberately chose monographs as the initial type of
3974 book to unlatch. Monographs are foundational and important, but also
3975 problematic to keep going in the standard closed publishing model.
3976     </p><p>
3977       The cost for the publisher to get to a first digital copy of a monograph is
3978 $5,000 to $50,000. A good one costs in the $10,000 to $15,000
3979 range. Monographs typically don’t sell a lot of copies. A publisher who in
3980 the past sold three thousand copies now typically sells only three
3981 hundred. That makes unlatching monographs a low risk for publishers. For the
3982 first round, it took five months to get thirteen publishers. For the second
3983 round, it took one month to get twenty-six.
3984     </p><p>
3985       Authors don’t generally make a lot of royalties from monographs.  Royalties
3986 range from zero dollars to 5 to 10 percent of receipts.  The value to the
3987 author is the awareness it brings to them; when their book is being read, it
3988 increases their reputation. Open access through unlatching generates many
3989 more downloads and therefore awareness. (On the Knowledge Unlatched website,
3990 you can find interviews with the twenty-eight round-one authors describing
3991 their experience and the benefits of taking part.)<a href="#ftn.idm1302" class="footnote" name="idm1302"><sup class="footnote">[124]</sup></a>
3992     </p><p>
3993       Library budgets are constantly being squeezed, partly due to the inflation
3994 of journal subscriptions. But even without budget constraints, academic
3995 libraries are moving away from buying physical copies. An academic library
3996 catalog entry is typically a URL to wherever the book is hosted. Or if they
3997 have enough electronic storage space, they may download the digital file
3998 into their digital repository. Only secondarily do they consider getting a
3999 print book, and if they do, they buy it separately from the digital version.
4000     </p><p>
4001       Knowledge Unlatched offers libraries a compelling economic argument. Many of
4002 the participating libraries would have bought a copy of the monograph
4003 anyway, but instead of paying $95 for a print copy or $150 for a digital
4004 multiple-use copy, they pay $50 to unlatch. It costs them less, and it opens
4005 the book to not just the participating libraries, but to the world.
4006     </p><p>
4007       Not only do the economics make sense, but there is very strong alignment
4008 with library mandates. The participating libraries pay less than they would
4009 have in the closed model, and the open-access book is available to all
4010 libraries. While this means nonparticipating libraries could be seen as free
4011 riders, in the library world, wealthy libraries are used to paying more than
4012 poor libraries and accept that part of their money should be spent to
4013 support open access. <span class="quote">„<span class="quote">Free ride</span>”</span> is more like community
4014 responsibility. By the end of March 2016, the round-one books had been
4015 downloaded nearly eighty thousand times in 175 countries.
4016     </p><p>
4017       For publishers, authors, and librarians, the Knowledge Unlatched model for
4018 monographs is a win-win-win.
4019     </p><p>
4020       In the first round, Knowledge Unlatched’s overheads were covered by
4021 grants. In the second round, they aim to demonstrate the model is
4022 sustainable. Libraries and publishers will each pay a 7.5 percent service
4023 charge that will go toward Knowledge Unlatched’s running costs. With plans
4024 to scale up in future rounds, Frances figures they can fully recover costs
4025 when they are unlatching two hundred books at a time. Moving forward,
4026 Knowledge Unlatched is making investments in technology and
4027 processes. Future plans include unlatching journals and older books.
4028     </p><p>
4029       Frances believes that Knowledge Unlatched is tapping into new ways of
4030 valuing academic content. It’s about considering how many people can find,
4031 access, and use your content without pay barriers. Knowledge Unlatched taps
4032 into the new possibilities and behaviors of the digital world. In the
4033 Knowledge Unlatched model, the content-creation process is exactly the same
4034 as it always has been, but the economics are different. For Frances,
4035 Knowledge Unlatched is connected to the past but moving into the future, an
4036 evolution rather than a revolution.
4037     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1286" class="footnote"><p><a href="#idm1286" 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.idm1291" class="footnote"><p><a href="#idm1291" 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.idm1302" class="footnote"><p><a href="#idm1302" 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>Rozdział 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>
4038         Lumen Learning is a for-profit company helping educational institutions use
4039 open educational resources (OER). Founded in 2013 in the U.S.
4040       </p><p>
4041           <a class="ulink" href="http://lumenlearning.com" target="_top">http://lumenlearning.com</a>
4042         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
4043 services, grant funding
4044       </p><p><span class="strong"><strong>Interview date</strong></span>: December 21, 2015
4045       </p><p><span class="strong"><strong>Interviewees</strong></span>: David Wiley and Kim Thanos,
4046 cofounders
4047       </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}
4048     \textit{
4049         Profile written by Paul Stacey
4050       }
4051     \end{flushright}</td></tr></table></div><p>
4052       Cofounded by open education visionary Dr. David Wiley and
4053 education-technology strategist Kim Thanos, Lumen Learning is dedicated to
4054 improving student success, bringing new ideas to pedagogy, and making
4055 education more affordable by facilitating adoption of open educational
4056 resources. In 2012, David and Kim partnered on a grant-funded project called
4057 the Kaleidoscope Open Course Initiative.<a href="#ftn.idm1326" class="footnote" name="idm1326"><sup class="footnote">[125]</sup></a> It involved a set of fully open general-education courses across
4058 eight colleges predominantly serving at-risk students, with goals to
4059 dramatically reduce textbook costs and collaborate to improve the courses to
4060 help students succeed. David and Kim exceeded those goals: the cost of the
4061 required textbooks, replaced with OER, decreased to zero dollars, and
4062 average student-success rates improved by 5 to 10 percent when compared with
4063 previous years. After a second round of funding, a total of more than
4064 twenty-five institutions participated in and benefited from this project. It
4065 was career changing for David and Kim to see the impact this initiative had
4066 on low-income students. David and Kim sought further funding from the Bill
4067 and Melinda Gates Foundation, who asked them to define a plan to scale their
4068 work in a financially sustainable way. That is when they decided to create
4069 Lumen Learning.
4070     </p><p>
4071       David and Kim went back and forth on whether it should be a nonprofit or
4072 for- profit. A nonprofit would make it a more comfortable fit with the
4073 education sector but meant they’d be constantly fund-raising and seeking
4074 grants from philanthropies.  Also, grants usually require money to be used
4075 in certain ways for specific deliverables. If you learn things along the way
4076 that change how you think the grant money should be used, there often isn’t
4077 a lot of flexibility to do so.
4078     </p><p>
4079       But as a for-profit, they’d have to convince educational institutions to pay
4080 for what Lumen had to offer. On the positive side, they’d have more control
4081 over what to do with the revenue and investment money; they could make
4082 decisions to invest the funds or use them differently based on the situation
4083 and shifting opportunities. In the end, they chose the for-profit status,
4084 with its different model for and approach to sustainability.
4085     </p><p>
4086       Right from the start, David and Kim positioned Lumen Learning as a way to
4087 help institutions engage in open educational resources, or OER. OER are
4088 teaching, learning, and research materials, in all different media, that
4089 reside in the public domain or are released under an open license that
4090 permits free use and repurposing by others.
4091     </p><p>
4092       Originally, Lumen did custom contracts for each institution. This was
4093 complicated and challenging to manage. However, through that process
4094 patterns emerged which allowed them to generalize a set of approaches and
4095 offerings. Today they don’t customize as much as they used to, and instead
4096 they tend to work with customers who can use their off-the-shelf
4097 options. Lumen finds that institutions and faculty are generally very good
4098 at seeing the value Lumen brings and are willing to pay for it. Serving
4099 disadvantaged learner populations has led Lumen to be very pragmatic; they
4100 describe what they offer in quantitative terms—with facts and figures—and in
4101 a way that is very student-focused. Lumen Learning helps colleges and
4102 universities—
4103     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4104           replace expensive textbooks in high-enrollment courses with OER;
4105         </p></li><li class="listitem"><p>
4106           provide enrolled students day one access to Lumen’s fully customizable OER
4107 course materials through the institution’s learning-management system;
4108         </p></li><li class="listitem"><p>
4109           measure improvements in student success with metrics like passing rates,
4110 persistence, and course completion; and
4111         </p></li><li class="listitem"><p>
4112           collaborate with faculty to make ongoing improvements to OER based on
4113 student success research.
4114         </p></li></ul></div><p>
4115       Lumen has developed a suite of open, Creative Commons–licensed courseware in
4116 more than sixty-five subjects. All courses are freely and publicly available
4117 right off their website. They can be copied and used by others as long as
4118 they provide attribution to Lumen Learning following the terms of the
4119 Creative Commons license.
4120     </p><p>
4121       Then there are three types of bundled services that cost money.  One option,
4122 which Lumen calls Candela courseware, offers integration with the
4123 institution’s learning-management system, technical and pedagogical support,
4124 and tracking of effectiveness.  Candela courseware costs institutions ten
4125 dollars per enrolled student.
4126     </p><p>
4127       A second option is Waymaker, which offers the services of Candela but adds
4128 personalized learning technologies, such as study plans, automated messages,
4129 and assessments, and helps instructors find and support the students who
4130 need it most. Waymaker courses cost twenty-five dollars per enrolled
4131 student.
4132     </p><p>
4133       The third and emerging line of business for Lumen is providing guidance and
4134 support for institutions and state systems that are pursuing the development
4135 of complete OER degrees. Often called Z-Degrees, these programs eliminate
4136 textbook costs for students in all courses that make up the degree (both
4137 required and elective)  by replacing commercial textbooks and other
4138 expensive resources with OER.
4139     </p><p>
4140       Lumen generates revenue by charging for their value-added tools and services
4141 on top of their free courses, just as solar-power companies provide the
4142 tools and services that help people use a free resource—sunlight. And
4143 Lumen’s business model focuses on getting the institutions to pay, not the
4144 students. With projects they did prior to Lumen, David and Kim learned that
4145 students who have access to all course materials from day one have greater
4146 success. If students had to pay, Lumen would have to restrict access to
4147 those who paid. Right from the start, their stance was that they would not
4148 put their content behind a paywall. Lumen invests zero dollars in
4149 technologies and processes for restricting access—no digital rights
4150 management, no time bombs. While this has been a challenge from a
4151 business-model perspective, from an open-access perspective, it has
4152 generated immense goodwill in the community.
4153     </p><p>
4154       In most cases, development of their courses is funded by the institution
4155 Lumen has a contract with. When creating new courses, Lumen typically works
4156 with the faculty who are teaching the new course. They’re often part of the
4157 institution paying Lumen, but sometimes Lumen has to expand the team and
4158 contract faculty from other institutions. First, the faculty identifies all
4159 of the course’s learning outcomes. Lumen then searches for, aggregates, and
4160 curates the best OER they can find that addresses those learning needs,
4161 which the faculty reviews.
4162     </p><p>
4163       Sometimes faculty like the existing OER but not the way it is presented. The
4164 open licensing of existing OER allows Lumen to pick and choose from images,
4165 videos, and other media to adapt and customize the course. Lumen creates new
4166 content as they discover gaps in existing OER. Test-bank items and feedback
4167 for students on their progress are areas where new content is frequently
4168 needed.  Once a course is created, Lumen puts it on their platform with all
4169 the attributions and links to the original sources intact, and any of
4170 Lumen’s new content is given an Attribution (CC BY) license.
4171     </p><p>
4172       Using only OER made them experience firsthand how complex it could be to mix
4173 differently licensed work together. A common strategy with OER is to place
4174 the Creative Commons license and attribution information in the website’s
4175 footer, which stays the same for all pages. This doesn’t quite work,
4176 however, when mixing different OER together.
4177     </p><p>
4178       Remixing OER often results in multiple attributions on every page of every
4179 course—text from one place, images from another, and videos from yet
4180 another. Some are licensed as Attribution (CC BY), others as
4181 Attribution-ShareAlike (CC BY-SA). If this information is put within the
4182 text of the course, faculty members sometimes try to edit it and students
4183 find it a distraction. Lumen dealt with this challenge by capturing the
4184 license and attribution information as metadata, and getting it to show up
4185 at the end of each page.
4186     </p><p>
4187       Lumen’s commitment to open licensing and helping low-income students has led
4188 to strong relationships with institutions, open-education enthusiasts, and
4189 grant funders. People in their network generously increase the visibility of
4190 Lumen through presentations, word of mouth, and referrals. Sometimes the
4191 number of general inquiries exceed Lumen’s sales capacity.
4192     </p><p>
4193       To manage demand and ensure the success of projects, their strategy is to be
4194 proactive and focus on what’s going on in higher education in different
4195 regions of the United States, watching out for things happening at the
4196 system level in a way that fits with what Lumen offers. A great example is
4197 the Virginia community college system, which is building out
4198 Z-Degrees. David and Kim say there are nine other U.S. states with similar
4199 system-level activity where Lumen is strategically focusing its
4200 efforts. Where there are projects that would require a lot of resources on
4201 Lumen’s part, they prioritize the ones that would impact the largest number
4202 of students.
4203     </p><p>
4204       As a business, Lumen is committed to openness. There are two core
4205 nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
4206 Commons licenses, for all the materials it creates; and day-one access for
4207 students. Having clear nonnegotiables allows them to then engage with the
4208 education community to solve for other challenges and work with institutions
4209 to identify new business models that achieve institution goals, while
4210 keeping Lumen healthy.
4211     </p><p>
4212       Openness also means that Lumen’s OER must necessarily be nonexclusive and
4213 nonrivalrous. This represents several big challenges for the business model:
4214 Why should you invest in creating something that people will be reluctant to
4215 pay for? How do you ensure that the investment the diverse education
4216 community makes in OER is not exploited? Lumen thinks we all need to be
4217 clear about how we are benefiting from and contributing to the open
4218 community.
4219     </p><p>
4220       In the OER sector, there are examples of corporations, and even
4221 institutions, acting as free riders. Some simply take and use open resources
4222 without paying anything or contributing anything back.  Others give back the
4223 minimum amount so they can save face.  Sustainability will require those
4224 using open resources to give back an amount that seems fair or even give
4225 back something that is generous.
4226     </p><p>
4227       Lumen does track institutions accessing and using their free content. They
4228 proactively contact those institutions, with an estimate of how much their
4229 students are saving and encouraging them to switch to a paid model. Lumen
4230 explains the advantages of the paid model: a more interactive relationship
4231 with Lumen; integration with the institution’s learning-management system; a
4232 guarantee of support for faculty and students; and future sustainability
4233 with funding supporting the evolution and improvement of the OER they are
4234 using.
4235     </p><p>
4236       Lumen works hard to be a good corporate citizen in the OER community. For
4237 David and Kim, a good corporate citizen gives more than they take, adds
4238 unique value, and is very transparent about what they are taking from
4239 community, what they are giving back, and what they are monetizing. Lumen
4240 believes these are the building blocks of a sustainable model and strives
4241 for a correct balance of all these factors.
4242     </p><p>
4243       Licensing all the content they produce with CC BY is a key part of giving
4244 more value than they take. They’ve also worked hard at finding the right
4245 structure for their value-add and how to package it in a way that is
4246 understandable and repeatable.
4247     </p><p>
4248       As of the fall 2016 term, Lumen had eighty-six different open courses,
4249 working relationships with ninety-two institutions, and more than
4250 seventy-five thousand student enrollments. Lumen received early start-up
4251 funding from the Bill and Melinda Gates Foundation, the Hewlett Foundation,
4252 and the Shuttleworth Foundation. Since then, Lumen has also attracted
4253 investment funding. Over the last three years, Lumen has been roughly 60
4254 percent grant funded, 20 percent revenue earned, and 20 percent funded with
4255 angel capital. Going forward, their strategy is to replace grant funding
4256 with revenue.
4257     </p><p>
4258       In creating Lumen Learning, David and Kim say they’ve landed on solutions
4259 they never imagined, and there is still a lot of learning taking place. For
4260 them, open business models are an emerging field where we are all learning
4261 through sharing. Their biggest recommendations for others wanting to pursue
4262 the open model are to make your commitment to open resources public, let
4263 people know where you stand, and don’t back away from it. It really is about
4264 trust.
4265     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1326" class="footnote"><p><a href="#idm1326" 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>Rozdział 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>
4266         Jonathan Mann is a singer and songwriter who is most well known as the
4267 <span class="quote">„<span class="quote">Song A Day</span>”</span> guy. Based in the U.S.
4268       </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>
4269       </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
4270 services, pay-what-you-want, crowdfunding (subscription-based), charging for
4271 in-person version (speaking engagements and musical performances)
4272       </p><p><span class="strong"><strong>Interview date</strong></span>: February 22, 2016
4273       </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}
4274     \textit{
4275         Profile written by Sarah Hinchliff Pearson
4276       }
4277     \end{flushright}</td></tr></table></div><p>
4278       Jonathan Mann thinks of his business model as
4279 <span class="quote">„<span class="quote">hustling</span>”</span>—seizing nearly every opportunity he sees to make
4280 money. The bulk of his income comes from writing songs under commission for
4281 people and companies, but he has a wide variety of income sources. He has
4282 supporters on the crowdfunding site Patreon. He gets advertising revenue
4283 from YouTube and Bandcamp, where he posts all of his music. He gives paid
4284 speaking engagements about creativity and motivation. He has been hired by
4285 major conferences to write songs summarizing what speakers have said in the
4286 conference sessions.
4287     </p><p>
4288       His entrepreneurial spirit is coupled with a willingness to take action
4289 quickly. A perfect illustration of his ability to act fast happened in 2010,
4290 when he read that Apple was having a conference the following day to address
4291 a snafu related to the iPhone 4. He decided to write and post a song about
4292 the iPhone 4 that day, and the next day he got a call from the public
4293 relations people at Apple wanting to use and promote his video at the Apple
4294 conference. The song then went viral, and the experience landed him in Time
4295 magazine.
4296     </p><p>
4297       Jonathan’s successful <span class="quote">„<span class="quote">hustling</span>”</span> is also about old-fashioned
4298 persistence. He is currently in his eighth straight year of writing one song
4299 each day. He holds the Guinness World Record for consecutive daily
4300 songwriting, and he is widely known as the <span class="quote">„<span class="quote">song-a-day guy.</span>”</span>
4301     </p><p>
4302       He fell into this role by, naturally, seizing a random opportunity a friend
4303 alerted him to seven years ago—an event called Fun-A-Day, where people are
4304 supposed to create a piece of art every day for thirty-one days straight. He
4305 was in need of a new project, so he decided to give it a try by writing and
4306 posting a song each day.  He added a video component to the songs because he
4307 knew people were more likely to watch video online than simply listening to
4308 audio files.
4309     </p><p>
4310       He had a really good time doing the thirty-one-day challenge, so he decided
4311 to see if he could continue it for one year. He never stopped. He has
4312 written and posted a new song literally every day, seven days a week, since
4313 he began the project in 2009. When he isn’t writing songs that he is hired
4314 to write by clients, he writes songs about whatever is on his mind that
4315 day. His songs are catchy and mostly lighthearted, but they often contain at
4316 least an undercurrent of a deeper theme or meaning. Occasionally, they are
4317 extremely personal, like the song he cowrote with his exgirlfriend
4318 announcing their breakup. Rain or shine, in sickness or health, Jonathan
4319 posts and writes a song every day. If he is on a flight or otherwise
4320 incapable of getting Internet access in time to meet the deadline, he will
4321 prepare ahead and have someone else post the song for him.
4322     </p><p>
4323       Over time, the song-a-day gig became the basis of his livelihood.  In the
4324 beginning, he made money one of two ways. The first was by entering a wide
4325 variety of contests and winning a handful. The second was by having the
4326 occasional song and video go some varying degree of viral, which would bring
4327 more eyeballs and mean that there were more people wanting him to write
4328 songs for them. Today he earns most of his money this way.
4329     </p><p>
4330       His website explains his gig as <span class="quote">„<span class="quote">taking any message, from the super
4331 simple to the totally complicated, and conveying that message through a
4332 heartfelt, fun and quirky song.</span>”</span> He charges $500 to create a produced
4333 song and $300 for an acoustic song. He has been hired for product launches,
4334 weddings, conferences, and even Kickstarter campaigns like the one that
4335 funded the production of this book.
4336     </p><p>
4337       Jonathan can’t recall when exactly he first learned about Creative Commons,
4338 but he began applying CC licenses to his songs and videos as soon as he
4339 discovered the option. <span class="quote">„<span class="quote">CC seems like such a no-brainer,</span>”</span>
4340 Jonathan said. <span class="quote">„<span class="quote">I don’t understand how anything else would make
4341 sense. It seems like such an obvious thing that you would want your work to
4342 be able to be shared.</span>”</span>
4343     </p><p>
4344       His songs are essentially marketing for his services, so obviously the
4345 further his songs spread, the better. Using CC licenses helps grease the
4346 wheels, letting people know that Jonathan allows and encourages them to
4347 copy, interact with, and remix his music.  <span class="quote">„<span class="quote">If you let someone cover
4348 your song or remix it or use parts of it, that’s how music is supposed to
4349 work,</span>”</span> Jonathan said. <span class="quote">„<span class="quote">That is how music has worked since the
4350 beginning of time. Our me-me, mine-mine culture has undermined that.</span>”</span>
4351     </p><p>
4352       There are some people who cover his songs fairly regularly, and he would
4353 never shut that down. But he acknowledges there is a lot more he could do to
4354 build community. <span class="quote">„<span class="quote">There is all of this conventional wisdom about how
4355 to build an audience online, and I generally think I don’t do any of
4356 that,</span>”</span> Jonathan said.
4357     </p><p>
4358       He does have a fan community he cultivates on Bandcamp, but it isn’t his
4359 major focus. <span class="quote">„<span class="quote">I do have a core audience that has stuck around for a
4360 really long time, some even longer than I’ve been doing song-a-day,</span>”</span>
4361 he said. <span class="quote">„<span class="quote">There is also a transitional aspect that drop in and get
4362 what they need and then move on.</span>”</span> Focusing less on community building
4363 than other artists makes sense given Jonathan’s primary income source of
4364 writing custom songs for clients.
4365     </p><p>
4366       Jonathan recognizes what comes naturally to him and leverages those
4367 skills. Through the practice of daily songwriting, he realized he has a gift
4368 for distilling complicated subjects into simple concepts and putting them to
4369 music. In his song <span class="quote">„<span class="quote">How to Choose a Master Password,</span>”</span> Jonathan
4370 explained the process of creating a secure password in a silly, simple
4371 song. He was hired to write the song by a client who handed him a long
4372 technical blog post from which to draw the information. Like a good (and
4373 rare) journalist, he translated the technical concepts into something
4374 understandable.
4375     </p><p>
4376       When he is hired by a client to write a song, he first asks them to send a
4377 list of talking points and other information they want to include in the
4378 song. He puts all of that into a text file and starts moving things around,
4379 cutting and pasting until the message starts to come together. The first
4380 thing he tries to do is grok the core message and develop the chorus. Then
4381 he looks for connections or parts he can make rhyme. The entire process
4382 really does resemble good journalism, but of course the final product of his
4383 work is a song rather than news. <span class="quote">„<span class="quote">There is something about being
4384 challenged and forced to take information that doesn’t seem like it should
4385 be sung about or doesn’t seem like it lends itself to a song,</span>”</span> he
4386 said. <span class="quote">„<span class="quote">I find that creative challenge really satisfying. I enjoy
4387 getting lost in that process.</span>”</span>
4388     </p><p>
4389       Jonathan admits that in an ideal world, he would exclusively write the music
4390 he wanted to write, rather than what clients hire him to write. But his
4391 business model is about capitalizing on his strengths as a songwriter, and
4392 he has found a way to keep it interesting for himself.
4393     </p><p>
4394       Jonathan uses nearly every tool possible to make money from his art, but he
4395 does have lines he won’t cross. He won’t write songs about things he
4396 fundamentally does not believe in, and there are times he has turned down
4397 jobs on principle. He also won’t stray too much from his natural
4398 style. <span class="quote">„<span class="quote">My style is silly, so I can’t really accommodate people who
4399 want something super serious,</span>”</span> Jonathan said. <span class="quote">„<span class="quote">I do what I do
4400 very easily, and it’s part of who I am.</span>”</span> Jonathan hasn’t gotten into
4401 writing commercials for the same reasons; he is best at using his own unique
4402 style rather than mimicking others.
4403     </p><p>
4404       Jonathan’s song-a-day commitment exemplifies the power of habit and
4405 grit. Conventional wisdom about creative productivity, including advice in
4406 books like the best-seller The Creative Habit by Twyla Tharp, routinely
4407 emphasizes the importance of ritual and action. No amount of planning can
4408 replace the value of simple practice and just doing. Jonathan Mann’s work is
4409 a living embodiment of these principles.
4410     </p><p>
4411       When he speaks about his work, he talks about how much the song-a-day
4412 process has changed him. Rather than seeing any given piece of work as
4413 precious and getting stuck on trying to make it perfect, he has become
4414 comfortable with just doing. If today’s song is a bust, tomorrow’s song
4415 might be better.
4416     </p><p>
4417       Jonathan seems to have this mentality about his career more generally. He is
4418 constantly experimenting with ways to make a living while sharing his work
4419 as widely as possible, seeing what sticks. While he has major
4420 accomplishments he is proud of, like being in the Guinness World Records or
4421 having his song used by Steve Jobs, he says he never truly feels successful.
4422     </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
4423 extent, a creative person is not ever going to feel completely satisfied
4424 because then so much of what drives you would be gone.</span>”</span>
4425     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Rozdział 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>
4426         The Noun Project is a for-profit company offering an online platform to
4427 display visual icons from a global network of designers. Founded in 2010 in
4428 the U.S.
