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   1 <html><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8"><title>Feito com 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="pt_BR" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Feito com 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       Este livro é publicado sob uma licença CC BY-SA, o que significa que você
   3 pode copiar, redistribuir, remixar, transformar e desenvolver o conteúdo
   4 para qualquer finalidade, mesmo comercialmente, desde que você dê o crédito
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   6 alterações. Se você remixar, transformar ou desenvolver o material, deverá
   7 distribuir suas contribuições sob a mesma licença do original. Detalhes da
   8 licença: <a class="ulink" href="https://creativecommons.org/licenses/by-sa/4.0/deed.pt_BR" target="_top">https://creativecommons.org/licenses/by-sa/4.0/deed.pt_BR</a>
   9     </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>I don’t know a whole lot about nonfiction journalism. . .  The way that I
  10 think about these things, and in terms of what I can do is. . . essays like
  11 this are occasions to watch somebody reasonably bright but also reasonably
  12 average pay far closer attention and think at far more length about all
  13 sorts of different stuff than most of us have a chance to in our daily
  14 lives.</p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
  15     \textit{  David Foster Wallace }
  16     \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Índice</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Prefácio</a></span></dt><dt><span class="preface"><a href="#introduction">Introdução</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. O Quadro Geral</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. O Novo Mundo dos Comuns Digitais</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. Como ser Feito com Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. The Case Studies</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliography</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Acknowledgments</a></span></dt></dl></div><div class="list-of-figures"><p><b>Lista de Figuras</b></p><dl><dt>1.1. <a href="#fig-1">Engajamento empresarial com comuns, estado e mercado.</a></dt><dt>1.2. <a href="#fig-2">Quatro aspectos da gestão de recursos</a></dt><dt>1.3. <a href="#fig-3">Como o mercado, os bens comuns e o estado geram recursos.</a></dt><dt>1.4. <a href="#fig-4">Na sociedade pré-industrializada.</a></dt><dt>1.5. <a href="#fig-5">O comum é gradualmente substituído pelo Estado.</a></dt><dt>1.6. <a href="#fig-6">Como o mercado, o estado e os comuns são hoje.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Prefácio</h1></div></div></div><p>
  17       Três anos atrás, logo depois de ser contratado como CEO da Creative Commons,
  18 me encontrei com Cory Doctorow no bar do Gladstone Hotel, em Toronto. Como
  19 um dos proponentes mais conhecidos da CC – alguém que também teve uma
  20 carreira de sucesso como escritor que compartilha seu trabalho usando CC –
  21 eu disse a ele que achava que a CC tinha um papel na definição e promoção de
  22 modelos de negócios abertos. Ele discordou gentilmente e considerou a busca
  23 de modelos de negócios viáveis por meio da CC <span class="quote">“<span class="quote">uma pista
  24 falsa</span>”</span>.
  25     </p><p>
  26       Ele estava, de certa forma, completamente correto – aqueles que fazem coisas
  27 com Creative Commons têm segundas intenções, como Paul Stacey explica neste
  28 livro: <span class="quote">“<span class="quote">Independentemente do status legal, todos eles têm uma missão
  29 social. Sua principal razão de ser é tornar o mundo um lugar melhor, sem
  30 fins lucrativos. O dinheiro é um meio para um fim social, não o fim em
  31 si.</span>”</span>
  32     </p><p>
  33       No estudo de caso sobre Cory Doctorow, Sarah Hinchliff Pearson cita as
  34 palavras de Cory em seu livro <span class="emphasis"><em>Information Doesn’t Want to Be
  35 Free</em></span>: <span class="quote">“<span class="quote">Entrar nas artes porque você quer ficar rico é como
  36 comprar bilhetes de loteria porque você quer ficar rico. Pode funcionar, mas
  37 quase certamente não. Embora, é claro, alguém sempre ganhe na
  38 loteria.</span>”</span>
  39     </p><p>
  40       Today, copyright is like a lottery ticket—everyone has one, and almost
  41 nobody wins. What they don’t tell you is that if you choose to share your
  42 work, the returns can be significant and long-lasting. This book is filled
  43 with stories of those who take much greater risks than the two dollars we
  44 pay for a lottery ticket, and instead reap the rewards that come from
  45 pursuing their passions and living their values.
  46     </p><p>
  47       Portanto, não se trata de dinheiro. Também: é. Encontrar os meios para
  48 continuar a criar e compartilhar geralmente requer alguma receita. Max
  49 Temkin, da Cards Against Humanity, diz isso melhor em seu estudo de caso:
  50 <span class="quote">“<span class="quote">Não fazemos piadas e jogos para ganhar dinheiro – ganhamos dinheiro
  51 para que possamos fazer mais piadas e jogos.</span>”</span>
  52     </p><p>
  53       Creative Commons’ focus is on building a vibrant, usable commons, powered by
  54 collaboration and gratitude. Enabling communities of collaboration is at the
  55 heart of our strategy. With that in mind, Creative Commons began this book
  56 project. Led by Paul and Sarah, the project set out to define and advance
  57 the best open business models. Paul and Sarah were the ideal authors to
  58 write Made with Creative Commons.
  59     </p><p>
  60       Paul sonha com um futuro onde novos modelos de criatividade e inovação
  61 superem a desigualdade e a escassez que hoje definem as piores partes do
  62 capitalismo. Ele é movido pelo poder das conexões humanas entre comunidades
  63 de criadores. Ele tem uma visão mais ampla do que a maioria, e isso o tornou
  64 um melhor educador, um pesquisador perspicaz e também um jardineiro
  65 habilidoso. Ele tem uma voz calma e fria que transmite uma paixão que
  66 inspira seus colegas e a comunidade.
  67     </p><p>
  68       Sarah é o melhor tipo de advogada – uma verdadeira defensora que acredita no
  69 bem das pessoas e no poder dos atos coletivos para mudar o mundo. Durante o
  70 ano passado, vi Sarah lutar contra a mágoa que vem por investir tanto em uma
  71 campanha política que não terminou como ela esperava. Hoje, ela está mais
  72 determinada do que nunca a viver com seus valores na manga. Sempre posso
  73 contar com Sarah para empurrar a Creative Commons para focar em nosso
  74 impacto – para tornar a coisa principal a coisa principal. Ela é prática,
  75 orientada para os detalhes e inteligente. Não há ninguém na minha equipe com
  76 quem eu goste mais de debater.
  77     </p><p>
  78       As coauthors, Paul and Sarah complement each other perfectly. They
  79 researched, analyzed, argued, and worked as a team, sometimes together and
  80 sometimes independently. They dove into the research and writing with
  81 passion and curiosity, and a deep respect for what goes into building the
  82 commons and sharing with the world.  They remained open to new ideas,
  83 including the possibility that their initial theories would need refinement
  84 or might be completely wrong. That’s courageous, and it has made for a
  85 better book that is insightful, honest, and useful.
  86     </p><p>
  87       Desde o início, a CC quis desenvolver este projeto com os princípios e
  88 valores da colaboração aberta. O livro foi financiado, desenvolvido,
  89 pesquisado e escrito abertamente. Ele está sendo compartilhado abertamente
  90 sob uma licença CC BY-SA para qualquer pessoa usar, remixar ou adaptar com
  91 atribuição. É, por si só, um exemplo de modelo de negócio aberto.
  92     </p><p>
  93       Por 31 dias em agosto de 2015, Sarah decidiu organizar e executar uma
  94 campanha Kickstarter para gerar o financiamento básico para o livro. O
  95 restante foi fornecido por generosos doadores e apoiadores do CC. No final,
  96 tornou-se um dos projetos de livro de maior sucesso no Kickstarter,
  97 superando dois objetivos extensos e envolvendo mais de 1.600 doadores – a
  98 maioria deles novos apoiadores da Creative Commons.
  99     </p><p>
 100       Paul e Sarah trabalharam abertamente durante todo o projeto, publicando os
 101 planos, rascunhos, estudos de caso e análises, desde o início e com
 102 frequência, e envolveram comunidades em todo o mundo para ajudar a escrever
 103 este livro. Como suas opiniões divergiram e seus interesses entraram em
 104 foco, eles dividiram suas vozes e decidiram mantê-los separados no produto
 105 final. Trabalhar dessa maneira requer humildade e autoconfiança e, sem
 106 dúvida, tornou o Feito com Creative Commons um projeto melhor.
 107     </p><p>
 108       Aqueles que trabalham e compartilham dos bens comuns não são criadores
 109 típicos. Eles são parte de algo maior do que eles próprios, e o que eles
 110 oferecem a todos nós é um dom profundo. O que eles recebem em troca é
 111 gratidão e uma comunidade.
 112     </p><p>
 113       Jonathan Mann, cujo perfil é apresentado neste livro, escreve uma música por
 114 dia. Quando eu pedi a ele para escrever uma música para o nosso Kickstarter
 115 (e se oferecer como um benefício do Kickstarter), ele concordou
 116 imediatamente. Por que ele concordaria em fazer isso? Porque o commons tem a
 117 colaboração em seu núcleo, e a comunidade como um valor chave, e porque as
 118 licenças CC ajudaram muitos a compartilhar as formas que escolheram com um
 119 público global.
 120     </p><p>
 121       Sarah escreve, <span class="quote">“<span class="quote">Os esforços feitos com Creative Commons prosperam
 122 quando a comunidade é construída em torno do que eles fazem. Isso pode
 123 significar uma comunidade colaborando para criar algo novo, ou pode ser
 124 simplesmente um grupo de pessoas com ideias semelhantes que se conhecem e se
 125 unem em torno de interesses ou crenças comuns. Até certo ponto, simplesmente
 126 ser feito com Creative Commons traz automaticamente consigo algum elemento
 127 de comunidade, ajudando a conectá-lo a outras pessoas que reconhecem e são
 128 atraídas para os valores simbolizados pelo uso de CC</span>”</span>. Amanda Palmer,
 129 a outra música perfilada no livro, certamente acrescentaria isso de seu
 130 estudo de caso: <span class="quote">“<span class="quote">Não há objetivo final mais satisfatório do que ter
 131 alguém lhe dizendo que o que você faz é genuinamente valioso para
 132 eles.</span>”</span>
 133     </p><p>
 134       Este não é um livro de negócios típico. Para quem procura uma receita ou um
 135 roteiro, pode ficar desapontado. Mas para aqueles que buscam um objetivo
 136 social, construir algo grande por meio da colaboração ou se juntar a uma
 137 comunidade global poderosa e crescente, eles certamente ficarão
 138 satisfeitos. Feito com Creative Commons oferece um conjunto de valores e
 139 princípios claramente articulados para mudar o mundo, algumas ferramentas
 140 essenciais para explorar suas próprias oportunidades de negócios e duas
 141 dezenas de doses de pura inspiração.
 142     </p><p>
 143       In a 1996 Stanford Law Review article <span class="quote">“<span class="quote">The Zones of
 144 Cyberspace</span>”</span>, CC founder Lawrence Lessig wrote, <span class="quote">“<span class="quote">Cyberspace is a
 145 place. People live there. They experience all the sorts of things that they
 146 experience in real space, there.  For some, they experience more. They
 147 experience this not as isolated individuals, playing some high tech computer
 148 game; they experience it in groups, in communities, among strangers, among
 149 people they come to know, and sometimes like.</span>”</span>
 150     </p><p>
 151       Estou extremamente orgulhoso de que a Creative Commons seja capaz de
 152 publicar este livro para as muitas comunidades que conhecemos e
 153 gostamos. Sou grato a Paul e Sarah por sua criatividade e ideias, e às
 154 comunidades globais que nos ajudaram a trazer isso para você. Como
 155 frequentemente diz o membro do conselho da CC, Johnathan Nightingale,
 156 <span class="quote">“<span class="quote">É tudo feito de pessoas.</span>”</span>
 157     </p><p>
 158       Esse é o verdadeiro valor das coisas feitas com Creative Commons.
 159     </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}
 160     \textit{ Ryan Merkley, CEO, Creative Commons}
 161     \end{flushright}</td></tr></table></div></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="introduction"></a>Introdução</h1></div></div></div><p>
 162       Este livro mostra ao mundo como o compartilhamento pode ser bom para os
 163 negócios – mas com uma diferença.
 164     </p><p>
 165       Começamos o projeto com a intenção de explorar como criadores, organizações
 166 e empresas ganham dinheiro para sustentar o que fazem quando compartilham
 167 seus trabalhos usando licenças Creative Commons. Nosso objetivo não era
 168 identificar uma fórmula para modelos de negócios que usam Creative Commons,
 169 mas, em vez disso, reunir ideias novas e exemplos dinâmicos que geram
 170 modelos novos e inovadores e ajudam outros a seguir o exemplo, construindo
 171 sobre o que já funciona. No início, estruturamos nossa investigação em
 172 termos de negócios familiares. Criamos uma <span class="quote">“<span class="quote">tela de modelo de negócios
 173 aberto</span>”</span> em branco, uma ferramenta on-line interativa que ajudaria as
 174 pessoas a projetar e analisar seu modelo de negócios.
 175     </p><p>
 176       Through the generous funding of Kickstarter backers, we set about this
 177 project first by identifying and selecting a diverse group of creators,
 178 organizations, and businesses who use Creative Commons in an integral
 179 way—what we call being Made with Creative Commons.  We interviewed them and
 180 wrote up their stories. We analyzed what we heard and dug deep into the
 181 literature.
 182     </p><p>
 183       Mas enquanto fazíamos nossa pesquisa, algo interessante aconteceu. Nossa
 184 maneira inicial de enquadrar o trabalho não combinava com as histórias que
 185 estávamos ouvindo.
 186     </p><p>
 187       Os entrevistados não eram empresas típicas que vendem para consumidores e
 188 buscam maximizar os lucros e os resultados financeiros. Em vez disso, eles
 189 estavam compartilhando para tornar o mundo um lugar melhor, criando
 190 relacionamentos e comunidade em torno das obras que estavam sendo
 191 compartilhadas e gerando receita não para um crescimento ilimitado, mas para
 192 sustentar a operação.
 193     </p><p>
 194       Muitas vezes eles não gostavam de ouvir o que eles faziam descrito como um
 195 modelo de negócios aberto. Seu esforço era algo mais do que isso. Algo
 196 diferente. Algo que gera não apenas valor econômico, mas também valor social
 197 e cultural. Algo que envolve conexão humana. Ser Feito com Creative Commons
 198 não é um <span class="quote">“<span class="quote">negócio de costume</span>”</span>.
 199     </p><p>
 200       Tivemos que repensar a forma como concebemos esse projeto. E isso não
 201 aconteceu da noite para o dia. Do outono de 2015 a 2016, documentamos nossas
 202 ideias em postagens de blog no Medium e com atualizações regulares para
 203 nossos patrocinadores do Kickstarter. Compartilhamos rascunhos de estudos de
 204 caso e análises com nossos cocriadores do Kickstarter, que forneceram
 205 edições, feedback e conselhos inestimáveis. Nosso pensamento mudou
 206 drasticamente ao longo de um ano e meio.
 207     </p><p>
 208       Throughout the process, the two of us have often had very different ways of
 209 understanding and describing what we were learning. Learning from each other
 210 has been one of the great joys of this work, and, we hope, something that
 211 has made the final product much richer than it ever could have been if
 212 either of us undertook this project alone. We have preserved our voices
 213 throughout, and you’ll be able to sense our different but complementary
 214 approaches as you read through our different sections.
 215     </p><p>
 216       Embora recomendamos que você leia o livro do início ao fim, cada seção é
 217 lida de forma mais ou menos independente. O livro está estruturado em duas
 218 partes principais.
 219     </p><p>
 220       A parte um, a visão geral, começa com uma estrutura geral escrita por
 221 Paul. Ele fornece algum contexto histórico para os bens comuns digitais,
 222 descrevendo as três maneiras como a sociedade administrou recursos e
 223 compartilhou riqueza – os bens comuns, o mercado e o estado. Ele defende
 224 pensar além dos negócios e dos termos de mercado e eloquentemente defende o
 225 compartilhamento e a ampliação dos bens comuns digitais.
 226     </p><p>
 227       A visão geral continua com o capítulo de Sarah, enquanto ela considera o que
 228 significa ser Feito com Creative Commons com sucesso. Embora ganhar dinheiro
 229 seja uma parte do bolo, há também um conjunto de valores voltados para o
 230 público e o tipo de conexões humanas que tornam o compartilhamento
 231 verdadeiramente significativo. Esta seção descreve as maneiras como os
 232 criadores, organizações e empresas que entrevistamos geram receita, como
 233 promovem o interesse público e vivem seus valores e como promovem conexões
 234 com as pessoas com quem compartilham.
 235     </p><p>
 236       E para encerrar a primeira parte, temos uma pequena seção que explica as
 237 diferentes licenças Creative Commons. Falamos sobre o equívoco de que as
 238 licenças mais restritivas – aquelas que estão mais próximas do modelo com
 239 todos os direitos reservados do direito autoral tradicional – são as únicas
 240 maneiras de ganhar dinheiro.
 241     </p><p>
 242       A segunda parte do livro é composta pelas vinte e quatro histórias dos
 243 criadores, empresas e organizações que entrevistamos. Enquanto nós dois
 244 participamos das entrevistas, dividimos a redação desses perfis.
 245     </p><p>
 246       Obviamente, temos o prazer de disponibilizar o livro usando uma licença
 247 Creative Commons Atribuição-CompartilhaIgual. Copie, distribua, traduza,
 248 localize e desenvolva esta obra.
 249     </p><p>
 250       Escrever este livro nos transformou e nos inspirou. A maneira como agora
 251 olhamos e pensamos sobre o que significa ser Feito com Creative Commons
 252 mudou irrevogavelmente. Esperamos que este livro inspire você e sua empresa
 253 a usar o Creative Commons e, assim, contribuir para a transformação de nossa
 254 economia e do mundo para melhor.
 255     </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}
 256     \textit{ Paul e Sarah }
 257     \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Parte I. O Quadro Geral</h1></div></div></div><div class="toc"><p><b>Índice</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. O Novo Mundo dos Comuns Digitais</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. Como ser Feito com Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>Capítulo 1. O Novo Mundo dos Comuns Digitais</h2></div></div></div><div class="toc"><p><b>Índice</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">Os Comuns, o Mercado e o Estado</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">Os Quatro Aspectos de um Recurso</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">Uma Breve História dos Comuns</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">A Revolução Digital</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">O Nascimento da Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">O Mercado em Mudança</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefícios do Comum Digital</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Nossos estudos de caso</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}
 258     \textit{ Paul Stacey}
 259     \end{flushright}</td></tr></table></div><p>
 260         Jonathan Rowe descreve eloquentemente os comuns como <span class="quote">“<span class="quote">o ar e os
 261 oceanos, a teia de espécies, a natureza selvagem e a água corrente – todos
 262 são partes dos bens comuns. Assim como a linguagem e o conhecimento, as
 263 calçadas e praças públicas, as histórias da infância e os processos de
 264 democracia. Algumas partes dos comuns são dádivas da natureza, outras são o
 265 produto do esforço humano. Alguns são novos, como a Internet; outros são tão
 266 antigos quanto o solo e a caligrafia.</span>”</span><a href="#ftn.idm112" class="footnote" name="idm112"><sup class="footnote">[1]</sup></a>
 267       </p><p>
 268         Em Feito com Creative Commons, nos concentramos em nossa era atual de comuns
 269 digitais, um patrimônio comum de obras produzidas pelo homem. Esse comum
 270 abrange uma ampla gama de áreas, incluindo patrimônio cultural, educação,
 271 pesquisa, tecnologia, arte, design, literatura, entretenimento, negócios e
 272 dados. As obras produzidas pelo homem em todas essas áreas são cada vez mais
 273 digitais. A Internet é uma espécie de comum digital global. Os indivíduos,
 274 organizações e empresas cujo perfil temos em nossos estudos de caso usam
 275 Creative Commons para compartilhar seus recursos online pela Internet.
 276       </p><p>
 277         O comum não se trata apenas de recursos compartilhados, no entanto. É também
 278 sobre as práticas sociais e os valores que os gerem. Um recurso é um
 279 substantivo, mas "comunalizar" – colocar o recurso no espaço comum – é um
 280 verbo.<a href="#ftn.idm117" class="footnote" name="idm117"><sup class="footnote">[2]</sup></a> Os criadores, organizações e
 281 empresas que definimos estão todos engajados em compartilhar. O uso da
 282 Creative Commons os envolve na prática social de compartilhamento,
 283 gerenciando recursos de forma coletiva com uma comunidade de
 284 usuários.<a href="#ftn.idm120" class="footnote" name="idm120"><sup class="footnote">[3]</sup></a> O compartilhamento é guiado
 285 por um conjunto de valores e normas que equilibram os custos e benefícios da
 286 empresa com aqueles da comunidade. Atenção especial é dada ao acesso, uso e
 287 sustentabilidade equitativos.
 288       </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>Os Comuns, o Mercado e o Estado</h2></div></div></div><p>
 289           Historicamente, houve três maneiras de gerenciar recursos e compartilhar
 290 riqueza: os comuns (administrados coletivamente), o estado (ou seja, o
 291 governo) e o mercado – com os dois últimos sendo as formas dominantes
 292 hoje.<a href="#ftn.idm126" class="footnote" name="idm126"><sup class="footnote">[4]</sup></a>
 293         </p><p>
 294           As organizações e empresas em nossos estudos de caso são únicas na forma
 295 como participam dos bens comuns enquanto se envolvem com o mercado e/ou
 296 estado. A extensão do envolvimento com o mercado ou estado varia. Alguns
 297 operam principalmente como comuns com o mínimo ou nenhuma dependência do
 298 mercado ou estado.<a href="#ftn.idm130" class="footnote" name="idm130"><sup class="footnote">[5]</sup></a> Outros fazem parte
 299 do mercado ou estado, dependendo deles para a sustentabilidade
 300 financeira. Todos operam como híbridos, mesclando as normas dos comuns com
 301 as do mercado ou do estado.