4429       </p><p>
4430           <a class="ulink" href="http://thenounproject.com" target="_top">http://thenounproject.com</a>
4431         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction
4432 fee, charging for custom services
4433       </p><p><span class="strong"><strong>Interview date</strong></span>: October 6, 2015
4434       </p><p><span class="strong"><strong>Interviewee</strong></span>: Edward Boatman, cofounder
4435       </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}
4436     \textit{
4437         Profile written by Paul Stacey
4438       }
4439     \end{flushright}</td></tr></table></div><p>
4440       The Noun Project creates and shares visual language. There are millions who
4441 use Noun Project symbols to simplify communication across borders,
4442 languages, and cultures.
4443     </p><p>
4444       The original idea for the Noun Project came to cofounder Edward Boatman
4445 while he was a student in architecture design school. He’d always done a lot
4446 of sketches and started to draw what used to fascinate him as a child, like
4447 trains, sequoias, and bulldozers.  He began thinking how great it would be
4448 if he had a simple image or small icon of every single object or concept on
4449 the planet.
4450     </p><p>
4451       When Edward went on to work at an architecture firm, he had to make a lot of
4452 presentation boards for clients. But finding high-quality sources for
4453 symbols and icons was difficult. He couldn’t find any website that could
4454 provide them. Perhaps his idea for creating a library of icons could
4455 actually help people in similar situations.
4456     </p><p>
4457       With his partner, Sofya Polyakov, he began collecting symbols for a website
4458 and writing a business plan. Inspiration came from the book Professor and
4459 the Madman, which chronicles the use of crowdsourcing to create the Oxford
4460 English Dictionary in 1870.  Edward began to imagine crowdsourcing icons and
4461 symbols from volunteer designers around the world.
4462     </p><p>
4463       Then Edward got laid off during the recession, which turned out to be a huge
4464 catalyst. He decided to give his idea a go, and in 2010 Edward and Sofya
4465 launched the Noun Project with a Kickstarter campaign, back when Kickstarter
4466 was in its infancy.<a href="#ftn.idm1429" class="footnote" name="idm1429"><sup class="footnote">[126]</sup></a> They thought it’d
4467 be a good way to introduce the global web community to their idea. Their
4468 goal was to raise $1,500, but in twenty days they got over $14,000. They
4469 realized their idea had the potential to be something much bigger.
4470     </p><p>
4471       They created a platform where symbols and icons could be uploaded, and
4472 Edward began recruiting talented designers to contribute their designs, a
4473 process he describes as a relatively easy sell. Lots of designers have old
4474 drawings just gathering <span class="quote">„<span class="quote">digital dust</span>”</span> on their hard
4475 drives. It’s easy to convince them to finally share them with the world.
4476     </p><p>
4477       The Noun Project currently has about seven thousand designers from around
4478 the world. But not all submissions are accepted. The Noun Project’s
4479 quality-review process means that only the best works become part of its
4480 collection. They make sure to provide encouraging, constructive feedback
4481 whenever they reject a piece of work, which maintains and builds the
4482 relationship they have with their global community of designers.
4483     </p><p>
4484       Creative Commons is an integral part of the Noun Project’s business model;
4485 this decision was inspired by Chris Anderson’s book Free: The Future of
4486 Radical Price, which introduced Edward to the idea that you could build a
4487 business model around free content.
4488     </p><p>
4489       Edward knew he wanted to offer a free visual language while still providing
4490 some protection and reward for its contributors. There is a tension between
4491 those two goals, but for Edward, Creative Commons licenses bring this
4492 idealism and business opportunity together elegantly. He chose the
4493 Attribution (CC BY) license, which means people can download the icons for
4494 free and modify them and even use them commercially. The requirement to give
4495 attribution to the original creator ensures that the creator can build a
4496 reputation and get global recognition for their work. And if they simply
4497 want to offer an icon that people can use without having to give credit,
4498 they can use CC0 to put the work into the public domain.
4499     </p><p>
4500       Noun Project’s business model and means of generating revenue have evolved
4501 significantly over time. Their initial plan was to sell T-shirts with the
4502 icons on it, which in retrospect Edward says was a horrible idea. They did
4503 get a lot of email from people saying they loved the icons but asking if
4504 they could pay a fee instead of giving attribution. Ad agencies (among
4505 others) wanted to keep marketing and presentation materials clean and free
4506 of attribution statements. For Edward, <span class="quote">„<span class="quote">That’s when our lightbulb went
4507 off.</span>”</span>
4508     </p><p>
4509       They asked their global network of designers whether they’d be open to
4510 receiving modest remuneration instead of attribution.  Designers saw it as a
4511 win-win. The idea that you could offer your designs for free and have a
4512 global audience and maybe even make some money was pretty exciting for most
4513 designers.
4514     </p><p>
4515       The Noun Project first adopted a model whereby using an icon without giving
4516 attribution would cost $1.99 per icon. The model’s second iteration added a
4517 subscription component, where there would be a monthly fee to access a
4518 certain number of icons—ten, fifty, a hundred, or five hundred. However,
4519 users didn’t like these hard-count options. They preferred to try out many
4520 similar icons to see which worked best before eventually choosing the one
4521 they wanted to use. So the Noun Project moved to an unlimited model, whereby
4522 users have unlimited access to the whole library for a flat monthly
4523 fee. This service is called NounPro and costs $9.99 per month. Edward says
4524 this model is working well—good for customers, good for creators, and good
4525 for the platform.
4526     </p><p>
4527       Customers then began asking for an application-programming interface (API),
4528 which would allow Noun Project icons and symbols to be directly accessed
4529 from within other applications. Edward knew that the icons and symbols would
4530 be valuable in a lot of different contexts and that they couldn’t possibly
4531 know all of them in advance, so they built an API with a lot of
4532 flexibility.  Knowing that most API applications would want to use the icons
4533 without giving attribution, the API was built with the aim of charging for
4534 its use. You can use what’s called the <span class="quote">„<span class="quote">Playground API</span>”</span> for
4535 free to test how it integrates with your application, but full
4536 implementation will require you to purchase the API Pro version.
4537     </p><p>
4538       The Noun Project shares revenue with its international designers.  For
4539 one-off purchases, the revenue is split 70 percent to the designer and 30
4540 percent to Noun Project.
4541     </p><p>
4542       The revenue from premium purchases (the subscription and API options) is
4543 split a little differently. At the end of each month, the total revenue from
4544 subscriptions is divided by Noun Project’s total number of downloads,
4545 resulting in a rate per download—for example, it could be $0.13 per download
4546 for that month. For each download, the revenue is split 40 percent to the
4547 designer and 60 percent to the Noun Project. (For API usage, it’s per use
4548 instead of per download.) Noun Project’s share is higher this time as it’s
4549 providing more service to the user.
4550     </p><p>
4551       The Noun Project tries to be completely transparent about their royalty
4552 structure.<a href="#ftn.idm1446" class="footnote" name="idm1446"><sup class="footnote">[127]</sup></a> They tend to over
4553 communicate with creators about it because building trust is the top
4554 priority.
4555     </p><p>
4556       For most creators, contributing to the Noun Project is not a full-time job
4557 but something they do on the side. Edward categorizes monthly earnings for
4558 creators into three broad categories: enough money to buy beer; enough to
4559 pay the bills; and most successful of all, enough to pay the rent.
4560     </p><p>
4561       Recently the Noun Project launched a new app called Lingo.  Designers can
4562 use Lingo to organize not just their Noun Project icons and symbols but also
4563 their photos, illustrations, UX designs, et cetera. You simply drag any
4564 visual item directly into Lingo to save it. Lingo also works for teams so
4565 people can share visuals with each other and search across their combined
4566 collections. Lingo is free for personal use. A pro version for $9.99 per
4567 month lets you add guests. A team version for $49.95 per month allows up to
4568 twenty-five team members to collaborate, and to view, use, edit, and add new
4569 assets to each other’s collections.  And if you subscribe to NounPro, you
4570 can access Noun Project from within Lingo.
4571     </p><p>
4572       The Noun Project gives a ton of value away for free. A very large percentage
4573 of their roughly one million members have a free account, but there are
4574 still lots of paid accounts coming from digital designers, advertising and
4575 design agencies, educators, and others who need to communicate ideas
4576 visually.
4577     </p><p>
4578       For Edward, <span class="quote">„<span class="quote">creating, sharing, and celebrating the world’s visual
4579 language</span>”</span> is the most important aspect of what they do; it’s their
4580 stated mission. It differentiates them from others who offer graphics,
4581 icons, or clip art.
4582     </p><p>
4583       Noun Project creators agree. When surveyed on why they participate in the
4584 Noun Project, this is how designers rank their reasons: 1)  to support the
4585 Noun Project mission, 2) to promote their own personal brand, and 3) to
4586 generate money. It’s striking to see that money comes third, and mission,
4587 first. If you want to engage a global network of contributors, it’s
4588 important to have a mission beyond making money.
4589     </p><p>
4590       In Edward’s view, Creative Commons is central to their mission of sharing
4591 and social good. Using Creative Commons makes the Noun Project’s mission
4592 genuine and has generated a lot of their initial traction and
4593 credibility. CC comes with a built-in community of users and fans.
4594     </p><p>
4595       Edward told us, <span class="quote">„<span class="quote">Don’t underestimate the power of a passionate
4596 community around your product or your business. They are going to go to bat
4597 for you when you’re getting ripped in the media. If you go down the road of
4598 choosing to work with Creative Commons, you’re taking the first step to
4599 building a great community and tapping into a really awesome community that
4600 comes with it. But you need to continue to foster that community through
4601 other initiatives and continue to nurture it.</span>”</span>
4602     </p><p>
4603       The Noun Project nurtures their creators’ second motivation—promoting a
4604 personal brand—by connecting every icon and symbol to the creator’s name and
4605 profile page; each profile features their full collection. Users can also
4606 search the icons by the creator’s name.
4607     </p><p>
4608       The Noun Project also builds community through Iconathons—hackathons for
4609 icons.<a href="#ftn.idm1460" class="footnote" name="idm1460"><sup class="footnote">[128]</sup></a> In partnership with a sponsoring
4610 organization, the Noun Project comes up with a theme (e.g., sustainable
4611 energy, food bank, guerrilla gardening, human rights) and a list of icons
4612 that are needed, which designers are invited to create at the event.  The
4613 results are vectorized, and added to the Noun Project using CC0 so they can
4614 be used by anyone for free.
4615     </p><p>
4616       Providing a free version of their product that satisfies a lot of their
4617 customers’ needs has actually enabled the Noun Project to build the paid
4618 version, using a service-oriented model. The Noun Project’s success lies in
4619 creating services and content that are a strategic mix of free and paid
4620 while staying true to their mission—creating, sharing, and celebrating the
4621 world’s visual language. Integrating Creative Commons into their model has
4622 been key to that goal.
4623     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1429" class="footnote"><p><a href="#idm1429" 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.idm1446" class="footnote"><p><a href="#idm1446" 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.idm1460" class="footnote"><p><a href="#idm1460" 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>Rozdział 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>
4624         The Open Data Institute is an independent nonprofit that connects, equips,
4625 and inspires people around the world to innovate with data. Founded in 2012
4626 in the UK.
4627       </p><p>
4628           <a class="ulink" href="http://theodi.org" target="_top">http://theodi.org</a>
4629         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant and government
4630 funding, charging for custom services, donations
4631       </p><p><span class="strong"><strong>Interview date</strong></span>: November 11, 2015
4632       </p><p><span class="strong"><strong>Interviewee</strong></span>: Jeni Tennison, technical
4633 director
4634       </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}
4635     \textit{
4636         Profile written by Paul Stacey
4637       }
4638     \end{flushright}</td></tr></table></div><p>
4639       Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the
4640 London-based Open Data Institute (ODI) offers data-related training, events,
4641 consulting services, and research. For ODI, Creative Commons licenses are
4642 central to making their own business model and their customers’ open. CC BY
4643 (Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the
4644 public domain)  all play a critical role in ODI’s mission to help people
4645 around the world innovate with data.
4646     </p><p>
4647       Data underpins planning and decision making across all aspects of
4648 society. Weather data helps farmers know when to plant their crops, flight
4649 time data from airplane companies helps us plan our travel, data on local
4650 housing informs city planning. When this data is not only accurate and
4651 timely, but open and accessible, it opens up new possibilities. Open data
4652 can be a resource businesses use to build new products and services. It can
4653 help governments measure progress, improve efficiency, and target
4654 investments. It can help citizens improve their lives by better
4655 understanding what is happening around them.
4656     </p><p>
4657       The Open Data Institute’s 2012–17 business plan starts out by describing its
4658 vision to establish itself as a world-leading center and to research and be
4659 innovative with the opportunities created by the UK government’s open data
4660 policy. (The government was an early pioneer in open policy and open-data
4661 initiatives.) It goes on to say that the ODI wants to—
4662     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4663           demonstrate the commercial value of open government data and how open-data
4664 policies affect this;
4665         </p></li><li class="listitem"><p>
4666           develop the economic benefits case and business models for open data;
4667         </p></li><li class="listitem"><p>
4668           help UK businesses use open data; and
4669         </p></li><li class="listitem"><p>
4670           show how open data can improve public services.<a href="#ftn.idm1489" class="footnote" name="idm1489"><sup class="footnote">[129]</sup></a>
4671         </p></li></ul></div><p>
4672       ODI is very explicit about how it wants to make open business models, and
4673 defining what this means. Jeni Tennison, ODI’s technical director, puts it
4674 this way: <span class="quote">„<span class="quote">There is a whole ecosystem of open—open-source software,
4675 open government, open-access research—and a whole ecosystem of data. ODI’s
4676 work cuts across both, with an emphasis on where they overlap—with open
4677 data.</span>”</span> ODI’s particular focus is to show open data’s potential for
4678 revenue.
4679     </p><p>
4680       As an independent nonprofit, ODI secured £10 million over five years from
4681 the UK government via Innovate UK, an agency that promotes innovation in
4682 science and technology. For this funding, ODI has to secure matching funds
4683 from other sources, some of which were met through a $4.75-million
4684 investment from the Omidyar Network.
4685     </p><p>
4686       Jeni started out as a developer and technical architect for data.gov.uk, the
4687 UK government’s pioneering open-data initiative.  She helped make data sets
4688 from government departments available as open data. She joined ODI in 2012
4689 when it was just starting up, as one of six people. It now has a staff of
4690 about sixty.
4691     </p><p>
4692       ODI strives to have half its annual budget come from the core UK government
4693 and Omidyar grants, and the other half from project-based research and
4694 commercial work. In Jeni’s view, having this balance of revenue sources
4695 establishes some stability, but also keeps them motivated to go out and
4696 generate these matching funds in response to market needs.
4697     </p><p>
4698       On the commercial side, ODI generates funding through memberships, training,
4699 and advisory services.
4700     </p><p>
4701       You can join the ODI as an individual or commercial member.  Individual
4702 membership is pay-what-you-can, with options ranging from £1 to
4703 £100. Members receive a newsletter and related communications and a discount
4704 on ODI training courses and the annual summit, and they can display an
4705 ODI-supporter badge on their website. Commercial membership is divided into
4706 two tiers: small to medium size enterprises and nonprofits at £720 a year,
4707 and corporations and government organizations at £2,200 a year.  Commercial
4708 members have greater opportunities to connect and collaborate, explore the
4709 benefits of open data, and unlock new business opportunities. (All members
4710 are listed on their website.)<a href="#ftn.idm1499" class="footnote" name="idm1499"><sup class="footnote">[130]</sup></a>
4711     </p><p>
4712       ODI provides standardized open data training courses in which anyone can
4713 enroll. The initial idea was to offer an intensive and academically oriented
4714 diploma in open data, but it quickly became clear there was no market for
4715 that. Instead, they offered a five-day-long public training course, which
4716 has subsequently been reduced to three days; now the most popular course is
4717 one day long. The fee, in addition to the time commitment, can be a barrier
4718 for participation. Jeni says, <span class="quote">„<span class="quote">Most of the people who would be able to
4719 pay don’t know they need it. Most who know they need it can’t pay.</span>”</span>
4720 Public-sector organizations sometimes give vouchers to their employees so
4721 they can attend as a form of professional development.
4722     </p><p>
4723       ODI customizes training for clients as well, for which there is more
4724 demand. Custom training usually emerges through an established relationship
4725 with an organization. The training program is based on a definition of
4726 open-data knowledge as applicable to the organization and on the skills
4727 needed by their high-level executives, management, and technical staff. The
4728 training tends to generate high interest and commitment.
4729     </p><p>
4730       Education about open data is also a part of ODI’s annual summit event, where
4731 curated presentations and speakers showcase the work of ODI and its members
4732 across the entire ecosystem. Tickets to the summit are available to the
4733 public, and hundreds of people and organizations attend and participate. In
4734 2014, there were four thematic tracks and over 750 attendees.
4735     </p><p>
4736       In addition to memberships and training, ODI provides advisory services to
4737 help with technical-data support, technology development, change management,
4738 policies, and other areas. ODI has advised large commercial organizations,
4739 small businesses, and international governments; the focus at the moment is
4740 on government, but ODI is working to shift more toward commercial
4741 organizations.
4742     </p><p>
4743       On the commercial side, the following value propositions seem to resonate:
4744     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4745           Data-driven insights. Businesses need data from outside their business to
4746 get more insight. Businesses can generate value and more effectively pursue
4747 their own goals if they open up their own data too. Big data is a hot topic.
4748         </p></li><li class="listitem"><p>
4749           Open innovation. Many large-scale enterprises are aware they don’t innovate
4750 very well. One way they can innovate is to open up their data. ODI
4751 encourages them to do so even if it exposes problems and challenges. The key
4752 is to invite other people to help while still maintaining organizational
4753 autonomy.
4754         </p></li><li class="listitem"><p>
4755           Corporate social responsibility. While this resonates with businesses, ODI
4756 cautions against having it be the sole reason for making data open. If a
4757 business is just thinking about open data as a way to be transparent and
4758 accountable, they can miss out on efficiencies and opportunities.
4759         </p></li></ul></div><p>
4760       During their early years, ODI wanted to focus solely on the United
4761 Kingdom. But in their first year, large delegations of government visitors
4762 from over fifty countries wanted to learn more about the UK government’s
4763 open-data practices and how ODI saw that translating into economic
4764 value. They were contracted as a service provider to international
4765 governments, which prompted a need to set up international ODI
4766 <span class="quote">„<span class="quote">nodes.</span>”</span>
4767     </p><p>
4768       Nodes are franchises of the ODI at a regional or city level.  Hosted by
4769 existing (for-profit or not-for-profit) organizations, they operate locally
4770 but are part of the global network. Each ODI node adopts the charter, a set
4771 of guiding principles and rules under which ODI operates. They develop and
4772 deliver training, connect people and businesses through membership and
4773 events, and communicate open-data stories from their part of the
4774 world. There are twenty-seven different nodes across nineteen countries. ODI
4775 nodes are charged a small fee to be part of the network and to use the
4776 brand.
4777     </p><p>
4778       ODI also runs programs to help start-ups in the UK and across Europe develop
4779 a sustainable business around open data, offering mentoring, advice,
4780 training, and even office space.<a href="#ftn.idm1519" class="footnote" name="idm1519"><sup class="footnote">[131]</sup></a>
4781     </p><p>
4782       A big part of ODI’s business model revolves around community
4783 building. Memberships, training, summits, consulting services, nodes, and
4784 start-up programs create an ever-growing network of open-data users and
4785 leaders. (In fact, ODI even operates something called an Open Data Leaders
4786 Network.) For ODI, community is key to success. They devote significant time
4787 and effort to build it, not just online but through face-to-face events.
4788     </p><p>
4789       ODI has created an online tool that organizations can use to assess the
4790 legal, practical, technical, and social aspects of their open data. If it is
4791 of high quality, the organization can earn ODI’s Open Data Certificate, a
4792 globally recognized mark that signals that their open data is useful,
4793 reliable, accessible, discoverable, and supported.<a href="#ftn.idm1525" class="footnote" name="idm1525"><sup class="footnote">[132]</sup></a>
4794     </p><p>
4795       Separate from commercial activities, the ODI generates funding through
4796 research grants. Research includes looking at evidence on the impact of open
4797 data, development of open-data tools and standards, and how to deploy open
4798 data at scale.
4799     </p><p>
4800       Creative Commons 4.0 licenses cover database rights and ODI recommends CC
4801 BY, CC BY-SA, and CC0 for data releases. ODI encourages publishers of data
4802 to use Creative Commons licenses rather than creating new <span class="quote">„<span class="quote">open
4803 licenses</span>”</span> of their own.
4804     </p><p>
4805       For ODI, open is at the heart of what they do. They also release any
4806 software code they produce under open-source-software licenses, and
4807 publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
4808 to connect and equip people around the world so they can innovate with
4809 data. Disseminating stories, research, guidance, and code under an open
4810 license is essential for achieving that mission. It also demonstrates that
4811 it is perfectly possible to generate sustainable revenue streams that do not
4812 rely on restrictive licensing of content, data, or code.  People pay to have
4813 ODI experts provide training to them, not for the content of the training;
4814 people pay for the advice ODI gives them, not for the methodologies they
4815 use. Producing open content, data, and source code helps establish
4816 credibility and creates leads for the paid services that they
4817 offer. According to Jeni, <span class="quote">„<span class="quote">The biggest lesson we have learned is that
4818 it is completely possible to be open, get customers, and make money.</span>”</span>
4819     </p><p>
4820       To serve as evidence of a successful open business model and return on
4821 investment, ODI has a public dashboard of key performance indicators. Here
4822 are a few metrics as of April 27, 2016:
4823     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4824           Total amount of cash investments unlocked in direct investments in ODI,
4825 competition funding, direct contracts, and partnerships, and income that ODI
4826 nodes and ODI start-ups have generated since joining the ODI program: £44.5
4827 million
4828         </p></li><li class="listitem"><p>
4829           Total number of active members and nodes across the globe: 1,350
4830         </p></li><li class="listitem"><p>
4831           Total sales since ODI began: £7.44 million
4832         </p></li><li class="listitem"><p>
4833           Total number of unique people reached since ODI began, in person and online:
4834 2.2 million
4835         </p></li><li class="listitem"><p>
4836           Total Open Data Certificates created: 151,000
4837         </p></li><li class="listitem"><p>
4838           Total number of people trained by ODI and its nodes since ODI began:
4839 5,080<a href="#ftn.idm1547" class="footnote" name="idm1547"><sup class="footnote">[133]</sup></a>
4840         </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1489" class="footnote"><p><a href="#idm1489" 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.idm1499" class="footnote"><p><a href="#idm1499" 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.idm1519" class="footnote"><p><a href="#idm1519" 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.idm1525" class="footnote"><p><a href="#idm1525" 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.idm1547" class="footnote"><p><a href="#idm1547" 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>Rozdział 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>
4841         Opendesk is a for-profit company offering an online platform that connects
4842 furniture designers around the world with customers and local makers who
4843 bring the designs to life.  Founded in 2014 in the UK.
4844       </p><p>
4845           <a class="ulink" href="http://www.opendesk.cc" target="_top">http://www.opendesk.cc</a>
4846         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
4847       </p><p><span class="strong"><strong>Interview date</strong></span>: November 4, 2015
4848       </p><p><span class="strong"><strong>Interviewees</strong></span>: Nick Ierodiaconou and Joni
4849 Steiner, cofounders
4850       </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}
4851     \textit{
4852         Profile written by Paul Stacey
4853       }
4854     \end{flushright}</td></tr></table></div><p>
4855       Opendesk is an online platform that connects furniture designers around the
4856 world not just with customers but also with local registered makers who
4857 bring the designs to life. Opendesk and the designer receive a portion of
4858 every sale that is made by a maker.
4859     </p><p>
4860       Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as
4861 architects together. They also made goods. Their first client was Mint
4862 Digital, who had an interest in open licensing. Nick and Joni were exploring
4863 digital fabrication, and Mint’s interest in open licensing got them to
4864 thinking how the open-source world may interact and apply to physical
4865 goods. They sought to design something for their client that was also
4866 reproducible. As they put it, they decided to <span class="quote">„<span class="quote">ship the recipe, but
4867 not the goods.</span>”</span> They created the design using software, put it under
4868 an open license, and had it manufactured locally near the client. This was
4869 the start of the idea for Opendesk. The idea for Wikihouse—another open
4870 project dedicated to accessible housing for all—started as discussions
4871 around the same table. The two projects ultimately went on separate paths,
4872 with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit
4873 company.
4874     </p><p>
4875       When Nick and Joni set out to create Opendesk, there were a lot of questions
4876 about the viability of distributed manufacturing. No one was doing it in a
4877 way that was even close to realistic or competitive. The design community
4878 had the intent, but fulfilling this vision was still a long way away.
4879     </p><p>
4880       And now this sector is emerging, and Nick and Joni are highly interested in
4881 the commercialization aspects of it. As part of coming up with a business
4882 model, they began investigating intellectual property and licensing
4883 options. It was a thorny space, especially for designs. Just what aspect of
4884 a design is copyrightable? What is patentable? How can allowing for digital
4885 sharing and distribution be balanced against the designer’s desire to still
4886 hold ownership? In the end, they decided there was no need to reinvent the
4887 wheel and settled on using Creative Commons.
4888     </p><p>
4889       When designing the Opendesk system, they had two goals. They wanted anyone,
4890 anywhere in the world, to be able to download designs so that they could be
4891 made locally, and they wanted a viable model that benefited designers when
4892 their designs were sold. Coming up with a business model was going to be
4893 complex.
4894     </p><p>
4895       They gave a lot of thought to three angles—the potential for social sharing,
4896 allowing designers to choose their license, and the impact these choices
4897 would have on the business model.
4898     </p><p>
4899       In support of social sharing, Opendesk actively advocates for (but doesn’t
4900 demand) open licensing. And Nick and Joni are agnostic about which Creative
4901 Commons license is used; it’s up to the designer. They can be proprietary or
4902 choose from the full suite of Creative Commons licenses, deciding for
4903 themselves how open or closed they want to be.
4904     </p><p>
4905       For the most part, designers love the idea of sharing content.  They
4906 understand that you get positive feedback when you’re attributed, what Nick
4907 and Joni called <span class="quote">„<span class="quote">reputational glow.</span>”</span> And Opendesk does an
4908 awesome job profiling the designers.<a href="#ftn.idm1573" class="footnote" name="idm1573"><sup class="footnote">[134]</sup></a>
4909     </p><p>
4910       While designers are largely OK with personal sharing, there is a concern
4911 that someone will take the design and manufacture the furniture in bulk,
4912 with the designer not getting any benefits. So most Opendesk designers
4913 choose the Attribution-NonCommercial license (CC BY-NC).
4914     </p><p>
4915       Anyone can download a design and make it themselves, provided it’s for
4916 noncommercial use — and there have been many, many downloads.  Or users can
4917 buy the product from Opendesk, or from a registered maker in Opendesk’s
4918 network, for on-demand personal fabrication.  The network of Opendesk makers
4919 currently is made up of those who do digital fabrication using a
4920 computer-controlled CNC (Computer Numeric Control) machining device that
4921 cuts shapes out of wooden sheets according to the specifications in the
4922 design file.
4923     </p><p>
4924       Makers benefit from being part of Opendesk’s network. Making furniture for
4925 local customers is paid work, and Opendesk generates business for them. Joni
4926 said, <span class="quote">„<span class="quote">Finding a whole network and community of makers was pretty easy
4927 because we built a site where people could write in about their
4928 capabilities. Building the community by learning from the maker community is
4929 how we have moved forward.</span>”</span> Opendesk now has relationships with
4930 hundreds of makers in countries all around the world.<a href="#ftn.idm1580" class="footnote" name="idm1580"><sup class="footnote">[135]</sup></a>
4931     </p><p>
4932       The makers are a critical part of the Opendesk business model.  Their model
4933 builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
4934 website:
4935     </p><p>
4936       When customers buy an Opendesk product directly from a registered maker,
4937 they pay:
4938     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4939           the manufacturing cost as set by the maker (this covers material and labour
4940 costs for the product to be manufactured and any extra assembly costs
4941 charged by the maker)
4942         </p></li><li class="listitem"><p>
4943           a design fee for the designer (a design fee that is paid to the designer
4944 every time their design is used)
4945         </p></li><li class="listitem"><p>
4946           a percentage fee to the Opendesk platform (this supports the infrastructure
4947 and ongoing development of the platform that helps us build out our
4948 marketplace)
4949         </p></li><li class="listitem"><p>
4950           a percentage fee to the channel through which the sale is made (at the
4951 moment this is Opendesk, but in the future we aim to open this up to
4952 third-party sellers who can sell Opendesk products through their own
4953 channels—this covers sales and marketing fees for the relevant channel)
4954         </p></li><li class="listitem"><p>
4955           a local delivery service charge (the delivery is typically charged by the
4956 maker, but in some cases may be paid to a third-party delivery partner)
4957         </p></li><li class="listitem"><p>
4958           charges for any additional services the customer chooses, such as on-site
4959 assembly (additional services are discretionary—in many cases makers will be
4960 happy to quote for assembly on-site and designers may offer bespoke design
4961 options)
4962         </p></li><li class="listitem"><p>
4963           local sales taxes (variable by customer and maker location)<a href="#ftn.idm1600" class="footnote" name="idm1600"><sup class="footnote">[136]</sup></a>
4964         </p></li></ul></div><p>
4965       They then go into detail how makers’ quotes are created:
4966     </p><p>
4967       When a customer wants to buy an Opendesk . . . they are provided with a
4968 transparent breakdown of fees including the manufacturing cost, design fee,
4969 Opendesk platform fee and channel fees. If a customer opts to buy by getting
4970 in touch directly with a registered local maker using a downloaded Opendesk
4971 file, the maker is responsible for ensuring the design fee, Opendesk
4972 platform fee and channel fees are included in any quote at the time of
4973 sale.  Percentage fees are always based on the underlying manufacturing cost
4974 and are typically apportioned as follows:
4975     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4976           manufacturing cost: fabrication, finishing and any other costs as set by the
4977 maker (excluding any services like delivery or on-site assembly)
4978         </p></li><li class="listitem"><p>
4979           design fee: 8 percent of the manufacturing cost
4980         </p></li><li class="listitem"><p>
4981           platform fee: 12 percent of the manufacturing cost
4982         </p></li><li class="listitem"><p>
4983           channel fee: 18 percent of the manufacturing cost
4984         </p></li><li class="listitem"><p>
4985           sales tax: as applicable (depends on product and location)
4986         </p></li></ul></div><p>
4987       Opendesk shares revenue with their community of designers.  According to
4988 Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
4989 percent is more generous, and providing a higher value to the designer.
4990     </p><p>
4991       The Opendesk website features stories of designers and makers.  Denis Fuzii
4992 published the design for the Valovi Chair from his studio in São Paulo. His
4993 designs have been downloaded over five thousand times in ninety-five
4994 countries. I.J. CNC Services is Ian Jinks, a professional maker based in the
4995 United Kingdom. Opendesk now makes up a large proportion of his business.
4996     </p><p>
4997       To manage resources and remain effective, Opendesk has so far focused on a
4998 very narrow niche—primarily office furniture of a certain simple aesthetic,
4999 which uses only one type of material and one manufacturing technique. This
5000 allows them to be more strategic and more disruptive in the market, by
5001 getting things to market quickly with competitive prices. It also reflects
5002 their vision of creating reproducible and functional pieces.
5003     </p><p>
5004       On their website, Opendesk describes what they do as <span class="quote">„<span class="quote">open
5005 making</span>”</span>: <span class="quote">„<span class="quote">Designers get a global distribution channel. Makers
5006 get profitable jobs and new customers. You get designer products without the
5007 designer price tag, a more social, eco-friendly alternative to
5008 mass-production and an affordable way to buy custom-made products.</span>”</span>
5009     </p><p>
5010       Nick and Joni say that customers like the fact that the furniture has a
5011 known provenance. People really like that their furniture was designed by a
5012 certain international designer but was made by a maker in their local
5013 community; it’s a great story to tell. It certainly sets apart Opendesk
5014 furniture from the usual mass-produced items from a store.
5015     </p><p>
5016       Nick and Joni are taking a community-based approach to define and evolve
5017 Opendesk and the <span class="quote">„<span class="quote">open making</span>”</span> business model.  They’re
5018 engaging thought leaders and practitioners to define this new movement. They
5019 have a separate Open Making site, which includes a manifesto, a field guide,
5020 and an invitation to get involved in the Open Making community.<a href="#ftn.idm1625" class="footnote" name="idm1625"><sup class="footnote">[137]</sup></a> People can submit ideas and discuss the principles
5021 and business practices they’d like to see used.
5022     </p><p>
5023       Nick and Joni talked a lot with us about intellectual property (IP) and
5024 commercialization. Many of their designers fear the idea that someone could
5025 take one of their design files and make and sell infinite number of pieces
5026 of furniture with it. As a consequence, most Opendesk designers choose the
5027 Attribution-NonCommercial license (CC BY-NC).
5028     </p><p>
5029       Opendesk established a set of principles for what their community considers
5030 commercial and noncommercial use. Their website states:
5031     </p><p>
5032       It is unambiguously commercial use when anyone:
5033     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5034           charges a fee or makes a profit when making an Opendesk
5035         </p></li><li class="listitem"><p>
5036           sells (or bases a commercial service on) an Opendesk
5037         </p></li></ul></div><p>
5038       It follows from this that noncommercial use is when you make an Opendesk
5039 yourself, with no intention to gain commercial advantage or monetary
5040 compensation. For example, these qualify as noncommercial:
5041     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5042           you are an individual with your own CNC machine, or access to a shared CNC
5043 machine, and will personally cut and make a few pieces of furniture yourself
5044         </p></li><li class="listitem"><p>
5045           you are a student (or teacher) and you use the design files for educational
5046 purposes or training (and do not intend to sell the resulting pieces)
5047         </p></li><li class="listitem"><p>
5048           you work for a charity and get furniture cut by volunteers, or by employees
5049 at a fab lab or maker space
5050         </p></li></ul></div><p>
5051       Whether or not people technically are doing things that implicate IP, Nick
5052 and Joni have found that people tend to comply with the wishes of creators
5053 out of a sense of fairness. They have found that behavioral economics can
5054 replace some of the thorny legal issues. In their business model, Nick and
5055 Joni are trying to suspend the focus on IP and build an open business model
5056 that works for all stakeholders—designers, channels, manufacturers, and
5057 customers. For them, the value Opendesk generates hangs off
5058 <span class="quote">„<span class="quote">open,</span>”</span> not IP.
5059     </p><p>
5060       The mission of Opendesk is about relocalizing manufacturing, which changes
5061 the way we think about how goods are made.  Commercialization is integral to
5062 their mission, and they’ve begun to focus on success metrics that track how
5063 many makers and designers are engaged through Opendesk in revenue-making
5064 work.
5065     </p><p>
5066       As a global platform for local making, Opendesk’s business model has been
5067 built on honesty, transparency, and inclusivity. As Nick and Joni describe
5068 it, they put ideas out there that get traction and then have faith in
5069 people.
5070     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1573" class="footnote"><p><a href="#idm1573" 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.idm1580" class="footnote"><p><a href="#idm1580" 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.idm1600" class="footnote"><p><a href="#idm1600" 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.idm1625" class="footnote"><p><a href="#idm1625" 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>Rozdział 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>
5071         OpenStax is a nonprofit that provides free, openly licensed textbooks for
5072 high-enrollment introductory college courses and Advanced Placement
5073 courses. Founded in 2012 in the U.S.
5074       </p><p>
5075           <a class="ulink" href="http://www.openstaxcollege.org" target="_top">http://www.openstaxcollege.org</a>
5076         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding, charging
5077 for custom services, charging for physical copies (textbook sales)
5078       </p><p><span class="strong"><strong>Interview date</strong></span>: December 16, 2015
5079       </p><p><span class="strong"><strong>Interviewee</strong></span>: David Harris,
5080 editor-in-chief
5081       </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}
5082     \textit{
5083         Profile written by Paul Stacey
5084       }
5085     \end{flushright}</td></tr></table></div><p>
5086       OpenStax is an extension of a program called Connexions, which was started
5087 in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of
5088 Electrical and Computer Engineering at Rice University in Houston,
5089 Texas. Frustrated by the limitations of traditional textbooks and courses,
5090 Dr. Baraniuk wanted to provide authors and learners a way to share and
5091 freely adapt educational materials such as courses, books, and
5092 reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
5093 best libraries of customizable educational materials, all licensed with
5094 Creative Commons and available to anyone, anywhere, anytime—for free.
5095     </p><p>
5096       In 2008, while in a senior leadership role at WebAssign and looking at ways
5097 to reduce the risk that came with relying on publishers, David Harris began
5098 investigating open educational resources (OER) and discovered Connexions. A
5099 year and a half later, Connexions received a grant to help grow the use of
5100 OER so that it could meet the needs of students who couldn’t afford
5101 textbooks. David came on board to spearhead this effort.  Connexions became
5102 OpenStax CNX; the program to create open textbooks became OpenStax College,
5103 now simply called OpenStax.
5104     </p><p>
5105       David brought with him a deep understanding of the best practices of
5106 publishing along with where publishers have inefficiencies. In David’s view,
5107 peer review and high standards for quality are critically important if you
5108 want to scale easily. Books have to have logical scope and sequence, they
5109 have to exist as a whole and not in pieces, and they have to be easy to
5110 find. The working hypothesis for the launch of OpenStax was to
5111 professionally produce a turnkey textbook by investing effort up front, with
5112 the expectation that this would lead to rapid growth through easy downstream
5113 adoptions by faculty and students.
5114     </p><p>
5115       In 2012, OpenStax College launched as a nonprofit with the aim of producing
5116 high-quality, peer-reviewed full-color textbooks that would be available for
5117 free for the twenty-five most heavily attended college courses in the
5118 nation. Today they are fast approaching that number. There is data that
5119 proves the success of their original hypothesis on how many students they
5120 could help and how much money they could help save.<a href="#ftn.idm1665" class="footnote" name="idm1665"><sup class="footnote">[138]</sup></a> Professionally produced content scales rapidly. All
5121 with no sales force!
5122     </p><p>
5123       OpenStax textbooks are all Attribution (CC BY) licensed, and each textbook
5124 is available as a PDF, an e-book, or web pages. Those who want a physical
5125 copy can buy one for an affordable price. Given the cost of education and
5126 student debt in North America, free or very low-cost textbooks are very
5127 appealing. OpenStax encourages students to talk to their professor and
5128 librarians about these textbooks and to advocate for their use.
5129     </p><p>
5130       Teachers are invited to try out a single chapter from one of the textbooks
5131 with students. If that goes well, they’re encouraged to adopt the entire
5132 book. They can simply paste a URL into their course syllabus, for free and
5133 unlimited access. And with the CC BY license, teachers are free to delete
5134 chapters, make changes, and customize any book to fit their needs.
5135     </p><p>
5136       Any teacher can post corrections, suggest examples for difficult concepts,
5137 or volunteer as an editor or author. As many teachers also want supplemental
5138 material to accompany a textbook, OpenStax also provides slide
5139 presentations, test banks, answer keys, and so on.
5140     </p><p>
5141       Institutions can stand out by offering students a lower-cost education
5142 through the use of OpenStax textbooks; there’s even a textbook-savings
5143 calculator they can use to see how much students would save. OpenStax keeps
5144 a running list of institutions that have adopted their
5145 textbooks.<a href="#ftn.idm1672" class="footnote" name="idm1672"><sup class="footnote">[139]</sup></a>
5146     </p><p>
5147       Unlike traditional publishers’ monolithic approach of controlling
5148 intellectual property, distribution, and so many other aspects, OpenStax has
5149 adopted a model that embraces open licensing and relies on an extensive
5150 network of partners.
5151     </p><p>
5152       Up-front funding of a professionally produced all-color turnkey textbook is
5153 expensive. For this part of their model, OpenStax relies on
5154 philanthropy. They have initially been funded by the William and Flora
5155 Hewlett Foundation, the Laura and John Arnold Foundation, the Bill and
5156 Melinda Gates Foundation, the 20 Million Minds Foundation, the Maxfield
5157 Foundation, the Calvin K. Kazanjian Foundation, and Rice University. To
5158 develop additional titles and supporting technology is probably still going
5159 to require philanthropic investment.
5160     </p><p>
5161       However, ongoing operations will not rely on foundation grants but instead
5162 on funds received through an ecosystem of over forty partners, whereby a
5163 partner takes core content from OpenStax and adds features that it can
5164 create revenue from. For example, WebAssign, an online homework and
5165 assessment tool, takes the physics book and adds algorithmically generated
5166 physics problems, with problem-specific feedback, detailed solutions, and
5167 tutorial support. WebAssign resources are available to students for a fee.
5168     </p><p>
5169       Another example is Odigia, who has turned OpenStax books into interactive
5170 learning experiences and created additional tools to measure and promote
5171 student engagement. Odigia licenses its learning platform to
5172 institutions. Partners like Odigia and WebAssign give a percentage of the
5173 revenue they earn back to OpenStax, as mission-support fees. OpenStax has
5174 already published revisions of their titles, such as Introduction to
5175 Sociology 2e, using these funds.
5176     </p><p>
5177       In David’s view, this approach lets the market operate at peak
5178 efficiency. OpenStax’s partners don’t have to worry about developing
5179 textbook content, freeing them up from those development costs and letting
5180 them focus on what they do best.  With OpenStax textbooks available at no
5181 cost, they can provide their services at a lower cost—not free, but still
5182 saving students money. OpenStax benefits not only by receiving
5183 mission-support fees but through free publicity and marketing. OpenStax
5184 doesn’t have a sales force; partners are out there showcasing their
5185 materials.
5186     </p><p>
5187       OpenStax’s cost of sales to acquire a single student is very, very low and
5188 is a fraction of what traditional players in the market face. This year,
5189 Tyton Partners is actually evaluating the costs of sales for an OER effort
5190 like OpenStax in comparison with incumbents. David looks forward to sharing
5191 these findings with the community.
5192     </p><p>
5193       While OpenStax books are available online for free, many students still want
5194 a print copy. Through a partnership with a print and courier company,
5195 OpenStax offers a complete solution that scales.  OpenStax sells tens of
5196 thousands of print books. The price of an OpenStax sociology textbook is
5197 about twenty-eight dollars, a fraction of what sociology textbooks usually
5198 cost. OpenStax keeps the prices low but does aim to earn a small margin on
5199 each book sold, which also contributes to ongoing operations.
5200     </p><p>
5201       Campus-based bookstores are part of the OpenStax solution.  OpenStax
5202 collaborates with NACSCORP (the National Association of College Stores
5203 Corporation) to provide print versions of their textbooks in the
5204 stores. While the overall cost of the textbook is significantly less than a
5205 traditional textbook, bookstores can still make a profit on sales. Sometimes
5206 students take the savings they have from the lower-priced book and use it to
5207 buy other things in the bookstore. And OpenStax is trying to break the
5208 expensive behavior of excessive returns by having a no-returns policy. This
5209 is working well, since the sell-through of their print titles is virtually a
5210 hundred percent.
5211     </p><p>
5212       David thinks of the OpenStax model as <span class="quote">„<span class="quote">OER 2.0.</span>”</span> So what is OER
5213 1.0? Historically in the OER field, many OER initiatives have been locally
5214 funded by institutions or government ministries. In David’s view, this
5215 results in content that has high local value but is infrequently adopted
5216 nationally. It’s therefore difficult to show payback over a time scale that
5217 is reasonable.
5218     </p><p>
5219       OER 2.0 is about OER intended to be used and adopted on a national level
5220 right from the start. This requires a bigger investment up front but pays
5221 off through wide geographic adoption. The OER 2.0 process for OpenStax
5222 involves two development models. The first is what David calls the
5223 acquisition model, where OpenStax purchases the rights from a publisher or
5224 author for an already published book and then extensively revises it. The
5225 OpenStax physics textbook, for example, was licensed from an author after
5226 the publisher released the rights back to the authors. The second model is
5227 to develop a book from scratch, a good example being their biology book.
5228     </p><p>
5229       The process is similar for both models. First they look at the scope and
5230 sequence of existing textbooks. They ask questions like what does the
5231 customer need? Where are students having challenges? Then they identify
5232 potential authors and put them through a rigorous evaluation—only one in ten
5233 authors make it through.  OpenStax selects a team of authors who come
5234 together to develop a template for a chapter and collectively write the
5235 first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
5236 books with just a single author as David says it risks the project going
5237 longer than scheduled.) The draft is peer-reviewed with no less than three
5238 reviewers per chapter. A second draft is generated, with artists producing
5239 illustrations and visuals to go along with the text. The book is then
5240 copyedited to ensure grammatical correctness and a singular voice. Finally,
5241 it goes into production and through a final proofread. The whole process is
5242 very time-consuming.
5243     </p><p>
5244       All the people involved in this process are paid. OpenStax does not rely on
5245 volunteers. Writers, reviewers, illustrators, and editors are all paid an
5246 up-front fee—OpenStax does not use a royalty model. A best-selling author
5247 might make more money under the traditional publishing model, but that is
5248 only maybe 5 percent of all authors. From David’s perspective, 95 percent of
5249 all authors do better under the OER 2.0 model, as there is no risk to them
5250 and they earn all the money up front.
5251     </p><p>
5252       David thinks of the Attribution license (CC BY) as the <span class="quote">„<span class="quote">innovation
5253 license.</span>”</span> It’s core to the mission of OpenStax, letting people use
5254 their textbooks in innovative ways without having to ask for permission. It
5255 frees up the whole market and has been central to OpenStax being able to
5256 bring on partners.  OpenStax sees a lot of customization of their
5257 materials. By enabling frictionless remixing, CC BY gives teachers control
5258 and academic freedom.
5259     </p><p>
5260       Using CC BY is also a good example of using strategies that traditional
5261 publishers can’t. Traditional publishers rely on copyright to prevent others
5262 from making copies and heavily invest in digital rights management to ensure
5263 their books aren’t shared.  By using CC BY, OpenStax avoids having to deal
5264 with digital rights management and its costs. OpenStax books can be copied
5265 and shared over and over again. CC BY changes the rules of engagement and
5266 takes advantage of traditional market inefficiencies.
5267     </p><p>
5268       As of September 16, 2016, OpenStax has achieved some impressive
5269 results. From the OpenStax at a Glance fact sheet from their recent press
5270 kit:
5271     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5272           Books published: 23
5273         </p></li><li class="listitem"><p>
5274           Students who have used OpenStax: 1.6 million
5275         </p></li><li class="listitem"><p>
5276           Money saved for students: $155 million
5277         </p></li><li class="listitem"><p>
5278           Money saved for students in the 2016/17 academic year: $77 million
5279         </p></li><li class="listitem"><p>
5280           Schools that have used OpenStax: 2,668 (This number reflects all
5281 institutions using at least one OpenStax textbook. Out of 2,668 schools, 517
5282 are two-year colleges, 835 four-year colleges and universities, and 344
5283 colleges and universities outside the U.S.)
5284         </p></li></ul></div><p>
5285       While OpenStax has to date been focused on the United States, there is
5286 overseas adoption especially in the science, technology, engineering, and
5287 math (STEM) fields. Large scale adoption in the United States is seen as a
5288 necessary precursor to international interest.
5289     </p><p>
5290       OpenStax has primarily focused on introductory-level college courses where
5291 there is high enrollment, but they are starting to think about verticals—a
5292 broad offering for a specific group or need. David thinks it would be
5293 terrific if OpenStax could provide access to free textbooks through the
5294 entire curriculum of a nursing degree, for example.
5295     </p><p>
5296       Finally, for OpenStax success is not just about the adoption of their
5297 textbooks and student savings. There is a human aspect to the work that is
5298 hard to quantify but incredibly important. They get emails from students
5299 saying how OpenStax saved them from making difficult choices like buying
5300 food or a textbook. OpenStax would also like to assess the impact their
5301 books have on learning efficiency, persistence, and completion. By building
5302 an open business model based on Creative Commons, OpenStax is making it
5303 possible for every student who wants access to education to get it.
5304     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1665" class="footnote"><p><a href="#idm1665" 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.idm1672" class="footnote"><p><a href="#idm1672" 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>Rozdział 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>
5305         Amanda Palmer is a musician, artist, and writer. Based in the U.S.
5306       </p><p>
5307           <a class="ulink" href="http://amandapalmer.net" target="_top">http://amandapalmer.net</a>
5308         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
5309 (subscription-based), pay-what-you-want, charging for physical copies (book
5310 and album sales), charg-ing for in-person version (performances), selling
5311 merchandise
5312       </p><p><span class="strong"><strong>Interview date</strong></span>: December 15, 2015
5313       </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}
5314     \textit{
5315         Profile written by Sarah Hinchliff Pearson
5316       }
5317     \end{flushright}</td></tr></table></div><p>
5318       Since the beginning of her career, Amanda Palmer has been on what she calls
5319 a <span class="quote">„<span class="quote">journey with no roadmap,</span>”</span> continually experimenting to find
5320 new ways to sustain her creative work.<a href="#ftn.idm1719" class="footnote" name="idm1719"><sup class="footnote">[140]</sup></a>
5321     </p><p>
5322       In her best-selling book, The Art of Asking, Amanda articulates exactly what
5323 she has been and continues to strive for—<span class="quote">„<span class="quote">the ideal sweet spot
5324 . . . in which the artist can share freely and directly feel the
5325 reverberations of their artistic gifts to the community, and make a living
5326 doing that.</span>”</span>
5327     </p><p>
5328       While she seems to have successfully found that sweet spot for herself,
5329 Amanda is the first to acknowledge there is no silver bullet. She thinks the
5330 digital age is both an exciting and frustrating time for creators. <span class="quote">„<span class="quote">On
5331 the one hand, we have this beautiful shareability,</span>”</span> Amanda
5332 said. <span class="quote">„<span class="quote">On the other, you’ve got a bunch of confused artists wondering
5333 how to make money to buy food so we can make more art.</span>”</span>
5334     </p><p>
5335       Amanda began her artistic career as a street performer. She would dress up
5336 in an antique wedding gown, paint her face white, stand on a stack of milk
5337 crates, and hand out flowers to strangers as part of a silent dramatic
5338 performance. She collected money in a hat. Most people walked by her without
5339 stopping, but an essential few stopped to watch and drop some money into her
5340 hat to show their appreciation. Rather than dwelling on the majority of
5341 people who ignored her, she felt thankful for those who stopped.  <span class="quote">„<span class="quote">All
5342 I needed was . . . some people,</span>”</span> she wrote in her book. <span class="quote">„<span class="quote">Enough
5343 people. Enough to make it worth coming back the next day, enough people to
5344 help me make rent and put food on the table. Enough so I could keep making
5345 art.</span>”</span>
5346     </p><p>
5347       Amanda has come a long way from her street-performing days, but her career
5348 remains dominated by that same sentiment—finding ways to reach <span class="quote">„<span class="quote">her
5349 crowd</span>”</span> and feeling gratitude when she does. With her band the Dresden
5350 Dolls, Amanda tried the traditional path of signing with a record label. It
5351 didn’t take for a variety of reasons, but one of them was that the label had
5352 absolutely no interest in Amanda’s view of success. They wanted hits, but
5353 making music for the masses was never what Amanda and the Dresden Dolls set
5354 out to do.