 302         </p><p>
 303           A fig. <a class="xref" href="#fig-1" title="Figura 1.1. Engajamento empresarial com comuns, estado e mercado.">1.1</a> é uma representação
 304 de como uma empresa pode ter vários níveis de envolvimento com comuns,
 305 estado e mercado.
 306         </p><p>
 307           Alguns de nossos estudos de caso são simplesmente comuns e empresas de
 308 mercado com pouco ou nenhum envolvimento com o estado. Uma descrição desses
 309 estudos de caso mostraria a esfera do estado como pequena ou até
 310 ausente. Outros estudos de caso são principalmente baseados no mercado, com
 311 apenas um pequeno envolvimento com os comuns. Uma descrição desses estudos
 312 de caso mostraria a esfera do mercado tão grande e a esfera dos comuns tão
 313 pequena. A extensão em que uma empresa se considera primariamente de um tipo
 314 ou de outro afeta o equilíbrio das normas pelas quais opera.
 315         </p><p>
 316           Todos os nossos estudos de caso geram dinheiro como meio de subsistência e
 317 sustentabilidade. O dinheiro é principalmente do mercado. Encontrar maneiras
 318 de gerar receita enquanto se mantém fiel aos valores essenciais dos comuns
 319 (geralmente expressos em declarações de missão) é um desafio. Gerenciar a
 320 interação e o engajamento entre os comuns e o mercado exige um toque hábil,
 321 um forte senso de valores e a capacidade de combinar o melhor de ambos.
 322         </p><p>
 323           O estado tem um papel importante a desempenhar na promoção do uso e adoção
 324 dos comuns. Os programas e fundos estaduais podem contribuir deliberadamente
 325 para construir os comuns. Além do dinheiro, as leis e regulamentos relativos
 326 à propriedade, direitos autorais, negócios e finanças podem ser projetados
 327 para promover os comuns.
 328         </p><div class="figure"><a name="fig-1"></a><p class="title"><b>Figura 1.1. Engajamento empresarial com comuns, estado e mercado.</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="Engajamento empresarial com comuns, estado e mercado."></td></tr></table></div></div></div><br class="figure-break"><p>
 329           É útil entender como os comuns, o mercado e o estado gerenciam os recursos
 330 de maneira diferente, e não apenas para aqueles que se consideram
 331 principalmente como comuns. Para empresas ou organizações governamentais que
 332 desejam se envolver e usar os comuns, saber como os comuns funciona os
 333 ajudará a compreender a melhor forma de fazer isso. Participar e usar os
 334 comuns da mesma forma que você faz com o mercado ou estado não é uma
 335 estratégia para o sucesso.
 336         </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>Os Quatro Aspectos de um Recurso</h2></div></div></div><p>
 337           Como parte de sua obra ganhadora do Prêmio Nobel, Elinor Ostrom desenvolveu
 338 uma estrutura para analisar como os recursos naturais são gerenciados em um
 339 comum.<a href="#ftn.idm149" class="footnote" name="idm149"><sup class="footnote">[6]</sup></a> Sua estrutura considerou coisas
 340 como as características biofísicas de recursos comuns, os atores da
 341 comunidade e as interações que ocorrem entre eles, regras em uso e
 342 resultados. Essa estrutura foi simplificada e generalizada para se aplicar
 343 aos comuns, ao mercado e ao estado neste capítulo.
 344         </p><p>
 345           Para comparar e contrastar as maneiras pelas quais os comuns, o mercado e o
 346 estado funcionam, vamos considerar quatro aspectos da gestão de recursos:
 347 características dos recursos, as pessoas envolvidas e o processo que usam,
 348 as normas e regras que desenvolvem para governar o uso e, finalmente, uso de
 349 recursos junto com os resultados desse uso (ver Fig. <a class="xref" href="#fig-2" title="Figura 1.2. Quatro aspectos da gestão de recursos">1.2</a>).
 350         </p><div class="figure"><a name="fig-2"></a><p class="title"><b>Figura 1.2. Quatro aspectos da gestão de recursos</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="Quatro aspectos da gestão de recursos"></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>Características</h3></div></div></div><p>
 351             Os recursos têm características ou atributos específicos que afetam a
 352 maneira como podem ser usados. Alguns recursos são naturais; outros são
 353 produzidos pelo homem. E – significativamente para o comum de hoje – os
 354 recursos podem ser físicos ou digitais, o que afeta o potencial inerente de
 355 um recurso.
 356           </p><p>
 357             Os recursos físicos existem em oferta limitada. Se eu tenho um recurso
 358 físico e dou a você, não o tenho mais. Quando um recurso é removido e usado,
 359 o suprimento se torna escasso ou esgotado. A escassez pode resultar em
 360 rivalidade competitiva pelo recurso. As empresas feitas com Creative Commons
 361 geralmente são baseadas em formato digital, mas alguns de nossos estudos de
 362 caso também produzem recursos na forma física. Os custos de produção e
 363 distribuição de um bem físico geralmente exigem que elas se envolvam com o
 364 mercado.
 365           </p><p>
 366             Os recursos físicos são esgotáveis, exclusivos e rivais. Os recursos
 367 digitais, por outro lado, são não esgotáveis, não exclusivos e não
 368 rivais. Se eu compartilhar um recurso digital com você, ambos teremos o
 369 recurso. Dar a você não significa que eu não o tenha mais. Os recursos
 370 digitais podem ser armazenados, copiados e distribuídos infinitamente sem se
 371 esgotarem e com custo próximo a zero. Abundância, em vez de escassez, é uma
 372 característica inerente aos recursos digitais.
 373           </p><p>
 374             The nondepletable, nonexclusive, and nonrivalrous nature of digital
 375 resources means the rules and norms for managing them can (and ought to) be
 376 different from how physical resources are managed. However, this is not
 377 always the case.  Digital resources are frequently made artificially
 378 scarce.  Placing digital resources in the commons makes them free and
 379 abundant.
 380           </p><p>
 381             Our case studies frequently manage hybrid resources, which start out as
 382 digital with the possibility of being made into a physical resource. The
 383 digital file of a book can be printed on paper and made into a physical
 384 book. A computer-rendered design for furniture can be physically
 385 manufactured in wood. This conversion from digital to physical invariably
 386 has costs. Often the digital resources are managed in a free and open way,
 387 but money is charged to convert a digital resource into a physical one.
 388           </p><p>
 389             Beyond this idea of physical versus digital, the commons, market, and state
 390 conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="Figura 1.3. Como o mercado, os bens comuns e o estado geram recursos.">1.3</a>). The market sees resources as private goods—commodities
 391 for sale—from which value is extracted.  The state sees resources as public
 392 goods that provide value to state citizens. The commons sees resources as
 393 common goods, providing a common wealth extending beyond state boundaries,
 394 to be passed on in undiminished or enhanced form to future generations.
 395           </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="people-and-processes"></a>Pessoas e processos</h3></div></div></div><p>
 396             Nos comuns, no mercado e no estado, diferentes pessoas e processos são
 397 usados para gerenciar os recursos. Os processos usados definem quem tem uma
 398 palavra a dizer e como um recurso é gerenciado.
 399           </p><p>
 400             In the state, a government of elected officials is responsible for managing
 401 resources on behalf of the public.  The citizens who produce and use those
 402 resources are not directly involved; instead, that responsibility is given
 403 over to the government. State ministries and departments staffed with public
 404 servants set budgets, implement programs, and manage resources based on
 405 government priorities and procedures.
 406           </p><p>
 407             No mercado, as pessoas envolvidas são produtores, compradores, vendedores e
 408 consumidores. As empresas atuam como intermediários entre aqueles que
 409 produzem recursos e aqueles que os consomem ou usam. Os processos de mercado
 410 procuram extrair o máximo de valor monetário possível dos recursos. No
 411 mercado, os recursos são administrados como mercadorias, frequentemente
 412 produzidos em massa e vendidos aos consumidores com base em uma transação em
 413 dinheiro.
 414           </p><p>
 415             In contrast to the state and market, resources in a commons are managed more
 416 directly by the people involved.<a href="#ftn.idm176" class="footnote" name="idm176"><sup class="footnote">[7]</sup></a>
 417 Creators of human produced resources can put them in the commons by personal
 418 choice. No permission from state or market is required. Anyone can
 419 participate in the commons and determine for themselves the extent to which
 420 they want to be involved—as a contributor, user, or manager.  The people
 421 involved include not only those who create and use resources but those
 422 affected by outcome of use. Who you are affects your say, actions you can
 423 take, and extent of decision making. In the commons, the community as a
 424 whole manages the resources. Resources put into the commons using Creative
 425 Commons require users to give the original creator credit. Knowing the
 426 person behind a resource makes the commons less anonymous and more personal.
 427           </p><div class="figure"><a name="fig-3"></a><p class="title"><b>Figura 1.3. Como o mercado, os bens comuns e o estado geram recursos.</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="Como o mercado, os bens comuns e o estado geram recursos."></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>Normas e regras</h3></div></div></div><p>
 428             As interações sociais entre as pessoas e os processos usados pelo estado,
 429 mercado e bens comuns desenvolvem normas e regras sociais. Essas normas e
 430 regras definem permissões, alocam direitos e resolvem disputas.
 431           </p><p>
 432             A autoridade do estado é governada pelas constituições nacionais. As normas
 433 relacionadas a prioridades e tomada de decisões são definidas por
 434 funcionários eleitos e procedimentos parlamentares. As regras estaduais são
 435 expressas por meio de políticas, regulamentos e leis. O estado influencia as
 436 normas e regras do mercado e dos comuns por meio das regras que passa.
 437           </p><p>
 438             As normas de mercado são influenciadas pela economia e pela competição por
 439 recursos escassos. As regras do mercado seguem as leis de propriedade,
 440 negócios e financeiras definidas pelo estado.
 441           </p><p>
 442             Tal como acontece com o mercado, um comum pode ser influenciado por
 443 políticas, regulamentos e leis estaduais. Mas as normas e regras de um comum
 444 são amplamente definidas pela comunidade. Elas pesam os custos e benefícios
 445 individuais em relação aos custos e benefícios para toda a comunidade. A
 446 consideração é dada não apenas à eficiência econômica, mas também à equidade
 447 e sustentabilidade.<a href="#ftn.idm192" class="footnote" name="idm192"><sup class="footnote">[8]</sup></a>
 448           </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="goals"></a>Objetivos</h3></div></div></div><p>
 449             A combinação dos aspectos que discutimos até agora – as características
 450 inerentes do recurso, pessoas e processos, e normas e regras – moldam como
 451 os recursos são usados. O uso também é influenciado pelos diferentes
 452 objetivos que o estado, o mercado e os comuns têm.
 453           </p><p>
 454             No mercado, o foco é maximizar a utilidade de um recurso. O que pagamos
 455 pelos bens que consumimos é visto como uma medida objetiva da utilidade que
 456 eles fornecem. A meta então passa a ser maximizar o valor monetário total na
 457 economia.<a href="#ftn.idm199" class="footnote" name="idm199"><sup class="footnote">[9]</sup></a> As unidades consumidas se
 458 traduzem em vendas, receita, lucro e crescimento, e todas essas são maneiras
 459 de medir as metas do mercado.
 460           </p><p>
 461             O estado visa usar e administrar os recursos de uma forma que equilibre a
 462 economia com as necessidades sociais e culturais de seus cidadãos. Saúde,
 463 educação, empregos, meio ambiente, transporte, segurança, patrimônio e
 464 justiça são facetas de uma sociedade saudável, e o estado aplica seus
 465 recursos para esses objetivos. Metas estaduais são refletidas em medidas de
 466 qualidade de vida.
 467           </p><p>
 468             Nos comuns, a meta é maximizar o acesso, equidade, distribuição,
 469 participação, inovação e sustentabilidade. Você pode medir o sucesso
 470 observando quantas pessoas acessam e usam um recurso; como os usuários são
 471 distribuídos por gênero, renda e localização; se uma comunidade para
 472 estender e aumentar os recursos está sendo formada; e se os recursos estão
 473 sendo usados de maneiras inovadoras para o bem pessoal e social.
 474           </p><p>
 475             Como combinações híbridas de comuns com o mercado ou estado, o sucesso e a
 476 sustentabilidade de todas as nossas empresas de estudo de caso dependem de
 477 sua capacidade de utilizar e equilibrar estrategicamente esses diferentes
 478 aspectos de gerenciamento de recursos.
 479           </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>Uma Breve História dos Comuns</h2></div></div></div><p>
 480           Usar os comuns para gerenciar recursos faz parte de um longo continuum
 481 histórico. No entanto, na sociedade contemporânea, o mercado e o Estado
 482 dominam o discurso sobre como os recursos são mais bem
 483 administrados. Raramente os comuns são considerados uma opção. Os comuns
 484 desapareceram amplamente da consciência e da consideração. Não há notícias
 485 ou discursos sobre os comuns.
 486         </p><p>
 487           Mas os mais de 1,1 bilhão de recursos licenciados com Creative Commons em
 488 todo o mundo são indicações de um movimento de base em direção aos
 489 comuns. Os comuns estão ressurgindo. Para entender a resiliência dos comuns
 490 e sua renovação atual, é útil saber um pouco de sua história.
 491         </p><p>
 492           For centuries, indigenous people and preindustrialized societies managed
 493 resources, including water, food, firewood, irrigation, fish, wild game, and
 494 many other things collectively as a commons.<a href="#ftn.idm210" class="footnote" name="idm210"><sup class="footnote">[10]</sup></a> There was no market, no global economy. The state in the form of
 495 rulers influenced the commons but by no means controlled it. Direct social
 496 participation in a commons was the primary way in which resources were
 497 managed and needs met.  (Fig. <a class="xref" href="#fig-4" title="Figura 1.4. Na sociedade pré-industrializada.">1.4</a> illustrates the commons in relation to the state and the
 498 market.)
 499         </p><div class="figure"><a name="fig-4"></a><p class="title"><b>Figura 1.4. Na sociedade pré-industrializada.</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="Na sociedade pré-industrializada."></td></tr></table></div></div></div><br class="figure-break"><p>
 500           Isso é seguido por uma longa história do Estado (uma monarquia ou
 501 governante) assumindo o controle dos comuns para seus próprios fins. Isso é
 502 chamado de cerco dos comuns.<a href="#ftn.idm223" class="footnote" name="idm223"><sup class="footnote">[11]</sup></a>
 503 Antigamente, <span class="quote">“<span class="quote">plebeus</span>”</span> eram expulsos da terra, cercas e sebes
 504 erguidas, leis aprovadas e segurança criada para proibir o
 505 acesso.<a href="#ftn.idm227" class="footnote" name="idm227"><sup class="footnote">[12]</sup></a> Gradualmente, recursos
 506 tornou-se propriedade do Estado e o Estado tornou-se o principal meio pelo
 507 qual os recursos eram administrados. (Veja Fig. <a class="xref" href="#fig-5" title="Figura 1.5. O comum é gradualmente substituído pelo Estado.">1.5</a>).
 508         </p><p>
 509           Propriedades de terra, água e caça foram distribuídas para famílias
 510 governantes e nomeados políticos. Plebeus deslocados da terra migraram para
 511 as cidades. Com o surgimento da revolução industrial, a terra e os recursos
 512 tornaram-se mercadorias vendidas a empresas para apoiar a produção. As
 513 monarquias evoluíram para parlamentos eleitos. Os plebeus tornaram-se
 514 trabalhadores que ganham dinheiro operando a maquinaria da indústria. As
 515 leis financeiras, comerciais e de propriedade foram revisadas pelos governos
 516 para apoiar os mercados, o crescimento e a produtividade. Com o tempo, o
 517 acesso imediato aos bens produzidos no mercado resultou em um padrão de vida
 518 em elevação, saúde melhorada e educação. A Fig. <a class="xref" href="#fig-6" title="Figura 1.6. Como o mercado, o estado e os comuns são hoje.">1.6</a> mostra como hoje o mercado é o
 519 principal meio pelo qual os recursos são gerenciados.
 520         </p><div class="figure"><a name="fig-5"></a><p class="title"><b>Figura 1.5. O comum é gradualmente substituído pelo Estado.</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="O comum é gradualmente substituído pelo Estado."></td></tr></table></div></div></div><br class="figure-break"><p>
 521           No entanto, o mundo hoje está passando por tempos turbulentos. Os benefícios
 522 do mercado foram compensados pela distribuição desigual e superexploração.
 523         </p><p>
 524           A superexploração foi o tópico do influente ensaio de Garrett Hardin
 525 <span class="quote">“<span class="quote">The Tragedy of the Commons</span>”</span>, publicado na Science em
 526 1968. Hardin argumenta que todos em um bem comum procuram maximizar o ganho
 527 pessoal e continuarão a fazê-lo mesmo quando os limites de os bens comuns
 528 são alcançados. O comum é então tragicamente esgotado a ponto de não poder
 529 mais sustentar ninguém. O ensaio de Hardin tornou-se amplamente aceito como
 530 um truísmo econômico e uma justificativa para a propriedade privada e os
 531 mercados livres.
 532         </p><p>
 533           However, there is one serious flaw with Hardin’s <span class="quote">“<span class="quote">The Tragedy of the
 534 Commons</span>”</span>—it’s fiction. Hardin did not actually study how real commons
 535 work. Elinor Ostrom won the 2009 Nobel Prize in economics for her work
 536 studying different commons all around the world. Ostrom’s work shows that
 537 natural resource commons can be successfully managed by local communities
 538 without any regulation by central authorities or without
 539 privatization. Government and privatization are not the only two
 540 choices. There is a third way: management by the people, where those that
 541 are directly impacted are directly involved. With natural resources, there
 542 is a regional locality. The people in the region are the most familiar with
 543 the natural resource, have the most direct relationship and history with it,
 544 and are therefore best situated to manage it.  Ostrom’s approach to the
 545 governance of natural resources broke with convention; she recognized the
 546 importance of the commons as an alternative to the market or state for
 547 solving problems of collective action.<a href="#ftn.idm246" class="footnote" name="idm246"><sup class="footnote">[13]</sup></a>
 548         </p><p>
 549           Hardin deixou de considerar a real dinâmica social dos comuns. Seu modelo
 550 pressupõe que as pessoas comuns agem de forma autônoma, por puro interesse
 551 próprio, sem interação ou consideração pelos outros. Mas, como Ostrom
 552 descobriu, na realidade, gerenciar recursos comuns em conjunto forma uma
 553 comunidade e incentiva o discurso. Isso naturalmente gera normas e regras
 554 que ajudam as pessoas a trabalhar coletivamente e garantir um bem comum
 555 sustentável. Paradoxalmente, embora o ensaio de Hardin seja chamado, em
 556 inglês, de A Tragédia dos Comuns, pode ser mais precisamente intitulado A
 557 Tragédia do Mercado.
 558         </p><p>
 559           Hardin’s story is based on the premise of depletable resources. Economists
 560 have focused almost exclusively on scarcity-based markets. Very little is
 561 known about how abundance works.<a href="#ftn.idm252" class="footnote" name="idm252"><sup class="footnote">[14]</sup></a> The
 562 emergence of information technology and the Internet has led to an explosion
 563 in digital resources and new means of sharing and distribution. Digital
 564 resources can never be depleted. An absence of a theory or model for how
 565 abundance works, however, has led the market to make digital resources
 566 artificially scarce and makes it possible for the usual market norms and
 567 rules to be applied.
 568         </p><p>
 569           Quando se trata de usar fundos do estado para criar bens digitais, no
 570 entanto, realmente não há justificativa para a escassez artificial. A norma
 571 para obras digitais financiadas pelo estado deve ser que elas estejam livre
 572 e abertamente disponíveis ao público que pagou por elas.
 573         </p><div class="figure"><a name="fig-6"></a><p class="title"><b>Figura 1.6. Como o mercado, o estado e os comuns são hoje.</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="Como o mercado, o estado e os comuns são hoje."></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>A Revolução Digital</h2></div></div></div><p>
 574           Nos primeiros dias da computação, programadores e desenvolvedores aprenderam
 575 uns com os outros compartilhando software. Na década de 1980, o movimento do
 576 software livre codificou essa prática de compartilhamento em um conjunto de
 577 princípios e liberdades:
 578         </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
 579               A liberdade de executar um programa de software como desejar, para qualquer
 580 propósito.
 581             </p></li><li class="listitem"><p>
 582               A liberdade de estudar como um programa de software funciona (porque o
 583 acesso ao código-fonte foi concedido livremente), e alterá-lo para que ele
 584 faça sua computação como você desejar.
 585             </p></li><li class="listitem"><p>
 586               A liberdade de redistribuir cópias.
 587             </p></li><li class="listitem"><p>
 588               A liberdade de distribuir cópias de suas versões modificadas para outras
 589 pessoas.<a href="#ftn.idm276" class="footnote" name="idm276"><sup class="footnote">[15]</sup></a>
 590             </p></li></ul></div><p>
 591           Esses princípios e liberdades constituem um conjunto de normas e regras que
 592 tipificam um comum digital.
 593         </p><p>
 594           No final da década de 1990, para tornar o compartilhamento de código-fonte e
 595 colaboração mais atraente para as empresas, a iniciativa de software de
 596 código-fonte aberto converteu esses princípios em licenças e padrões para
 597 gerenciar o acesso e distribuição de software. Os benefícios do código
 598 aberto – como confiabilidade, escalabilidade e qualidade verificada por
 599 revisão por pares independentes – tornaram-se amplamente reconhecidos e
 600 aceitos. Os clientes gostaram da maneira como o código aberto lhes deu
 601 controle sem ficar preso a uma tecnologia proprietária fechada. O software
 602 livre e de código aberto também gerou um efeito de rede onde o valor de um
 603 produto ou serviço aumenta com o número de pessoas que o usam.<a href="#ftn.idm282" class="footnote" name="idm282"><sup class="footnote">[16]</sup></a> O crescimento dramático da própria Internet deve
 604 muito ao fato de que ninguém tem um bloqueio proprietário nos protocolos
 605 básicos da Internet.