5355     </p><p>
5356       After leaving the record label in 2008, she began experimenting with
5357 different ways to make a living. She released music directly to the public
5358 without involving a middle man, releasing digital files on a <span class="quote">„<span class="quote">pay what
5359 you want</span>”</span> basis and selling CDs and vinyl. She also made money from
5360 live performances and merchandise sales. Eventually, in 2012 she decided to
5361 try her hand at the sort of crowdfunding we know so well today. Her
5362 Kickstarter project started with a goal of $100,000, and she made $1.2
5363 million. It remains one of the most successful Kickstarter projects of all
5364 time.
5365     </p><p>
5366       Today, Amanda has switched gears away from crowdfunding for specific
5367 projects to instead getting consistent financial support from her fan base
5368 on Patreon, a crowdfunding site that allows artists to get recurring
5369 donations from fans. More than eight thousand people have signed up to
5370 support her so she can create music, art, and any other creative
5371 <span class="quote">„<span class="quote">thing</span>”</span> that she is inspired to make. The recurring pledges are
5372 made on a <span class="quote">„<span class="quote">per thing</span>”</span> basis. All of the content she makes is
5373 made freely available under an Attribution-NonCommercial-ShareAlike license
5374 (CC BY-NC-SA).
5375     </p><p>
5376       Making her music and art available under Creative Commons licensing
5377 undoubtedly limits her options for how she makes a living. But sharing her
5378 work has been part of her model since the beginning of her career, even
5379 before she discovered Creative Commons. Amanda says the Dresden Dolls used
5380 to get ten emails per week from fans asking if they could use their music
5381 for different projects. They said yes to all of the requests, as long as it
5382 wasn’t for a completely for-profit venture. At the time, they used a
5383 short-form agreement written by Amanda herself. <span class="quote">„<span class="quote">I made everyone sign
5384 that contract so at least I wouldn’t be leaving the band vulnerable to
5385 someone later going on and putting our music in a Camel cigarette
5386 ad,</span>”</span> Amanda said. Once she discovered Creative Commons, adopting the
5387 licenses was an easy decision because it gave them a more formal,
5388 standardized way of doing what they had been doing all along. The
5389 NonCommercial licenses were a natural fit.
5390     </p><p>
5391       Amanda embraces the way her fans share and build upon her music.  In The Art
5392 of Asking, she wrote that some of her fans’ unofficial videos using her
5393 music surpass the official videos in number of views on YouTube. Rather than
5394 seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">„<span class="quote">We
5395 got into this because we wanted to share the joy of music,</span>”</span> she said.
5396     </p><p>
5397       This is symbolic of how nearly everything she does in her career is
5398 motivated by a desire to connect with her fans. At the start of her career,
5399 she and the band would throw concerts at house parties. As the gatherings
5400 grew, the line between fans and friends was completely blurred. <span class="quote">„<span class="quote">Not
5401 only did most our early fans know where I lived and where we practiced, but
5402 most of them had also been in my kitchen,</span>”</span> Amanda wrote in The Art of
5403 Asking.
5404     </p><p>
5405       Even though her fan base is now huge and global, she continues to seek this
5406 sort of human connection with her fans. She seeks out face-to-face contact
5407 with her fans every chance she can get. Her hugely successful Kickstarter
5408 featured fifty concerts at house parties for backers. She spends hours in
5409 the signing line after shows. It helps that Amanda has the kind of dynamic,
5410 engaging personality that instantly draws people to her, but a big component
5411 of her ability to connect with people is her willingness to
5412 listen. <span class="quote">„<span class="quote">Listening fast and caring immediately is a skill unto
5413 itself,</span>”</span> Amanda wrote.
5414     </p><p>
5415       Another part of the connection fans feel with Amanda is how much they know
5416 about her life. Rather than trying to craft a public persona or image, she
5417 essentially lives her life as an open book.  She has written openly about
5418 incredibly personal events in her life, and she isn’t afraid to be
5419 vulnerable. Having that kind of trust in her fans—the trust it takes to be
5420 truly honest—begets trust from her fans in return. When she meets fans for
5421 the first time after a show, they can legitimately feel like they know her.
5422     </p><p><span class="quote">„<span class="quote">With social media, we’re so concerned with the picture looking
5423 palatable and consumable that we forget that being human and showing the
5424 flaws and exposing the vulnerability actually create a deeper connection
5425 than just looking fantastic,</span>”</span> Amanda said. <span class="quote">„<span class="quote">Everything in our
5426 culture is telling us otherwise. But my experience has shown me that the
5427 risk of making yourself vulnerable is almost always worth it.</span>”</span>
5428     </p><p>
5429       Not only does she disclose intimate details of her life to them, she sleeps
5430 on their couches, listens to their stories, cries with them. In short, she
5431 treats her fans like friends in nearly every possible way, even when they
5432 are complete strangers. This mentality—that fans are friends—is completely
5433 intertwined with Amanda’s success as an artist. It is also intertwined with
5434 her use of Creative Commons licenses. Because that is what you do with your
5435 friends—you share.
5436     </p><p>
5437       After years of investing time and energy into building trust with her fans,
5438 she has a strong enough relationship with them to ask for support—through
5439 pay-what-you-want donations, Kickstarter, Patreon, or even asking them to
5440 lend a hand at a concert. As Amanda explains it, crowdfunding (which is
5441 really what all of these different things are) is about asking for support
5442 from people who know and trust you. People who feel personally invested in
5443 your success.
5444     </p><p><span class="quote">„<span class="quote">When you openly, radically trust people, they not only take care of
5445 you, they become your allies, your family,</span>”</span> she wrote. There really
5446 is a feeling of solidarity within her core fan base. From the beginning,
5447 Amanda and her band encouraged people to dress up for their shows. They
5448 consciously cultivated a feeling of belonging to their <span class="quote">„<span class="quote">weird little
5449 family.</span>”</span>
5450     </p><p>
5451       This sort of intimacy with fans is not possible or even desirable for every
5452 creator. <span class="quote">„<span class="quote">I don’t take for granted that I happen to be the type of
5453 person who loves cavorting with strangers,</span>”</span> Amanda said. <span class="quote">„<span class="quote">I
5454 recognize that it’s not necessarily everyone’s idea of a good time. Everyone
5455 does it differently. Replicating what I have done won’t work for others if
5456 it isn’t joyful to them. It’s about finding a way to channel energy in a way
5457 that is joyful to you.</span>”</span>
5458     </p><p>
5459       Yet while Amanda joyfully interacts with her fans and involves them in her
5460 work as much as possible, she does keep one job primarily to herself—writing
5461 the music. She loves the creativity with which her fans use and adapt her
5462 work, but she intentionally does not involve them at the first stage of
5463 creating her artistic work. And, of course, the songs and music are what
5464 initially draw people to Amanda Palmer. It is only once she has connected to
5465 people through her music that she can then begin to build ties with them on
5466 a more personal level, both in person and online. In her book, Amanda
5467 describes it as casting a net. It starts with the art and then the bond
5468 strengthens with human connection.
5469     </p><p>
5470       For Amanda, the entire point of being an artist is to establish and maintain
5471 this connection. <span class="quote">„<span class="quote">It sounds so corny,</span>”</span> she said, <span class="quote">„<span class="quote">but my
5472 experience in forty years on this planet has pointed me to an obvious
5473 truth—that connection with human beings feels so much better and more
5474 fulfilling than approaching art through a capitalist lens. There is no more
5475 satisfying end goal than having someone tell you that what you do is
5476 genuinely of value to them.</span>”</span>
5477     </p><p>
5478       As she explains it, when a fan gives her a ten-dollar bill, usually what
5479 they are saying is that the money symbolizes some deeper value the music
5480 provided them. For Amanda, art is not just a product; it’s a
5481 relationship. Viewed from this lens, what Amanda does today is not that
5482 different from what she did as a young street performer. She shares her
5483 music and other artistic gifts.  She shares herself. And then rather than
5484 forcing people to help her, she lets them.
5485     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1719" class="footnote"><p><a href="#idm1719" 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>Rozdział 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>
5486         PLOS (Public Library of Science) is a nonprofit that publishes a library of
5487 academic journals and other scientific literature.  Founded in 2000 in the
5488 U.S.
5489       </p><p>
5490           <a class="ulink" href="http://plos.org" target="_top">http://plos.org</a>
5491         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
5492 an author processing charge to be featured in the journal
5493       </p><p><span class="strong"><strong>Interview date</strong></span>: March 7, 2016
5494       </p><p><span class="strong"><strong>Interviewee</strong></span>: Louise Page, publisher
5495       </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}
5496     \textit{
5497         Profile written by Paul Stacey
5498       }
5499     \end{flushright}</td></tr></table></div><p>
5500       The Public Library of Science (PLOS) began in 2000 when three leading
5501 scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
5502 online petition. They were calling for scientists to stop submitting papers
5503 to journals that didn’t make the full text of their papers freely available
5504 immediately or within six months. Although tens of thousands signed the
5505 petition, most did not follow through. In August 2001, Patrick and Michael
5506 announced that they would start their own nonprofit publishing operation to
5507 do just what the petition promised. With start-up grant support from the
5508 Gordon and Betty Moore Foundation, PLOS was launched to provide new
5509 open-access journals for biomedicine, with research articles being released
5510 under Attribution (CC BY) licenses.
5511     </p><p>
5512       Traditionally, academic publishing begins with an author submitting a
5513 manuscript to a publisher. After in-house technical and ethical
5514 considerations, the article is then peer-reviewed to determine if the
5515 quality of the work is acceptable for publishing.  Once accepted, the
5516 publisher takes the article through the process of copyediting, typesetting,
5517 and eventual publishing in a print or online publication. Traditional
5518 journal publishers recover costs and earn profit by charging a subscription
5519 fee to libraries or an access fee to users wanting to read the journal or
5520 article.
5521     </p><p>
5522       For Louise Page, the current publisher of PLOS, this traditional model
5523 results in inequity. Access is restricted to those who can pay. Most
5524 research is funded through government-appointed agencies, that is, with
5525 public funds. It’s unjust that the public who funded the research would be
5526 required to pay again to access the results. Not everyone can afford the
5527 ever-escalating subscription fees publishers charge, especially when library
5528 budgets are being reduced. Restricting access to the results of scientific
5529 research slows the dissemination of this research and advancement of the
5530 field. It was time for a new model.
5531     </p><p>
5532       That new model became known as open access. That is, free and open
5533 availability on the Internet. Open-access research articles are not behind a
5534 paywall and do not require a login. A key benefit of open access is that it
5535 allows people to freely use, copy, and distribute the articles, as they are
5536 primarily published under an Attribution (CC BY) license (which only
5537 requires the user to provide appropriate attribution). And more importantly,
5538 policy makers, clinicians, entrepreneurs, educators, and students around the
5539 world have free and timely access to the latest research immediately on
5540 publication.
5541     </p><p>
5542       However, open access requires rethinking the business model of research
5543 publication. Rather than charge a subscription fee to access the journal,
5544 PLOS decided to turn the model on its head and charge a publication fee,
5545 known as an article-processing charge.  This up-front fee, generally paid by
5546 the funder of the research or the author’s institution, covers the expenses
5547 such as editorial oversight, peer-review management, journal production,
5548 online hosting, and support for discovery. Fees are per article and are
5549 billed upon acceptance for publishing. There are no additional charges based
5550 on word length, figures, or other elements.
5551     </p><p>
5552       Calculating the article-processing charge involves taking all the costs
5553 associated with publishing the journal and determining a cost per article
5554 that collectively recovers costs. For PLOS’s journals in biology, medicine,
5555 genetics, computational biology, neglected tropical diseases, and pathogens,
5556 the article-processing charge ranges from $2,250 to
5557 $2,900. Article-publication charges for PLOS ONE, a journal started in 2006,
5558 are just under $1,500.
5559     </p><p>
5560       PLOS believes that lack of funds should not be a barrier to
5561 publication. Since its inception, PLOS has provided fee support for
5562 individuals and institutions to help authors who can’t afford the
5563 article-processing charges.
5564     </p><p>
5565       Louise identifies marketing as one area of big difference between PLOS and
5566 traditional journal publishers. Traditional journals have to invest heavily
5567 in staff, buildings, and infrastructure to market their journal and convince
5568 customers to subscribe.  Restricting access to subscribers means that tools
5569 for managing access control are necessary. They spend millions of dollars on
5570 access-control systems, staff to manage them, and sales staff.  With PLOS’s
5571 open-access publishing, there’s no need for these massive expenses; the
5572 articles are free, open, and accessible to all upon
5573 publication. Additionally, traditional publishers tend to spend more on
5574 marketing to libraries, who ultimately pay the subscription fees. PLOS
5575 provides a better service for authors by promoting their research directly
5576 to the research community and giving the authors exposure. And this
5577 encourages other authors to submit their work for publication.
5578     </p><p>
5579       For Louise, PLOS would not exist without the Attribution license (CC
5580 BY). This makes it very clear what rights are associated with the content
5581 and provides a safe way for researchers to make their work available while
5582 ensuring they get recognition (appropriate attribution). For PLOS, all of
5583 this aligns with how they think research content should be published and
5584 disseminated.
5585     </p><p>
5586       PLOS also has a broad open-data policy. To get their research paper
5587 published, PLOS authors must also make their data available in a public
5588 repository and provide a data-availability statement.
5589     </p><p>
5590       Business-operation costs associated with the open-access model still largely
5591 follow the existing publishing model. PLOS journals are online only, but the
5592 editorial, peer-review, production, typesetting, and publishing stages are
5593 all the same as for a traditional publisher. The editorial teams must be top
5594 notch. PLOS has to function as well as or better than other premier
5595 journals, as researchers have a choice about where to publish.
5596     </p><p>
5597       Researchers are influenced by journal rankings, which reflect the place of a
5598 journal within its field, the relative difficulty of being published in that
5599 journal, and the prestige associated with it. PLOS journals rank high, even
5600 though they are relatively new.
5601     </p><p>
5602       The promotion and tenure of researchers are partially based how many times
5603 other researchers cite their articles. Louise says when researchers want to
5604 discover and read the work of others in their field, they go to an online
5605 aggregator or search engine, and not typically to a particular journal. The
5606 CC BY licensing of PLOS research articles ensures easy access for readers
5607 and generates more discovery and citations for authors.
5608     </p><p>
5609       Louise believes that open access has been a huge success, progressing from a
5610 movement led by a small cadre of researchers to something that is now
5611 widespread and used in some form by every journal publisher. PLOS has had a
5612 big impact. In 2012 to 2014, they published more open-access articles than
5613 BioMed Central, the original open-access publisher, or anyone else.
5614     </p><p>
5615       PLOS further disrupted the traditional journal-publishing model by
5616 pioneering the concept of a megajournal. The PLOS ONE megajournal, launched
5617 in 2006, is an open-access peer-reviewed academic journal that is much
5618 larger than a traditional journal, publishing thousands of articles per year
5619 and benefiting from economies of scale. PLOS ONE has a broad scope, covering
5620 science and medicine as well as social sciences and the humanities. The
5621 review and editorial process is less subjective. Articles are accepted for
5622 publication based on whether they are technically sound rather than
5623 perceived importance or relevance. This is very important in the current
5624 debate about the integrity and reproducibility of research because negative
5625 or null results can then be published as well, which are generally rejected
5626 by traditional journals. PLOS ONE, like all the PLOS journals, is online
5627 only with no print version. PLOS passes on the financial savings accrued
5628 through economies of scale to researchers and the public by lowering the
5629 article-processing charges, which are below that of other journals. PLOS ONE
5630 is the biggest journal in the world and has really set the bar for
5631 publishing academic journal articles on a large scale. Other publishers see
5632 the value of the PLOS ONE model and are now offering their own
5633 multidisciplinary forums for publishing all sound science.
5634     </p><p>
5635       Louise outlined some other aspects of the research-journal business model
5636 PLOS is experimenting with, describing each as a kind of slider that could
5637 be adjusted to change current practice.
5638     </p><p>
5639       One slider is time to publication. Time to publication may shorten as
5640 journals get better at providing quicker decisions to authors.  However,
5641 there is always a trade-off with scale, as the bigger the volume of
5642 articles, the more time the approval process inevitably takes.
5643     </p><p>
5644       Peer review is another part of the process that could change. It’s possible
5645 to redefine what peer review actually is, when to review, and what
5646 constitutes the final article for publication. Louise talked about the
5647 potential to shift to an open-review process, placing the emphasis on
5648 transparency rather than double-blind reviews. Louise thinks we’re moving
5649 into a direction where it’s actually beneficial for an author to know who is
5650 reviewing their paper and for the reviewer to know their review will be
5651 public. An open-review process can also ensure everyone gets credit; right
5652 now, credit is limited to the publisher and author.
5653     </p><p>
5654       Louise says research with negative outcomes is almost as important as
5655 positive results. If journals published more research with negative
5656 outcomes, we’d learn from what didn’t work. It could also reduce how much
5657 the research wheel gets reinvented around the world.
5658     </p><p>
5659       Another adjustable practice is the sharing of articles at early preprint
5660 stages. Publication of research in a peer-reviewed journal can take a long
5661 time because articles must undergo extensive peer review. The need to
5662 quickly circulate current results within a scientific community has led to a
5663 practice of distributing pre-print documents that have not yet undergone
5664 peer review. Preprints broaden the peer-review process, allowing authors to
5665 receive early feedback from a wide group of peers, which can help revise and
5666 prepare the article for submission.  Offsetting the advantages of preprints
5667 are author concerns over ensuring their primacy of being first to come up
5668 with findings based on their research. Other researches may see findings the
5669 preprint author has not yet thought of. However, preprints help researchers
5670 get their discoveries out early and establish precedence. A big challenge is
5671 that researchers don’t have a lot of time to comment on preprints.
5672     </p><p>
5673       What constitutes a journal article could also change. The idea of a research
5674 article as printed, bound, and in a library stack is outdated. Digital and
5675 online open up new possibilities, such as a living document evolving over
5676 time, inclusion of audio and video, and interactivity, like discussion and
5677 recommendations. Even the size of what gets published could change. With
5678 these changes the current form factor for what constitutes a research
5679 article would undergo transformation.
5680     </p><p>
5681       As journals scale up, and new journals are introduced, more and more
5682 information is being pushed out to readers, making the experience feel like
5683 drinking from a fire hose. To help mitigate this, PLOS aggregates and
5684 curates content from PLOS journals and their network of blogs.<a href="#ftn.idm1797" class="footnote" name="idm1797"><sup class="footnote">[141]</sup></a> It also offers something called Article-Level
5685 Metrics, which helps users assess research most relevant to the field
5686 itself, based on indicators like usage, citations, social bookmarking and
5687 dissemination activity, media and blog coverage, discussions, and
5688 ratings.<a href="#ftn.idm1800" class="footnote" name="idm1800"><sup class="footnote">[142]</sup></a> Louise believes that the
5689 journal model could evolve to provide a more friendly and interactive user
5690 experience, including a way for readers to communicate with authors.
5691     </p><p>
5692       The big picture for PLOS going forward is to combine and adjust these
5693 experimental practices in ways that continue to improve accessibility and
5694 dissemination of research, while ensuring its integrity and reliability. The
5695 ways they interlink are complex.  The process of change and adjustment is
5696 not linear. PLOS sees itself as a very flexible publisher interested in
5697 exploring all the permutations research-publishing can take, with authors
5698 and readers who are open to experimentation.
5699     </p><p>
5700       For PLOS, success is not about revenue. Success is about proving that
5701 scientific research can be communicated rapidly and economically at scale,
5702 for the benefit of researchers and society.  The CC BY license makes it
5703 possible for PLOS to publish in a way that is unfettered, open, and fast,
5704 while ensuring that the authors get credit for their work. More than two
5705 million scientists, scholars, and clinicians visit PLOS every month, with
5706 more than 135,000 quality articles to peruse for free.
5707     </p><p>
5708       Ultimately, for PLOS, its authors, and its readers, success is about making
5709 research discoverable, available, and reproducible for the advancement of
5710 science.
5711     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1797" class="footnote"><p><a href="#idm1797" 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.idm1800" class="footnote"><p><a href="#idm1800" 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>Rozdział 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>
5712         The Rijksmuseum is a Dutch national museum dedicated to art and
5713 history. Founded in 1800 in the Netherlands
5714       </p><p>
5715           <a class="ulink" href="http://www.rijksmuseum.nl" target="_top">http://www.rijksmuseum.nl</a>
5716         </p><p><span class="strong"><strong>Revenue model</strong></span>: grants and government
5717 funding, charging for in-person version (museum admission), selling
5718 merchandise
5719       </p><p><span class="strong"><strong>Interview date</strong></span>: December 11, 2015
5720       </p><p><span class="strong"><strong>Interviewee</strong></span>: Lizzy Jongma, the data
5721 manager of the collections information department
5722       </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}
5723     \textit{
5724         Profile written by Paul Stacey
5725       }
5726     \end{flushright}</td></tr></table></div><p>
5727       The Rijksmuseum, a national museum in the Netherlands dedicated to art and
5728 history, has been housed in its current building since 1885. The monumental
5729 building enjoyed more than 125 years of intensive use before needing a
5730 thorough overhaul. In 2003, the museum was closed for renovations. Asbestos
5731 was found in the roof, and although the museum was scheduled to be closed
5732 for only three to four years, renovations ended up taking ten years. During
5733 this time, the collection was moved to a different part of Amsterdam, which
5734 created a physical distance with the curators. Out of necessity, they
5735 started digitally photographing the collection and creating metadata
5736 (information about each object to put into a database). With the renovations
5737 going on for so long, the museum became largely forgotten by the public. Out
5738 of these circumstances emerged a new and more open model for the museum.
5739     </p><p>
5740       By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager,
5741 staff were fed up with the situation the museum was in.  They also realized
5742 that even with the new and larger space, it still wouldn’t be able to show
5743 very much of the whole collection—eight thousand of over one million works
5744 representing just 1 percent. Staff began exploring ways to express
5745 themselves, to have something to show for all of the work they had been
5746 doing.  The Rijksmuseum is primarily funded by Dutch taxpayers, so was there
5747 a way for the museum provide benefit to the public while it was closed? They
5748 began thinking about sharing Rijksmuseum’s collection using information
5749 technology. And they put up a card-catalog like database of the entire
5750 collection online.
5751     </p><p>
5752       It was effective but a bit boring. It was just data. A hackathon they were
5753 invited to got them to start talking about events like that as having
5754 potential. They liked the idea of inviting people to do cool stuff with
5755 their collection. What about giving online access to digital representations
5756 of the one hundred most important pieces in the Rijksmuseum collection? That
5757 eventually led to why not put the whole collection online?
5758     </p><p>
5759       Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
5760 library, museum, and archive for cultural heritage.<a href="#ftn.idm1823" class="footnote" name="idm1823"><sup class="footnote">[143]</sup></a> As an online portal to museum collections all
5761 across Europe, Europeana had become an important online platform. In October
5762 2010 Creative Commons released CC0 and its public-domain mark as tools
5763 people could use to identify works as free of known copyright. Europeana was
5764 the first major adopter, using CC0 to release metadata about their
5765 collection and the public domain mark for millions of digital works in their
5766 collection. Lizzy says the Rijksmuseum initially found this change in
5767 business practice a bit scary, but at the same time it stimulated even more
5768 discussion on whether the Rijksmuseum should follow suit.
5769     </p><p>
5770       They realized that they don’t <span class="quote">„<span class="quote">own</span>”</span> the collection and couldn’t
5771 realistically monitor and enforce compliance with the restrictive licensing
5772 terms they currently had in place. For example, many copies and versions of
5773 Vermeer’s Milkmaid (part of their collection) were already online, many of
5774 them of very poor quality. They could spend time and money policing its use,
5775 but it would probably be futile and wouldn’t make people stop using their
5776 images online. They ended up thinking it’s an utter waste of time to hunt
5777 down people who use the Rijksmuseum collection. And anyway, restricting
5778 access meant the people they were frustrating the most were schoolkids.
5779     </p><p>
5780       In 2011 the Rijksmuseum began making their digital photos of works known to
5781 be free of copyright available online, using Creative Commons CC0 to place
5782 works in the public domain. A medium-resolution image was offered for free,
5783 but a high-resolution version cost forty euros. People started paying, but
5784 Lizzy says getting the money was frequently a nightmare, especially from
5785 overseas customers. The administrative costs often offset revenue, and
5786 income above costs was relatively low. In addition, having to pay for an
5787 image of a work in the public domain from a collection owned by the Dutch
5788 government (i.e., paid for by the public) was contentious and frustrating
5789 for some. Lizzy says they had lots of fierce debates about what to do.