 606         </p><p>
 607           Embora o software de código aberto funcione como um bem comum, muitas
 608 empresas e mercados se desenvolveram em torno dele. Modelos de negócios
 609 baseados em licenças e padrões de software de código aberto evoluíram junto
 610 com organizações que gerenciavam o código de software com base em princípios
 611 de abundância em vez de escassez. O ensaio de Eric Raymond <span class="quote">“<span class="quote">The Magic
 612 Cauldron</span>”</span> faz um ótimo trabalho ao analisar a economia e os modelos
 613 de negócios associados ao software de código aberto.<a href="#ftn.idm287" class="footnote" name="idm287"><sup class="footnote">[17]</sup></a> Esses modelos podem fornecer exemplos de abordagens
 614 sustentáveis para aqueles feitos com Creative Commons.
 615         </p><p>
 616           Não se trata apenas de uma disponibilidade abundante de ativos digitais, mas
 617 também de uma abundância de participação. O crescimento da computação
 618 pessoal, da tecnologia da informação e da Internet possibilitou a
 619 participação em massa na produção e distribuição de trabalhos
 620 criativos. Fotos, livros, música e muitas outras formas de conteúdo digital
 621 agora podiam ser prontamente criados e distribuídos por quase qualquer
 622 pessoa. Apesar desse potencial de abundância, por padrão, essas obras
 623 digitais são regidas por leis de direitos autorais. De acordo com os
 624 direitos autorais, uma obra digital é propriedade do criador e, por lei,
 625 outras pessoas estão proibidas de acessá-la e usá-la sem a permissão do
 626 criador.
 627         </p><p>
 628           Mas as pessoas gostam de compartilhar. Uma das maneiras de nos definirmos é
 629 compartilhando conteúdo valioso e divertido. Fazer isso desenvolve e nutre
 630 relacionamentos, busca mudar opiniões, incentiva a ação e informa os outros
 631 sobre quem somos e com o que nos importamos. Compartilhar permite que nos
 632 sintamos mais envolvidos com o mundo.<a href="#ftn.idm293" class="footnote" name="idm293"><sup class="footnote">[18]</sup></a>
 633         </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-birth-of-creative-commons"></a>O Nascimento da Creative Commons</h2></div></div></div><p>
 634           Em 2001, Creative Commons foi criada como uma organização sem fins
 635 lucrativos para apoiar todos aqueles que desejavam compartilhar conteúdo
 636 digital. Um conjunto de licenças Creative Commons foi modelado com base no
 637 software de código aberto, mas para uso com conteúdo digital em vez de
 638 código de software. As licenças oferecem a todos, de criadores individuais a
 639 grandes empresas e instituições, uma maneira simples e padronizada de
 640 conceder permissões de direitos autorais para suas obras criativas.
 641         </p><p>
 642           As licenças Creative Commons têm um design de três camadas. As normas e
 643 regras de cada licença são primeiramente expressas em linguagem jurídica
 644 completa, conforme usada pelos advogados. Essa camada é chamada de código
 645 legal. Mas como a maioria dos criadores e usuários não são advogados, as
 646 licenças também têm uma escritura comum, expressando as permissões em
 647 linguagem simples, que as pessoas comuns podem ler e entender
 648 rapidamente. Ele atua como uma interface amigável para a camada de código
 649 legal abaixo. A terceira camada é a que pode ser lida por máquina, tornando
 650 mais fácil para a web saber que uma obra é licenciada pelo Creative Commons,
 651 expressando permissões de uma forma que sistemas de software, mecanismos de
 652 busca e outros tipos de tecnologia possam entender.<a href="#ftn.idm301" class="footnote" name="idm301"><sup class="footnote">[19]</sup></a> Juntas, essas três camadas garantem que criadores,
 653 usuários e até mesmo a própria web entendam as normas e regras associadas ao
 654 conteúdo digital em um comum.
 655         </p><p>
 656           Em 2015, havia mais de um bilhão de obras licenciadas Creative Commons em um
 657 espaço comum global. Esses trabalhos foram vistos online 136 bilhões de
 658 vezes. As pessoas estão usando licenças Creative Commons em todo o mundo, em
 659 trinta e quatro idiomas. Esses recursos incluem fotos, arte, artigos de
 660 pesquisa em periódicos, recursos educacionais, música e outras faixas de
 661 áudio e vídeos.
 662         </p><p>
 663           Artistas, fotógrafos, músicos e cineastas individuais usam o Creative
 664 Commons, mas o mesmo acontece com museus, governos, indústrias criativas,
 665 fabricantes e editoras. Milhões de sites usam licenças CC, incluindo
 666 plataformas principais como Wikipédia e Flickr e outras menores como
 667 blogs.<a href="#ftn.idm307" class="footnote" name="idm307"><sup class="footnote">[20]</sup></a> Os usuários do Creative Commons
 668 são diversos e abrangem muitos setores diferentes. (Nossos estudos de caso
 669 foram escolhidos para refletir essa diversidade.)
 670         </p><p>
 671           Some see Creative Commons as a way to share a gift with others, a way of
 672 getting known, or a way to provide social benefit. Others are simply
 673 committed to the norms associated with a commons. And for some,
 674 participation has been spurred by the free-culture movement, a social
 675 movement that promotes the freedom to distribute and modify creative
 676 works. The free-culture movement sees a commons as providing significant
 677 benefits compared to restrictive copyright laws. This ethos of free exchange
 678 in a commons aligns the free-culture movement with the free and open-source
 679 software movement.
 680         </p><p>
 681           Com o tempo, o Creative Commons gerou uma série de movimentos abertos,
 682 incluindo recursos educacionais abertos, acesso aberto, ciência aberta e
 683 dados abertos. O objetivo em todos os casos foi democratizar a participação
 684 e compartilhar recursos digitais sem nenhum custo, com permissões legais
 685 para qualquer pessoa acessar, usar e modificar livremente.
 686         </p><p>
 687           The state is increasingly involved in supporting open movements. The Open
 688 Government Partnership was launched in 2011 to provide an international
 689 platform for governments to become more open, accountable, and responsive to
 690 citizens.  Since then, it has grown from eight participating countries to
 691 seventy.<a href="#ftn.idm314" class="footnote" name="idm314"><sup class="footnote">[21]</sup></a> In all these countries,
 692 government and civil society are working together to develop and implement
 693 ambitious open-government reforms. Governments are increasingly adopting
 694 Creative Commons to ensure works funded with taxpayer dollars are open and
 695 free to the public that paid for them.
 696         </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-changing-market"></a>O Mercado em Mudança</h2></div></div></div><p>
 697           Today’s market is largely driven by global capitalism. Law and financial
 698 systems are structured to support extraction, privatization, and corporate
 699 growth. A perception that the market is more efficient than the state has
 700 led to continual privatization of many public natural resources, utilities,
 701 services, and infrastructures.<a href="#ftn.idm321" class="footnote" name="idm321"><sup class="footnote">[22]</sup></a> While
 702 this system has been highly efficient at generating consumerism and the
 703 growth of gross domestic product, the impact on human well-being has been
 704 mixed.  Offsetting rising living standards and improvements to health and
 705 education are ever-increasing wealth inequality, social inequality, poverty,
 706 deterioration of our natural environment, and breakdowns of
 707 democracy.<a href="#ftn.idm324" class="footnote" name="idm324"><sup class="footnote">[23]</sup></a>
 708         </p><p>
 709           Diante desses desafios, há um crescente reconhecimento de que o crescimento
 710 do PIB não deve ser um fim em si mesmo, que o desenvolvimento precisa ser
 711 social e economicamente inclusivo, que a sustentabilidade ambiental é um
 712 requisito, não uma opção, e que precisamos equilibrar melhor o mercado ,
 713 Estado e comunidade.<a href="#ftn.idm328" class="footnote" name="idm328"><sup class="footnote">[24]</sup></a>
 714         </p><p>
 715           Essas realizações levaram a um ressurgimento do interesse pelos comuns como
 716 meio de viabilizar esse equilíbrio. Prefeituras como Bolonha, na Itália,
 717 estão colaborando com seus cidadãos para estabelecer regulamentações para o
 718 cuidado e regeneração de comuns urbanos.<a href="#ftn.idm333" class="footnote" name="idm333"><sup class="footnote">[25]</sup></a> Seul e Amsterdã se autodenominam <span class="quote">“<span class="quote">cidades
 719 compartilhadas</span>”</span>, buscando tornar mais sustentáveis e eficientes uso
 720 de recursos escassos. Eles veem o compartilhamento como uma forma de
 721 melhorar o uso dos espaços públicos, a mobilidade, a coesão social e a
 722 segurança.<a href="#ftn.idm338" class="footnote" name="idm338"><sup class="footnote">[26]</sup></a>
 723         </p><p>
 724           O próprio mercado se interessou pela economia de compartilhamento, com
 725 empresas como o Airbnb fornecendo um mercado ponto a ponto para hospedagem
 726 de curto prazo e o Uber fornecendo uma plataforma para compartilhamento de
 727 caronas. No entanto, o Airbnb e o Uber ainda estão operando em grande parte
 728 sob as normas e regras usuais do mercado, tornando-os menos comuns e mais
 729 como uma empresa tradicional em busca de ganhos financeiros. Grande parte da
 730 economia compartilhada não trata dos comuns ou da construção de uma
 731 alternativa para uma economia de mercado impulsionada pelas corporações;
 732 trata-se de estender o mercado livre desregulamentado a novas áreas de
 733 nossas vidas.<a href="#ftn.idm343" class="footnote" name="idm343"><sup class="footnote">[27]</sup></a> Embora nenhuma das
 734 pessoas que entrevistamos para nossos estudos de caso se descreva como parte
 735 da economia compartilhada, na verdade existem alguns paralelos
 736 significativos. Tanto a economia compartilhada quanto os comuns fazem melhor
 737 uso da capacidade dos ativos. A economia compartilhada vê residentes
 738 pessoais e carros como tendo capacidade ociosa latente com valor de
 739 aluguel. O acesso equitativo dos comuns amplia e diversifica o número de
 740 pessoas que podem usar e obter valor de um ativo.
 741         </p><p>
 742           One way Made with Creative Commons case studies differ from those of the
 743 sharing economy is their focus on digital resources. Digital resources
 744 function under different economic rules than physical ones. In a world where
 745 prices always seem to go up, information technology is an anomaly.
 746 Computer-processing power, storage, and bandwidth are all rapidly
 747 increasing, but rather than costs going up, costs are coming down. Digital
 748 technologies are getting faster, better, and cheaper. The cost of anything
 749 built on these technologies will always go down until it is close to
 750 zero.<a href="#ftn.idm347" class="footnote" name="idm347"><sup class="footnote">[28]</sup></a>
 751         </p><p>
 752           Those that are Made with Creative Commons are looking to leverage the unique
 753 inherent characteristics of digital resources, including lowering costs. The
 754 use of digital-rights-management technologies in the form of locks,
 755 passwords, and controls to prevent digital goods from being accessed,
 756 changed, replicated, and distributed is minimal or nonexistent. Instead,
 757 Creative Commons licenses are used to put digital content out in the
 758 commons, taking advantage of the unique economics associated with being
 759 digital. The aim is to see digital resources used as widely and by as many
 760 people as possible. Maximizing access and participation is a common
 761 goal. They aim for abundance over scarcity.
 762         </p><p>
 763           O custo incremental de armazenamento, cópia e distribuição de bens digitais
 764 é próximo a zero, tornando a abundância possível. Mas imaginar um mercado
 765 baseado na abundância e não na escassez é tão estranho ao modo como
 766 concebemos a teoria e prática econômica que lutamos para
 767 fazê-lo.<a href="#ftn.idm351" class="footnote" name="idm351"><sup class="footnote">[29]</sup></a> Aqueles que são feitos com
 768 Creative Commons são, cada um, pioneiros neste novo cenário, criando seus
 769 próprios modelos e práticas econômicas.
 770         </p><p>
 771           Alguns buscam minimizar suas interações com o mercado e operar da forma mais
 772 autônoma possível. Outros estão operando principalmente como um negócio
 773 dentro das regras e normas existentes do mercado. E ainda outros estão
 774 procurando mudar as normas e regras pelas quais o mercado opera.
 775         </p><p>
 776           For an ordinary corporation, making social benefit a part of its operations
 777 is difficult, as it’s legally required to make decisions that financially
 778 benefit stockholders. But new forms of business are emerging. There are
 779 benefit corporations and social enterprises, which broaden their business
 780 goals from making a profit to making a positive impact on society, workers,
 781 the community, and the environment.<a href="#ftn.idm356" class="footnote" name="idm356"><sup class="footnote">[30]</sup></a>
 782 Community-owned businesses, worker-owned businesses, cooperatives, guilds,
 783 and other organizational forms offer alternatives to the traditional
 784 corporation.  Collectively, these alternative market entities are changing
 785 the rules and norms of the market.<a href="#ftn.idm359" class="footnote" name="idm359"><sup class="footnote">[31]</sup></a>
 786         </p><p><span class="quote">“<span class="quote">Um livro sobre modelos de negócios abertos</span>”</span> é como o
 787 descrevemos na campanha Kickstarter deste livro. Usamos um manual chamado
 788 <span class="emphasis"><em>Business Model Generation</em></span> como nossa referência para
 789 definir o que é um modelo de negócios. Desenvolvido ao longo de nove anos
 790 usando um <span class="quote">“<span class="quote">processo aberto</span>”</span> envolvendo 470 coautores de
 791 quarenta e cinco países, é útil como uma estrutura para falar sobre modelos
 792 de negócios <a href="#ftn.idm366" class="footnote" name="idm366"><sup class="footnote">[32]</sup></a>
 793         </p><p>
 794           Ele contém uma <span class="quote">“<span class="quote">tela de modelo de negócios </span>”</span>, que concebe um
 795 modelo de negócios como tendo nove blocos de construção.<a href="#ftn.idm372" class="footnote" name="idm372"><sup class="footnote">[33]</sup></a> Essa tela em branco pode servir como uma ferramenta
 796 para qualquer pessoa projetar seu próprio modelo de negócios. Remixamos essa
 797 tela de modelo de negócios em uma tela de modelo de negócios aberta,
 798 adicionando mais três blocos de construção relevantes para o mercado
 799 híbrido, empresas comuns: bem social, licença Creative Commons e <span class="quote">“<span class="quote">tipo
 800 de ambiente aberto em que a empresa se encaixa</span>”</span>.<a href="#ftn.idm376" class="footnote" name="idm376"><sup class="footnote">[34]</sup></a> Essa tela aprimorada provou ser útil quando
 801 analisamos empresas e ajudamos as start-ups a planejar seu modelo econômico.
 802         </p><p>
 803           In our case study interviews, many expressed discomfort over describing
 804 themselves as an open business model—the term business model suggested
 805 primarily being situated in the market. Where you sit on the
 806 commons-to-market spectrum affects the extent to which you see yourself as a
 807 business in the market. The more central to the mission shared resources and
 808 commons values are, the less comfort there is in describing yourself, or
 809 depicting what you do, as a business.  Not all who have endeavors Made with
 810 Creative Commons use business speak; for some the process has been
 811 experimental, emergent, and organic rather than carefully planned using a
 812 predefined model.
 813         </p><p>
 814           Todos os criadores, empresas e organizações que definimos se envolvem com o
 815 mercado para gerar receita de alguma forma. As maneiras pelas quais isso é
 816 feito variam amplamente. Doações, pague o que puder, assinaturas,
 817 <span class="quote">“<span class="quote">digital de graça, mas físico por uma taxa</span>”</span>, crowdfunding,
 818 matchmaking, serviços de valor agregado, patrocinadores... A lista continua
 819 e continua. (Descrição inicial de como obter receita disponível por meio da
 820 nota de referência. Para as reflexões mais recentes, consulte Como trazer
 821 dinheiro na próxima seção.)<a href="#ftn.idm384" class="footnote" name="idm384"><sup class="footnote">[35]</sup></a> Não existe
 822 uma fórmula mágica única e cada empreendimento inventou maneiras que
 823 funcionem para eles. A maioria usa mais de uma maneira. A diversificação dos
 824 fluxos de receita reduz o risco e oferece vários caminhos para a
 825 sustentabilidade.
 826         </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="benefits-of-the-digital-commons"></a>Benefícios do Comum Digital</h2></div></div></div><p>
 827           Embora possa estar claro por que as organizações baseadas em comuns desejam
 828 interagir e se envolver com o mercado (elas precisam de dinheiro para
 829 sobreviver), pode ser menos óbvio por que o mercado se envolveria com os
 830 comuns. Os comuns digitais oferecem muitos benefícios.
 831         </p><p>
 832           The commons speeds dissemination. The free flow of resources in the commons
 833 offers tremendous economies of scale.  Distribution is decentralized, with
 834 all those in the commons empowered to share the resources they have access
 835 to. Those that are Made with Creative Commons have a reduced need for sales
 836 or marketing. Decentralized distribution amplifies supply and know-how.
 837         </p><p>
 838           O comum garante o acesso a todos. O mercado tem operado tradicionalmente
 839 colocando recursos atrás de um paywall, que exige o pagamento antes do
 840 acesso. O comum coloca recursos à vista, fornecendo acesso antecipado sem
 841 pagamento. Aqueles que são feitos com Creative Commons fazem pouco ou nenhum
 842 uso de gestão de direitos digitais (DRM) para gerenciar recursos. Não usar o
 843 DRM os libera dos custos de aquisição de tecnologia DRM e recursos de equipe
 844 para se envolver em práticas punitivas associadas à restrição de acesso. A
 845 maneira como os comuns fornecem acesso a todos nivela o campo de jogo e
 846 promove inclusão, equidade e justiça.
 847         </p><p>
 848           The commons maximizes participation. Resources in the commons can be used
 849 and contributed to by everyone. Using the resources of others, contributing
 850 your own, and mixing yours with others to create new works are all dynamic
 851 forms of participation made possible by the commons. Being Made with
 852 Creative Commons means you’re engaging as many users with your resources as
 853 possible. Users are also authoring, editing, remixing, curating, localizing,
 854 translating, and distributing.  The commons makes it possible for people to
 855 directly participate in culture, knowledge building, and even democracy, and
 856 many other socially beneficial practices.
 857         </p><p>
 858           Os comuns estimulam a inovação. Os recursos nas mãos de mais pessoas que
 859 podem usá-los levam a novas ideias. A maneira como os recursos comuns podem
 860 ser modificados, personalizados e melhores resultados em trabalhos derivados
 861 nunca imaginados pelo criador original. Alguns empreendimentos Feitos com
 862 Creative Commons encorajam deliberadamente os usuários a pegar os recursos
 863 que estão sendo compartilhados e inová-los. Isso move a pesquisa e o
 864 desenvolvimento (R&amp;D) de apenas dentro da organização para estar na
 865 comunidade.<a href="#ftn.idm395" class="footnote" name="idm395"><sup class="footnote">[36]</sup></a> A inovação baseada na
 866 comunidade manterá uma organização ou negócio em alerta. Deve continuar a
 867 contribuir com novas ideias, absorver e construir sobre as inovações dos
 868 outros e administrar os recursos e o relacionamento com a comunidade.
 869         </p><p>
 870           O comum aumenta o alcance e o impacto. O comum digital é global. Os recursos
 871 podem ser criados para uma necessidade local ou regional, mas eles vão longe
 872 e geram um impacto global. No mundo digital, não existem fronteiras entre
 873 países. Quando você é Feito com Creative Commons, geralmente é local e
 874 global ao mesmo tempo: designs digitais sendo distribuídos globalmente, mas
 875 feitos e fabricados localmente. Livros digitais ou música sendo distribuídos
 876 globalmente, mas leituras e shows realizados localmente. O comum digital
 877 amplia o impacto ao conectar os criadores com aqueles que usam e desenvolvem
 878 sua obra local e globalmente.
 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
 899 those 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           Os benefícios dos comuns são muitos. Quando esses benefícios se alinham com
 904 os objetivos dos indivíduos, comunidades, negócios no mercado ou empresas
 905 estatais, a escolha de administrar recursos como os comuns deve ser a melhor
 906 opção.
 907         </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="our-case-studies"></a>Nossos estudos de caso</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 status,
 910 they all have a social mission. Their primary reason for being is to make
 911 the world a better place, not to profit. Money is a means to a social end,
 912 not the end itself. They factor public interest into decisions, behavior,
 913 and practices. Transparency and trust are really important. Impact and
 914 success are measured against social aims expressed in mission statements,
 915 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 are
 921 being met and how sustainable the enterprise is.
 922         </p><p>
 923           Nossos estudos de caso são diversos, abrangendo desde publicação até
 924 educação e manufatura. Todas as organizações, empresas e criadores nos
 925 estudos de caso produzem recursos digitais. Esses recursos existem em muitas
 926 formas, incluindo livros, designs, canções, pesquisas, dados, obras
 927 culturais, materiais educacionais, ícones gráficos e vídeo. Alguns são
 928 representações digitais de recursos físicos. Outros nascem digitais, mas
 929 podem ser transformados em recursos físicos.
 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           E como usuários de licenças Creative Commons, eles automaticamente fazem
 938 parte de uma comunidade global. Os novos comuns digitais são
 939 globais. Aqueles que traçamos vêm de quase todos os continentes do
 940 mundo. Construir e interagir dentro desta comunidade global conduz ao
 941 sucesso.
 942         </p><p>
 943           Creative Commons licenses may express legal rules around the use of
 944 resources in a commons, but success in the commons requires more than
 945 following the letter of the law and acquiring financial means. Over and over
 946 we heard in our interviews how success and sustainability are tied to a set
 947 of beliefs, values, and principles that underlie their actions: Give more
 948 than you take. Be open and inclusive. Add value.  Make visible what you are
 949 using from the commons, what you are adding, and what you are
 950 monetizing. Maximize abundance. Give attribution. Express gratitude. Develop
 951 trust; don’t exploit.  Build relationship and community. Be
 952 transparent. Defend the commons.