5790     </p><p>
5791       In 2013 the Rijksmuseum changed its business model. They Creative Commons
5792 licensed their highest-quality images and released them online for
5793 free. Digitization still cost money, however; they decided to define
5794 discrete digitization projects and find sponsors willing to fund each
5795 project. This turned out to be a successful strategy, generating high
5796 interest from sponsors and lower administrative effort for the
5797 Rijksmuseum. They started out making 150,000 high-quality images of their
5798 collection available, with the goal to eventually have the entire collection
5799 online.
5800     </p><p>
5801       Releasing these high-quality images for free reduced the number of
5802 poor-quality images that were proliferating. The high-quality image of
5803 Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
5804 month. On the Internet, images from a source like the Rijksmuseum are more
5805 trusted, and releasing them with a Creative Commons CC0 means they can
5806 easily be found in other platforms. For example, Rijksmuseum images are now
5807 used in thousands of Wikipedia articles, receiving ten to eleven million
5808 views per month. This extends Rijksmuseum’s reach far beyond the scope of
5809 its website. Sharing these images online creates what Lizzy calls the
5810 <span class="quote">„<span class="quote">Mona Lisa effect,</span>”</span> where a work of art becomes so famous that
5811 people want to see it in real life by visiting the actual museum.
5812     </p><p>
5813       Every museum tends to be driven by the number of physical visitors. The
5814 Rijksmuseum is primarily publicly funded, receiving roughly 70 percent of
5815 its operating budget from the government.  But like many museums, it must
5816 generate the rest of the funding through other means. The admission fee has
5817 long been a way to generate revenue generation, including for the
5818 Rijksmuseum.
5819     </p><p>
5820       As museums create a digital presence for themselves and put up digital
5821 representations of their collection online, there’s frequently a worry that
5822 it will lead to a drop in actual physical visits. For the Rijksmuseum, this
5823 has not turned out to be the case. Lizzy told us the Rijksmuseum used to get
5824 about one million visitors a year before closing and now gets more than two
5825 million a year. Making the collection available online has generated
5826 publicity and acts as a form of marketing. The Creative Commons mark
5827 encourages reuse as well. When the image is found on protest leaflets, milk
5828 cartons, and children’s toys, people also see what museum the image comes
5829 from and this increases the museum’s visibility.
5830     </p><p>
5831       In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
5832 a new web presence that would be different from any other museum’s. In
5833 addition to redesigning their main website to be mobile friendly and
5834 responsive to devices like the iPad, the Rijksmuseum also created the
5835 Rijksstudio, where users and artists could use and do various things with
5836 the Rijksmuseum collection.<a href="#ftn.idm1835" class="footnote" name="idm1835"><sup class="footnote">[144]</sup></a>
5837     </p><p>
5838       The Rijksstudio gives users access to over two hundred thousand high-quality
5839 digital representations of masterworks from the collection. Users can zoom
5840 in to any work and even clip small parts of images they like. Rijksstudio is
5841 a bit like Pinterest.  You can <span class="quote">„<span class="quote">like</span>”</span> works and compile your
5842 personal favorites, and you can share them with friends or download them
5843 free of charge. All the images in the Rijksstudio are copyright and royalty
5844 free, and users are encouraged to use them as they like, for private or even
5845 commercial purposes.
5846     </p><p>
5847       Users have created over 276,000 Rijksstudios, generating their own themed
5848 virtual exhibitions on a wide variety of topics ranging from tapestries to
5849 ugly babies and birds. Sets of images have also been created for educational
5850 purposes including use for school exams.
5851     </p><p>
5852       Some contemporary artists who have works in the Rijksmuseum collection
5853 contacted them to ask why their works were not included in the
5854 Rijksstudio. The answer was that contemporary artists’ works are still bound
5855 by copyright. The Rijksmuseum does encourage contemporary artists to use a
5856 Creative Commons license for their works, usually a CC BY-SA license
5857 (Attribution-ShareAlike), or a CC BY-NC (Attribution-NonCommercial) if they
5858 want to preclude commercial use. That way, their works can be made available
5859 to the public, but within limits the artists have specified.
5860     </p><p>
5861       The Rijksmuseum believes that art stimulates entrepreneurial activity. The
5862 line between creative and commercial can be blurry.  As Lizzy says, even
5863 Rembrandt was commercial, making his livelihood from selling his
5864 paintings. The Rijksmuseum encourages entrepreneurial commercial use of the
5865 images in Rijksstudio.  They’ve even partnered with the DIY marketplace Etsy
5866 to inspire people to sell their creations. One great example you can find on
5867 Etsy is a kimono designed by Angie Johnson, who used an image of an
5868 elaborate cabinet along with an oil painting by Jan Asselijn called The
5869 Threatened Swan.<a href="#ftn.idm1843" class="footnote" name="idm1843"><sup class="footnote">[145]</sup></a>
5870     </p><p>
5871       In 2013 the Rijksmuseum organized their first high-profile design
5872 competition, known as the Rijksstudio Award.<a href="#ftn.idm1847" class="footnote" name="idm1847"><sup class="footnote">[146]</sup></a> With the call to action Make Your Own Masterpiece, the competition
5873 invites the public to use Rijksstudio images to make new creative designs. A
5874 jury of renowned designers and curators selects ten finalists and three
5875 winners. The final award comes with a prize of €10,000. The second edition
5876 in 2015 attracted a staggering 892 top-class entries. Some award winners end
5877 up with their work sold through the Rijksmuseum store, such as the 2014
5878 entry featuring makeup based on a specific color scheme of a work of
5879 art.<a href="#ftn.idm1852" class="footnote" name="idm1852"><sup class="footnote">[147]</sup></a> The Rijksmuseum has been thrilled
5880 with the results.  Entries range from the fun to the weird to the
5881 inspirational. The third international edition of the Rijksstudio Award
5882 started in September 2016.
5883     </p><p>
5884       For the next iteration of the Rijksstudio, the Rijksmuseum is considering an
5885 upload tool, for people to upload their own works of art, and enhanced
5886 social elements so users can interact with each other more.
5887     </p><p>
5888       Going with a more open business model generated lots of publicity for the
5889 Rijksmuseum. They were one of the first museums to open up their collection
5890 (that is, give free access) with high-quality images. This strategy, along
5891 with the many improvements to the Rijksmuseum’s website, dramatically
5892 increased visits to their website from thirty-five thousand visits per month
5893 to three hundred thousand.
5894     </p><p>
5895       The Rijksmuseum has been experimenting with other ways to invite the public
5896 to look at and interact with their collection. On an international day
5897 celebrating animals, they ran a successful bird-themed event. The museum put
5898 together a showing of two thousand works that featured birds and invited
5899 bird-watchers to identify the birds depicted. Lizzy notes that while museum
5900 curators know a lot about the works in their collections, they may not know
5901 about certain details in the paintings such as bird species. Over eight
5902 hundred different birds were identified, including a specific species of
5903 crane bird that was unknown to the scientific community at the time of the
5904 painting.
5905     </p><p>
5906       For the Rijksmuseum, adopting an open business model was scary.  They came
5907 up with many worst-case scenarios, imagining all kinds of awful things
5908 people might do with the museum’s works. But Lizzy says those fears did not
5909 come true because <span class="quote">„<span class="quote">ninety-nine percent of people have respect for
5910 great art.</span>”</span> Many museums think they can make a lot of money by
5911 selling things related to their collection. But in Lizzy’s experience,
5912 museums are usually bad at selling things, and sometimes efforts to generate
5913 a small amount of money block something much bigger—the real value that the
5914 collection has. For Lizzy, clinging to small amounts of revenue is being
5915 penny-wise but pound-foolish. For the Rijksmuseum, a key lesson has been to
5916 never lose sight of its vision for the collection. Allowing access to and
5917 use of their collection has generated great promotional value—far more than
5918 the previous practice of charging fees for access and use. Lizzy sums up
5919 their experience: <span class="quote">„<span class="quote">Give away; get something in return.  Generosity
5920 makes people happy to join you and help out.</span>”</span>
5921     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1823" class="footnote"><p><a href="#idm1823" 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.idm1835" class="footnote"><p><a href="#idm1835" 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.idm1843" class="footnote"><p><a href="#idm1843" 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.idm1847" class="footnote"><p><a href="#idm1847" 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
5922 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2014" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2014</a>;
5923 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.idm1852" class="footnote"><p><a href="#idm1852" 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>Rozdział 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>
5924         Shareable is an online magazine about sharing. Founded in 2009 in the U.S.
5925       </p><p>
5926           <a class="ulink" href="http://www.shareable.net" target="_top">http://www.shareable.net</a>
5927         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding,
5928 crowdfunding (project-based), donations, sponsorships
5929       </p><p><span class="strong"><strong>Interview date</strong></span>: February 24, 2016
5930       </p><p><span class="strong"><strong>Interviewee</strong></span>: Neal Gorenflo, cofounder and
5931 executive editor
5932       </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}
5933     \textit{
5934         Profile written by Sarah Hinchliff Pearson
5935       }
5936     \end{flushright}</td></tr></table></div><p>
5937       In 2013, Shareable faced an impasse. The nonprofit online publication had
5938 helped start a sharing movement four years prior, but over time, they
5939 watched one part of the movement stray from its ideals. As giants like Uber
5940 and Airbnb gained ground, attention began to center on the <span class="quote">„<span class="quote">sharing
5941 economy</span>”</span> we know now—profit-driven, transactional, and loaded with
5942 venture-capital money. Leaders of corporate start-ups in this domain invited
5943 Shareable to advocate for them. The magazine faced a choice: ride the wave
5944 or stand on principle.
5945     </p><p>
5946       As an organization, Shareable decided to draw a line in the sand.  In 2013,
5947 the cofounder and executive editor Neal Gorenflo wrote an opinion piece in
5948 the PandoDaily that charted Shareable’s new critical stance on the Silicon
5949 Valley version of the sharing economy, while contrasting it with aspects of
5950 the real sharing economy like open-source software, participatory budgeting
5951 (where citizens decide how a public budget is spent), cooperatives, and
5952 more. He wrote, <span class="quote">„<span class="quote">It’s not so much that collaborative consumption is
5953 dead, it’s more that it risks dying as it gets absorbed by the
5954 <span class="quote">«<span class="quote">Borg.</span>»</span></span>”</span>
5955     </p><p>
5956       Neal said their public critique of the corporate sharing economy defined
5957 what Shareable was and is. He does not think the magazine would still be
5958 around had they chosen differently. <span class="quote">„<span class="quote">We would have gotten another type
5959 of audience, but it would have spelled the end of us,</span>”</span> he
5960 said. <span class="quote">„<span class="quote">We are a small, mission-driven organization. We would never
5961 have been able to weather the criticism that Airbnb and Uber are getting
5962 now.</span>”</span>
5963     </p><p>
5964       Interestingly, impassioned supporters are only a small sliver of Shareable’s
5965 total audience. Most are casual readers who come across a Shareable story
5966 because it happens to align with a project or interest they have. But
5967 choosing principles over the possibility of riding the coattails of the
5968 major corporate players in the sharing space saved Shareable’s
5969 credibility. Although they became detached from the corporate sharing
5970 economy, the online magazine became the voice of the <span class="quote">„<span class="quote">real sharing
5971 economy</span>”</span> and continued to grow their audience.
5972     </p><p>
5973       Shareable is a magazine, but the content they publish is a means to
5974 furthering their role as a leader and catalyst of a movement.  Shareable
5975 became a leader in the movement in 2009. <span class="quote">„<span class="quote">At that time, there was a
5976 sharing movement bubbling beneath the surface, but no one was connecting the
5977 dots,</span>”</span> Neal said. <span class="quote">„<span class="quote">We decided to step into that space and take
5978 on that role.</span>”</span> The small team behind the nonprofit publication truly
5979 believed sharing could be central to solving some of the major problems
5980 human beings face—resource inequality, social isolation, and global warming.
5981     </p><p>
5982       They have worked hard to find ways to tell stories that show different
5983 metrics for success. <span class="quote">„<span class="quote">We wanted to change the notion of what
5984 constitutes the good life,</span>”</span> Neal said. While they started out with a
5985 very broad focus on sharing generally, today they emphasize stories about
5986 the physical commons like <span class="quote">„<span class="quote">sharing cities</span>”</span> (i.e., urban areas
5987 managed in a sustainable, cooperative way), as well as digital platforms
5988 that are run democratically. They particularly focus on how-to content that
5989 help their readers make changes in their own lives and communities.
5990     </p><p>
5991       More than half of Shareable’s stories are written by paid journalists that
5992 are contracted by the magazine.  <span class="quote">„<span class="quote">Particularly in content areas that
5993 are a priority for us, we really want to go deep and control the
5994 quality,</span>”</span> Neal said. The rest of the content is either contributed by
5995 guest writers, often for free, or written by other publications from their
5996 network of content publishers. Shareable is a member of the Post Growth
5997 Alliance, which facilitates the sharing of content and audiences among a
5998 large and growing group of mostly nonprofits.  Each organization gets a
5999 chance to present stories to the group, and the organizations can use and
6000 promote each other’s stories.  Much of the content created by the network is
6001 licensed with Creative Commons.
6002     </p><p>
6003       All of Shareable’s original content is published under the Attribution
6004 license (CC BY), meaning it can be used for any purpose as long as credit is
6005 given to Shareable. Creative Commons licensing is aligned with Shareable’s
6006 vision, mission, and identity. That alone explains the organization’s
6007 embrace of the licenses for their content, but Neal also believes CC
6008 licensing helps them increase their reach. <span class="quote">„<span class="quote">By using CC
6009 licensing,</span>”</span> he said, <span class="quote">„<span class="quote">we realized we could reach far more
6010 people through a formal and informal network of republishers or
6011 affiliates. That has definitely been the case. It’s hard for us to measure
6012 the reach of other media properties, but most of the outlets who republish
6013 our work have much bigger audiences than we do.</span>”</span>
6014     </p><p>
6015       In addition to their regular news and commentary online, Shareable has also
6016 experimented with book publishing. In 2012, they worked with a traditional
6017 publisher to release Share or Die: Voices of the Get Lost Generation in an
6018 Age of Crisis. The CC-licensed book was available in print form for purchase
6019 or online for free. To this day, the book—along with their CC-licensed guide
6020 Policies for Shareable Cities—are two of the biggest generators of traffic
6021 on their website.
6022     </p><p>
6023       In 2016, Shareable self-published a book of curated Shareable stories called
6024 How to: Share, Save Money and Have Fun. The book was available for sale, but
6025 a PDF version of the book was available for free. Shareable plans to offer
6026 the book in upcoming fund-raising campaigns.
6027     </p><p>
6028       This recent book is one of many fund-raising experiments Shareable has
6029 conducted in recent years. Currently, Shareable is primarily funded by
6030 grants from foundations, but they are actively moving toward a more
6031 diversified model. They have organizational sponsors and are working to
6032 expand their base of individual donors.  Ideally, they will eventually be a
6033 hundred percent funded by their audience. Neal believes being fully
6034 community-supported will better represent their vision of the world.
6035     </p><p>
6036       For Shareable, success is very much about their impact on the world. This is
6037 true for Neal, but also for everyone who works for Shareable. <span class="quote">„<span class="quote">We
6038 attract passionate people,</span>”</span> Neal said.  At times, that means
6039 employees work so hard they burn out. Neal tries to stress to the Shareable
6040 team that another part of success is having fun and taking care of yourself
6041 while you do something you love. <span class="quote">„<span class="quote">A central part of human beings is
6042 that we long to be on a great adventure with people we love,</span>”</span> he
6043 said.  <span class="quote">„<span class="quote">We are a species who look over the horizon and imagine and
6044 create new worlds, but we also seek the comfort of hearth and home.</span>”</span>
6045     </p><p>
6046       In 2013, Shareable ran its first crowdfunding campaign to launch their
6047 Sharing Cities Network. Neal said at first they were on pace to fail
6048 spectacularly. They called in their advisers in a panic and asked for
6049 help. The advice they received was simple—<span class="quote">„<span class="quote">Sit your ass in a chair and
6050 start making calls.</span>”</span> That’s exactly what they did, and they ended up
6051 reaching their $50,000 goal. Neal said the campaign helped them reach new
6052 people, but the vast majority of backers were people in their existing base.
6053     </p><p>
6054       For Neal, this symbolized how so much of success comes down to
6055 relationships. Over time, Shareable has invested time and energy into the
6056 relationships they have forged with their readers and supporters. They have
6057 also invested resources into building relationships between their readers
6058 and supporters.
6059     </p><p>
6060       Shareable began hosting events in 2010. These events were designed to bring
6061 the sharing community together. But over time they realized they could reach
6062 far more people if they helped their readers to host their own
6063 events. <span class="quote">„<span class="quote">If we wanted to go big on a conference, there was a huge risk
6064 and huge staffing needs, plus only a fraction of our community could travel
6065 to the event,</span>”</span> Neal said. Enabling others to create their own events
6066 around the globe allowed them to scale up their work more effectively and
6067 reach far more people. Shareable has catalyzed three hundred different
6068 events reaching over twenty thousand people since implementing this strategy
6069 three years ago. Going forward, Shareable is focusing the network on
6070 creating and distributing content meant to spur local action. For instance,
6071 Shareable will publish a new CC-licensed book in 2017 filled with ideas for
6072 their network to implement.
6073     </p><p>
6074       Neal says Shareable stumbled upon this strategy, but it seems to perfectly
6075 encapsulate just how the commons is supposed to work.  Rather than a
6076 one-size-fits-all approach, Shareable puts the tools out there for people
6077 take the ideas and adapt them to their own communities.
6078     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Rozdział 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>
6079         Siyavula is a for-profit educational-technology company that creates
6080 textbooks and integrated learning experiences. Founded in 2012 in South
6081 Africa.
6082       </p><p>
6083           <a class="ulink" href="http://www.siyavula.com" target="_top">http://www.siyavula.com</a>
6084         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
6085 services, sponsorships
6086       </p><p><span class="strong"><strong>Interview date</strong></span>: April 5, 2016
6087       </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Horner, CEO
6088       </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}
6089     \textit{
6090         Profile written by Paul Stacey
6091       }
6092     \end{flushright}</td></tr></table></div><p>
6093       Openness is a key principle for Siyavula. They believe that every learner
6094 and teacher should have access to high-quality educational resources, as
6095 this forms the basis for long-term growth and development. Siyavula has been
6096 a pioneer in creating high-quality open textbooks on mathematics and science
6097 subjects for grades 4 to 12 in South Africa.
6098     </p><p>
6099       In terms of creating an open business model that involves Creative Commons,
6100 Siyavula—and its founder, Mark Horner—have been around the block a few
6101 times. Siyavula has significantly shifted directions and strategies to
6102 survive and prosper. Mark says it’s been very organic.
6103     </p><p>
6104       It all started in 2002, when Mark and several other colleagues at the
6105 University of Cape Town in South Africa founded the Free High School Science
6106 Texts project. Most students in South Africa high schools didn’t have access
6107 to high-quality, comprehensive science and math textbooks, so Mark and his
6108 colleagues set out to write them and make them freely available.
6109     </p><p>
6110       As physicists, Mark and his colleagues were advocates of open-source
6111 software. To make the books open and free, they adopted the Free Software
6112 Foundation’s GNU Free Documentation License.<a href="#ftn.idm1925" class="footnote" name="idm1925"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
6113 documents, to author the books. Over a period of five years, the Free High
6114 School Science Texts project produced math and physical-science textbooks
6115 for grades 10 to 12.
6116     </p><p>
6117       In 2007, the Shuttleworth Foundation offered funding support to make the
6118 textbooks available for trial use at more schools.  Surveys before and after
6119 the textbooks were adopted showed there were no substantial criticisms of
6120 the textbooks’ pedagogical content. This pleased both the authors and
6121 Shuttleworth; Mark remains incredibly proud of this accomplishment.
6122     </p><p>
6123       But the development of new textbooks froze at this stage. Mark shifted his
6124 focus to rural schools, which didn’t have textbooks at all, and looked into
6125 the printing and distribution options. A few sponsors came on board but not
6126 enough to meet the need.
6127     </p><p>
6128       In 2007, Shuttleworth and the Open Society Institute convened a group of
6129 open-education activists for a small but lively meeting in Cape Town. One
6130 result was the Cape Town Open Education Declaration, a statement of
6131 principles, strategies, and commitment to help the open-education movement
6132 grow.<a href="#ftn.idm1931" class="footnote" name="idm1931"><sup class="footnote">[149]</sup></a> Shuttleworth also invited Mark to
6133 run a project writing open content for all subjects for K–12 in
6134 English. That project became Siyavula.
6135     </p><p>
6136       They wrote six original textbooks. A small publishing company offered
6137 Shuttleworth the option to buy out the publisher’s existing K–9 content for
6138 every subject in South African schools in both English and Afrikaans. A deal
6139 was struck, and all the acquired content was licensed with Creative Commons,
6140 significantly expanding the collection beyond the six original books.
6141     </p><p>
6142       Mark wanted to build out the remaining curricula collaboratively through
6143 communities of practice—that is, with fellow educators and writers. Although
6144 sharing is fundamental to teaching, there can be a few challenges when you
6145 create educational resources collectively. One concern is legal. It is
6146 standard practice in education to copy diagrams and snippets of text, but of
6147 course this doesn’t always comply with copyright law. Another concern is
6148 transparency. Sharing what you’ve authored means everyone can see it and
6149 opens you up to criticism. To alleviate these concerns, Mark adopted a
6150 team-based approach to authoring and insisted the curricula be based
6151 entirely on resources with Creative Commons licenses, thereby ensuring they
6152 were safe to share and free from legal repercussions.
6153     </p><p>
6154       Not only did Mark want the resources to be shareable, he wanted all teachers
6155 to be able to remix and edit the content. Mark and his team had to come up
6156 with an open editable format and provide tools for editing. They ended up
6157 putting all the books they’d acquired and authored on a platform called
6158 Connexions.<a href="#ftn.idm1937" class="footnote" name="idm1937"><sup class="footnote">[150]</sup></a> Siyavula trained many
6159 teachers to use Connexions, but it proved to be too complex and the
6160 textbooks were rarely edited.
6161     </p><p>
6162       Then the Shuttleworth Foundation decided to completely restructure its work
6163 as a foundation into a fellowship model (for reasons completely unrelated to
6164 Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
6165 an independent entity and took ownership over it as a Shuttleworth fellow.
6166     </p><p>
6167       Mark and his team experimented with several different strategies.  They
6168 tried creating an authoring and hosting platform called Full Marks so that
6169 teachers could share assessment items. They tried creating a service called
6170 Open Press, where teachers could ask for open educational resources to be
6171 aggregated into a package and printed for them. These services never really
6172 panned out.
6173     </p><p>
6174       Then the South African government approached Siyavula with an interest in
6175 printing out the original six Free High School Science Texts (math and
6176 physical-science textbooks for grades 10 to 12)  for all high school
6177 students in South Africa. Although at this point Siyavula was a bit
6178 discouraged by open educational resources, they saw this as a big
6179 opportunity.
6180     </p><p>
6181       They began to conceive of the six books as having massive marketing
6182 potential for Siyavula. Printing Siyavula books for every kid in South
6183 Africa would give their brand huge exposure and could drive vast amounts of
6184 traffic to their website. In addition to print books, Siyavula could also
6185 make the books available on their website, making it possible for learners
6186 to access them using any device—computer, tablet, or mobile phone.
6187     </p><p>
6188       Mark and his team began imagining what they could develop beyond what was in
6189 the textbooks as a service they charge for. One key thing you can’t do well
6190 in a printed textbook is demonstrate solutions. Typically, a one-line answer
6191 is given at the end of the book but nothing on the process for arriving at
6192 that solution.  Mark and his team developed practice items and detailed
6193 solutions, giving learners plenty of opportunity to test out what they’ve
6194 learned. Furthermore, an algorithm could adapt these practice items to the
6195 individual needs of each learner. They called this service Intelligent
6196 Practice and embedded links to it in the open textbooks.
6197     </p><p>
6198       The costs for using Intelligent Practice were set very low, making it
6199 accessible even to those with limited financial means. Siyavula was going
6200 for large volumes and wide-scale use rather than an expensive product
6201 targeting only the high end of the market.
6202     </p><p>
6203       The government distributed the books to 1.5 million students, but there was
6204 an unexpected wrinkle: the books were delivered late.  Rather than wait,
6205 schools who could afford it provided students with a different textbook. The
6206 Siyavula books were eventually distributed, but with well-off schools mainly
6207 using a different book, the primary market for Siyavula’s Intelligent
6208 Practice service inadvertently became low-income learners.
6209     </p><p>
6210       Siyavula’s site did see a dramatic increase in traffic. They got five
6211 hundred thousand visitors per month to their math site and the same number
6212 to their science site. Two-fifths of the traffic was reading on a
6213 <span class="quote">„<span class="quote">feature phone</span>”</span> (a nonsmartphone with no apps). People on basic
6214 phones were reading math and science on a two-inch screen at all hours of
6215 the day. To Mark, it was quite amazing and spoke to a need they were
6216 servicing.
6217     </p><p>
6218       At first, the Intelligent Practice services could only be paid using a
6219 credit card. This proved problematic, especially for those in the low-income
6220 demographic, as credit cards were not prevalent.  Mark says Siyavula got a
6221 harsh business-model lesson early on. As he describes it, it’s not just
6222 about product, but how you sell it, who the market is, what the price is,
6223 and what the barriers to entry are.