 953         </p><p>
 954           The new digital commons is here to stay. Made With Creative Commons case
 955 studies show how it’s possible to be part of this commons while still
 956 functioning within market and state systems. The commons generates benefits
 957 neither the market nor state can achieve on their own. Rather than the
 958 market or state dominating as primary means of resource management, a more
 959 balanced alternative is possible.
 960         </p><p>
 961           O uso empresarial do Creative Commons apenas começou. Os estudos de caso
 962 neste livro são apenas pontos de partida. Cada um está mudando e evoluindo
 963 com o tempo. Muitos mais estão se juntando e inventando novos modelos. Esta
 964 visão geral tem como objetivo fornecer uma estrutura e uma linguagem para
 965 pensar e falar sobre os novos comuns digitais. As seções restantes são
 966 aprofundadas, fornecendo mais orientações e percepções sobre como funciona.
 967         </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>
 968             Jonathan Rowe, <span class="emphasis"><em>Our Common Wealth</em></span> (San Francisco:
 969 Berrett-Koehler, 2013), 14.
 970           </p></div><div id="ftn.idm117" class="footnote"><p><a href="#idm117" class="para"><sup class="para">[2] </sup></a>
 971             David Bollier, <span class="emphasis"><em>Think Like a Commoner: A Short Introduction to the
 972 Life of the Commons</em></span> (Gabriola Island, BC: New Society, 2014),
 973 176.
 974           </p></div><div id="ftn.idm120" class="footnote"><p><a href="#idm120" class="para"><sup class="para">[3] </sup></a>
 975             <span class="emphasis"><em>Ibid</em></span>., 15.
 976           </p></div><div id="ftn.idm126" class="footnote"><p><a href="#idm126" class="para"><sup class="para">[4] </sup></a>
 977               <span class="emphasis"><em>Ibid</em></span>., 145.
 978             </p></div><div id="ftn.idm130" class="footnote"><p><a href="#idm130" class="para"><sup class="para">[5] </sup></a>
 979               <span class="emphasis"><em>Ibid</em></span>., 175.
 980             </p></div><div id="ftn.idm149" class="footnote"><p><a href="#idm149" class="para"><sup class="para">[6] </sup></a>
 981               Daniel H. Cole, <span class="quote">“<span class="quote">Learning from Lin: Lessons and Cautions from the
 982 Natural Commons for the Knowledge Commons,</span>”</span> in Governing Knowledge
 983 Commons, eds. Brett M. Frischmann, Michael J. Madison, and Katherine
 984 J. Strandburg (New York: Oxford University Press, 2014), 53.
 985             </p></div><div id="ftn.idm176" class="footnote"><p><a href="#idm176" class="para"><sup class="para">[7] </sup></a>
 986                 Max Haiven, <span class="emphasis"><em>Crises of Imagination, Crises of Power: Capitalism,
 987 Creativity and the Commons</em></span> (Nova York: Zed Books, 2014), 93.
 988               </p></div><div id="ftn.idm192" class="footnote"><p><a href="#idm192" class="para"><sup class="para">[8] </sup></a>
 989                 Bollier, <span class="emphasis"><em>Think Like a Commoner</em></span>, 175.
 990               </p></div><div id="ftn.idm199" class="footnote"><p><a href="#idm199" class="para"><sup class="para">[9] </sup></a>
 991                 Joshua Farley and Ida Kubiszewski, <span class="quote">“<span class="quote">The Economics of Information in a
 992 Post-Carbon Economy,</span>”</span> in Free Knowledge: Confronting the
 993 Commodification of Human Discovery, eds. Patricia W. Elliott and Daryl
 994 H. Hepting (Regina, SK: University of Regina Press, 2015), 201–4.
 995               </p></div><div id="ftn.idm210" class="footnote"><p><a href="#idm210" class="para"><sup class="para">[10] </sup></a>
 996               Rowe, <span class="emphasis"><em>Our Common Wealth</em></span>, 19; e Heather Menzies,
 997 <span class="emphasis"><em>Reclaiming the Commons for the Common Good: A Memoir and
 998 Manifesto</em></span> (Gabriola Island, BC: New Society, 2014), 42–43.
 999             </p></div><div id="ftn.idm223" class="footnote"><p><a href="#idm223" class="para"><sup class="para">[11] </sup></a>
1000               Bollier, <span class="emphasis"><em>Think Like a Commoner</em></span>, 55–78.
1001             </p></div><div id="ftn.idm227" class="footnote"><p><a href="#idm227" class="para"><sup class="para">[12] </sup></a>
1002               Fritjof Capra e Ugo Mattei, <span class="emphasis"><em>The Ecology of Law: Toward a Legal
1003 System in Tune with Nature and Community</em></span> (Oakland, CA:
1004 Berrett-Koehler, 2015), 46–57; e Bollier, <span class="emphasis"><em>Think Like a
1005 Commoner</em></span>, 88.
1006             </p></div><div id="ftn.idm246" class="footnote"><p><a href="#idm246" class="para"><sup class="para">[13] </sup></a>
1007               Brett M. Frischmann, Michael J. Madison e Katherine J. Strandburg,
1008 <span class="quote">“<span class="quote">Governing Knowledge Commons</span>”</span>, em Frischmann, Madison e
1009 Strandburg, <span class="emphasis"><em>Governing Knowledge Commons</em></span>, 12.
1010             </p></div><div id="ftn.idm252" class="footnote"><p><a href="#idm252" class="para"><sup class="para">[14] </sup></a>
1011               Farley e Kubiszewski, <span class="quote">“<span class="quote">Economics of Information</span>”</span>, em Elliott y
1012 Hepting, <span class="emphasis"><em>Free Knowledge</em></span>, 203.
1013             </p></div><div id="ftn.idm276" class="footnote"><p><a href="#idm276" class="para"><sup class="para">[15] </sup></a><span class="quote">“<span class="quote">O que é software livre?</span>”</span> Sistema operacional GNU, o
1014 Laboratório de licenciamento e conformidade da Free Software Foundation,
1015 acessado em 30 de dezembro de 2016, <a class="ulink" href="http://www.gnu.org/philosophy/free-sw" target="_top">http://www.gnu.org/philosophy/free-sw</a>.
1016                 </p></div><div id="ftn.idm282" class="footnote"><p><a href="#idm282" class="para"><sup class="para">[16] </sup></a>
1017               Wikipedia, s.v. <span class="quote">“<span class="quote">Open-source software,</span>”</span> last modified November
1018 22, 2016.
1019             </p></div><div id="ftn.idm287" class="footnote"><p><a href="#idm287" class="para"><sup class="para">[17] </sup></a>
1020               Eric S. Raymond, <span class="quote">“<span class="quote">The Magic Cauldron,</span>”</span> in The Cathedral and the
1021 Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary,
1022 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>.
1023             </p></div><div id="ftn.idm293" class="footnote"><p><a href="#idm293" class="para"><sup class="para">[18] </sup></a>
1024               New York Times Customer Insight Group, <span class="emphasis"><em>The Psychology of Sharing:
1025 Why Do People Share Online?</em></span> (Nova York: New York Times Customer
1026 Insight Group, 2011), <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
1027             </p></div><div id="ftn.idm301" class="footnote"><p><a href="#idm301" class="para"><sup class="para">[19] </sup></a><span class="quote">“<span class="quote">Licensing Considerations</span>”</span>, Creative Commons, acessado em 30 de
1028 dezembro de 2016, <a class="ulink" href="http://creativecommons.org/share-your-work/licensing-considerations/" target="_top">http://creativecommons.org/share-your-work/licensing-considerations/</a>.
1029             </p></div><div id="ftn.idm307" class="footnote"><p><a href="#idm307" class="para"><sup class="para">[20] </sup></a>
1030               Creative Commons, <span class="emphasis"><em>2015 State of the Commons</em></span> (Mountain
1031 View, CA: Creative Commons, 2015), <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
1032             </p></div><div id="ftn.idm314" class="footnote"><p><a href="#idm314" class="para"><sup class="para">[21] </sup></a>
1033               Wikipedia, s.v. <span class="quote">“<span class="quote">Open Government Partnership,</span>”</span> last modified
1034 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>.
1035             </p></div><div id="ftn.idm321" class="footnote"><p><a href="#idm321" class="para"><sup class="para">[22] </sup></a>
1036               Capra e Mattei, <span class="emphasis"><em>Ecology of Law</em></span>, 114.
1037             </p></div><div id="ftn.idm324" class="footnote"><p><a href="#idm324" class="para"><sup class="para">[23] </sup></a>
1038               <span class="emphasis"><em>Ibid</em></span>., 116.
1039             </p></div><div id="ftn.idm328" class="footnote"><p><a href="#idm328" class="para"><sup class="para">[24] </sup></a>
1040               A Agência Sueca de Cooperação para o Desenvolvimento Internacional,
1041 <span class="quote">“<span class="quote">Stockholm Statement</span>”</span> acessada em 15 de fevereiro de 2017,
1042 <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>
1043             </p></div><div id="ftn.idm333" class="footnote"><p><a href="#idm333" class="para"><sup class="para">[25] </sup></a>
1044               Cidade de Bolonha, <span class="emphasis"><em>Regulation on Collaboration between Citizens
1045 and the City for the Care and Regeneration of Urban Commons</em></span>,
1046 trans. LabGov (LABoratory for the GOVernance of Commons) (Bolonha, Itália:
1047 Cidade de Bolonha, 2014), <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>.
1048             </p></div><div id="ftn.idm338" class="footnote"><p><a href="#idm338" class="para"><sup class="para">[26] </sup></a>
1049               O site de Seoul Sharing City website é <a class="ulink" href="http://english.sharehub.kr" target="_top">http://english.sharehub.kr</a>; para Amsterdam Sharing City, acesse
1050 <a class="ulink" href="http://www.sharenl.nl/amsterdam-sharing-city/" target="_top">http://www.sharenl.nl/amsterdam-sharing-city/</a>.
1051             </p></div><div id="ftn.idm343" class="footnote"><p><a href="#idm343" class="para"><sup class="para">[27] </sup></a>
1052               Tom Slee, <span class="emphasis"><em>What’s Yours Is Mine: Against the Sharing
1053 Economy</em></span> (Nova York: OR Books, 2015), 42.
1054             </p></div><div id="ftn.idm347" class="footnote"><p><a href="#idm347" class="para"><sup class="para">[28] </sup></a>
1055               Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
1056 Something for Nothing, Reprint with new preface. (New York: Hyperion, 2010),
1057 78.
1058             </p></div><div id="ftn.idm351" class="footnote"><p><a href="#idm351" class="para"><sup class="para">[29] </sup></a>
1059               Jeremy Rifkin, <span class="emphasis"><em>The Zero Marginal Cost Society: The Internet of
1060 Things, the Collaborative Commons, and the Eclipse of Capitalism</em></span>
1061 (Nova York: Palgrave Macmillan, 2014) , 273.
1062             </p></div><div id="ftn.idm356" class="footnote"><p><a href="#idm356" class="para"><sup class="para">[30] </sup></a>
1063               Gar Alperovitz, <span class="emphasis"><em>What Then Must We Do? Straight Talk about the Next
1064 American Revolution: Democratizing Wealth and Building a
1065 Community-Sustaining Economy from the Ground Up</em></span> (White River
1066 Junction, VT: Chelsea Green, 2013), 39.
1067             </p></div><div id="ftn.idm359" class="footnote"><p><a href="#idm359" class="para"><sup class="para">[31] </sup></a>
1068               Marjorie Kelly, <span class="emphasis"><em>Owning Our Future: The Emerging Ownership
1069 Revolution; Journeys to a Generative Economy</em></span> (São Francisco:
1070 Berrett-Koehler, 2012), 8–9.
1071             </p></div><div id="ftn.idm366" class="footnote"><p><a href="#idm366" class="para"><sup class="para">[32] </sup></a>
1072               Alex Osterwalder e Yves Pigneur, <span class="emphasis"><em>Business Model
1073 Generation</em></span> (Hoboken, NJ: John Wiley and Sons, 2010). Uma
1074 pré-visualização do livro está disponível em <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
1075             </p></div><div id="ftn.idm372" class="footnote"><p><a href="#idm372" class="para"><sup class="para">[33] </sup></a>
1076               Esta tela de modelo de negócios está disponível para download em <a class="ulink" href="http://strategyzer.com/canvas/business-model-canvas" target="_top">http://strategyzer.com/canvas/business-model-canvas</a>.
1077             </p></div><div id="ftn.idm376" class="footnote"><p><a href="#idm376" class="para"><sup class="para">[34] </sup></a>
1078               Fizemos o <span class="quote">“<span class="quote">Open Business Model Canvas</span>”</span>, projetado pelo co-autor
1079 Paul Stacey, disponível online em <a class="ulink" href="http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit" target="_top">http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit</a>.
1080 Você também pode encontrar as perguntas do Open Business Model Canvas em
1081 <a class="ulink" href="http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit" target="_top">http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit</a>.
1082             </p></div><div id="ftn.idm384" class="footnote"><p><a href="#idm384" class="para"><sup class="para">[35] </sup></a>
1083               A more comprehensive list of revenue streams is available in this post I
1084 wrote on Medium on March 6, 2016.  <span class="quote">“<span class="quote">What Is an Open Business Model and
1085 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>.
1086             </p></div><div id="ftn.idm395" class="footnote"><p><a href="#idm395" class="para"><sup class="para">[36] </sup></a>
1087               Henry Chesbrough, <span class="emphasis"><em>Open Innovation: The New Imperative for Creating
1088 and Profiting from Technology</em></span> (Boston: Harvard Business Review
1089 Press, 2006), 31–44.
1090             </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>Capítulo 2. Como ser Feito com Creative Commons</h2></div></div></div><div class="toc"><p><b>Índice</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problema zero: ser descoberto</a></span></dt><dt><span class="sect1"><a href="#making-money">Fazendo dinheiro</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}
1091     \textit{ Sarah Hinchliff Pearson}
1092     \end{flushright}</td></tr></table></div><p>
1093         When we began this project in August 2015, we set out to write a book about
1094 business models that involve Creative Commons licenses in some significant
1095 way—what we call being Made with Creative Commons. With the help of our
1096 Kickstarter backers, we chose twenty-four endeavors from all around the
1097 world that are Made with Creative Commons. The mix is diverse, from an
1098 individual musician to a university-textbook publisher to an electronics
1099 manufacturer. Some make their own content and share under Creative Commons
1100 licensing. Others are platforms for CC-licensed creative work made by
1101 others. Many sit somewhere in between, both using and contributing creative
1102 work that’s shared with the public. Like all who use the licenses, these
1103 endeavors share their work—whether it’s open data or furniture designs—in a
1104 way that enables the public not only to access it but also to make use of
1105 it.
1106       </p><p>
1107         Analisamos os modelos de receita, segmentos de clientes e propostas de valor
1108 de cada empreendimento. Procuramos maneiras de colocar seu conteúdo sob
1109 licenças Creative Commons para ajudar a impulsionar as vendas ou aumentar o
1110 alcance. Usando medidas tradicionais de sucesso econômico, tentamos mapear
1111 esses modelos de negócios de uma forma que incorporasse significativamente o
1112 impacto do Creative Commons. Em nossas entrevistas, investigamos as
1113 motivações, o papel das licenças CC, os modos de geração de receita e as
1114 definições de sucesso.
1115       </p><p>
1116         Em pouco tempo, percebemos que o livro que começamos a escrever era bem
1117 diferente daquele que estava se revelando em nossas entrevistas e pesquisas.
1118       </p><p>
1119         Não é que estivéssemos errados ao pensar que você pode ganhar dinheiro
1120 usando licenças Creative Commons. Em muitos casos, o CC pode ajudar você a
1121 ganhar mais dinheiro. Tampouco erramos ao dizer que existem modelos de
1122 negócios que outras pessoas que desejam usar o licenciamento CC como parte
1123 de seu sustento ou negócio poderiam replicar. O que não percebemos foi o
1124 quão equivocado seria escrever um livro sobre ser Feito com Creative Commons
1125 usando apenas lentes de negócios.
1126       </p><p>
1127         De acordo com o manual seminal Business Model Generation, um modelo de
1128 negócios <span class="quote">“<span class="quote">descreve a lógica de como uma organização cria, entrega e
1129 captura valor.</span>”</span><a href="#ftn.idm423" class="footnote" name="idm423"><sup class="footnote">[37]</sup></a> Pensar em
1130 compartilhar em termos de criação e captura de valor sempre pareceu
1131 inadequadamente transacional e deslocado, algo que ouvimos repetidamente em
1132 nossas entrevistas. E como Cory Doctorow nos disse em nossa entrevista com
1133 ele, <span class="quote">“<span class="quote">Modelo de negócios pode significar qualquer coisa que você
1134 quiser</span>”</span>.
1135       </p><p>
1136         Eventualmente, nós conseguimos. Ser Feito com Creative Commons é mais do que
1137 um modelo de negócios. Embora falemos sobre modelos de receita específicos
1138 como uma parte de nossa análise (e com mais detalhes nos estudos de caso),
1139 descartamos isso como nossa rubrica orientadora para o livro.
1140       </p><p>
1141         Reconheço que demorei muito para chegar lá. Quando Paul e eu dividimos nossa
1142 redação depois de terminar a pesquisa, minha incumbência era destilar tudo o
1143 que aprendemos com os estudos de caso e escrever as lições práticas e
1144 resultados. Passei meses tentando colocar o que aprendemos na caixa do
1145 modelo de negócios, convencido de que deve haver alguma fórmula para a forma
1146 como as coisas interagem. Mas não existe fórmula. Você provavelmente terá
1147 que descartar essa maneira de pensar antes de continuar a ler.
1148       </p><p>
1149         Em todas as entrevistas, partimos das mesmas perguntas simples. Em meio a
1150 toda a diversidade entre os criadores, organizações e empresas que traçamos
1151 o perfil, havia uma constante. Ser Feito com Creative Commons pode ser bom
1152 para os negócios, mas não é por isso que o fazem. Compartilhar a obra com o
1153 Creative Commons é, em sua essência, uma decisão moral. Os benefícios
1154 comerciais e outros benefícios de interesse próprio são secundários. A
1155 maioria decidiu usar licenças CC primeiro e encontrou um modelo de receita
1156 depois. Essa foi nossa primeira dica de que escrever um livro exclusivamente
1157 sobre o impacto do compartilhamento nos negócios pode estar um pouco fora do
1158 caminho.
1159       </p><p>
1160         But we also started to realize something about what it means to be Made with
1161 Creative Commons. When people talked to us about how and why they used CC,
1162 it was clear that it meant something more than using a copyright license. It
1163 also represented a set of values. There is symbolism behind using CC, and
1164 that symbolism has many layers.
1165       </p><p>
1166         Em um nível, ser Feito com Creative Commons expressa uma afinidade com o
1167 valor do Creative Commons. Embora existam muitos sabores diferentes de
1168 licenças CC e maneiras quase infinitas de ser Feito com Creative Commons, o
1169 sistema de valores básico está enraizado em uma crença fundamental de que o
1170 conhecimento e a criatividade são blocos de construção de nossa cultura, e
1171 não apenas mercadorias das quais extrair valor de mercado. Esses valores
1172 refletem a crença de que o bem comum deve sempre fazer parte da equação
1173 quando determinamos como regular nossos resultados culturais. Eles refletem
1174 a crença de que todos têm algo a contribuir e que ninguém pode ser dono de
1175 nossa cultura compartilhada. Eles refletem a crença na promessa de
1176 compartilhar.
1177       </p><p>
1178         Whether the public makes use of the opportunity to copy and adapt your work,
1179 sharing with a Creative Commons license is a symbol of how you want to
1180 interact with the people who consume your work. Whenever you create
1181 something, <span class="quote">“<span class="quote">all rights reserved</span>”</span> under copyright is automatic,
1182 so the copyright symbol (©) on the work does not necessarily come across as
1183 a marker of distrust or excessive protectionism. But using a CC license can
1184 be a symbol of the opposite—of wanting a real human relationship, rather
1185 than an impersonal market transaction. It leaves open the possibility of
1186 connection.
1187       </p><p>
1188         Sendo Feito com Creative Commons não apenas demonstra valores ligados a CC e
1189 compartilhamento. Também demonstra que algo diferente do lucro impulsiona o
1190 que você faz. Em nossas entrevistas, sempre perguntamos como era o sucesso
1191 para eles(as). Era impressionante como raramente se mencionava dinheiro. A
1192 maioria tem um propósito mais profundo e uma visão diferente de sucesso.
1193       </p><p>
1194         A motivação motriz varia dependendo do tipo de empreendimento. Para
1195 criadores individuais, geralmente é uma questão de inspiração pessoal. De
1196 certa forma, isso não é novidade. Como Doctorow escreveu, <span class="quote">“<span class="quote">Os
1197 criadores geralmente começam a fazer o que fazem por
1198 amor.</span>”</span><a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[38]</sup></a> Mas quando você
1199 compartilha sua obra criativa sob uma licença CC, essa dinâmica é ainda mais
1200 pronunciada. Da mesma forma, para os inovadores tecnológicos, geralmente se
1201 trata menos de criar algo novo específico que o tornará rico e mais de
1202 resolver um problema específico que você tem. Os criadores do Arduino nos
1203 disseram que a questão chave ao criar algo é <span class="quote">“<span class="quote">Você, como criador,
1204 deseja usá-lo? Deve ter uso e significado pessoal.</span>”</span>
1205       </p><p>
1206         Muitos dos que são Feitos com Creative Commons têm uma missão social
1207 expressa que sustenta tudo o que eles fazem. Em muitos casos, compartilhar
1208 com Creative Commons avança expressamente essa missão social, e usar as
1209 licenças pode ser a diferença entre legitimidade e hipocrisia. O cofundador
1210 do Noun Project, Edward Boatman, nos disse que eles não poderiam ter
1211 declarado sua missão social de compartilhar com uma cara séria se não
1212 estivessem dispostos a mostrar ao mundo que não havia problema em
1213 compartilhar seu conteúdo usando uma licença Creative Commons.