6224     </p><p>
6225       Mark describes this as the first version of Siyavula’s business model: open
6226 textbooks serving as marketing material and driving traffic to your site,
6227 where you can offer a related service and convert some people into a paid
6228 customer.
6229     </p><p>
6230       For Mark a key decision for Siyavula’s business was to focus on how they can
6231 add value on top of their basic service. They’ll charge only if they are
6232 adding unique value. The actual content of the textbook isn’t unique at all,
6233 so Siyavula sees no value in locking it down and charging for it. Mark
6234 contrasts this with traditional publishers who charge over and over again
6235 for the same content without adding value.
6236     </p><p>
6237       Version two of Siyavula’s business model was a big, ambitious idea—scale
6238 up. They also decided to sell the Intelligent Practice service to schools
6239 directly. Schools can subscribe on a per-student, per-subject basis. A
6240 single subscription gives a learner access to a single subject, including
6241 practice content from every grade available for that subject. Lower
6242 subscription rates are provided when there are over two hundred students,
6243 and big schools have a price cap. A 40 percent discount is offered to
6244 schools where both the science and math departments subscribe.
6245     </p><p>
6246       Teachers get a dashboard that allows them to monitor the progress of an
6247 entire class or view an individual learner’s results. They can see the
6248 questions that learners are working on, identify areas of difficulty, and be
6249 more strategic in their teaching. Students also have their own personalized
6250 dashboard, where they can view the sections they’ve practiced, how many
6251 points they’ve earned, and how their performance is improving.
6252     </p><p>
6253       Based on the success of this effort, Siyavula decided to substantially
6254 increase the production of open educational resources so they could provide
6255 the Intelligent Practice service for a wider range of books. Grades 10 to 12
6256 math and science books were reworked each year, and new books created for
6257 grades 4 to 6 and later grades 7 to 9.
6258     </p><p>
6259       In partnership with, and sponsored by, the Sasol Inzalo Foundation, Siyavula
6260 produced a series of natural sciences and technology workbooks for grades 4
6261 to 6 called Thunderbolt Kids that uses a fun comic-book style.<a href="#ftn.idm1956" class="footnote" name="idm1956"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
6262 teacher’s guides and other resources.
6263     </p><p>
6264       Through this experience, Siyavula learned they could get sponsors to help
6265 fund openly licensed textbooks. It helped that Siyavula had by this time
6266 nailed the production model. It cost roughly $150,000 to produce a book in
6267 two languages. Sponsors liked the social-benefit aspect of textbooks
6268 unlocked via a Creative Commons license. They also liked the exposure their
6269 brand got. For roughly $150,000, their logo would be visible on books
6270 distributed to over one million students.
6271     </p><p>
6272       The Siyavula books that are reviewed, approved, and branded by the
6273 government are freely and openly available on Siyavula’s website under an
6274 Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
6275 cannot be modified. Non-government-branded books are available under an
6276 Attribution license (CC BY), allowing others to modify and redistribute the
6277 books.
6278     </p><p>
6279       Although the South African government paid to print and distribute hard
6280 copies of the books to schoolkids, Siyavula itself received no funding from
6281 the government. Siyavula initially tried to convince the government to
6282 provide them with five rand per book (about US35¢). With those funds, Mark
6283 says that Siyavula could have run its entire operation, built a
6284 community-based model for producing more books, and provide Intelligent
6285 Practice for free to every child in the country. But after a lengthy
6286 negotiation, the government said no.
6287     </p><p>
6288       Using Siyavula books generated huge savings for the government.  Providing
6289 students with a traditionally published grade 12 science or math textbook
6290 costs around 250 rand per book (about US$18).  Providing the Siyavula
6291 version cost around 36 rand (about $2.60), a savings of over 200 rand per
6292 book. But none of those savings were passed on to Siyavula. In retrospect,
6293 Mark thinks this may have turned out in their favor as it allowed them to
6294 remain independent from the government.
6295     </p><p>
6296       Just as Siyavula was planning to scale up the production of open textbooks
6297 even more, the South African government changed its textbook policy. To save
6298 costs, the government declared there would be only one authorized textbook
6299 for each grade and each subject. There was no guarantee that Siyavula’s
6300 would be chosen.  This scared away potential sponsors.
6301     </p><p>
6302       Rather than producing more textbooks, Siyavula focused on improving its
6303 Intelligent Practice technology for its existing books. Mark calls this
6304 version three of Siyavula’s business model—focusing on the technology that
6305 provides the revenue-generating service and generating more users of this
6306 service. Version three got a significant boost in 2014 with an investment by
6307 the Omidyar Network (the philanthropic venture started by eBay founder
6308 Pierre Omidyar and his spouse), and continues to be the model Siyavula uses
6309 today.
6310     </p><p>
6311       Mark says sales are way up, and they are really nailing Intelligent
6312 Practice. Schools continue to use their open textbooks. The
6313 government-announced policy that there would be only one textbook per
6314 subject turned out to be highly contentious and is in limbo.
6315     </p><p>
6316       Siyavula is exploring a range of enhancements to their business model. These
6317 include charging a small amount for assessment services provided over the
6318 phone, diversifying their market to all English-speaking countries in
6319 Africa, and setting up a consortium that makes Intelligent Practice free to
6320 all kids by selling the nonpersonal data Intelligent Practice collects.
6321     </p><p>
6322       Siyavula is a for-profit business but one with a social mission.  Their
6323 shareholders’ agreement lists lots of requirements around openness for
6324 Siyavula, including stipulations that content always be put under an open
6325 license and that they can’t charge for something that people volunteered to
6326 do for them. They believe each individual should have access to the
6327 resources and support they need to achieve the education they
6328 deserve. Having educational resources openly licensed with Creative Commons
6329 means they can fulfill their social mission, on top of which they can build
6330 revenue-generating services to sustain the ongoing operation of Siyavula. In
6331 terms of open business models, Mark and Siyavula may have been around the
6332 block a few times, but both he and the company are stronger for it.
6333     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1925" class="footnote"><p><a href="#idm1925" 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.idm1931" class="footnote"><p><a href="#idm1931" 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.idm1937" class="footnote"><p><a href="#idm1937" 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.idm1956" class="footnote"><p><a href="#idm1956" 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>Rozdział 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>
6334         SparkFun is an online electronics retailer specializing in open
6335 hardware. Founded in 2003 in the U.S.
6336       </p><p>
6337           <a class="ulink" href="http://www.sparkfun.com" target="_top">http://www.sparkfun.com</a>
6338         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
6339 copies (electronics sales)
6340       </p><p><span class="strong"><strong>Interview date</strong></span>: February 29, 2016
6341       </p><p><span class="strong"><strong>Interviewee</strong></span>: Nathan Seidle, founder
6342       </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}
6343     \textit{
6344         Profile written by Sarah Hinchliff Pearson
6345       }
6346     \end{flushright}</td></tr></table></div><p>
6347       SparkFun founder and former CEO Nathan Seidle has a picture of himself
6348 holding up a clone of a SparkFun product in an electronics market in China,
6349 with a huge grin on his face. He was traveling in China when he came across
6350 their LilyPad wearable technology being made by someone else. His reaction
6351 was glee.
6352     </p><p><span class="quote">„<span class="quote">Being copied is the greatest earmark of flattery and success,</span>”</span>
6353 Nathan said. <span class="quote">„<span class="quote">I thought it was so cool that they were selling to a
6354 market we were never going to get access to otherwise. It was evidence of
6355 our impact on the world.</span>”</span>
6356     </p><p>
6357       This worldview runs through everything SparkFun does. SparkFun is an
6358 electronics manufacturer. The company sells its products directly to the
6359 public online, and it bundles them with educational tools to sell to schools
6360 and teachers. SparkFun applies Creative Commons licenses to all of its
6361 schematics, images, tutorial content, and curricula, so anyone can make
6362 their products on their own. Being copied is part of the design.
6363     </p><p>
6364       Nathan believes open licensing is good for the world. <span class="quote">„<span class="quote">It touches on
6365 our natural human instinct to share,</span>”</span> he said.  But he also strongly
6366 believes it makes SparkFun better at what they do. They encourage copying,
6367 and their products are copied at a very fast rate, often within ten to
6368 twelve weeks of release.  This forces the company to compete on something
6369 other than product design, or what most commonly consider their intellectual
6370 property.
6371     </p><p><span class="quote">„<span class="quote">We compete on business principles,</span>”</span> Nathan said.
6372 <span class="quote">„<span class="quote">Claiming your territory with intellectual property allows you to get
6373 comfy and rest on your laurels. It gives you a safety net. We took away that
6374 safety net.</span>”</span>
6375     </p><p>
6376       The result is an intense company-wide focus on product development and
6377 improvement. <span class="quote">„<span class="quote">Our products are so much better than they were five
6378 years ago,</span>”</span> Nathan said. <span class="quote">„<span class="quote">We used to just sell products. Now
6379 it’s a product plus a video, a seventeen-page hookup guide, and example
6380 firmware on three different platforms to get you up and running faster. We
6381 have gotten better because we had to in order to compete. As painful as it
6382 is for us, it’s better for the customers.</span>”</span>
6383     </p><p>
6384       SparkFun parts are available on eBay for lower prices. But people come
6385 directly to SparkFun because SparkFun makes their lives easier. The example
6386 code works; there is a service number to call; they ship replacement parts
6387 the day they get a service call. They invest heavily in service and
6388 support. <span class="quote">„<span class="quote">I don’t believe businesses should be competing with IP
6389 [intellectual property] barriers,</span>”</span> Nathan said. <span class="quote">„<span class="quote">This is the
6390 stuff they should be competing on.</span>”</span>
6391     </p><p>
6392       SparkFun’s company history began in Nathan’s college dorm room. He spent a
6393 lot of time experimenting with and building electronics, and he realized
6394 there was a void in the market. <span class="quote">„<span class="quote">If you wanted to place an order for
6395 something,</span>”</span> he said, <span class="quote">„<span class="quote">you first had to search far and wide to
6396 find it, and then you had to call or fax someone.</span>”</span> In 2003, during
6397 his third year of college, he registered <a class="ulink" href="http://sparkfun.com" target="_top">http://sparkfun.com</a>
6398 and started reselling products out of his bedroom. After he graduated, he
6399 started making and selling his own products.
6400     </p><p>
6401       Once he started designing his own products, he began putting the software
6402 and schematics online to help with technical support.  After doing some
6403 research on licensing options, he chose Creative Commons licenses because he
6404 was drawn to the <span class="quote">„<span class="quote">human-readable deeds</span>”</span> that explain the
6405 licensing terms in simple terms.  SparkFun still uses CC licenses for all of
6406 the schematics and firmware for the products they create.
6407     </p><p>
6408       The company has grown from a solo project to a corporation with 140
6409 employees. In 2015, SparkFun earned $33 million in revenue.  Selling
6410 components and widgets to hobbyists, professionals, and artists remains a
6411 major part of SparkFun’s business. They sell their own products, but they
6412 also partner with Arduino (also profiled in this book) by manufacturing
6413 boards for resale using Arduino’s brand.
6414     </p><p>
6415       SparkFun also has an educational department dedicated to creating a hands-on
6416 curriculum to teach students about electronics using prototyping
6417 parts. Because SparkFun has always been dedicated to enabling others to
6418 re-create and fix their products on their own, the more recent focus on
6419 introducing young people to technology is a natural extension of their core
6420 business.
6421     </p><p><span class="quote">„<span class="quote">We have the burden and opportunity to educate the next generation of
6422 technical citizens,</span>”</span> Nathan said. <span class="quote">„<span class="quote">Our goal is to affect the
6423 lives of three hundred and fifty thousand high school students by
6424 2020.</span>”</span>
6425     </p><p>
6426       The Creative Commons license underlying all of SparkFun’s products is
6427 central to this mission. The license not only signals a willingness to
6428 share, but it also expresses a desire for others to get in and tinker with
6429 their products, both to learn and to make their products better. SparkFun
6430 uses the Attribution-ShareAlike license (CC BY-SA), which is a
6431 <span class="quote">„<span class="quote">copyleft</span>”</span> license that allows people to do anything with the
6432 content as long as they provide credit and make any adaptations available
6433 under the same licensing terms.
6434     </p><p>
6435       From the beginning, Nathan has tried to create a work environment at
6436 SparkFun that he himself would want to work in. The result is what appears
6437 to be a pretty fun workplace. The U.S. company is based in Boulder,
6438 Colorado. They have an eighty-thousand-square-foot facility (approximately
6439 seventy-four-hundred square meters), where they design and manufacture their
6440 products. They offer public tours of the space several times a week, and
6441 they open their doors to the public for a competition once a year.
6442     </p><p>
6443       The public event, called the Autonomous Vehicle Competition, brings in a
6444 thousand to two thousand customers and other technology enthusiasts from
6445 around the area to race their own self-created bots against each other,
6446 participate in training workshops, and socialize. From a business
6447 perspective, Nathan says it’s a terrible idea. But they don’t hold the event
6448 for business reasons. <span class="quote">„<span class="quote">The reason we do it is because I get to travel
6449 and have interactions with our customers all the time, but most of our
6450 employees don’t,</span>”</span> he said. <span class="quote">„<span class="quote">This event gives our employees the
6451 opportunity to get face-to-face contact with our customers.</span>”</span> The
6452 event infuses their work with a human element, which makes it more
6453 meaningful.
6454     </p><p>
6455       Nathan has worked hard to imbue a deeper meaning into the work SparkFun
6456 does. The company is, of course, focused on being fiscally responsible, but
6457 they are ultimately driven by something other than money. <span class="quote">„<span class="quote">Profit is
6458 not the goal; it is the outcome of a well-executed plan,</span>”</span> Nathan
6459 said. <span class="quote">„<span class="quote">We focus on having a bigger impact on the world.</span>”</span> Nathan
6460 believes they get some of the brightest and most amazing employees because
6461 they aren’t singularly focused on the bottom line.
6462     </p><p>
6463       The company is committed to transparency and shares all of its financials
6464 with its employees. They also generally strive to avoid being another
6465 soulless corporation. They actively try to reveal the humans behind the
6466 company, and they work to ensure people coming to their site don’t find only
6467 unchanging content.
6468     </p><p>
6469       SparkFun’s customer base is largely made up of industrious electronics
6470 enthusiasts. They have customers who are regularly involved in the company’s
6471 customer support, independently responding to questions in forums and
6472 product-comment sections.  Customers also bring product ideas to the
6473 company. SparkFun regularly sifts through suggestions from customers and
6474 tries to build on them where they can. <span class="quote">„<span class="quote">From the beginning, we have
6475 been listening to the community,</span>”</span> Nathan said.  <span class="quote">„<span class="quote">Customers
6476 would identify a pain point, and we would design something to address
6477 it.</span>”</span>
6478     </p><p>
6479       However, this sort of customer engagement does not always translate to
6480 people actively contributing to SparkFun’s projects.  The company has a
6481 public repository of software code for each of its devices online. On a
6482 particularly active project, there will only be about two dozen people
6483 contributing significant improvements. The vast majority of projects are
6484 relatively untouched by the public. <span class="quote">„<span class="quote">There is a theory that if you
6485 open-source it, they will come,</span>”</span> Nathan said. <span class="quote">„<span class="quote">That’s not
6486 really true.</span>”</span>
6487     </p><p>
6488       Rather than focusing on cocreation with their customers, SparkFun instead
6489 focuses on enabling people to copy, tinker, and improve products on their
6490 own. They heavily invest in tutorials and other material designed to help
6491 people understand how the products work so they can fix and improve things
6492 independently. <span class="quote">„<span class="quote">What gives me joy is when people take open-source
6493 layouts and then build their own circuit boards from our designs,</span>”</span>
6494 Nathan said.
6495     </p><p>
6496       Obviously, opening up the design of their products is a necessary step if
6497 their goal is to empower the public. Nathan also firmly believes it makes
6498 them more money because it requires them to focus on how to provide maximum
6499 value. Rather than designing a new product and protecting it in order to
6500 extract as much money as possible from it, they release the keys necessary
6501 for others to build it themselves and then spend company time and resources
6502 on innovation and service. From a short-term perspective, SparkFun may lose
6503 a few dollars when others copy their products. But in the long run, it makes
6504 them a more nimble, innovative business. In other words, it makes them the
6505 kind of company they set out to be.
6506     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Rozdział 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>
6507         TeachAIDS is a nonprofit that creates educational materials designed to
6508 teach people around the world about HIV and AIDS.  Founded in 2005 in the
6509 U.S.
6510       </p><p>
6511           <a class="ulink" href="http://teachaids.org" target="_top">http://teachaids.org</a>
6512         </p><p><span class="strong"><strong>Revenue model</strong></span>: sponsorships
6513       </p><p><span class="strong"><strong>Interview date</strong></span>: March 24, 2016
6514       </p><p><span class="strong"><strong>Interviewees</strong></span>: Piya Sorcar, the CEO, and
6515 Shuman Ghosemajumder, the chair
6516       </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}
6517     \textit{
6518         Profile written by Sarah Hinchliff Pearson
6519       }
6520     \end{flushright}</td></tr></table></div><p>
6521       TeachAIDS is an unconventional media company with a conventional revenue
6522 model. Like most media companies, they are subsidized by
6523 advertising. Corporations pay to have their logos appear on the educational
6524 materials TeachAIDS distributes.
6525     </p><p>
6526       But unlike most media companies, Teach-AIDS is a nonprofit organization with
6527 a purely social mission. TeachAIDS is dedicated to educating the global
6528 population about HIV and AIDS, particularly in parts of the world where
6529 education efforts have been historically unsuccessful. Their educational
6530 content is conveyed through interactive software, using methods based on the
6531 latest research about how people learn. TeachAIDS serves content in more
6532 than eighty countries around the world. In each instance, the content is
6533 translated to the local language and adjusted to conform to local norms and
6534 customs. All content is free and made available under a Creative Commons
6535 license.
6536     </p><p>
6537       TeachAIDS is a labor of love for founder and CEO Piya Sorcar, who earns a
6538 salary of one dollar per year from the nonprofit. The project grew out of
6539 research she was doing while pursuing her doctorate at Stanford
6540 University. She was reading reports about India, noting it would be the next
6541 hot zone of people living with HIV. Despite international and national
6542 entities pouring in hundreds of millions of dollars on HIV-prevention
6543 efforts, the reports showed knowledge levels were still low. People were
6544 unaware of whether the virus could be transmitted through coughing and
6545 sneezing, for instance. Supported by an interdisciplinary team of experts at
6546 Stanford, Piya conducted similar studies, which corroborated the previous
6547 research. They found that the primary cause of the limited understanding was
6548 that HIV, and issues relating to it, were often considered too taboo to
6549 discuss comprehensively. The other major problem was that most of the
6550 education on this topic was being taught through television advertising,
6551 billboards, and other mass-media campaigns, which meant people were only
6552 receiving bits and pieces of information.
6553     </p><p>
6554       In late 2005, Piya and her team used research-based design to create new
6555 educational materials and worked with local partners in India to help
6556 distribute them. As soon as the animated software was posted online, Piya’s
6557 team started receiving requests from individuals and governments who were
6558 interested in bringing this model to more countries. <span class="quote">„<span class="quote">We realized
6559 fairly quickly that educating large populations about a topic that was
6560 considered taboo would be challenging. We began by identifying optimal local
6561 partners and worked toward creating an effective, culturally appropriate
6562 education,</span>”</span> Piya said.
6563     </p><p>
6564       Very shortly after the initial release, Piya’s team decided to spin the
6565 endeavor into an independent nonprofit out of Stanford University. They also
6566 decided to use Creative Commons licenses on the materials.
6567     </p><p>
6568       Given their educational mission, TeachAIDS had an obvious interest in seeing
6569 the materials as widely shared as possible. But they also needed to preserve
6570 the integrity of the medical information in the content. They chose the
6571 Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND), which essentially
6572 gives the public the right to distribute only verbatim copies of the
6573 content, and for noncommercial purposes. <span class="quote">„<span class="quote">We wanted attribution for
6574 TeachAIDS, and we couldn’t stand by derivatives without vetting
6575 them,</span>”</span> the cofounder and chair Shuman Ghosemajumder said.  <span class="quote">„<span class="quote">It
6576 was almost a no-brainer to go with a CC license because it was a
6577 plug-and-play solution to this exact problem. It has allowed us to scale our
6578 materials safely and quickly worldwide while preserving our content and
6579 protecting us at the same time.</span>”</span>
6580     </p><p>
6581       Choosing a license that does not allow adaptation of the content was an
6582 outgrowth of the careful precision with which TeachAIDS crafts their
6583 content. The organization invests heavily in research and testing to
6584 determine the best method of conveying the information. <span class="quote">„<span class="quote">Creating
6585 high-quality content is what matters most to us,</span>”</span> Piya
6586 said. <span class="quote">„<span class="quote">Research drives everything we do.</span>”</span>
6587     </p><p>
6588       One important finding was that people accept the message best when it comes
6589 from familiar voices they trust and admire. To achieve this, TeachAIDS
6590 researches cultural icons that would best resonate with their target
6591 audiences and recruits them to donate their likenesses and voices for use in
6592 the animated software. The celebrities involved vary for each localized
6593 version of the materials.
6594     </p><p>
6595       Localization is probably the single-most important aspect of the way
6596 TeachAIDS creates its content. While each regional version builds from the
6597 same core scientific materials, they pour a lot of resources into
6598 customizing the content for a particular population. Because they use a CC
6599 license that does not allow the public to adapt the content, TeachAIDS
6600 retains careful control over the localization process. The content is
6601 translated into the local language, but there are also changes in substance
6602 and format to reflect cultural differences. This process results in minor
6603 changes, like choosing different idioms based on the local language, and
6604 significant changes, like creating gendered versions for places where people
6605 are more likely to accept information from someone of the same gender.
6606     </p><p>
6607       The localization process relies heavily on volunteers. Their volunteer base
6608 is deeply committed to the cause, and the organization has had better luck
6609 controlling the quality of the materials when they tap volunteers instead of
6610 using paid translators. For quality control, TeachAIDS has three separate
6611 volunteer teams translate the materials from English to the local language
6612 and customize the content based on local customs and norms. Those three
6613 versions are then analyzed and combined into a single master
6614 translation. TeachAIDS has additional teams of volunteers then translate
6615 that version back into English to see how well it lines up with the original
6616 materials. They repeat this process until they reach a translated version
6617 that meets their standards. For the Tibetan version, they went through this
6618 cycle eleven times.
6619     </p><p>
6620       TeachAIDS employs full-time employees, contractors, and volunteers, all in
6621 different capacities and organizational configurations. They are careful to
6622 use people from diverse backgrounds to create the materials, including
6623 teachers, students, and doctors, as well as individuals experienced in
6624 working in the NGO space. This diversity and breadth of knowledge help
6625 ensure their materials resonate with people from all walks of life.
6626 Additionally, TeachAIDS works closely with film writers and directors to
6627 help keep the concepts entertaining and easy to understand. The inclusive,
6628 but highly controlled, creative process is undertaken entirely by people who
6629 are specifically brought on to help with a particular project, rather than
6630 ongoing staff. The final product they create is designed to require zero
6631 training for people to implement in practice. <span class="quote">„<span class="quote">In our research, we
6632 found we can’t depend on people passing on the information correctly, even
6633 if they have the best of intentions,</span>”</span> Piya said.  <span class="quote">„<span class="quote">We need
6634 materials where you can push play and they will work.</span>”</span>
6635     </p><p>
6636       Piya’s team was able to produce all of these versions over several years
6637 with a head count that never exceeded eight full-time employees. The
6638 organization is able to reduce costs by relying heavily on volunteers and
6639 in-kind donations. Nevertheless, the nonprofit needed a sustainable revenue
6640 model to subsidize content creation and physical distribution of the
6641 materials. Charging even a low price was simply not an
6642 option. <span class="quote">„<span class="quote">Educators from various nonprofits around the world were just
6643 creating their own materials using whatever they could find for free
6644 online,</span>”</span> Shuman said. <span class="quote">„<span class="quote">The only way to persuade them to use our
6645 highly effective model was to make it completely free.</span>”</span>
6646     </p><p>
6647       Like many content creators offering their work for free, they settled on
6648 advertising as a funding model. But they were extremely careful not to let
6649 the advertising compromise their credibility or undermine the heavy
6650 investment they put into creating quality content. Sponsors of the content
6651 have no ability to influence the substance of the content, and they cannot
6652 even create advertising content. Sponsors only get the right to have their
6653 logo appear before and after the educational content. All of the content
6654 remains branded as TeachAIDS.
6655     </p><p>
6656       TeachAIDS is careful not to seek funding to cover the costs of a specific
6657 project. Instead, sponsorships are structured as unrestricted donations to
6658 the nonprofit. This gives the nonprofit more stability, but even more
6659 importantly, it enables them to subsidize projects being localized for an
6660 area with no sponsors.  <span class="quote">„<span class="quote">If we just created versions based on where we
6661 could get sponsorships, we would only have materials for wealthier
6662 countries,</span>”</span> Shuman said.
6663     </p><p>
6664       As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">„<span class="quote">When we go into a new
6665 country, various companies hear about us and reach out to us,</span>”</span> Piya
6666 said. <span class="quote">„<span class="quote">We don’t have to do much to find or attract them.</span>”</span> They
6667 believe the sponsorships are easy to sell because they offer so much value
6668 to sponsors. TeachAIDS sponsorships give corporations the chance to reach
6669 new eyeballs with their brand, but at a much lower cost than other
6670 advertising channels. The audience for TeachAIDS content also tends to skew
6671 young, which is often a desirable demographic for brands. Unlike traditional
6672 advertising, the content is not time-sensitive, so an investment in a
6673 sponsorship can benefit a brand for many years to come.
6674     </p><p>
6675       Importantly, the value to corporate sponsors goes beyond commercial
6676 considerations. As a nonprofit with a clearly articulated social mission,
6677 corporate sponsorships are donations to a cause. <span class="quote">„<span class="quote">This is something
6678 companies can be proud of internally,</span>”</span> Shuman said. Some companies
6679 have even built publicity campaigns around the fact that they have sponsored
6680 these initiatives.
6681     </p><p>
6682       The core mission of TeachAIDS—ensuring global access to life-saving
6683 education—is at the root of everything the organization does. It underpins
6684 the work; it motivates the funders. The CC license on the materials they
6685 create furthers that mission, allowing them to safely and quickly scale
6686 their materials worldwide. <span class="quote">„<span class="quote">The Creative Commons license has been a
6687 game changer for TeachAIDS,</span>”</span> Piya said.
6688     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Rozdział 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>
6689         Tribe of Noise is a for-profit online music platform serving the film, TV,
6690 video, gaming, and in-store-media industries. Founded in 2008 in the
6691 Netherlands.
6692       </p><p>
6693           <a class="ulink" href="http://www.tribeofnoise.com" target="_top">http://www.tribeofnoise.com</a>
6694         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
6695       </p><p><span class="strong"><strong>Interview date</strong></span>: January 26, 2016
6696       </p><p><span class="strong"><strong>Interviewee</strong></span>: Hessel van Oorschot,
6697 cofounder
6698       </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}
6699     \textit{
6700         Profile written by Paul Stacey
6701       }
6702     \end{flushright}</td></tr></table></div><p>
6703       In the early 2000s, Hessel van Oorschot was an entrepreneur running a
6704 business where he coached other midsize entrepreneurs how to create an
6705 online business. He also coauthored a number of workbooks for small- to
6706 medium-size enterprises to use to optimize their business for the
6707 Web. Through this early work, Hessel became familiar with the principles of
6708 open licensing, including the use of open-source software and Creative
6709 Commons.
6710     </p><p>
6711       In 2005, Hessel and Sandra Brandenburg launched a niche video-production
6712 initiative. Almost immediately, they ran into issues around finding and
6713 licensing music tracks. All they could find was standard, cold
6714 stock-music. They thought of looking up websites where you could license
6715 music directly from the musician without going through record labels or
6716 agents. But in 2005, the ability to directly license music from a rights
6717 holder was not readily available.
6718     </p><p>
6719       They hired two lawyers to investigate further, and while they uncovered five
6720 or six examples, Hessel found the business models lacking. The lawyers
6721 expressed interest in being their legal team should they decide to pursue
6722 this as an entrepreneurial opportunity. Hessel says, <span class="quote">„<span class="quote">When lawyers are
6723 interested in a venture like this, you might have something special.</span>”</span>
6724 So after some more research, in early 2008, Hessel and Sandra decided to
6725 build a platform.
6726     </p><p>
6727       Building a platform posed a real chicken-and-egg problem. The platform had
6728 to build an online community of music-rights holders and, at the same time,
6729 provide the community with information and ideas about how the new economy
6730 works. Community willingness to try new music business models requires a
6731 trust relationship.
6732     </p><p>
6733       In July 2008, Tribe of Noise opened its virtual doors with a couple hundred
6734 musicians willing to use the CC BY-SA license (Attribution-ShareAlike) for a
6735 limited part of their repertoire.  The two entrepreneurs wanted to take the
6736 pain away for media makers who wanted to license music and solve the
6737 problems the two had personally experienced finding this music.
6738     </p><p>
6739       As they were growing the community, Hessel got a phone call from a company
6740 that made in-store music playlists asking if they had enough music licensed
6741 with Creative Commons that they could use.  Stores need quality,
6742 good-listening music but not necessarily hits, a bit like a radio show
6743 without the DJ. This opened a new opportunity for Tribe of Noise. They
6744 started their In-store Music Service, using music (licensed with CC BY-SA)
6745 uploaded by the Tribe of Noise community of musicians.<a href="#ftn.idm2091" class="footnote" name="idm2091"><sup class="footnote">[152]</sup></a>
6746     </p><p>
6747       In most countries, artists, authors, and musicians join a collecting society
6748 that manages the licensing and helps collect the royalties. Copyright
6749 collecting societies in the European Union usually hold monopolies in their
6750 respective national markets. In addition, they require their members to
6751 transfer exclusive administration rights to them of all of their works.
6752 This complicates the picture for Tribe of Noise, who wants to represent
6753 artists, or at least a portion of their repertoire.  Hessel and his legal
6754 team reached out to collecting societies, starting with those in the
6755 Netherlands. What would be the best legal way forward that would respect the
6756 wishes of composers and musicians who’d be interested in trying out new
6757 models like the In-store Music Service? Collecting societies at first were
6758 hesitant and said no, but Tribe of Noise persisted arguing that they
6759 primarily work with unknown artists and provide them exposure in parts of
6760 the world where they don’t get airtime normally and a source of revenue—and
6761 this convinced them that it was OK. However, Hessel says, <span class="quote">„<span class="quote">We are
6762 still fighting for a good cause every single day.</span>”</span>
6763     </p><p>
6764       Instead of building a large sales force, Tribe of Noise partnered with big
6765 organizations who have lots of clients and can act as a kind of Tribe of
6766 Noise reseller. The largest telecom network in the Netherlands, for example,
6767 sells Tribe’s In-store Music Service subscriptions to their business
6768 clients, which include fashion retailers and fitness centers. They have a
6769 similar deal with the leading trade association representing hotels and
6770 restaurants in the country. Hessel hopes to <span class="quote">„<span class="quote">copy and paste</span>”</span>
6771 this service into other countries where collecting societies understand what
6772 you can do with Creative Commons. Outside of the Netherlands, early
6773 adoptions have happened in Scandinavia, Belgium, and the U.S.
6774     </p><p>
6775       Tribe of Noise doesn’t pay the musicians up front; they get paid when their
6776 music ends up in Tribe of Noise’s in-store music channels. The musicians’
6777 share is 42.5 percent. It’s not uncommon in a traditional model for the
6778 artist to get only 5 to 10 percent, so a share of over 40 percent is a
6779 significantly better deal.  Here’s how they give an example on their
6780 website:
6781     </p><p>
6782       A few of your songs [licensed with CC BY-SA], for example five in total, are
6783 selected for a bespoke in-store music channel broadcasting at a large
6784 retailer with 1,000 stores nationwide. In this case the overall playlist
6785 contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
6786 agreed with this retailer is US$12 per month per play-out. So if 42.5% is
6787 shared with the Tribe musicians in this playlist and your share is 1.43%,
6788 you end up with US$12 * 1000 stores * 0.425 * 0.0143 = US$73 per
6789 month.<a href="#ftn.idm2100" class="footnote" name="idm2100"><sup class="footnote">[153]</sup></a>
6790     </p><p>
6791       Tribe of Noise has another model that does not involve Creative Commons. In
6792 a survey with members, most said they liked the exposure using Creative
6793 Commons gets them and the way it lets them reach out to others to share and
6794 remix. However, they had a bit of a mental struggle with Creative Commons
6795 licenses being perpetual.  A lot of musicians have the mind-set that one day
6796 one of their songs may become an overnight hit. If that happened the CC
6797 BY-SA license would preclude them getting rich off the sale of that song.
6798     </p><p>
6799       Hessel’s legal team took this feedback and created a second model and
6800 separate area of the platform called Tribe of Noise Pro. Songs uploaded to
6801 Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
6802 instead created a <span class="quote">„<span class="quote">nonexclusive exploitation</span>”</span> contract, similar
6803 to a Creative Commons license but allowing musicians to opt out whenever
6804 they want. When you opt out, Tribe of Noise agrees to take your music off
6805 the Tribe of Noise platform within one to two months. This lets the musician
6806 reuse their song for a better deal.
6807     </p><p>
6808       Tribe of Noise Pro is primarily geared toward media makers who are looking
6809 for music. If they buy a license from this catalog, they don’t have to state
6810 the name of the creator; they just license the song for a specific
6811 amount. This is a big plus for media makers.  And musicians can pull their
6812 repertoire at any time. Hessel sees this as a more direct and clean deal.
6813     </p><p>
6814       Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and
6815 the community area of Tribe of Noises. There aren’t that many artists who
6816 upload only to Tribe of Noise Pro, which has a smaller repertoire of music
6817 than the community area.
6818     </p><p>
6819       Hessel sees the two as complementary. Both are needed for the model to
6820 work. With a whole generation of musicians interested in the sharing
6821 economy, the community area of Tribe of Noise is where they can build trust,
6822 create exposure, and generate money. And after that, musicians may become
6823 more interested in exploring other models like Tribe of Noise Pro.
6824     </p><p>
6825       Every musician who joins Tribe of Noise gets their own home page and free
6826 unlimited Web space to upload as much of their own music as they like. Tribe
6827 of Noise is also a social network; fellow musicians and professionals can
6828 vote for, comment on, and like your music. Community managers interact with
6829 and support members, and music supervisors pick and choose from the uploaded
6830 songs for in-store play or to promote them to media producers. Members
6831 really like having people working for the platform who truly engage with
6832 them.
6833     </p><p>
6834       Another way Tribe of Noise creates community and interest is with contests,
6835 which are organized in partnership with Tribe of Noise clients. The client
6836 specifies what they want, and any member can submit a song. Contests usually
6837 involve prizes, exposure, and money. In addition to building member
6838 engagement, contests help members learn how to work with clients: listening
6839 to them, understanding what they want, and creating a song to meet that
6840 need.
6841     </p><p>
6842       Tribe of Noise now has twenty-seven thousand members from 192 countries, and
6843 many are exploring do-it-yourself models for generating revenue. Some came
6844 from music labels and publishers, having gone through the traditional way of
6845 music licensing and now seeing if this new model makes sense for
6846 them. Others are young musicians, who grew up with a DIY mentality and see
6847 little reason to sign with a third party or hand over some of the
6848 control. Still a small but growing group of Tribe members are pursuing a
6849 hybrid model by licensing some of their songs under CC BY-SA and opting in
6850 others with collecting societies like ASCAP or BMI.
6851     </p><p>
6852       It’s not uncommon for performance-rights organizations, record labels, or
6853 music publishers to sign contracts with musicians based on exclusivity. Such
6854 an arrangement prevents those musicians from uploading their music to Tribe
6855 of Noise. In the United States, you can have a collecting society handle
6856 only some of your tracks, whereas in many countries in Europe, a collecting
6857 society prefers to represent your entire repertoire (although the European
6858 Commission is making some changes). Tribe of Noise deals with this issue all
6859 the time and gives you a warning whenever you upload a song. If collecting
6860 societies are willing to be open and flexible and do the most they can for
6861 their members, then they can consider organizations like Tribe of Noise as a
6862 nice add-on, generating more exposure and revenue for the musicians they
6863 represent. So far, Tribe of Noise has been able to make all this work
6864 without litigation.
6865     </p><p>
6866       For Hessel the key to Tribe of Noise’s success is trust. The fact that
6867 Creative Commons licenses work the same way all over the world and have been
6868 translated into all languages really helps build that trust. Tribe of Noise
6869 believes in creating a model where they work together with musicians. They
6870 can only do that if they have a live and kicking community, with people who
6871 think that the Tribe of Noise team has their best interests in
6872 mind. Creative Commons makes it possible to create a new business model for
6873 music, a model that’s based on trust.
6874     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2091" class="footnote"><p><a href="#idm2091" 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.idm2100" class="footnote"><p><a href="#idm2100" 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>Rozdział 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>
6875         The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia
6876 and its sister projects. Founded in 2003 in the U.S.
6877       </p><p>
6878           <a class="ulink" href="http://wikimediafoundation.org" target="_top">http://wikimediafoundation.org</a>
6879         </p><p><span class="strong"><strong>Revenue model</strong></span>: donations
6880       </p><p><span class="strong"><strong>Interview date</strong></span>: December 18, 2015
6881       </p><p><span class="strong"><strong>Interviewees</strong></span>: Luis Villa, former Chief
6882 Officer of Community Engagement, and Stephen LaPorte, legal counsel
6883       </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}
6884     \textit{
6885         Profile written by Sarah Hinchliff Pearson
6886       }
6887     \end{flushright}</td></tr></table></div><p>
6888       Nearly every person with an online presence knows Wikipedia.
6889     </p><p>
6890       In many ways, it is the preeminent open project: The online encyclopedia is
6891 created entirely by volunteers. Anyone in the world can edit the
6892 articles. All of the content is available for free to anyone online. All of
6893 the content is released under a Creative Commons license that enables people
6894 to reuse and adapt it for any purpose.
6895     </p><p>
6896       As of December 2016, there were more than forty-two million articles in the
6897 295 language editions of the online encyclopedia, according to—what
6898 else?—the Wikipedia article about Wikipedia.
6899     </p><p>
6900       The Wikimedia Foundation is a U.S.-based nonprofit organization that owns
6901 the Wikipedia domain name and hosts the site, along with many other related
6902 sites like Wikidata and Wikimedia Commons. The foundation employs about two
6903 hundred and eighty people, who all work to support the projects it
6904 hosts. But the true heart of Wikipedia and its sister projects is its
6905 community. The numbers of people in the community are variable, but about
6906 seventy-five thousand volunteers edit and improve Wikipedia articles every
6907 month. Volunteers are organized in a variety of ways across the globe,
6908 including formal Wikimedia chapters (mostly national), groups focused on a
6909 particular theme, user groups, and many thousands who are not connected to a
6910 particular organization.
6911     </p><p>
6912       As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">„<span class="quote">There is a common
6913 saying that Wikipedia works in practice but not in theory.</span>”</span> While it
6914 undoubtedly has its challenges and flaws, Wikipedia and its sister projects
6915 are a striking testament to the power of human collaboration.
6916     </p><p>
6917       Because of its extraordinary breadth and scope, it does feel a bit like a
6918 unicorn. Indeed, there is nothing else like Wikipedia.  Still, much of what
6919 makes the projects successful—community, transparency, a strong mission,
6920 trust—are consistent with what it takes to be successfully Made with
6921 Creative Commons more generally. With Wikipedia, everything just happens at
6922 an unprecedented scale.
6923     </p><p>
6924       The story of Wikipedia has been told many times. For our purposes, it is
6925 enough to know the experiment started in 2001 at a small scale, inspired by
6926 the crazy notion that perhaps a truly open, collaborative project could
6927 create something meaningful. At this point, Wikipedia is so ubiquitous and
6928 ingrained in our digital lives that the fact of its existence seems less
6929 remarkable. But outside of software, Wikipedia is perhaps the single most
6930 stunning example of successful community cocreation. Every day, seven
6931 thousand new articles are created on Wikipedia, and nearly fifteen thousand
6932 edits are made every hour.
6933     </p><p>
6934       The nature of the content the community creates is ideal for asynchronous
6935 cocreation. <span class="quote">„<span class="quote">An encyclopedia is something where incremental community
6936 improvement really works,</span>”</span> Luis Villa, former Chief Officer of
6937 Community Engagement, told us. The rules and processes that govern
6938 cocreation on Wikipedia and its sister projects are all community-driven and
6939 vary by language edition. There are entire books written on the intricacies
6940 of their systems, but generally speaking, there are very few exceptions to
6941 the rule that anyone can edit any article, even without an account on their
6942 system. The extensive peer-review process includes elaborate systems to
6943 resolve disputes, methods for managing particularly controversial subject
6944 areas, talk pages explaining decisions, and much, much more. The Wikimedia
6945 Foundation’s decision to leave governance of the projects to the community
6946 is very deliberate. <span class="quote">„<span class="quote">We look at the things that the community can do
6947 well, and we want to let them do those things,</span>”</span> Stephen told
6948 us. Instead, the foundation focuses its time and resources on what the
6949 community cannot do as effectively, like the software engineering that
6950 supports the technical infrastructure of the sites. In 2015-16, about half
6951 of the foundation’s budget went to direct support for the Wikimedia sites.
6952     </p><p>
6953       Some of that is directed at servers and general IT support, but the
6954 foundation also invests a significant amount on architecture designed to
6955 help the site function as effectively as possible.  <span class="quote">„<span class="quote">There is a
6956 constantly evolving system to keep the balance in place to avoid Wikipedia
6957 becoming the world’s biggest graffiti wall,</span>”</span> Luis said. Depending on
6958 how you measure it, somewhere between 90 to 98 percent of edits to Wikipedia
6959 are positive. Some portion of that success is attributable to the tools
6960 Wikimedia has in place to try to incentivize good actors.  <span class="quote">„<span class="quote">The secret
6961 to having any healthy community is bringing back the right people,</span>”</span>
6962 Luis said. <span class="quote">„<span class="quote">Vandals tend to get bored and go away. That is partially
6963 our model working, and partially just human nature.</span>”</span> Most of the
6964 time, people want to do the right thing.
6965     </p><p>
6966       Wikipedia not only relies on good behavior within its community and on its
6967 sites, but also by everyone else once the content leaves Wikipedia. All of
6968 the text of Wikipedia is available under an Attribution-ShareAlike license
6969 (CC BY-SA), which means it can be used for any purpose and modified so long
6970 as credit is given and anything new is shared back with the public under the
6971 same license. In theory, that means anyone can copy the content and start a
6972 new Wikipedia. But as Stephen explained, <span class="quote">„<span class="quote">Being open has only made
6973 Wikipedia bigger and stronger. The desire to protect is not always what is
6974 best for everyone.</span>”</span>
6975     </p><p>
6976       Of course, the primary reason no one has successfully co-opted Wikipedia is
6977 that copycat efforts do not have the Wikipedia community to sustain what
6978 they do. Wikipedia is not simply a source of up-to-the-minute content on
6979 every given topic—it is also a global patchwork of humans working together
6980 in a million different ways, in a million different capacities, for a
6981 million different reasons. While many have tried to guess what makes
6982 Wikipedia work as well it does, the fact is there is no single
6983 explanation. <span class="quote">„<span class="quote">In a movement as large as ours, there is an incredible
6984 diversity of motivations,</span>”</span> Stephen said. For example, there is one
6985 editor of the English Wikipedia edition who has corrected a single
6986 grammatical error in articles more than forty-eight thousand
6987 times.<a href="#ftn.idm2146" class="footnote" name="idm2146"><sup class="footnote">[154]</sup></a> Only a fraction of Wikipedia
6988 users are also editors.  But editing is not the only way to contribute to
6989 Wikipedia.  <span class="quote">„<span class="quote">Some donate text, some donate images, some donate
6990 financially,</span>”</span> Stephen told us. <span class="quote">„<span class="quote">They are all
6991 contributors.</span>”</span>
6992     </p><p>
6993       But the vast majority of us who use Wikipedia are not contributors; we are
6994 passive readers. The Wikimedia Foundation survives primarily on individual
6995 donations, with about $15 as the average. Because Wikipedia is one of the
6996 ten most popular websites in terms of total page views, donations from a
6997 small portion of that audience can translate into a lot of money. In the
6998 2015-16 fiscal year, they received more than $77 million from more than five
6999 million donors.
7000     </p><p>
7001       The foundation has a fund-raising team that works year-round to raise money,
7002 but the bulk of their revenue comes in during the December campaign in
7003 Australia, Canada, Ireland, New Zealand, the United Kingdom, and the United
7004 States. They engage in extensive user testing and research to maximize the
7005 reach of their fund-raising campaigns. Their basic fund-raising message is
7006 simple: We provide our readers and the world immense value, so give
7007 back. Every little bit helps. With enough eyeballs, they are right.
7008     </p><p>
7009       The vision of the Wikimedia Foundation is a world in which every single
7010 human being can freely share in the sum of all knowledge.  They work to
7011 realize this vision by empowering people around the globe to create
7012 educational content made freely available under an open license or in the
7013 public domain. Stephen and Luis said the mission, which is rooted in the
7014 same philosophy behind Creative Commons, drives everything the foundation
7015 does.
7016     </p><p>
7017       The philosophy behind the endeavor also enables the foundation to be
7018 financially sustainable. It instills trust in their readership, which is
7019 critical for a revenue strategy that relies on reader donations. It also
7020 instills trust in their community.
7021     </p><p>
7022       Any given edit on Wikipedia could be motivated by nearly an infinite number
7023 of reasons. But the social mission of the project is what binds the global
7024 community together. <span class="quote">„<span class="quote">Wikipedia is an example of how a mission can
7025 motivate an entire movement,</span>”</span> Stephen told us.
7026     </p><p>
7027       Of course, what results from that movement is one of the Internet’s great
7028 public resources. <span class="quote">„<span class="quote">The Internet has a lot of businesses and stores,
7029 but it is missing the digital equivalent of parks and open public
7030 spaces,</span>”</span> Stephen said.  <span class="quote">„<span class="quote">Wikipedia has found a way to be that
7031 open public space.</span>”</span>
7032     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2146" class="footnote"><p><a href="#idm2146" 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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7265   </p><p>
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7267 Performance. Boston: Harvard Business Review Press, 2015.
7268   </p>\chapter*{<title>Acknowledgments</title>}\addcontentsline{toc}{chapter}{<title>Acknowledgments</title>}<p>
7269     We extend special thanks to Creative Commons CEO Ryan Merkley, the Creative
7270 Commons Board, and all of our Creative Commons colleagues for
7271 enthusiastically supporting our work. Special gratitude to the William and
7272 Flora Hewlett Foundation for the initial seed funding that got us started on
7273 this project.
7274   </p><p>
7275     Huge appreciation to all the Made with Creative Commons interviewees for
7276 sharing their stories with us. You make the commons come alive.  Thanks for
7277 the inspiration.
7278   </p><p>
7279     We interviewed more than the twenty-four organizations profiled in this
7280 book. We extend special thanks to Gooru, OERu, Sage Bionetworks, and Medium
7281 for sharing their stories with us. While not featured as case studies in
7282 this book, you all are equally interesting, and we encourage our readers to
7283 visit your sites and explore your work.
7284   </p><p>
7285     This book was made possible by the generous support of 1,687 Kickstarter
7286 backers listed below. We especially acknowledge our many Kickstarter
7287 co-editors who read early drafts of our work and provided invaluable
7288 feedback. Heartfelt thanks to all of you.