1214       </p><p>
1215         Essa dinâmica é provavelmente um dos motivos pelos quais existem tantos
1216 exemplos de organizações sem fins lucrativos feitos com Creative Commons. O
1217 conteúdo é o resultado de uma obra de amor ou de uma ferramenta para
1218 impulsionar a mudança social, e o dinheiro é como a gasolina no carro, algo
1219 que você precisa para continuar, mas não é um fim em si mesmo. Sendo Feito
1220 com Creative Commons é uma visão diferente de um negócio ou meio de vida,
1221 onde o lucro não é primordial e a produção de bem social e conexão humana
1222 são essenciais para o sucesso.
1223       </p><p>
1224         Mesmo que o lucro não seja o objetivo final, você tem que trazer dinheiro
1225 para ser Feito com Creative Commons com sucesso. No mínimo, você tem que
1226 ganhar dinheiro suficiente para manter as luzes acesas.
1227       </p><p>
1228         Os custos de fazer negócios variam amplamente para aqueles feitos com CC,
1229 mas geralmente há um limite muito mais baixo para a sustentabilidade do que
1230 costumava haver para qualquer empreendimento criativo. A tecnologia digital
1231 tornou mais fácil do que nunca criar e distribuir. Como Doctorow colocou em
1232 seu livro <span class="emphasis"><em>Information Doesn't Want to Be Free</em></span>,
1233 <span class="quote">“<span class="quote">Se os dólares analógicos se transformaram em moedas digitais (como
1234 dizem os críticos da mídia financiada por anúncios), há o fato de que é
1235 possível fazer funcionar uma empresa que obtém a mesma quantidade de
1236 publicidade que seus ancestrais por uma fração do preço.</span>”</span>
1237       </p><p>
1238         Alguns custos de criação são os mesmos de sempre. Leva a mesma quantidade de
1239 tempo e dinheiro para escrever um artigo de jornal revisado por pares ou
1240 pintar um quadro. A tecnologia não pode mudar isso. Mas outros custos são
1241 reduzidos drasticamente pela tecnologia, particularmente em domínios de
1242 produção pesada como cinema.<a href="#ftn.idm448" class="footnote" name="idm448"><sup class="footnote">[39]</sup></a> Conteúdo
1243 licenciado por CC e conteúdo de domínio público, bem como a oba de
1244 colaboradores voluntários, também podem reduzir drasticamente os custos se
1245 forem sendo usados como recursos para criar algo novo. E, claro, existe a
1246 realidade de que algum conteúdo seria criado, independentemente de o criador
1247 ser pago ou não, porque é um trabalho de amor.
1248       </p><p>
1249         Distributing content is almost universally cheaper than ever.  Once content
1250 is created, the costs to distribute copies digitally are essentially
1251 zero.<a href="#ftn.idm451" class="footnote" name="idm451"><sup class="footnote">[40]</sup></a> The costs to distribute physical
1252 copies are still significant, but lower than they have been
1253 historically. And it is now much easier to print and distribute physical
1254 copies on-demand, which also reduces costs. Depending on the endeavor, there
1255 can be a whole host of other possible expenses like marketing and promotion,
1256 and even expenses associated with the various ways money is being made, like
1257 touring or custom training.
1258       </p><p>
1259         É importante reconhecer que o maior impacto da tecnologia nos
1260 empreendimentos criativos é que os criadores agora podem arcar com os custos
1261 de criação e distribuição sozinhos. As pessoas agora costumam ter um caminho
1262 direto para seu público potencial, sem necessariamente precisar de
1263 intermediários como gravadoras e editoras de livros. Doctorow escreveu:
1264 <span class="quote">“<span class="quote">Se você é um criador que nunca obteve a hora de uma das grandes
1265 potências imperiais, esta é a sua hora. Onde antes você não tinha meios de
1266 alcançar um público sem a ajuda das megaempresas dominantes do setor, agora
1267 você tem centenas de maneiras de fazer isso sem eles.</span>”</span><a href="#ftn.idm456" class="footnote" name="idm456"><sup class="footnote">[41]</sup></a> Anteriormente, a distribuição de obra criativa
1268 envolvia os custos associados à manutenção uma entidade monolítica, agora os
1269 criadores podem fazer a obra sozinhos. Isso significa que as necessidades
1270 financeiras de empreendimentos criativos podem ser muito mais modestas.
1271       </p><p>
1272         Whether for an individual creator or a larger endeavor, it usually isn’t
1273 enough to break even if you want to make what you’re doing a livelihood. You
1274 need to build in some support for the general operation. This extra bit
1275 looks different for everyone, but importantly, in nearly all cases for those
1276 Made with Creative Commons, the definition of <span class="quote">“<span class="quote">enough money</span>”</span>
1277 looks a lot different than it does in the world of venture capital and stock
1278 options. It is more about sustainability and less about unlimited growth and
1279 profit.  SparkFun founder Nathan Seidle told us, <span class="quote">“<span class="quote">Business model is a
1280 really grandiose word for it. It is really just about keeping the operation
1281 going day to day.</span>”</span>
1282       </p><p>
1283         Este livro é uma prova da noção de que é possível ganhar dinheiro usando
1284 licenças CC e conteúdo licenciado CC, mas ainda estamos em um estágio muito
1285 experimental. Os criadores, organizações e empresas que apresentamos neste
1286 livro estão abrindo caminho e se adaptando em tempo real à medida que buscam
1287 essa nova forma de operar.
1288       </p><p>
1289         Existem, no entanto, muitas maneiras pelas quais o licenciamento CC pode ser
1290 bom para os negócios de maneiras bastante previsíveis. A primeira é como ele
1291 ajuda a resolver <span class="quote">“<span class="quote">o problema zero</span>”</span>.
1292       </p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="problem-zero-getting-discovered"></a>Problema zero: ser descoberto</h2></div></div></div><p>
1293           Once you create or collect your content, the next step is finding users,
1294 customers, fans—in other words, your people. As Amanda Palmer wrote,
1295 <span class="quote">“<span class="quote">It has to start with the art. The songs had to touch people
1296 initially, and mean something, for anything to work at
1297 all.</span>”</span><a href="#ftn.idm469" class="footnote" name="idm469"><sup class="footnote">[42]</sup></a> There isn’t any magic to
1298 finding your people, and there is certainly no formula. Your work has to
1299 connect with people and offer them some artistic and/or utilitarian value.
1300 In some ways, this is easier than ever. Online we are not limited by shelf
1301 space, so there is room for every obscure interest, taste, and need
1302 imaginable. This is what Chris Anderson dubbed the Long Tail, where
1303 consumption becomes less about mainstream mass <span class="quote">“<span class="quote">hits</span>”</span> and more
1304 about micromarkets for every particular niche. As Anderson wrote, <span class="quote">“<span class="quote">We
1305 are all different, with different wants and needs, and the Internet now has
1306 a place for all of them in the way that physical markets did
1307 not.</span>”</span><a href="#ftn.idm474" class="footnote" name="idm474"><sup class="footnote">[43]</sup></a> We are no longer limited
1308 to what appeals to the masses.
1309         </p><p>
1310           While finding <span class="quote">“<span class="quote">your people</span>”</span> online is theoretically easier than
1311 in the analog world, as a practical matter it can still be difficult to
1312 actually get noticed. The Internet is a firehose of content, one that only
1313 grows larger by the minute. As a content creator, not only are you competing
1314 for attention against more content creators than ever before, you are
1315 competing against creativity generated outside the market as
1316 well.<a href="#ftn.idm479" class="footnote" name="idm479"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">“<span class="quote">The
1317 greatest change of the past decade has been the shift in time people spend
1318 consuming amateur content instead of professional
1319 content.</span>”</span><a href="#ftn.idm483" class="footnote" name="idm483"><sup class="footnote">[45]</sup></a> To top it all off, you
1320 have to compete against the rest of their lives, too—<span class="quote">“<span class="quote">friends, family,
1321 music playlists, soccer games, and nights on the town.</span>”</span><a href="#ftn.idm487" class="footnote" name="idm487"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
1322 right people.
1323         </p><p>
1324           When you come to the Internet armed with an all-rights-reserved mentality
1325 from the start, you are often restricting access to your work before there
1326 is even any demand for it. In many cases, requiring payment for your work is
1327 part of the traditional copyright system. Even a tiny cost has a big effect
1328 on demand. It’s called the penny gap—the large difference in demand between
1329 something that is available at the price of one cent versus the price of
1330 zero.<a href="#ftn.idm491" class="footnote" name="idm491"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
1331 charge money for your content. It simply means you need to recognize the
1332 effect that doing so will have on demand. The same principle applies to
1333 restricting access to copy the work. If your problem is how to get
1334 discovered and find <span class="quote">“<span class="quote">your people,</span>”</span> prohibiting people from
1335 copying your work and sharing it with others is counterproductive.
1336         </p><p>
1337           Claro, não é que ser descoberto por pessoas que gostam da sua obra lhe
1338 tornará rico – longe disso. Mas, como diz Cory Doctorow, <span class="quote">“<span class="quote">O
1339 reconhecimento é uma das muitas precondições necessárias para o sucesso
1340 artístico.</span>”</span><a href="#ftn.idm497" class="footnote" name="idm497"><sup class="footnote">[48]</sup></a>
1341         </p><p>
1342           Choosing not to spend time and energy restricting access to your work and
1343 policing infringement also builds goodwill.  Lumen Learning, a for-profit
1344 company that publishes online educational materials, made an early decision
1345 not to prevent students from accessing their content, even in the form of a
1346 tiny paywall, because it would negatively impact student success in a way
1347 that would undermine the social mission behind what they do. They believe
1348 this decision has generated an immense amount of goodwill within the
1349 community.
1350         </p><p>
1351           Não é apenas que restringir o acesso à sua obra pode prejudicar a sua missão
1352 social. Também pode alienar as pessoas que mais valorizam sua obra
1353 criativa. Se as pessoas gostam da sua oba, seu instinto natural será
1354 compartilhá-lo com outras pessoas. Mas, como David Bollier escreveu,
1355 <span class="quote">“<span class="quote">Nossos impulsos humanos naturais para imitar e compartilhar – a
1356 essência da cultura – foram criminalizados.</span>”</span><a href="#ftn.idm503" class="footnote" name="idm503"><sup class="footnote">[49]</sup></a>
1357         </p><p>
1358           O fato de que a cópia pode acarretar penalidades criminais, sem dúvida,
1359 impede a cópia, mas copiar com o clique de um botão é muito fácil e
1360 conveniente para interrompê-la totalmente. Por mais que a indústria de
1361 direitos autorais tente nos persuadir do contrário, copiar uma obra
1362 protegida por direitos autorais não dá a sensação de roubar um pão. E,
1363 claro, é porque não é. Compartilhar uma obra criativa não afeta a capacidade
1364 de ninguém de fazer uso dele.
1365         </p><p>
1366           If you take some amount of copying and sharing your work as a given, you can
1367 invest your time and resources elsewhere, rather than wasting them on
1368 playing a cat and mouse game with people who want to copy and share your
1369 work. Lizzy Jongma from the Rijksmuseum said, <span class="quote">“<span class="quote">We could spend a lot of
1370 money trying to protect works, but people are going to do it anyway.  And
1371 they will use bad-quality versions.</span>”</span> Instead, they started releasing
1372 high-resolution digital copies of their collection into the public domain
1373 and making them available for free on their website. For them, sharing was a
1374 form of quality control over the copies that were inevitably being shared
1375 online. Doing this meant forgoing the revenue they previously got from
1376 selling digital images. But Lizzy says that was a small price to pay for all
1377 of the opportunities that sharing unlocked for them.
1378         </p><p>
1379           Ser feito com Creative Commons significa que você para de pensar em maneiras
1380 de tornar artificialmente seu conteúdo escasso e, em vez disso, aproveita-o
1381 como o recurso potencialmente abundante que ele é.<a href="#ftn.idm510" class="footnote" name="idm510"><sup class="footnote">[50]</sup></a> Quando você vê a abundância de informações como um
1382 recurso, não um bug, começa a pensar sobre as maneiras de usar a capacidade
1383 ociosa de seu conteúdo a seu favor. Como meu amigo e colega Eric Steuer
1384 disse uma vez, <span class="quote">“<span class="quote">Usar licenças CC mostra que você acessa a
1385 Internet.</span>”</span>
1386         </p><p>
1387           Cory Doctorow diz que não custa nada quando outras pessoas fazem cópias de
1388 sua oba, e isso abre a possibilidade de que ele possa receber algo em
1389 troca.<a href="#ftn.idm515" class="footnote" name="idm515"><sup class="footnote">[51]</sup></a> Da mesma forma, os fabricantes
1390 das placas Arduino sabiam que era impossível impedir as pessoas de copiar
1391 seus hardware, então eles decidiram nem mesmo tentar e, em vez disso, buscar
1392 os benefícios de ser aberto. Para eles, o resultado é uma das peças de
1393 hardware mais onipresentes do mundo, com uma comunidade online próspera de
1394 consertadores e inovadores que fizeram coisas com seu trabalho que nunca
1395 poderiam ter feito de outra forma.
1396         </p><p>
1397           Existem várias maneiras de aproveitar o poder de compartilhar e remixar em
1398 seu benefício. Aqui estão alguns.
1399         </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-grow-a-larger-audience"></a>Usar CC para criar uma audiência grande</h3></div></div></div><p>
1400             Putting a Creative Commons license on your content won’t make it
1401 automatically go viral, but eliminating legal barriers to copying the work
1402 certainly can’t hurt the chances that your work will be shared. The CC
1403 license symbolizes that sharing is welcome. It can act as a little tap on
1404 the shoulder to those who come across the work—a nudge to copy the work if
1405 they have any inkling of doing so.  All things being equal, if one piece of
1406 content has a sign that says Share and the other says Don’t Share (which is
1407 what <span class="quote">“<span class="quote">©</span>”</span> means), which do you think people are more likely to
1408 share?
1409           </p><p>
1410             The Conversation é um site de notícias online com artigos detalhados
1411 escritos por acadêmicos especialistas em tópicos específicos. Todos os
1412 artigos são licenciados por CC e são copiados e compartilhados de novo em
1413 outros sites por design. Esse efeito proliferante, que eles rastreiam, é uma
1414 parte central do valor para seus autores acadêmicos que desejam alcançar o
1415 maior número possível de leitores.
1416           </p><p>
1417             The idea that more eyeballs equates with more success is a form of the max
1418 strategy, adopted by Google and other technology companies. According to
1419 Google’s Eric Schmidt, the idea is simple: <span class="quote">“<span class="quote">Take whatever it is you
1420 are doing and do it at the max in terms of distribution. The other way of
1421 saying this is that since marginal cost of distribution is free, you might
1422 as well put things everywhere.</span>”</span><a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[52]</sup></a>
1423 This strategy is what often motivates companies to make their products and
1424 services free (i.e., no cost), but the same logic applies to making content
1425 freely shareable. Because CC-licensed content is free (as in cost)  and can
1426 be freely copied, CC licensing makes it even more accessible and likely to
1427 spread.
1428           </p><p>
1429             Se você tiver sucesso em alcançar mais usuários, leitores, ouvintes ou
1430 outros consumidores de seu trabalho, pode começar a se beneficiar do efeito
1431 bandwagon. O simples fato de haver outras pessoas consumindo ou seguindo seu
1432 trabalho estimula outras pessoas a quererem fazer o mesmo.<a href="#ftn.idm530" class="footnote" name="idm530"><sup class="footnote">[53]</sup></a> Isso é, em parte, porque simplesmente temos uma
1433 tendência a nos envolver em comportamento de rebanho, mas também é porque um
1434 grande a seguir está pelo menos um indicador parcial de qualidade ou
1435 utilidade.<a href="#ftn.idm533" class="footnote" name="idm533"><sup class="footnote">[54]</sup></a>
1436           </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-get-attribution-and-name-recognition"></a>Usar CC para obter atribuição e reconhecimento de nome</h3></div></div></div><p>
1437             Every Creative Commons license requires that credit be given to the author,
1438 and that reusers supply a link back to the original source of the
1439 material. CC0, not a license but a tool used to put work in the public
1440 domain, does not make attribution a legal requirement, but many communities
1441 still give credit as a matter of best practices and social norms.  In fact,
1442 it is social norms, rather than the threat of legal enforcement, that most
1443 often motivate people to provide attribution and otherwise comply with the
1444 CC license terms anyway. This is the mark of any well-functioning community,
1445 within both the marketplace and the society at large.<a href="#ftn.idm539" class="footnote" name="idm539"><sup class="footnote">[55]</sup></a> CC licenses reflect a set of wishes on the part of
1446 creators, and in the vast majority of circumstances, people are naturally
1447 inclined to follow those wishes. This is particularly the case for something
1448 as straightforward and consistent with basic notions of fairness as
1449 providing credit.
1450           </p><p>
1451             O fato de o nome do criador seguir uma obra licenciada pela CC torna as
1452 licenças um meio importante para desenvolver uma reputação ou, em linguagem
1453 corporativa, uma marca. O impulso de associar o seu nome ao seu trabalho não
1454 se baseia apenas em motivações comerciais, é fundamental para a autoria. A
1455 Knowledge Unlatched é uma organização sem fins lucrativos que ajuda a
1456 subsidiar a produção impressa de textos acadêmicos licenciados pela CC
1457 reunindo contribuições de bibliotecas dos Estados Unidos. A CEO, Frances
1458 Pinter, diz que a licença Creative Commons sobre as obras tem um enorme
1459 valor para os autores porque a reputação é a moeda mais importante para os
1460 acadêmicos. Compartilhar com o CC é uma forma de fazer com que a maioria das
1461 pessoas veja e cite sua obra.
1462           </p><p>
1463             Attribution can be about more than just receiving credit. It can also be
1464 about establishing provenance. People naturally want to know where content
1465 came from—the source of a work is sometimes just as interesting as the work
1466 itself. Opendesk is a platform for furniture designers to share their
1467 designs. Consumers who like those designs can then get matched with local
1468 makers who turn the designs into real-life furniture. The fact that I,
1469 sitting in the middle of the United States, can pick out a design created by
1470 a designer in Tokyo and then use a maker within my own community to
1471 transform the design into something tangible is part of the power of their
1472 platform. The provenance of the design is a special part of the product.
1473           </p><p>
1474             Saber a origem de uma obra também é fundamental para garantir sua
1475 credibilidade. Assim como uma marca é projetada para dar aos consumidores
1476 uma maneira de identificar a origem e a qualidade de um determinado bem e
1477 serviço, conhecer o autor de uma obra dá ao público uma maneira de avaliar
1478 sua credibilidade. Em uma época em que o discurso online está infestado de
1479 desinformação, ser uma fonte de informação confiável é mais valioso do que
1480 nunca.
1481           </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-licensed-content-as-a-marketing-tool"></a>Usar conteúdo licenciado por CC como ferramenta de marketing</h3></div></div></div><p>
1482             As we will cover in more detail later, many endeavors that are Made with
1483 Creative Commons make money by providing a product or service other than the
1484 CC-licensed work.  Sometimes that other product or service is completely
1485 unrelated to the CC content. Other times it’s a physical copy or live
1486 performance of the CC content. In all cases, the CC content can attract
1487 people to your other product or service.
1488           </p><p>
1489             Knowledge Unlatched’s Pinter told us she has seen time and again how
1490 offering CC-licensed content—that is, digitally for free—actually increases
1491 sales of the printed goods because it functions as a marketing tool. We see
1492 this phenomenon regularly with famous artwork. The Mona Lisa is likely the
1493 most recognizable painting on the planet. Its ubiquity has the effect of
1494 catalyzing interest in seeing the painting in person, and in owning physical
1495 goods with the image. Abundant copies of the content often entice more
1496 demand, not blunt it. Another example came with the advent of the
1497 radio. Although the music industry did not see it coming (and fought it!),
1498 free music on the radio functioned as advertising for the paid version
1499 people bought in music stores.<a href="#ftn.idm550" class="footnote" name="idm550"><sup class="footnote">[56]</sup></a> Free can
1500 be a form of promotion.
1501           </p><p>
1502             Em alguns casos, empreendimentos feitos com Creative Commons nem precisam de
1503 equipes de marketing dedicadas ou orçamentos de marketing. Cards Against
1504 Humanity é um jogo de cartas licenciado pela CC, disponível para download
1505 gratuito. E por isso (graças à licença CC do jogo), os criadores dizem que é
1506 um dos jogos mais vendidos do mundo, e nunca gastaram um centavo em
1507 marketing. A editora de livros OpenStax também evitou a contratação de uma
1508 equipe de marketing. Seus produtos são gratuitos ou mais baratos no caso de
1509 cópias físicas, o que os torna muito mais atraentes para os alunos que os
1510 demandam em suas universidades. Eles também fazem parceria com provedores de
1511 serviços que criam sobre o conteúdo licenciado pela CC e, por sua vez,
1512 gastam dinheiro e recursos no marketing desses serviços (e, por extensão, os
1513 livros didáticos OpenStax).
1514           </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>Usar CC para permitir o envolvimento prático com seu trabalho</h3></div></div></div><p>
1515             A grande promessa do licenciamento Creative Commons é que ele significa uma
1516 adoção da cultura do remix. Na verdade, esta é a grande promessa da
1517 tecnologia digital. A Internet abriu um novo mundo de possibilidades para a
1518 participação do público no trabalho criativo.
1519           </p><p>
1520             Quatro das seis licenças CC permitem que os reutilizadores desmontem,
1521 desenvolvam ou adaptem de outra forma a obra. Dependendo do contexto, a
1522 adaptação pode significar coisas totalmente diferentes – traduzir,
1523 atualizar, localizar, melhorar, transformar. Ele permite que um trabalho
1524 seja personalizado para necessidades, usos, pessoas e comunidades
1525 específicas, que é outro valor distinto para oferecer ao
1526 público.<a href="#ftn.idm558" class="footnote" name="idm558"><sup class="footnote">[57]</sup></a> A adaptação é mais
1527 revolucionária em alguns contextos do que em outros. Com materiais
1528 educacionais, a capacidade de personalizar e atualizar o conteúdo é
1529 extremamente importante para sua utilidade. Para a fotografia, a capacidade
1530 de adaptar uma foto é menos importante.
1531           </p><p>
1532             Esta é uma forma de neutralizar uma desvantagem potencial da abundância de
1533 conteúdo gratuito e aberto descrito acima. Como Anderson escreveu em
1534 <span class="emphasis"><em>Free</em></span>, <span class="quote">“<span class="quote">As pessoas geralmente não se importam
1535 tanto com as coisas pelas quais não pagam e, como resultado, não pensam
1536 tanto sobre como as consomem.</span>”</span><a href="#ftn.idm564" class="footnote" name="idm564"><sup class="footnote">[58]</sup></a>
1537 Se mesmo o pequeno ato de vontade de pagar um centavo por algo muda nossa
1538 percepção dessa coisa, então certamente o ato de remixar aumenta nossa
1539 percepção exponencialmente.<a href="#ftn.idm567" class="footnote" name="idm567"><sup class="footnote">[59]</sup></a> Sabemos que
1540 as pessoas pagarão mais pelos produtos que criaram.<a href="#ftn.idm570" class="footnote" name="idm570"><sup class="footnote">[60]</sup></a> E sabemos que criar algo, não importa a qualidade,
1541 traz consigo um tipo de satisfação criativa que nunca pode ser substituída
1542 pelo consumo de algo criado por outra pessoa.<a href="#ftn.idm573" class="footnote" name="idm573"><sup class="footnote">[61]</sup></a>
1543           </p><p>
1544             Envolver-se ativamente com o conteúdo nos ajuda a evitar o tipo de consumo
1545 sem objetivo que qualquer pessoa que tenha rolar distraidamente seus feeds
1546 de mídia social por uma hora conhece muito bem. Em seu livro
1547 <span class="emphasis"><em>Cognitive Surplus</em></span>, Clay Shirky diz: <span class="quote">“<span class="quote">Participar é
1548 agir como se sua presença importasse, como se, ao ver ou ouvir algo, sua
1549 resposta fosse parte do evento.</span>”</span><a href="#ftn.idm579" class="footnote" name="idm579"><sup class="footnote">[62]</sup></a>
1550 Abrir a porta para o seu conteúdo pode fazer com que as pessoas fiquem mais
1551 ligadas à sua obra.
1552           </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-differentiate-yourself"></a>Usar CC para se diferenciar</h3></div></div></div><p>
1553             Operating under a traditional copyright regime usually means operating under
1554 the rules of establishment players in the media. Business strategies that
1555 are embedded in the traditional copyright system, like using digital rights
1556 management (DRM) and signing exclusivity contracts, can tie the hands of
1557 creators, often at the expense of the creator’s best interest.<a href="#ftn.idm585" class="footnote" name="idm585"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
1558 function without those barriers and, in many cases, use the increased
1559 openness as a competitive advantage. David Harris from OpenStax said they
1560 specifically pursue strategies they know that traditional publishers
1561 cannot. <span class="quote">“<span class="quote">Don’t go into a market and play by the incumbent
1562 rules,</span>”</span> David said. <span class="quote">“<span class="quote">Change the rules of engagement.</span>”</span>
1563           </p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-money"></a>Fazendo dinheiro</h2></div></div></div><p>
1564           Like any moneymaking endeavor, those that are Made with Creative Commons
1565 have to generate some type of value for their audience or
1566 customers. Sometimes that value is subsidized by funders who are not
1567 actually beneficiaries of that value.  Funders, whether philanthropic
1568 institutions, governments, or concerned individuals, provide money to the
1569 organization out of a sense of pure altruism. This is the way traditional
1570 nonprofit funding operates.<a href="#ftn.idm593" class="footnote" name="idm593"><sup class="footnote">[64]</sup></a> But in many
1571 cases, the revenue streams used by endeavors that are Made with Creative
1572 Commons are directly tied to the value they generate, where the recipient is
1573 paying for the value they receive like any standard market transaction. In
1574 still other cases, rather than the quid pro quo exchange of money for value
1575 that typically drives market transactions, the recipient gives money out of
1576 a sense of reciprocity.
1577         </p><p>
1578           Most who are Made with Creative Commons use a variety of methods to bring in
1579 revenue, some market-based and some not.  One common strategy is using grant
1580 funding for content creation when research-and-development costs are
1581 particularly high, and then finding a different revenue stream (or streams)
1582 for ongoing expenses. As Shirky wrote, <span class="quote">“<span class="quote">The trick is in knowing when
1583 markets are an optimal way of organizing interactions and when they are
1584 not.</span>”</span><a href="#ftn.idm600" class="footnote" name="idm600"><sup class="footnote">[65]</sup></a>
1585         </p><p>
1586           Our case studies explore in more detail the various revenue-generating
1587 mechanisms used by the creators, organizations, and businesses we
1588 interviewed. There is nuance hidden within the specific ways each of them
1589 makes money, so it is a bit dangerous to generalize too much about what we
1590 learned. Nonetheless, zooming out and viewing things from a higher level of
1591 abstraction can be instructive.
1592         </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="market-based-revenue-streams"></a>Fluxos de receita com base no mercado</h3></div></div></div><p>
1593             No mercado, a questão central ao determinar como gerar receita é por qual
1594 valor as pessoas estão dispostas a pagar.<a href="#ftn.idm607" class="footnote" name="idm607"><sup class="footnote">[66]</sup></a> Por definição, se você é Feito com Creative Commons, o conteúdo que
1595 você fornece está disponível gratuitamente e não como uma commodity do
1596 mercado. Como o modelo de negócios freemium onipresente, qualquer transação
1597 de mercado possível com um consumidor de seu conteúdo deve ser baseada em
1598 algum valor agregado que você fornece.<a href="#ftn.idm610" class="footnote" name="idm610"><sup class="footnote">[67]</sup></a>
1599           </p><p>
1600             In many ways, this is the way of the future for all content-driven
1601 endeavors. In the market, value lives in things that are scarce. Because the
1602 Internet makes a universe of content available to all of us for free, it is
1603 difficult to get people to pay for content online. The struggling newspaper
1604 industry is a testament to this fact.  This is compounded by the fact that
1605 at least some amount of copying is probably inevitable. That means you may
1606 end up competing with free versions of your own content, whether you condone
1607 it or not.<a href="#ftn.idm614" class="footnote" name="idm614"><sup class="footnote">[68]</sup></a> If people can easily find
1608 your content for free, getting people to buy it will be difficult,
1609 particularly in a context where access to content is more important than
1610 owning it. In Free, Anderson wrote, <span class="quote">“<span class="quote">Copyright protection schemes,
1611 whether coded into either law or software, are simply holding up a price
1612 against the force of gravity.</span>”</span>
1613           </p><p>
1614             Claro, isso não significa que os esforços orientados para o conteúdo não
1615 tenham futuro no mercado tradicional. Em <span class="emphasis"><em>Free</em></span>, Anderson
1616 explica como, quando um produto ou serviço se torna gratuito, como as
1617 informações e o conteúdo em grande parte na era digital, outras coisas se
1618 tornam mais valiosas. <span class="quote">“<span class="quote">Cada abundância cria uma nova escassez</span>”</span>,
1619 escreveu ele. Você apenas precisa encontrar uma maneira diferente do
1620 conteúdo para fornecer valor ao seu público ou clientes. Como diz Anderson,
1621 <span class="quote">“<span class="quote">É fácil competir com o Grátis: simplesmente ofereça algo melhor ou
1622 pelo menos diferente da versão gratuita.</span>”</span><a href="#ftn.idm622" class="footnote" name="idm622"><sup class="footnote">[69]</sup></a>
1623           </p><p>
1624             À luz dessa realidade, de certa forma, os empreendimentos Feitos com
1625 Creative Commons estão no mesmo nível de todos os empreendimentos baseados
1626 em conteúdo na era digital. Na verdade, eles podem até ter uma vantagem
1627 porque podem usar a abundância de conteúdo para obter receita de algo
1628 escasso. Eles também podem se beneficiar da boa vontade que decorre dos
1629 valores por trás de ser Feito com Creative Commons.
1630           </p><p>
1631             Para criadores e distribuidores de conteúdo, existem maneiras quase
1632 infinitas de fornecer valor aos consumidores de sua oba, acima e além do
1633 valor que reside em seu conteúdo digital gratuito. Frequentemente, o
1634 conteúdo licenciado por CC funciona como uma ferramenta de marketing para o
1635 produto ou serviço pago.
1636           </p><p>
1637             Aqui estão as categorias de alto nível mais comuns.
1638           </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
1639 <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1640             In this age of information abundance, we don’t lack for content. The trick
1641 is finding content that matches our needs and wants, so customized services
1642 are particularly valuable.  As Anderson wrote, <span class="quote">“<span class="quote">Commodity information
1643 (everybody gets the same version) wants to be free. Customized information
1644 (you get something unique and meaningful to you)  wants to be
1645 expensive.</span>”</span><a href="#ftn.idm633" class="footnote" name="idm633"><sup class="footnote">[70]</sup></a> This can be anything
1646 from the artistic and cultural consulting services provided by Ártica to the
1647 custom-song business of Jonathan <span class="quote">“<span class="quote">Song-A-Day</span>”</span> Mann.
1648           </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>
1649             In his book about maker culture, Anderson characterizes this model as giving
1650 away the bits and selling the atoms (where bits refers to digital content
1651 and atoms refer to a physical object).<a href="#ftn.idm640" class="footnote" name="idm640"><sup class="footnote">[71]</sup></a>
1652 This is particularly successful in domains where the digital version of the
1653 content isn’t as valuable as the analog version, like book publishing where
1654 a significant subset of people still prefer reading something they can hold
1655 in their hands. Or in domains where the content isn’t useful until it is in
1656 physical form, like furniture designs.  In those situations, a significant
1657 portion of consumers will pay for the convenience of having someone else put
1658 the physical version together for them. Some endeavors squeeze even more out
1659 of this revenue stream by using a Creative Commons license that only allows
1660 noncommercial uses, which means no one else can sell physical copies of
1661 their work in competition with them. This strategy of reserving commercial
1662 rights can be particularly important for items like books, where every
1663 printed copy of the same work is likely to be the same quality, so it is
1664 harder to differentiate one publishing service from another. On the other
1665 hand, for items like furniture or electronics, the provider of the physical
1666 goods can compete with other providers of the same works based on quality,
1667 service, or other traditional business principles.
1668           </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>
1669             As anyone who has ever gone to a concert will tell you, experiencing
1670 creativity in person is a completely different experience from consuming a
1671 digital copy on your own. Far from acting as a substitute for face-to-face
1672 interaction, CC-licensed content can actually create demand for the
1673 in-person version of experience. You can see this effect when people go view
1674 original art in person or pay to attend a talk or training course.
1675           </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>
1676             In many cases, people who like your work will pay for products demonstrating
1677 a connection to your work. As a child of the 1980s, I can personally attest
1678 to the power of a good concert T-shirt. This can also be an important
1679 revenue stream for museums and galleries.
1680           </p><p>
1681             Sometimes the way to find a market-based revenue stream is by providing
1682 value to people other than those who consume your CC-licensed content. In
1683 these revenue streams, the free content is being subsidized by an entirely
1684 different category of people or businesses. Often, those people or
1685 businesses are paying to access your main audience. The fact that the
1686 content is free increases the size of the audience, which in turn makes the
1687 offer more valuable to the paying customers. This is a variation of a
1688 traditional business model built on free called multi-sided
1689 platforms.<a href="#ftn.idm651" class="footnote" name="idm651"><sup class="footnote">[72]</sup></a> Access to your audience
1690 isn’t the only thing people are willing to pay for—there are other services
1691 you can provide as well.
1692           </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>
1693             The traditional model of subsidizing free content is advertising. In this
1694 version of multi-sided platforms, advertisers pay for the opportunity to
1695 reach the set of eyeballs the content creators provide in the form of their
1696 audience.<a href="#ftn.idm657" class="footnote" name="idm657"><sup class="footnote">[73]</sup></a> The Internet has made this
1697 model more difficult because the number of potential channels available to
1698 reach those eyeballs has become essentially infinite.<a href="#ftn.idm659" class="footnote" name="idm659"><sup class="footnote">[74]</sup></a> Nonetheless, it remains a viable revenue stream for
1699 many content creators, including those who are Made with Creative
1700 Commons. Often, instead of paying to display advertising, the advertiser
1701 pays to be an official sponsor of particular content or projects, or of the
1702 overall endeavor.
1703           </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>
1704             Another type of multisided platform is where the content creators themselves
1705 pay to be featured on the platform.  Obviously, this revenue stream is only
1706 available to those who rely on work created, at least in part, by
1707 others. The most well-known version of this model is the
1708 <span class="quote">“<span class="quote">author-processing charge</span>”</span> of open-access journals like those
1709 published by the Public Library of Science, but there are other
1710 variations. The Conversation is primarily funded by a university-membership
1711 model, where universities pay to have their faculties participate as writers
1712 of the content on the Conversation website.
1713           </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>
1714             This is a version of a traditional business model based on brokering
1715 transactions between parties.<a href="#ftn.idm670" class="footnote" name="idm670"><sup class="footnote">[75]</sup></a> Curation
1716 is an important element of this model.  Platforms like the Noun Project add
1717 value by wading through CC-licensed content to curate a high-quality set and
1718 then derive revenue when creators of that content make transactions with
1719 customers. Other platforms make money when service providers transact with
1720 their customers; for example, Opendesk makes money every time someone on
1721 their site pays a maker to make furniture based on one of the designs on the
1722 platform.
1723           </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>
1724             As mentioned above, endeavors can make money by providing customized
1725 services to their users. Platforms can undertake a variation of this service
1726 model directed at the creators that provide the content they feature. The
1727 data platforms Figure.NZ and Figshare both capitalize on this model by
1728 providing paid tools to help their users make the data they contribute to
1729 the platform more discoverable and reusable.
1730           </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>
1731             Finally, some that are Made with Creative Commons make money by selling use
1732 of their trademarks. Well known brands that consumers associate with
1733 quality, credibility, or even an ethos can license that trademark to
1734 companies that want to take advantage of that goodwill. By definition,
1735 trademarks are scarce because they represent a particular source of a good
1736 or service. Charging for the ability to use that trademark is a way of
1737 deriving revenue from something scarce while taking advantage of the
1738 abundance of CC content.
1739           </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>
1740             Even if we set aside grant funding, we found that the traditional economic
1741 framework of understanding the market failed to fully capture the ways the
1742 endeavors we analyzed were making money. It was not simply about monetizing
1743 scarcity.
1744           </p><p>
1745             Rather than devising a scheme to get people to pay money in exchange for
1746 some direct value provided to them, many of the revenue streams were more
1747 about providing value, building a relationship, and then eventually finding
1748 some money that flows back out of a sense of reciprocity. While some look
1749 like traditional nonprofit funding models, they aren’t charity. The endeavor
1750 exchange value with people, just not necessarily synchronously or in a way
1751 that requires that those values be equal. As David Bollier wrote in Think
1752 Like a Commoner, <span class="quote">“<span class="quote">There is no self-serving calculation of whether the
1753 value given and received is strictly equal.</span>”</span>
1754           </p><p>
1755             This should be a familiar dynamic—it is the way you deal with your friends
1756 and family. We give without regard for what and when we will get back. David
1757 Bollier wrote, <span class="quote">“<span class="quote">Reciprocal social exchange lies at the heart of human
1758 identity, community and culture. It is a vital brain function that helps the
1759 human species survive and evolve.</span>”</span>
1760           </p><p>
1761             What is rare is to incorporate this sort of relationship into an endeavor
1762 that also engages with the market.<a href="#ftn.idm688" class="footnote" name="idm688"><sup class="footnote">[76]</sup></a> We
1763 almost can’t help but think of relationships in the market as being centered
1764 on an even-steven exchange of value.<a href="#ftn.idm690" class="footnote" name="idm690"><sup class="footnote">[77]</sup></a>
1765           </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
1766 <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
1767             While memberships and donations are traditional nonprofit funding models, in
1768 the Made with Creative Commons context, they are directly tied to the
1769 reciprocal relationship that is cultivated with the beneficiaries of their
1770 work. The bigger the pool of those receiving value from the content, the
1771 more likely this strategy will work, given that only a small percentage of
1772 people are likely to contribute. Since using CC licenses can grease the
1773 wheels for content to reach more people, this strategy can be more effective
1774 for endeavors that are Made with Creative Commons. The greater the argument
1775 that the content is a public good or that the entire endeavor is furthering
1776 a social mission, the more likely this strategy is to succeed.
1777           </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>
1778             In the pay-what-you-want model, the beneficiary of Creative Commons content
1779 is invited to give—at any amount they can and feel is appropriate, based on
1780 the public and personal value they feel is generated by the open content.
1781 Critically, these models are not touted as <span class="quote">“<span class="quote">buying</span>”</span> something
1782 free. They are similar to a tip jar. People make financial contributions as
1783 an act of gratitude. These models capitalize on the fact that we are
1784 naturally inclined to give money for things we value in the marketplace,
1785 even in situations where we could find a way to get it for free.
1786           </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>
1787             Crowdfunding models are based on recouping the costs of creating and
1788 distributing content before the content is created. If the endeavor is Made
1789 with Creative Commons, anyone who wants the work in question could simply
1790 wait until it’s created and then access it for free. That means, for this
1791 model to work, people have to care about more than just receiving the
1792 work. They have to want you to succeed.  Amanda Palmer credits the success
1793 of her crowdfunding on Kickstarter and Patreon to the years she spent
1794 building her community and creating a connection with her fans. She wrote in
1795 The Art of Asking, <span class="quote">“<span class="quote">Good art is made, good art is shared, help is
1796 offered, ears are bent, emotions are exchanged, the compost of real, deep
1797 connection is sprayed all over the fields. Then one day, the artist steps up
1798 and asks for something. And if the ground has been fertilized enough, the
1799 audience says, without hesitation: of course.</span>”</span>
1800           </p><p>
1801             Other types of crowdfunding rely on a sense of responsibility that a
1802 particular community may feel.  Knowledge Unlatched pools funds from major
1803 U.S. libraries to subsidize CC-licensed academic work that will be, by
1804 definition, available to everyone for free. Libraries with bigger budgets
1805 tend to give more out of a sense of commitment to the library community and
1806 to the idea of open access generally.
1807           </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>
1808           Regardless of how they made money, in our interviews, we repeatedly heard
1809 language like <span class="quote">“<span class="quote">persuading people to buy</span>”</span> and <span class="quote">“<span class="quote">inviting
1810 people to pay.</span>”</span> We heard it even in connection with revenue streams
1811 that sit squarely within the market. Cory Doctorow told us, <span class="quote">“<span class="quote">I have to
1812 convince my readers that the right thing to do is to pay me.</span>”</span> The
1813 founders of the for-profit company Lumen Learning showed us the letter they
1814 send to those who opt not to pay for the services they provide in connection
1815 with their CC-licensed educational content. It isn’t a cease-and-desist
1816 letter; it’s an invitation to pay because it’s the right thing to do. This
1817 sort of behavior toward what could be considered nonpaying customers is
1818 largely unheard of in the traditional marketplace. But it seems to be part
1819 of the fabric of being Made with Creative Commons.
1820         </p><p>
1821           Nearly every endeavor we profiled relied, at least in part, on people being
1822 invested in what they do. The closer the Creative Commons content is to
1823 being <span class="quote">“<span class="quote">the product,</span>”</span> the more pronounced this dynamic has to
1824 be. Rather than simply selling a product or service, they are making
1825 ideological, personal, and creative connections with the people who value
1826 what they do.
1827         </p><p>
1828           It took me a very long time to see how this avoidance of thinking about what
1829 they do in pure market terms was deeply tied to being Made with Creative
1830 Commons.
1831         </p><p>
1832           I came to the research with preconceived notions about what Creative Commons
1833 is and what it means to be Made with Creative Commons. It turned out I was
1834 wrong on so many counts.
1835         </p><p>
1836           Obviously, being Made with Creative Commons means using Creative Commons
1837 licenses. That much I knew. But in our interviews, people spoke of so much
1838 more than copyright permissions when they explained how sharing fit into
1839 what they do. I was thinking about sharing too narrowly, and as a result, I
1840 was missing vast swaths of the meaning packed within Creative
1841 Commons. Rather than parsing the specific and narrow role of the copyright
1842 license in the equation, it is important not to disaggregate the rest of
1843 what comes with sharing. You have to widen the lens.
1844         </p><p>
1845           Being Made with Creative Commons is not just about the simple act of
1846 licensing a copyrighted work under a set of standardized terms, but also
1847 about community, social good, contributing ideas, expressing a value system,
1848 working together. These components of sharing are hard to cultivate if you
1849 think about what you do in purely market terms. Decent social behavior isn’t
1850 as intuitive when we are doing something that involves monetary exchange. It
1851 takes a conscious effort to foster the context for real sharing, based not
1852 strictly on impersonal market exchange, but on connections with the people
1853 with whom you share—connections with you, with your work, with your values,
1854 with each other.
1855         </p><p>
1856           The rest of this section will explore some of the common strategies that
1857 creators, companies, and organizations use to remind us that there are
1858 humans behind every creative endeavor. To remind us we have obligations to
1859 each other. To remind us what sharing really looks like.
1860         </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-human"></a>Be human</h3></div></div></div><p>
1861             Humans are social animals, which means we are naturally inclined to treat
1862 each other well.<a href="#ftn.idm723" class="footnote" name="idm723"><sup class="footnote">[78]</sup></a> But the further
1863 removed we are from the person with whom we are interacting, the less caring
1864 our behavior will be. While the Internet has democratized cultural
1865 production, increased access to knowledge, and connected us in extraordinary
1866 ways, it can also make it easy forget we are dealing with another human.