7289   </p><p>
7290     Co-editor Kickstarter backers (alphabetically by first name): Abraham
7291 Taherivand, Alan Graham, Alfredo Louro, Anatoly Volynets, Aurora Thornton,
7292 Austin Tolentino, Ben Sheridan, Benedikt Foit, Benjamin Costantini, Bernd
7293 Nurnberger, Bernhard Seefeld, Bethanye Blount, Bradford Benn, Bryan Mock,
7294 Carmen Garcia Wiedenhoeft, Carolyn Hinchliff, Casey Milford, Cat Cooper,
7295 Chip McIntosh, Chris Thorne, Chris Weber, Chutika Udomsinn, Claire Wardle,
7296 Claudia Cristiani, Cody Allard, Colleen Cressman, Craig Thomler, Creative
7297 Commons Uruguay, Curt McNamara, Dan Parson, Daniel Dominguez, Daniel Morado,
7298 Darius Irvin, Dave Taillefer, David Lewis, David Mikula, David Varnes, David
7299 Wiley, Deborah Nas, Diderik van Wingerden, Dirk Kiefer, Dom Lane, Domi
7300 Enders, Douglas Van Houweling, Dylan Field, Einar Joergensen, Elad Wieder,
7301 Elie Calhoun, Erika Reid, Evtim Papushev, Fauxton Software, Felix
7302 Maximiliano Obes, Ferdies Food Lab, Gatien de Broucker, Gaurav Kapil, Gavin
7303 Romig-Koch, George Baier IV, George De Bruin, Gianpaolo Rando, Glenn Otis
7304 Brown, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Hamish MacEwan,
7305 Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James Cloos, Jamie
7306 Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo, Jay M
7307 Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme
7308 Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
7309 Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
7310 Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos
7311 Belair, Justin Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie
7312 Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova, Kristoffer Steen,
7313 Kyle Simpson, Laurie Racine, Leonardo Bueno Postacchini, Leticia Britos
7314 Cavagnaro, Livia Leskovec, Louis-David Benyayer, Maik Schmalstich, Mairi
7315 Thomson, Marcia Hofmann, Maria Liberman, Marino Hernandez, Mario R. Hemsley,
7316 MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black,
7317 Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
7318 Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha Batic, Mike
7319 Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall
7320 McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman,
7321 Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
7322 Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny
7323 Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv
7324 Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones,
7325 Robert Thompson, Ronald van den Hoff, Rusi Popov, Ryan Merkley, S Searle,
7326 Salomon Riedo, Samuel A. Rebelsky, Samuel Tait, Sarah McGovern, Scott
7327 Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio,
7328 Simon Law, Solomon Simon, Stefano Guidotti, Subhendu Ghosh, Susan Chun,
7329 Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent,
7330 Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
7331 Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh,
7332 William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque,
7333 Yancey Strickler
7334   </p><p>
7335     All other Kickstarter backers (alphabetically by first name): A.  Lee, Aaron
7336 C. Rathbun, Aaron Stubbs, Aaron Suggs, Abdul Razak Manaf, Abraham
7337 Taherivand, Adam Croom, Adam Finer, Adam Hansen, Adam Morris, Adam Procter,
7338 Adam Quirk, Adam Rory Porter, Adam Simmons, Adam Tinworth, Adam Zimmerman,
7339 Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al Sweigart, Alain
7340 Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert
7341 O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
7342 Blood, Alex C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown,
7343 Alexander Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar,
7344 Alexander Neumann, Alexander Plaum, Alexander Wendland, Alexandre
7345 Rafalovitch, Alexey Volkow, Alexi Wheeler, Alexis Sevault, Alfredo Louro,
7346 Ali Sternburg, Alicia Gibb &amp; Lunchbox Electronics, Alison Link, Alison
7347 Pentecost, Alistair Boettiger, Alistair Walder, Alix Bernier, Allan
7348 Callaghan, Allen Riddell, Allison Breland Crotwell, Allison Jane Smith,
7349 Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
7350 Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
7351 Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen,
7352 Andre Wallace, Andrea Bagnacani, Andrea Pepe, Andrea Pigato, Andreas
7353 Jagelund, Andres Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew
7354 Hearse, Andrew Matangi, Andrew R McHugh, Andrew Tam, Andrew Turvey, Andrew
7355 Walsh, Andrew Wilson, Andrey Novoseltsev, Andy McGhee, Andy Reeve, Andy
7356 Woods, Angela Brett, Angeliki Kapoglou, Angus Keenan, Anne-Marie Scott,
7357 Antero Garcia, Antoine Authier, Antoine Michard, Anton Kurkin, Anton
7358 Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
7359 publishing, April Johnson, Aria F.  Chernik, Ariane Allan, Ariel Katz,
7360 Arithmomaniac, Arnaud Tessier, Arnim Sommer, Ashima Bawa, Ashley Elsdon,
7361 Athanassios Diacakis, Aurora Thornton, Aurore Chavet Henry, Austin
7362 Hartzheim, Austin Tolentino, Avner Shanan, Axel Pettersson, Axel
7363 Stieglbauer, Ay Okpokam, Barb Bartkowiak, Barbara Lindsey, Barry Dayton,
7364 Bastian Hougaard, Ben Chad, Ben Doherty, Ben Hansen, Ben Nuttall, Ben
7365 Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin Costantini,
7366 Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
7367 Bernardo Miguel Antunes, Bernd Nurnberger, Bernhard Seefeld, Beth Gis, Beth
7368 Tillinghast, Bethanye Blount, Bill Bonwitt, Bill Browne, Bill Keaggy, Bill
7369 Maiden, Bill Rafferty, Bill Scanlon, Bill Shields, Bill Slankard, BJ Becker,
7370 Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
7371 Sprotte Kofod, Bob Doran, Bob Recny, Bob Stuart, Bonnie Chiu, Boris Mindzak,
7372 Boriss Lariushin, Borjan Tchakaloff, Brad Kik, Braden Hassett, Bradford
7373 Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka
7374 Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel,
7375 Brett Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian
7376 S. Weis, Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke
7377 Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno Girin, Bryan
7378 Mock, Bryant Durrell, Bryce Barbato, Buzz Technology Limited, Byung-Geun
7379 Jeon, C. Glen Williams, C. L. Couch, Cable Green, Callum Gare, Cameron
7380 Callahan, Cameron Colby Thomson, Cameron Mulder, Camille Bissuel / Nylnook,
7381 Candace Robertson, Carl Morris, Carl Perry, Carl Rigney, Carles Mateu,
7382 Carlos Correa Loyola, Carlos Solis, Carmen Garcia Wiedenhoeft, Carol Long,
7383 Carol marquardsen, Caroline Calomme, Caroline Mailloux, Carolyn Hinchliff,
7384 Carolyn Rude, Carrie Cousins, Carrie Watkins, Casey Hunt, Casey Milford,
7385 Casey Powell Shorthouse, Cat Cooper, Cecilie Maria, Cedric Howe, Cefn Hoile,
7386 @ShrimpingIt, Celia Muller, Ces Keller, Chad Anderson, Charles Butler,
7387 Charles Carstensen, Charles Chi Thoi Le, Charles Kobbe, Charles S. Tritt,
7388 Charles Stanhope, Charlotte Ong-Wisener, Chealsye Bowley, Chelle Destefano,
7389 Chenpang Chou, Cheryl Corte, Cheryl Todd, Chip Dickerson, Chip McIntosh,
7390 Chris Bannister, Chris Betcher, Chris Coleman, Chris Conway, Chris Foote
7391 (Spike), Chris Hurst, Chris Mitchell, Chris Muscat Azzopardi, Chris
7392 Niewiarowski, Chris Opperwall, Chris Stieha, Chris Thorne, Chris Weber,
7393 Chris Woolfrey, Chris Zabriskie, Christi Reid, Christian Holzberger,
7394 Christian Schubert, Christian Sheehy, Christian Thibault, Christian Villum,
7395 Christian Wachter, Christina Bennett, Christine Henry, Christine Rico,
7396 Christopher Burrows, Christopher Chan, Christopher Clay, Christopher Harris,
7397 Christopher Opiah, Christopher Swenson, Christos Keramitsis, Chuck Roslof,
7398 Chutika Udomsinn, Claire Wardle, Clare Forrest, Claudia Cristiani, Claudio
7399 Gallo, Claudio Ruiz, Clayton Dewey, Clement Delort, Cliff Church, Clint
7400 Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
7401 Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie
7402 Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
7403 Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney,
7404 Craig Thomler, Creative Commons Uruguay, Crina Kienle, Cristiano Gozzini,
7405 Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei,
7406 Dagmar M. Meyer, Dan Mcalister, Dan Mohr, Dan Parson, Dana Freeman, Dana
7407 Ospina, Dani Leviss, Daniel Bustamante, Daniel Demmel, Daniel Dominguez,
7408 Daniel Dultz, Daniel Gallant, Daniel Kossmann, Daniel Kruse, Daniel Morado,
7409 Daniel Morgan, Daniel Pimley, Daniel Sabo, Daniel Sobey, Daniel Stein,
7410 Daniel Wildt, Daniele Prati, Danielle Moss, Danny Mendoza, Dario
7411 Taraborelli, Darius Irvin, Darius Whelan, Darla Anderson, Dasha Brezinova,
7412 Dave Ainscough, Dave Bull, Dave Crosby, Dave Eagle, Dave Moskovitz, Dave
7413 Neeteson, Dave Taillefer, Dave Witzel, David Bailey, David Cheung, David
7414 Eriksson, David Gallagher, David H. Bronke, David Hartley, David Hellam,
7415 David Hood, David Hunter, David jlaietta, David Lewis, David Mason, David
7416 Mcconville, David Mikula, David Nelson, David Orban, David Parry, David
7417 Spira, David T.  Kindler, David Varnes, David Wiley, David Wormley, Deborah
7418 Nas, Denis Jean, dennis straub, Dennis Whittle, Denver Gingerich, Derek
7419 Slater, Devon Cooke, Diana Pasek-Atkinson, Diane Johnston Graves, Diane
7420 K. Kovacs, Diane Trout, Diderik van Wingerden, Diego Cuevas, Diego De La
7421 Cruz, Dimitrie Grigorescu, Dina Marie Rodriguez, Dinah Fabela, Dirk Haun,
7422 Dirk Kiefer, Dirk Loop, DJ Fusion - FuseBox Radio Broadcast, Dom jurkewitz,
7423 Dom Lane, Domi Enders, Domingo Gallardo, Dominic de Haas, Dominique
7424 Karadjian, Dongpo Deng, Donnovan Knight, Door de Flines, Doug Fitzpatrick,
7425 Doug Hoover, Douglas Craver, Douglas Van Camp, Douglas Van Houweling,
7426 Dr. Braddlee, Drew Spencer, Duncan Sample, Durand D’souza, Dylan Field, E C
7427 Humphries, Eamon Caddigan, Earleen Smith, Eden Sarid, Eden Spodek, Eduardo
7428 Belinchon, Eduardo Castro, Edwin Vandam, Einar Joergensen, Ejnar Brendsdal,
7429 Elad Wieder, Elar Haljas, Elena Valhalla, Eli Doran, Elias Bouchi, Elie
7430 Calhoun, Elizabeth Holloway, Ellen Buecher, Ellen Kaye- Cheveldayoff, Elli
7431 Verhulst, Elroy Fernandes, Emery Hurst Mikel, Emily Catedral, Enrique
7432 Mandujano R., Eric Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric
7433 Hellman, Eric Steuer, Erica Fletcher, Erik Hedman, Erik Lindholm Bundgaard,
7434 Erika Reid, Erin Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan
7435 Bousse, Erwin Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan
7436 Tangman, Evonne Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton
7437 Software, Felix Deierlein, Felix Gebauer, Felix Maximiliano Obes, Felix
7438 Schmidt, Felix Zephyr Hsiao, Ferdies Food Lab, Fernand Deschambault, Filipe
7439 Rodrigues, Filippo Toso, Fiona MacAlister, fiona.mac.uk, Floor Scheffer,
7440 Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
7441 Games, Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois
7442 Grey, François Gros, François Pelletier, Fred Benenson, Frédéric Abella,
7443 Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
7444 Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath,
7445 Gary Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de
7446 Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George
7447 Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman,
7448 Geronimo de la Lama, Gianpaolo Rando, Gil Stendig, Gino Cingolani Trucco,
7449 Giovanna Sala, Glen Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives
7450 Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman,
7451 Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg
7452 Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
7453 Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho
7454 Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
7455 Sønderland, Hamid Larbi, Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de
7456 Raad, Hans Vd Horst, Harold van Ingen, Harold Watson, Harry Chapman, Harry
7457 Kaczka, Harry Torque, Hayden Glass, Hayley Rosenblum, Heather Leson, Helen
7458 Crisp, Helen Michaud, Helen Qubain, Helle Rekdal Schønemann, Henrique Flach
7459 Latorre Moreno, Henry Finn, Henry Kaiser, Henry Lahore, Henry Steingieser,
7460 Hermann Paar, Hillary Miller, Hironori Kuriaki, Holly Dykes, Holly Lyne,
7461 Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
7462 Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider,
7463 Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah
7464 Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek
7465 Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
7466 Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach,
7467 James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James
7468 Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol,
7469 Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park,
7470 Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason
7471 E. Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy
7472 Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne,
7473 Jean-Philippe Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff
7474 De Cagna, Jeff Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff
7475 Rasalla, Jeff Ski Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen
7476 Garcia, Jens Erat, Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell,
7477 Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret,
7478 Jessica Dickinson Goodman, Jessica Litman, Jessica Mackay, Jessy Kate
7479 Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
7480 O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
7481 Allum, Joachim Brandon LeBlanc, Joachim Pileborg, Joachim von Goetz, Joakim
7482 Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
7483 Sandfort, Joe Cardillo, Joe Carpita, Joe Moross, Joerg Fricke, Johan Adda,
7484 Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
7485 Bevan, John C Patterson, John Crumrine, John Dimatos, John Feyler, John
7486 Huntsman, John Manoogian III, John Muller, John Ober, John Paul Blodgett,
7487 John Pearce, John Shale, John Sharp, John Simpson, John Sumser, John Weeks,
7488 John Wilbanks, John Worland, Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon
7489 Andersen, Jon Cohrs, Jon Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith,
7490 Jonas Öberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan
7491 Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
7492 Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
7493 Sullivan, Joseph Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP
7494 Rangaswami, Juan Carlos Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo
7495 Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
7496 Julia Devonshire, Julian Fietkau, Julie Harboe, Julien Brossoit, Julien
7497 Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
7498 Grimes, Justin Jones, Justin Szlasa, Justin Walsh, JustinChung.com, K. J.
7499 Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant,
7500 Kara Monroe, Karen Pe, Karl Jahn, Karl Jonsson, Karl Nelson, Kasia
7501 Zygmuntowicz, Kat Lim, Kate Chapman, Kate Stewart, Kathleen Beck, Kathleen
7502 Hanrahan, Kathryn Abuzzahab, Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie
7503 Lynn Daniels, Katie Meek, Katie Teague, Katrina Hennessy, Katriona Main,
7504 Kavan Antani, Keith Adams, Keith Berndtson, MD, Keith Luebke, Kellie
7505 Higginbottom, Ken Friis Larsen, Ken Haase, Ken Torbeck, Kendel Ratley,
7506 Kendra Byrne, Kerry Hicks, Kevin Brown, Kevin Coates, Kevin Flynn, Kevin
7507 Rumon, Kevin Shannon, Kevin Taylor, Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane
7508 l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
7509 Rennert, Kris Kasianovitz, Kristian Lundquist, Kristin Buxton, Kristina
7510 Popova, Kristofer Bratt, Kristoffer Steen, Kumar McMillan, Kurt Whittemore,
7511 Kyle Pinches, Kyle Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry
7512 Garfield, Larry Singer, Lars Josephsen, Lars Klaeboe, Laura Anne Brown,
7513 Laura Billings, Laura Ferejohn, Lauren Pedersen, Laurence Gonsalves, Laurent
7514 Muchacho, Laurie Racine, Laurie Reynolds, Lawrence M. Schoen, Leandro
7515 Pangilinan, Leigh Verlandson, Lenka Gondolova, Leonardo Bueno Postacchini,
7516 leonardo menegola, Lesley Mitchell, Leslie Krumholz, Leticia Britos
7517 Cavagnaro, Levi Bostian, Leyla Acaroglu, Liisa Ummelas, Lilly Kashmir
7518 Marques, Lior Mazliah, Lisa Bjerke, Lisa Brewster, Lisa Canning, Lisa
7519 Cronin, Lisa Di Valentino, Lisandro Gaertner, Livia Leskovec, Liynn
7520 Worldlaw, Liz Berg, Liz White, Logan Cox, Loki Carbis, Lora Lynn, Lorna
7521 Prescott, Lou Yufan, Louie Amphlett, Louis-David Benyayer, Louise Denman,
7522 Luca Corsato, Luca Lesinigo, Luca Palli, Luca Pianigiani, Luca S.G. de
7523 Marinis, Lucas Lopez, Lukas Mathis, Luke Chamberlin, Luke Chesser, Luke
7524 Woodbury, Lulu Tang, Lydia Pintscher, M Alexander Jurkat, Maarten Sander,
7525 Macie J Klosowski, Magnus Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh,
7526 Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
7527 Wultsch, Manickkavasakam Rajasekar, Marc Bogonovich, Marc Harpster, Marc
7528 Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
7529 Leeuwe, Marcel Hill, Marcia Hofmann, Marcin Olender, Marco Massarotto, Marco
7530 Montanari, Marco Morales, Marcos Medionegro, Marcus Bitzl, Marcus Norrgren,
7531 Margaret Gary, Mari Moreshead, Maria Liberman, Marielle Hsu, Marino
7532 Hernandez, Mario Lurig, Mario R. Hemsley, MD, Marissa Demers, Mark Chandler,
7533 Mark Cohen, Mark De Solla Price, Mark Gabby, Mark Gray, Mark Koudritsky,
7534 Mark Kupfer, Mark Lednor, Mark McGuire, Mark Moleda, Mark Mullen, Mark
7535 Murphy, Mark Perot, Mark Reeder, Mark Spickett, Mark Vincent Adams, Mark
7536 Waks, Mark Zuccarell II, Markus Deimann, Markus Jaritz, Markus Luethi,
7537 Marshal Miller, Marshall Warner, Martijn Arets, Martin Beaudoin, Martin
7538 Decky, Martin DeMello, Martin Humpolec, Martin Mayr, Martin Peck, Martin
7539 Sanchez, Martino Loco, Martti Remmelgas, Martyn Eggleton, Martyn Lewis, Mary
7540 Ellen Davis, Mary Heacock, Mary Hess, Mary Mi, Masahiro Takagi, Mason Du,
7541 Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
7542 Kruk, Matija Nalis, Matt Alcock, Matt Black, Matt Broach, Matt Hall, Matt
7543 Haughey, Matt Lee, Matt Plec, Matt Skoss, Matt Thompson, Matt Vance, Matt
7544 Wagstaff, Matteo Cocco, Matthew Bendert, Matthew Bergholt, Matthew Darlison,
7545 Matthew Epler, Matthew Hawken, Matthew Heimbecker, Matthew Orstad, Matthew
7546 Peterworth, Matthew Sheehy, Matthew Tucker, Adaptive Handy Apps, LLC,
7547 Mattias Axell, Max Green, Max Kossatz, Max lupo, Max Temkin, Max van
7548 Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
7549 Finlayson, Melissa Aho, Melissa Sterry, Melle Funambuline, Menachem
7550 Goldstein, Micah Bridges, Michael Ailberto, Michael Anderson, Michael
7551 Andersson Skane, Michael C. Stewart, Michael Carroll, Michael Cavette,
7552 Michael Crees, Michael David Johas Teener, Michael Dennis Moore, Michael
7553 Freundt Karlsen, Michael Harries, Michael Hawel, Michael Lewis, Michael May,
7554 Michael Murphy, Michael Murvine, Michael Perkins, Michael Sauers, Michael
7555 St.Onge, Michael Stanford, Michael Stanley, Michael Underwood, Michael
7556 Weiss, Michael Wright, Michael-Andreas Kuttner, Michaela Voigt, Michal
7557 Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
7558 You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike Chelen, Mike Habicher,
7559 Mike Maloney, Mike Masnick, Mike McDaniel, Mike Pouraryan, Mike Sheldon,
7560 Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
7561 Podlaszewski, Millie Gonzalez, Mindi Lovell, Mindy Lin, Mirko
7562 <span class="quote">„<span class="quote">Macro</span>”</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
7563 Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis, Moritz
7564 Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
7565 Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC, Nah Wee Yang,
7566 Natalie Brown, Natalie Freed, Nathan D Howell, Nathan Massey, Nathan Miller,
7567 Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson, Nele Wollert,
7568 Neuchee Chang, Niall McDonagh, Niall Twohig, Nic McPhee, Nicholas Bentley,
7569 Nicholas Koran, Nicholas Norfolk, Nicholas Potter, Nick Bell, Nick Coghlan,
7570 Nick Isaacs, Nick M. Daly, Nick Vance, Nickolay Vedernikov, Nicky
7571 Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole Hickman, Niek
7572 Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, Nikola Chernev,
7573 Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah Kardos-Fein, Noah
7574 Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
7575 Olivia Wilson, Olivier De Doncker, Olivier Schulbaum, Olle Ahnve, Omar
7576 Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
7577 Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
7578 Paris Marx, Parker Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat
7579 Ludwig, Pat Sticks, Patricia Brennan, Patricia Rosnel, Patricia Wolf,
7580 Patrick Berry, Patrick Beseda, Patrick Hurley, Patrick M. Lozeau, Patrick
7581 McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff, Patrik
7582 Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest, Paul Bailey,
7583 Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts, Paul Jacobson, Paul
7584 Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
7585 Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
7586 Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
7587 Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, Peter
7588 O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
7589 Viktorin, Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip
7590 Pangrac, Philip R. Skaggs Jr., Philip Young, Philippa Lorne Channer,
7591 Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan Pauwels,
7592 Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy Kirill,
7593 Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel Mercer,
7594 Rafael Scapin, Rafaela Kunz, Rain Doggerel, Raine Lourie, Rajiv Jhangiani,
7595 Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
7596 Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
7597 Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich
7598 McCue, Richard <span class="quote">„<span class="quote">TalkToMeGuy</span>”</span> Olson, Richard Best, Richard
7599 Blumberg, Richard Fannon, Richard Heying, Richard Karnesky, Richard Kelly,
7600 Richard Littauer, Richard Sobey, Richard White, Richard Winchell, Rik
7601 ToeWater, Rita Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley,
7602 Rob Bertholf, Rob Emanuele, Rob McAuliffe, Rob McKaughan, Rob Tillie, Rob
7603 Utter, Rob Vincent, Robert Gaffney, Robert Jones, Robert Kelly, Robert
7604 Lawlis, Robert McDonald, Robert Orzanna, Robert Paterson Hunter, Robert
7605 R. Daniel Jr., Robert Ryan-Silva, Robert Thompson, Robert Wagoner, Roberto
7606 Selvaggio, Robin DeRosa, Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon,
7607 Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
7608 Mari von Walthausen, Rolf Egstad, Rolf Schaller, Ron Zuijlen, Ronald
7609 Bissell, Ronald van den Hoff, Ronda Snow, Rory Landon Aronson, Ross Findlay,
7610 Ross Pruden, Ross Williams, Rowan Skewes, Roy Ivy III, Ruben Flores, Rupert
7611 Hitzenberger, Rusi Popov, Russ Antonucci, Russ Spollin, Russell Brand, Rute
7612 Correia, Ruth Ann Carpenter, Ruth White, Ryan Mentock, Ryan Merkley, Ryan
7613 Price, Ryan Sasaki, Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin
7614 Kenaid, Salomon Riedo, Sam Hokin, Sam Twidale, Samantha Levin,
7615 Samantha-Jayne Chapman, Samarth Agarwal, Sami Al-AbdRabbuh, Samuel
7616 A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
7617 Cersosimo, Samuel Tait, Sandra Fauconnier, Sandra Markus, Sandy Bjar, Sandy
7618 ONeil, Sang-Phil Ju, Sanjay Basu, Santiago Garcia, Sara Armstrong, Sara
7619 Lucca, Sara Rodriguez Marin, Sarah Brand, Sarah Cove, Sarah Curran, Sarah
7620 Gold, Sarah McGovern, Sarah Smith, Sarinee Achavanuntakul, Sasha Moss, Sasha
7621 VanHoven, Saul Gasca, Scott Abbott, Scott Akerman, Scott Beattie, Scott
7622 Bruinooge, Scott Conroy, Scott Gillespie, Scott Williams, Sean Anderson,
7623 Sean Johnson, Sean Lim, Sean Wickett, Seb Schmoller, Sebastiaan Bekker,
7624 Sebastiaan ter Burg, Sebastian Makowiecki, Sebastian Meyer, Sebastian
7625 Schweizer, Sebastian Sigloch, Sebastien Huchet, Seokwon Yang, Sergey
7626 Chernyshev, Sergey Storchay, Sergio Cardoso, Seth Drebitko, Seth Gover, Seth
7627 Lepore, Shannon Turner, Sharon Clapp, Shauna Redmond, Shawn Gaston, Shawn
7628 Martin, Shay Knohl, Shelby Hatfield, Sheldon (Vila) Widuch, Sheona Thomson,
7629 Si Jie, Sicco van Sas, Siena Oristaglio, Simon Glover, Simon John King,
7630 Simon Klose, Simon Law, Simon Linder, Simon Moffitt, Solomon Kahn, Solomon
7631 Simon, Soujanna Sarkar, Stanislav Trifonov, Stefan Dumont, Stefan Jansson,
7632 Stefan Langer, Stefan Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan
7633 Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
7634 Stephen Pearce, Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson,
7635 Steve Battle, Steve Fisches, Steve Fitzhugh, Steve Guen-gerich, Steve
7636 Ingram, Steve Kroy, Steve Midgley, Steve Rhine, Steven Kasprzyk, Steven
7637 Knudsen, Steven Melvin, Stig-Jørund B. Ö.  Arnesen, Stuart Drewer, Stuart
7638 Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
7639 Susan R Grossman, Suzie Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle,
7640 Sylvain Chery, Sylvia Green, Sylvia van Bruggen, Szabolcs Berecz,
7641 T. L. Mason, Tanbir Baeg, Tanya Hart, Tara Tiger Brown, Tara Westover, Tarmo
7642 Toikkanen, Tasha Turner Lennhoff, Tathagat Varma, Ted Timmons, Tej Dhawan,
7643 Teresa Gonczy, Terry Hook, Theis Madsen, Theo M. Scholl, Theresa Bernardo,
7644 Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
7645 Chang, Thomas Hartman, Thomas Kent, Thomas Morgan, Thomas Philipp-Edmonds,
7646 Thomas Thrush, Thomas Werkmeister, Tieg Zaharia, Tieu Thuy Nguyen, Tim
7647 Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
7648 Timothy Arfsten, Timothy Hinchliff, Timothy Vollmer, Tina Coffman, Tisza
7649 Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
7650 Bamford, Tom Caswell, Tom Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom
7651 Merkli, Tom Merritt, Tom Myers, Tom Olijhoek, Tom Rubin, Tommaso De Benetti,
7652 Tommy Dahlen, Tony Ciak, Tony Nwachukwu, Torsten Skomp, Tracey Depellegrin,
7653 Tracey Henton, Tracey James, Traci Long DeForge, Trent Yarwood, Trevor
7654 Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
7655 Tyler Occhiogrosso, Udo Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum,
7656 Vaughan jenkins, Veethika Mishra, Vic King, Vickie Goode, Victor DePina,
7657 Victor Grigas, Victoria Klassen, Victorien Elvinger, VIGA Manufacture, Vikas
7658 Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
7659 Gentilini, Virginia Kopelman, Vitor Menezes, Vivian Marthell, Wayne
7660 Mackintosh, Wendy Keenan, Werner Wiethege, Wesley Derbyshire, Widar Hellwig,
7661 Willa Köerner, William Bettridge-Radford, William Jefferson, William
7662 Marshall, William Peter Nash, William Ray, William Robins, Willow Rosenberg,
7663 Winie Evers, Wolfgang Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier
7664 Moisant, Xueqi Li, Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian
7665 Sun, Yves Deruisseau, Zach Chandler, Zak Zebrowski, Zane Amiralis and Joshua
7666 de Haan, ZeMarmot Open Movie
7667   </p></div></body></html>