1867           </p><p>
1868             To counteract the anonymous and impersonal tendencies of how we operate
1869 online, individual creators and corporations who use Creative Commons
1870 licenses work to demonstrate their humanity. For some, this means pouring
1871 their lives out on the page. For others, it means showing their creative
1872 process, giving a glimpse into how they do what they do. As writer Austin
1873 Kleon wrote, <span class="quote">“<span class="quote">Our work doesn’t speak for itself. Human beings want to
1874 know where things came from, how they were made, and who made them. The
1875 stories you tell about the work you do have a huge effect on how people feel
1876 and what they understand about your work, and how people feel and what they
1877 understand about your work affects how they value it.</span>”</span><a href="#ftn.idm727" class="footnote" name="idm727"><sup class="footnote">[79]</sup></a>
1878           </p><p>
1879             A critical component to doing this effectively is not worrying about being a
1880 <span class="quote">“<span class="quote">brand.</span>”</span> That means not being afraid to be vulnerable. Amanda
1881 Palmer says, <span class="quote">“<span class="quote">When you’re afraid of someone’s judgment, you can’t
1882 connect with them. You’re too preoccupied with the task of impressing
1883 them.</span>”</span> Not everyone is suited to live life as an open book like
1884 Palmer, and that’s OK. There are a lot of ways to be human. The trick is
1885 just avoiding pretense and the temptation to artificially craft an
1886 image. People don’t just want the glossy version of you. They can’t relate
1887 to it, at least not in a meaningful way.
1888           </p><p>
1889             This advice is probably even more important for businesses and organizations
1890 because we instinctively conceive of them as nonhuman (though in the United
1891 States, corporations are people!). When corporations and organizations make
1892 the people behind them more apparent, it reminds people that they are
1893 dealing with something other than an anonymous corporate entity. In
1894 business-speak, this is about <span class="quote">“<span class="quote">humanizing your interactions</span>”</span>
1895 with the public.<a href="#ftn.idm734" class="footnote" name="idm734"><sup class="footnote">[80]</sup></a> But it can’t be a
1896 gimmick. You can’t fake being human.
1897           </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>
1898             Transparency helps people understand who you are and why you do what you do,
1899 but it also inspires trust. Max Temkin of Cards Against Humanity told us,
1900 <span class="quote">“<span class="quote">One of the most surprising things you can do in capitalism is just be
1901 honest with people.</span>”</span> That means sharing the good and the bad. As
1902 Amanda Palmer wrote, <span class="quote">“<span class="quote">You can fix almost anything by authentically
1903 communicating.</span>”</span><a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[81]</sup></a> It isn’t about
1904 trying to satisfy everyone or trying to sugarcoat mistakes or bad news, but
1905 instead about explaining your rationale and then being prepared to defend it
1906 when people are critical.<a href="#ftn.idm743" class="footnote" name="idm743"><sup class="footnote">[82]</sup></a>
1907           </p><p>
1908             Being accountable does not mean operating on consensus.  According to James
1909 Surowiecki, consensus-driven groups tend to resort to
1910 lowest-common-denominator solutions and avoid the sort of candid exchange of
1911 ideas that cultivates healthy collaboration.<a href="#ftn.idm746" class="footnote" name="idm746"><sup class="footnote">[83]</sup></a> Instead, it can be as simple as asking for input and then giving
1912 context and explanation about decisions you make, even if soliciting
1913 feedback and inviting discourse is time-consuming. If you don’t go through
1914 the effort to actually respond to the input you receive, it can be worse
1915 than not inviting input in the first place.<a href="#ftn.idm748" class="footnote" name="idm748"><sup class="footnote">[84]</sup></a> But when you get it right, it can guarantee the type of diversity
1916 of thought that helps endeavors excel. And it is another way to get people
1917 involved and invested in what you do.
1918           </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>
1919             Traditional economics assumes people make decisions based solely on their
1920 own economic self-interest.<a href="#ftn.idm753" class="footnote" name="idm753"><sup class="footnote">[85]</sup></a> Any
1921 relatively introspective human knows this is a fiction—we are much more
1922 complicated beings with a whole range of needs, emotions, and
1923 motivations. In fact, we are hardwired to work together and ensure
1924 fairness.<a href="#ftn.idm755" class="footnote" name="idm755"><sup class="footnote">[86]</sup></a> Being Made with Creative
1925 Commons requires an assumption that people will largely act on those social
1926 motivations, motivations that would be considered <span class="quote">“<span class="quote">irrational</span>”</span>
1927 in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">“<span class="quote">It is
1928 best to ignore people who try to scare you about free riding. That fear is
1929 based on a very shallow view of what motivates human behavior.</span>”</span> There
1930 will always be people who will act in purely selfish ways, but endeavors
1931 that are Made with Creative Commons design for the good actors.
1932           </p><p>
1933             The assumption that people will largely do the right thing can be a
1934 self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">“<span class="quote">Systems
1935 that assume people will act in ways that create public goods, and that give
1936 them opportunities and rewards for doing so, often let them work together
1937 better than neoclassical economics would predict.</span>”</span><a href="#ftn.idm761" class="footnote" name="idm761"><sup class="footnote">[87]</sup></a> When we acknowledge that people are often motivated
1938 by something other than financial self-interest, we design our endeavors in
1939 ways that encourage and accentuate our social instincts.
1940           </p><p>
1941             Rather than trying to exert control over people’s behavior, this mode of
1942 operating requires a certain level of trust. We might not realize it, but
1943 our daily lives are already built on trust. As Surowiecki wrote in The
1944 Wisdom of Crowds, <span class="quote">“<span class="quote">It’s impossible for a society to rely on law alone
1945 to make sure citizens act honestly and responsibly. And it’s impossible for
1946 any organization to rely on contracts alone to make sure that its managers
1947 and workers live up to their obligation.</span>”</span> Instead, we largely trust
1948 that people—mostly strangers—will do what they are supposed to
1949 do.<a href="#ftn.idm765" class="footnote" name="idm765"><sup class="footnote">[88]</sup></a> And most often, they do.
1950           </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>
1951             For creators, treating people as humans means not treating them like
1952 fans. As Kleon says, <span class="quote">“<span class="quote">If you want fans, you have to be a fan
1953 first.</span>”</span><a href="#ftn.idm771" class="footnote" name="idm771"><sup class="footnote">[89]</sup></a> Even if you happen to be
1954 one of the few to reach celebrity levels of fame, you are better off
1955 remembering that the people who follow your work are human, too. Cory
1956 Doctorow makes a point to answer every single email someone sends
1957 him. Amanda Palmer spends vast quantities of time going online to
1958 communicate with her public, making a point to listen just as much as she
1959 talks.<a href="#ftn.idm773" class="footnote" name="idm773"><sup class="footnote">[90]</sup></a>
1960           </p><p>
1961             The same idea goes for businesses and organizations. Rather than automating
1962 its customer service, the music platform Tribe of Noise makes a point to
1963 ensure its employees have personal, one-on-one interaction with users.
1964           </p><p>
1965             When we treat people like humans, they typically return the gift in
1966 kind. It’s called karma. But social relationships are fragile. It is all too
1967 easy to destroy them if you make the mistake of treating people as anonymous
1968 customers or free labor.<a href="#ftn.idm777" class="footnote" name="idm777"><sup class="footnote">[91]</sup></a> Platforms that
1969 rely on content from contributors are especially at risk of creating an
1970 exploitative dynamic.  It is important to find ways to acknowledge and pay
1971 back the value that contributors generate. That does not mean you can solve
1972 this problem by simply paying contributors for their time or
1973 contributions. As soon as we introduce money into a relationship—at least
1974 when it takes a form of paying monetary value in exchange for other value—it
1975 can dramatically change the dynamic.<a href="#ftn.idm779" class="footnote" name="idm779"><sup class="footnote">[92]</sup></a>
1976           </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>
1977             Being Made with Creative Commons makes a statement about who you are and
1978 what you do. The symbolism is powerful. Using Creative Commons licenses
1979 demonstrates adherence to a particular belief system, which generates
1980 goodwill and connects like-minded people to your work. Sometimes people will
1981 be drawn to endeavors that are Made with Creative Commons as a way of
1982 demonstrating their own commitment to the Creative Commons value system,
1983 akin to a political statement. Other times people will identify and feel
1984 connected with an endeavor’s separate social mission. Often both.
1985           </p><p>
1986             The expression of your values doesn’t have to be implicit.  In fact, many of
1987 the people we interviewed talked about how important it is to state your
1988 guiding principles up front.  Lumen Learning attributes a lot of their
1989 success to having been outspoken about the fundamental values that guide
1990 what they do. As a for-profit company, they think their expressed commitment
1991 to low-income students and open licensing has been critical to their
1992 credibility in the OER (open educational resources) community in which they
1993 operate.
1994           </p><p>
1995             When your end goal is not about making a profit, people trust that you
1996 aren’t just trying to extract value for your own gain. People notice when
1997 you have a sense of purpose that transcends your own
1998 self-interest.<a href="#ftn.idm786" class="footnote" name="idm786"><sup class="footnote">[93]</sup></a> It attracts committed
1999 employees, motivates contributors, and builds trust.
2000           </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>
2001             Endeavors that are Made with Creative Commons thrive when community is built
2002 around what they do. This may mean a community collaborating together to
2003 create something new, or it may simply be a collection of like-minded people
2004 who get to know each other and rally around common interests or
2005 beliefs.<a href="#ftn.idm791" class="footnote" name="idm791"><sup class="footnote">[94]</sup></a> To a certain extent, simply
2006 being Made with Creative Commons automatically brings with it some element
2007 of community, by helping connect you to like-minded others who recognize and
2008 are drawn to the values symbolized by using CC.
2009           </p><p>
2010             To be sustainable, though, you have to work to nurture community. People
2011 have to care—about you and each other. One critical piece to this is
2012 fostering a sense of belonging. As Jono Bacon writes in The Art of
2013 Community, <span class="quote">“<span class="quote">If there is no belonging, there is no community.</span>”</span>
2014 For Amanda Palmer and her band, that meant creating an accepting and
2015 inclusive environment where people felt a part of their <span class="quote">“<span class="quote">weird little
2016 family.</span>”</span><a href="#ftn.idm796" class="footnote" name="idm796"><sup class="footnote">[95]</sup></a> For organizations like
2017 Red Hat, that means connecting around common beliefs or goals. As the CEO
2018 Jim Whitehurst wrote in The Open Organization, <span class="quote">“<span class="quote">Tapping into passion
2019 is especially important in building the kinds of participative communities
2020 that drive open organizations.</span>”</span><a href="#ftn.idm799" class="footnote" name="idm799"><sup class="footnote">[96]</sup></a>
2021           </p><p>
2022             Communities that collaborate together take deliberate planning. Surowiecki
2023 wrote, <span class="quote">“<span class="quote">It takes a lot of work to put the group together. It’s
2024 difficult to ensure that people are working in the group’s interest and not
2025 in their own.  And when there’s a lack of trust between the members of the
2026 group (which isn’t surprising given that they don’t really know each other),
2027 considerable energy is wasted trying to determine each other’s bona
2028 fides.</span>”</span><a href="#ftn.idm803" class="footnote" name="idm803"><sup class="footnote">[97]</sup></a> Building true community
2029 requires giving people within the community the power to create or influence
2030 the rules that govern the community.<a href="#ftn.idm805" class="footnote" name="idm805"><sup class="footnote">[98]</sup></a> If
2031 the rules are created and imposed in a top-down manner, people feel like
2032 they don’t have a voice, which in turn leads to disengagement.
2033           </p><p>
2034             Community takes work, but working together, or even simply being connected
2035 around common interests or values, is in many ways what sharing is about.
2036           </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>
2037             Conventional wisdom in the marketplace dictates that people should try to
2038 extract as much money as possible from resources. This is essentially what
2039 defines so much of the so-called sharing economy. In an article on the
2040 Harvard Business Review website called <span class="quote">“<span class="quote">The Sharing Economy Isn’t
2041 about Sharing at All,</span>”</span> authors Giana Eckhardt and Fleura Bardhi
2042 explained how the anonymous market-driven trans-actions in most
2043 sharing-economy businesses are purely about monetizing access.<a href="#ftn.idm812" class="footnote" name="idm812"><sup class="footnote">[99]</sup></a> As Lisa Gansky put it in her book The Mesh, the
2044 primary strategy of the sharing economy is to sell the same product multiple
2045 times, by selling access rather than ownership.<a href="#ftn.idm816" class="footnote" name="idm816"><sup class="footnote">[100]</sup></a> That is not sharing.
2046           </p><p>
2047             Sharing requires adding as much or more value to the ecosystem than you
2048 take. You can’t simply treat open content as a free pool of resources from
2049 which to extract value.  Part of giving back to the ecosystem is
2050 contributing content back to the public under CC licenses. But it doesn’t
2051 have to just be about creating content; it can be about adding value in
2052 other ways. The social blogging platform Medium provides value to its
2053 community by incentivizing good behavior, and the result is an online space
2054 with remarkably high-quality user-generated content and limited
2055 trolling.<a href="#ftn.idm819" class="footnote" name="idm819"><sup class="footnote">[101]</sup></a> Opendesk contributes to its
2056 community by committing to help its designers make money, in part by
2057 actively curating and displaying their work on its platform effectively.
2058           </p><p>
2059             In all cases, it is important to openly acknowledge the amount of value you
2060 add versus that which you draw on that was created by others. Being
2061 transparent about this builds credibility and shows you are a contributing
2062 player in the commons. When your endeavor is making money, that also means
2063 apportioning financial compensation in a way that reflects the value
2064 contributed by others, providing more to contributors when the value they
2065 add outweighs the value provided by you.
2066           </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>
2067             Thanks to the Internet, we can tap into the talents and expertise of people
2068 around the globe. Chris Anderson calls it the Long Tail of
2069 talent.<a href="#ftn.idm827" class="footnote" name="idm827"><sup class="footnote">[102]</sup></a> But to make collaboration work,
2070 the group has to be effective at what it is doing, and the people within the
2071 group have to find satisfaction from being involved.<a href="#ftn.idm829" class="footnote" name="idm829"><sup class="footnote">[103]</sup></a> This is easier to facilitate for some types of
2072 creative work than it is for others. Groups tied together online collaborate
2073 best when people can work independently and asynchronously, and particularly
2074 for larger groups with loose ties, when contributors can make simple
2075 improvements without a particularly heavy time commitment.<a href="#ftn.idm831" class="footnote" name="idm831"><sup class="footnote">[104]</sup></a>
2076           </p><p>
2077             As the success of Wikipedia demonstrates, editing an online encyclopedia is
2078 exactly the sort of activity that is perfect for massive co-creation because
2079 small, incremental edits made by a diverse range of people acting on their
2080 own are immensely valuable in the aggregate. Those same sorts of small
2081 contributions would be less useful for many other types of creative work,
2082 and people are inherently less motivated to contribute when it doesn’t
2083 appear that their efforts will make much of a difference.<a href="#ftn.idm834" class="footnote" name="idm834"><sup class="footnote">[105]</sup></a>
2084           </p><p>
2085             It is easy to romanticize the opportunities for global cocreation made
2086 possible by the Internet, and, indeed, the successful examples of it are
2087 truly incredible and inspiring. But in a wide range of circumstances—perhaps
2088 more often than not—community cocreation is not part of the equation, even
2089 within endeavors built on CC content. Shirky wrote, <span class="quote">“<span class="quote">Sometimes the
2090 value of professional work trumps the value of amateur sharing or a feeling
2091 of belonging.<a href="#ftn.idm838" class="footnote" name="idm838"><sup class="footnote">[106]</sup></a> The textbook publisher
2092 OpenStax, which distributes all of its material for free under CC licensing,
2093 is an example of this dynamic. Rather than tapping the community to help
2094 cocreate their college textbooks, they invest a significant amount of time
2095 and money to develop professional content. For individual creators, where
2096 the creative work is the basis for what they do, community cocreation is
2097 only rarely a part of the picture. Even musician Amanda Palmer, who is
2098 famous for her openness and involvement with her fans, said,</span>”</span>The only
2099 department where I wasn’t open to input was the writing, the music
2100 itself."<a href="#ftn.idm840" class="footnote" name="idm840"><sup class="footnote">[107]</sup></a>
2101           </p><p>
2102             While we tend to immediately think of cocreation and remixing when we hear
2103 the word collaboration, you can also involve others in your creative process
2104 in more informal ways, by sharing half-baked ideas and early drafts, and
2105 interacting with the public to incubate ideas and get feedback. So-called
2106 <span class="quote">“<span class="quote">making in public</span>”</span> opens the door to letting people feel more
2107 invested in your creative work.<a href="#ftn.idm844" class="footnote" name="idm844"><sup class="footnote">[108]</sup></a> And it
2108 shows a nonterritorial approach to ideas and information. Stephen Covey (of
2109 The 7 Habits of Highly Effective People fame) calls this the abundance
2110 mentality—treating ideas like something plentiful—and it can create an
2111 environment where collaboration flourishes.<a href="#ftn.idm846" class="footnote" name="idm846"><sup class="footnote">[109]</sup></a>
2112           </p><p>
2113             There is no one way to involve people in what you do. They key is finding a
2114 way for people to contribute on their terms, compelled by their own
2115 motivations.<a href="#ftn.idm849" class="footnote" name="idm849"><sup class="footnote">[110]</sup></a> What that looks like
2116 varies wildly depending on the project. Not every endeavor that is Made with
2117 Creative Commons can be Wikipedia, but every endeavor can find ways to
2118 invite the public into what they do. The goal for any form of collaboration
2119 is to move away from thinking of consumers as passive recipients of your
2120 content and transition them into active participants.<a href="#ftn.idm851" class="footnote" name="idm851"><sup class="footnote">[111]</sup></a>
2121           </p></div></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm423" class="footnote"><p><a href="#idm423" class="para"><sup class="para">[37] </sup></a>
2122             Alex Osterwalder e Yves Pigneur, <span class="emphasis"><em>Business Model
2123 Generation</em></span> (Hoboken, NJ: John Wiley e Sons, 2010), 14. Uma prévia
2124 do livro está disponível em <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
2125           </p></div><div id="ftn.idm438" class="footnote"><p><a href="#idm438" class="para"><sup class="para">[38] </sup></a>
2126             Cory Doctorow, *Information Doesn Want to Be Free: Laws for the Internet
2127 Age* (São Francisco, CA: McSweeney’s, 2014) 68.
2128           </p></div><div id="ftn.idm448" class="footnote"><p><a href="#idm448" class="para"><sup class="para">[39] </sup></a>
2129             Ibid., 55.
2130           </p></div><div id="ftn.idm451" class="footnote"><p><a href="#idm451" class="para"><sup class="para">[40] </sup></a>
2131             Chris Anderson, <span class="emphasis"><em>Free: How Today’s Smartest Businesses Profit by
2132 Giving Something for Nothing</em></span>, reimpressão com novo prefácio (Nova
2133 York: Hyperion, 2010), 224.
2134           </p></div><div id="ftn.idm456" class="footnote"><p><a href="#idm456" class="para"><sup class="para">[41] </sup></a>
2135             Doctorow, <span class="emphasis"><em>Information Doesn’t Want to Be Free</em></span>, 44.
2136           </p></div><div id="ftn.idm469" class="footnote"><p><a href="#idm469" class="para"><sup class="para">[42] </sup></a>
2137               Amanda Palmer, <span class="emphasis"><em>The Art of Asking: Or How I Learned to Stop
2138 Worrying and Let People Help</em></span> (Nova York: Grand Central, 2014),
2139 121.
2140             </p></div><div id="ftn.idm474" class="footnote"><p><a href="#idm474" class="para"><sup class="para">[43] </sup></a>
2141               Chris Anderson, <span class="emphasis"><em>Makers: The New Industrial Revolution</em></span>
2142 (Nova York: Signal, 2012), 64.
2143             </p></div><div id="ftn.idm479" class="footnote"><p><a href="#idm479" class="para"><sup class="para">[44] </sup></a>
2144               David Bollier, <span class="emphasis"><em>Think Like a Commoner: A Short Introduction to the
2145 Life of the Commons</em></span> (Gabriola Island, BC: New Society, 2014), 70.
2146             </p></div><div id="ftn.idm483" class="footnote"><p><a href="#idm483" class="para"><sup class="para">[45] </sup></a>
2147               Anderson, <span class="emphasis"><em>Makers</em></span>, 66.
2148             </p></div><div id="ftn.idm487" class="footnote"><p><a href="#idm487" class="para"><sup class="para">[46] </sup></a>
2149               Bryan Kramer, <span class="emphasis"><em>Shareology: How Sharing Is Powering the Human
2150 Economy</em></span> (Nova York: Morgan James, 2016), 10.
2151             </p></div><div id="ftn.idm491" class="footnote"><p><a href="#idm491" class="para"><sup class="para">[47] </sup></a>
2152               Anderson, <span class="emphasis"><em>Free</em></span>, 62.
2153             </p></div><div id="ftn.idm497" class="footnote"><p><a href="#idm497" class="para"><sup class="para">[48] </sup></a>
2154               Doctorow, <span class="emphasis"><em>Information Doesn’t Want to Be Free</em></span>, 38.
2155             </p></div><div id="ftn.idm503" class="footnote"><p><a href="#idm503" class="para"><sup class="para">[49] </sup></a>
2156               Bollier, <span class="emphasis"><em>Think Like a Commoner</em></span>, 68.
2157             </p></div><div id="ftn.idm510" class="footnote"><p><a href="#idm510" class="para"><sup class="para">[50] </sup></a>
2158               Anderson, <span class="emphasis"><em>Free</em></span>, 86.
2159             </p></div><div id="ftn.idm515" class="footnote"><p><a href="#idm515" class="para"><sup class="para">[51] </sup></a>
2160               Doctorow, <span class="emphasis"><em>Information Doesn’t Want to Be Free</em></span>, 144.
2161             </p></div><div id="ftn.idm526" class="footnote"><p><a href="#idm526" class="para"><sup class="para">[52] </sup></a>
2162                 Anderson, <span class="emphasis"><em>Free</em></span>, 123.
2163               </p></div><div id="ftn.idm530" class="footnote"><p><a href="#idm530" class="para"><sup class="para">[53] </sup></a>
2164                 <span class="emphasis"><em>Ibid</em></span>., 132.
2165               </p></div><div id="ftn.idm533" class="footnote"><p><a href="#idm533" class="para"><sup class="para">[54] </sup></a>
2166                 <span class="emphasis"><em>Ibid</em></span>., 70.
2167               </p></div><div id="ftn.idm539" class="footnote"><p><a href="#idm539" class="para"><sup class="para">[55] </sup></a>
2168                 James Surowiecki, <span class="emphasis"><em>The Wisdom of Crowds</em></span> (Nova York:
2169 Anchor Books, 2005), 124. Surowiecki dice, <span class="quote">“<span class="quote">A medida de sucesso de
2170 leis e contratos é o quão raro eles são invocados.</span>”</span>
2171               </p></div><div id="ftn.idm550" class="footnote"><p><a href="#idm550" class="para"><sup class="para">[56] </sup></a>
2172                 Anderson, <span class="emphasis"><em>Free</em></span>, 44.
2173               </p></div><div id="ftn.idm558" class="footnote"><p><a href="#idm558" class="para"><sup class="para">[57] </sup></a>
2174                 Osterwalder e Pigneur, <span class="emphasis"><em>Business Model Generation</em></span>, 23.
2175               </p></div><div id="ftn.idm564" class="footnote"><p><a href="#idm564" class="para"><sup class="para">[58] </sup></a>
2176                 Anderson, <span class="emphasis"><em>Free</em></span>, 67.
2177               </p></div><div id="ftn.idm567" class="footnote"><p><a href="#idm567" class="para"><sup class="para">[59] </sup></a>
2178                 <span class="emphasis"><em>Ibid</em></span>., 58.
2179               </p></div><div id="ftn.idm570" class="footnote"><p><a href="#idm570" class="para"><sup class="para">[60] </sup></a>
2180                 Anderson, <span class="emphasis"><em>Makers</em></span>, 71.
2181               </p></div><div id="ftn.idm573" class="footnote"><p><a href="#idm573" class="para"><sup class="para">[61] </sup></a>
2182                 Clay Shirky, <span class="emphasis"><em>Cognitive Surplus: How Technology Makes Consumers
2183 into Collaborators</em></span> (Londres: Penguin Books, 2010), 78.
2184               </p></div><div id="ftn.idm579" class="footnote"><p><a href="#idm579" class="para"><sup class="para">[62] </sup></a>
2185                 <span class="emphasis"><em>Ibid</em></span>., 21.
2186               </p></div><div id="ftn.idm585" class="footnote"><p><a href="#idm585" class="para"><sup class="para">[63] </sup></a>
2187                 Doctorow, <span class="emphasis"><em>Information Doesn’t Want to Be Free</em></span>, 43.
2188               </p></div><div id="ftn.idm593" class="footnote"><p><a href="#idm593" class="para"><sup class="para">[64] </sup></a>
2189               William Landes Foster, Peter Kim, y Barbara Christiansen, <span class="quote">“<span class="quote">Ten
2190 Nonprofit Funding Models</span>”</span>, <span class="emphasis"><em>Stanford Social Innovation
2191 Review</em></span>, Primavera de 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>.
2192             </p></div><div id="ftn.idm600" class="footnote"><p><a href="#idm600" class="para"><sup class="para">[65] </sup></a>
2193               Shirky, <span class="emphasis"><em>Cognitive Surplus</em></span>, 111.
2194             </p></div><div id="ftn.idm607" class="footnote"><p><a href="#idm607" class="para"><sup class="para">[66] </sup></a>
2195                 Osterwalder e Pigneur, <span class="emphasis"><em>Business Model Generation</em></span>, 30.
2196               </p></div><div id="ftn.idm610" class="footnote"><p><a href="#idm610" class="para"><sup class="para">[67] </sup></a>
2197                 Jim Whitehurst, <span class="emphasis"><em>The Open Organization: Igniting Passion and
2198 Performance</em></span> (Boston: Harvard Business Review Press, 2015), 202.
2199               </p></div><div id="ftn.idm614" class="footnote"><p><a href="#idm614" class="para"><sup class="para">[68] </sup></a>
2200                 Anderson, <span class="emphasis"><em>Free</em></span>, 71.
2201               </p></div><div id="ftn.idm622" class="footnote"><p><a href="#idm622" class="para"><sup class="para">[69] </sup></a>
2202                 <span class="emphasis"><em>Ibid</em></span>., 231.
2203               </p></div><div id="ftn.idm633" class="footnote"><p><a href="#idm633" class="para"><sup class="para">[70] </sup></a>
2204                 Ibid., 97.
2205               </p></div><div id="ftn.idm640" class="footnote"><p><a href="#idm640" class="para"><sup class="para">[71] </sup></a>
2206                 Anderson, Makers, 107.
2207               </p></div><div id="ftn.idm651" class="footnote"><p><a href="#idm651" class="para"><sup class="para">[72] </sup></a>
2208                 Osterwalder and Pigneur, Business Model Generation, 89.
2209               </p></div><div id="ftn.idm657" class="footnote"><p><a href="#idm657" class="para"><sup class="para">[73] </sup></a>
2210                 Ibid., 92.
2211               </p></div><div id="ftn.idm659" class="footnote"><p><a href="#idm659" class="para"><sup class="para">[74] </sup></a>
2212                 Anderson, Free, 142.
2213               </p></div><div id="ftn.idm670" class="footnote"><p><a href="#idm670" class="para"><sup class="para">[75] </sup></a>
2214                 Osterwalder and Pigneur, Business Model Generation, 32.
2215               </p></div><div id="ftn.idm688" class="footnote"><p><a href="#idm688" class="para"><sup class="para">[76] </sup></a>
2216                 Bollier, Think Like a Commoner, 150.
2217               </p></div><div id="ftn.idm690" class="footnote"><p><a href="#idm690" class="para"><sup class="para">[77] </sup></a>
2218                 Ibid., 134.
2219               </p></div><div id="ftn.idm723" class="footnote"><p><a href="#idm723" class="para"><sup class="para">[78] </sup></a>
2220                 Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our
2221 Decisions, rev. ed. (New York: Harper Perennial, 2010), 109.
2222               </p></div><div id="ftn.idm727" class="footnote"><p><a href="#idm727" class="para"><sup class="para">[79] </sup></a>
2223                 Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and Get
2224 Discovered (New York: Workman, 2014), 93.
2225               </p></div><div id="ftn.idm734" class="footnote"><p><a href="#idm734" class="para"><sup class="para">[80] </sup></a>
2226                 Kramer, Shareology, 76.
2227               </p></div><div id="ftn.idm741" class="footnote"><p><a href="#idm741" class="para"><sup class="para">[81] </sup></a>
2228                 Palmer, Art of Asking, 252.
2229               </p></div><div id="ftn.idm743" class="footnote"><p><a href="#idm743" class="para"><sup class="para">[82] </sup></a>
2230                 Whitehurst, Open Organization, 145.
2231               </p></div><div id="ftn.idm746" class="footnote"><p><a href="#idm746" class="para"><sup class="para">[83] </sup></a>
2232                 Surowiecki, Wisdom of Crowds, 203.
2233               </p></div><div id="ftn.idm748" class="footnote"><p><a href="#idm748" class="para"><sup class="para">[84] </sup></a>
2234                 Whitehurst, Open Organization, 80.
2235               </p></div><div id="ftn.idm753" class="footnote"><p><a href="#idm753" class="para"><sup class="para">[85] </sup></a>
2236                 Bollier, Think Like a Commoner, 25.
2237               </p></div><div id="ftn.idm755" class="footnote"><p><a href="#idm755" class="para"><sup class="para">[86] </sup></a>
2238                 Ibid., 31.
2239               </p></div><div id="ftn.idm761" class="footnote"><p><a href="#idm761" class="para"><sup class="para">[87] </sup></a>
2240                 Shirky, Cognitive Surplus, 112.
2241               </p></div><div id="ftn.idm765" class="footnote"><p><a href="#idm765" class="para"><sup class="para">[88] </sup></a>
2242                 Surowiecki, Wisdom of Crowds, 124.
2243               </p></div><div id="ftn.idm771" class="footnote"><p><a href="#idm771" class="para"><sup class="para">[89] </sup></a>
2244                 Kleon, Show Your Work, 127.
2245               </p></div><div id="ftn.idm773" class="footnote"><p><a href="#idm773" class="para"><sup class="para">[90] </sup></a>
2246                 Palmer, Art of Asking, 121.
2247               </p></div><div id="ftn.idm777" class="footnote"><p><a href="#idm777" class="para"><sup class="para">[91] </sup></a>
2248                 Ariely, Predictably Irrational, 87.
2249               </p></div><div id="ftn.idm779" class="footnote"><p><a href="#idm779" class="para"><sup class="para">[92] </sup></a>
2250                 Ibid., 105.
2251               </p></div><div id="ftn.idm786" class="footnote"><p><a href="#idm786" class="para"><sup class="para">[93] </sup></a>
2252                 Ibid., 36.
2253               </p></div><div id="ftn.idm791" class="footnote"><p><a href="#idm791" class="para"><sup class="para">[94] </sup></a>
2254                 Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
2255 2012), 36.
2256               </p></div><div id="ftn.idm796" class="footnote"><p><a href="#idm796" class="para"><sup class="para">[95] </sup></a>
2257                 Palmer, Art of Asking, 98.
2258               </p></div><div id="ftn.idm799" class="footnote"><p><a href="#idm799" class="para"><sup class="para">[96] </sup></a>
2259                 Whitehurst, Open Organization, 34.
2260               </p></div><div id="ftn.idm803" class="footnote"><p><a href="#idm803" class="para"><sup class="para">[97] </sup></a>
2261                 Surowiecki, Wisdom of Crowds, 200.
2262               </p></div><div id="ftn.idm805" class="footnote"><p><a href="#idm805" class="para"><sup class="para">[98] </sup></a>
2263                 Bollier, Think Like a Commoner, 29.
2264               </p></div><div id="ftn.idm812" class="footnote"><p><a href="#idm812" class="para"><sup class="para">[99] </sup></a>
2265                 Giana Eckhardt and Fleura Bardhi, <span class="quote">“<span class="quote">The Sharing Economy Isn’t about
2266 Sharing at All,</span>”</span> Harvard Business Review (website), January 28, 2015,
2267 <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>.
2268               </p></div><div id="ftn.idm816" class="footnote"><p><a href="#idm816" class="para"><sup class="para">[100] </sup></a>
2269                 Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with
2270 new epilogue (New York: Portfolio, 2012).
2271               </p></div><div id="ftn.idm819" class="footnote"><p><a href="#idm819" class="para"><sup class="para">[101] </sup></a>
2272                 David Lee, <span class="quote">“<span class="quote">Inside Medium: An Attempt to Bring Civility to the
2273 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>.
2274               </p></div><div id="ftn.idm827" class="footnote"><p><a href="#idm827" class="para"><sup class="para">[102] </sup></a>
2275                 Anderson, Makers, 148.
2276               </p></div><div id="ftn.idm829" class="footnote"><p><a href="#idm829" class="para"><sup class="para">[103] </sup></a>
2277                 Shirky, Cognitive Surplus, 164.
2278               </p></div><div id="ftn.idm831" class="footnote"><p><a href="#idm831" class="para"><sup class="para">[104] </sup></a>
2279                 Whitehurst, foreword to Open Organization.
2280               </p></div><div id="ftn.idm834" class="footnote"><p><a href="#idm834" class="para"><sup class="para">[105] </sup></a>
2281                 Shirky, Cognitive Surplus, 144.
2282               </p></div><div id="ftn.idm838" class="footnote"><p><a href="#idm838" class="para"><sup class="para">[106] </sup></a>
2283                 Ibid., 154.
2284               </p></div><div id="ftn.idm840" class="footnote"><p><a href="#idm840" class="para"><sup class="para">[107] </sup></a>
2285                 Palmer, Art of Asking, 163.
2286               </p></div><div id="ftn.idm844" class="footnote"><p><a href="#idm844" class="para"><sup class="para">[108] </sup></a>
2287                 Anderson, Makers, 173.
2288               </p></div><div id="ftn.idm846" class="footnote"><p><a href="#idm846" class="para"><sup class="para">[109] </sup></a>
2289                 Tom Kelley and David Kelley, Creative Confidence: Unleashing the Potential
2290 within Us All (New York: Crown, 2013), 82.
2291               </p></div><div id="ftn.idm849" class="footnote"><p><a href="#idm849" class="para"><sup class="para">[110] </sup></a>
2292                 Whitehurst, foreword to Open Organization.
2293               </p></div><div id="ftn.idm851" class="footnote"><p><a href="#idm851" class="para"><sup class="para">[111] </sup></a>
2294                 Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
2295 Collaborative Consumption (New York: Harper Business, 2010), 188.
2296               </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>Capítulo 3. The Creative Commons Licenses</h2></div></div></div><p>
2297         All of the Creative Commons licenses grant a basic set of permissions. At a
2298 minimum, a CC- licensed work can be copied and shared in its original form
2299 for noncommercial purposes so long as attribution is given to the
2300 creator. There are six licenses in the CC license suite that build on that
2301 basic set of permissions, ranging from the most restrictive (allowing only
2302 those basic permissions to share unmodified copies for noncommercial
2303 purposes) to the most permissive (reusers can do anything they want with the
2304 work, even for commercial purposes, as long as they give the creator
2305 credit). The licenses are built on copyright and do not cover other types of
2306 rights that creators might have in their works, like patents or trademarks.
2307       </p><p>
2308         Here are the six licenses:
2309       </p><p>
2310         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D83BF99FC0821C489.png" width="40.0%"></span>
2311       </p><p>
2312         The Attribution license (CC BY) lets others distribute, remix, tweak, and
2313 build upon your work, even commercially, as long as they credit you for the
2314 original creation. This is the most accommodating of licenses
2315 offered. Recommended for maximum dissemination and use of licensed
2316 materials.
2317       </p><p>
2318         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DFD3592CB17C4EC38.png" width="40.0%"></span>
2319       </p><p>
2320         The Attribution-Share-Alike license (CC BY-SA) lets others remix, tweak, and
2321 build upon your work, even for commercial purposes, as long as they credit
2322 you and license their new creations under identical terms. This license is
2323 often compared to <span class="quote">“<span class="quote">copyleft</span>”</span> free and open source software
2324 licenses. All new works based on yours will carry the same license, so any
2325 derivatives will also allow commercial use.
2326       </p><p>
2327         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D254882DE24793FEA.png" width="40.0%"></span>
2328       </p><p>
2329         The Attribution-NoDerivs license (CC BY-ND) allows for redistribution,
2330 commercial and noncommercial, as long as it is passed along unchanged with
2331 credit to you.
2332       </p><p>
2333         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png" width="40.0%"></span>
2334       </p><p>
2335         The Attribution-NonCommercial license (CC BY-NC) lets others remix, tweak,
2336 and build upon your work noncommercially. Although their new works must also
2337 acknowledge you, they don’t have to license their derivative works on the
2338 same terms.
2339       </p><p>
2340         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D16DA603376395620.png" width="40.0%"></span>
2341       </p><p>
2342         The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA)  lets others
2343 remix, tweak, and build upon your work noncommercially, as long as they
2344 credit you and license their new creations under the same terms.
2345       </p><p>
2346         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DC3FEF92B21310965.png" width="40.0%"></span>
2347       </p><p>
2348         The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most
2349 restrictive of our six main licenses, only allowing others to download your
2350 works and share them with others as long as they credit you, but they can’t
2351 change them or use them commercially.
2352       </p><p>
2353         In addition to these six licenses, Creative Commons has two public-domain
2354 tools—one for creators and the other for those who manage collections of
2355 existing works by authors whose terms of copyright have expired:
2356       </p><p>
2357         <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008DBE3414994CD27786.png" width="40.0%"></span>
2358       </p><p>
2359         CC0 enables authors and copyright owners to dedicate their works to the
2360 worldwide public domain (<span class="quote">“<span class="quote">no rights reserved</span>”</span>).
2361       </p><p>
2362         <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008D36DCD649C5B1411F.png" width="40.0%"></span>
2363       </p><p>
2364         The Creative Commons Public Domain Mark facilitates the labeling and
2365 discovery of works that are already free of known copyright restrictions.
2366       </p><p>
2367         In our case studies, some use just one Creative Commons license, others use
2368 several. Attribution (found in thirteen case studies)  and
2369 Attribution-ShareAlike (found in eight studies) were the most common, with
2370 the other licenses coming up in four or so case studies, including the
2371 public-domain tool CC0. Some of the organizations we profiled offer both
2372 digital content and software: by using open-source-software licenses for the
2373 software code and Creative Commons licenses for digital content, they
2374 amplify their involvement with and commitment to sharing.
2375       </p><p>
2376         There is a popular misconception that the three NonCommercial licenses
2377 offered by CC are the only options for those who want to make money off
2378 their work. As we hope this book makes clear, there are many ways to make
2379 endeavors that are Made with Creative Commons sustainable. Reserving
2380 commercial rights is only one of those ways. It is certainly true that a
2381 license that allows others to make commercial use of your work (CC BY, CC
2382 BY-SA, and CC BY-ND) forecloses some traditional revenue streams. If you
2383 apply an Attribution (CC BY) license to your book, you can’t force a film
2384 company to pay you royalties if they turn your book into a feature-length
2385 film, or prevent another company from selling physical copies of your work.
2386       </p><p>
2387         The decision to choose a NonCommercial and/or NoDerivs license comes down to
2388 how much you need to retain control over the creative work. The
2389 NonCommercial and NoDerivs licenses are ways of reserving some significant
2390 portion of the exclusive bundle of rights that copyright grants to
2391 creators. In some cases, reserving those rights is important to how you
2392 bring in revenue.  In other cases, creators use a NonCommercial or NoDerivs
2393 license because they can’t give up on the dream of hitting the creative
2394 jackpot. The music platform Tribe of Noise told us the NonCommercial
2395 licenses were popular among their users because people still held out the
2396 dream of having a major record label discover their work.
2397       </p><p>
2398         Other times the decision to use a more restrictive license is due to a
2399 concern about the integrity of the work. For example, the nonprofit
2400 TeachAIDS uses a NoDerivs license for its educational materials because the
2401 medical subject matter is particularly important to get right.
2402       </p><p>
2403         There is no one right way. The NonCommercial and NoDerivs restrictions
2404 reflect the values and preferences of creators about how their creative work
2405 should be reused, just as the ShareAlike license reflects a different set of
2406 values, one that is less about controlling access to their own work and more
2407 about ensuring that whatever gets created with their work is available to
2408 all on the same terms. Since the beginning of the commons, people have been
2409 setting up structures that helped regulate the way in which shared resources
2410 were used. The CC licenses are an attempt to standardize norms across all
2411 domains.
2412       </p><p>
2413         Note
2414       </p><p>
2415         For more about the licenses including examples and tips on sharing your work
2416 in the digital commons, start with the Creative Commons page called
2417 <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>.
2418       </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Parte II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
2419       The twenty-four case studies in this section were chosen from hundreds of
2420 nominations received from Kickstarter backers, Creative Commons staff, and
2421 the global Creative Commons community.  We selected eighty potential
2422 candidates that represented a mix of industries, content types, revenue
2423 streams, and parts of the world. Twelve of the case studies were selected
2424 from that group based on votes cast by Kickstarter backers, and the other
2425 twelve were selected by us.
2426     </p><p>
2427       We did background research and conducted interviews for each case study,
2428 based on the same set of basic questions about the endeavor. The idea for
2429 each case study is to tell the story about the endeavor and the role sharing
2430 plays within it, largely the way in which it was told to us by those we
2431 interviewed.
2432     </p><div class="toc"><p><b>Índice</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>Capítulo 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>
2433           Arduino is a for-profit open-source electronics platform and computer
2434 hardware and software company. Founded in 2005 in Italy.
2435         </p><p>
2436           <a class="ulink" href="http://www.arduino.cc" target="_top">http://www.arduino.cc</a>
2437         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
2438 copies (sales of boards, modules, shields, and kits), licensing a trademark
2439 (fees paid by those who want to sell Arduino products using their name)
2440         </p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
2441         </p><p><span class="strong"><strong>Interviewees</strong></span>: David Cuartielles and Tom
2442 Igoe, cofounders
2443         </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}
2444     \textit{
2445           Profile written by Paul Stacey
2446         }
2447     \end{flushright}</td></tr></table></div><p>
2448         In 2005, at the Interaction Design Institute Ivrea in northern Italy,
2449 teachers and students needed an easy way to use electronics and programming
2450 to quickly prototype design ideas.  As musicians, artists, and designers,
2451 they needed a platform that didn’t require engineering expertise. A group of
2452 teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe,
2453 Gianluca Martino, and David Mellis, built a platform that combined different
2454 open technologies. They called it Arduino.  The platform integrated
2455 software, hardware, microcontrollers, and electronics. All aspects of the
2456 platform were openly licensed: hardware designs and documentation with the
2457 Attribution-Share-Alike license (CC BY-SA), and software with the GNU
2458 General Public License.
2459       </p><p>
2460         Arduino boards are able to read inputs—light on a sensor, a finger on a
2461 button, or a Twitter message—and turn it into outputs—activating a motor,
2462 turning on an LED, publishing something online. You send a set of
2463 instructions to the microcontroller on the board by using the Arduino
2464 programming language and Arduino software (based on a piece of open-source
2465 software called Processing, a programming tool used to make visual art).
2466       </p><p><span class="quote">“<span class="quote">The reasons for making Arduino open source are complicated,</span>”</span>
2467 Tom says. Partly it was about supporting flexibility. The open-source nature
2468 of Arduino empowers users to modify it and create a lot of different
2469 variations, adding on top of what the founders build. David says this
2470 <span class="quote">“<span class="quote">ended up strengthening the platform far beyond what we had even
2471 thought of building.</span>”</span>
2472       </p><p>
2473         For Tom another factor was the impending closure of the Ivrea design
2474 school. He’d seen other organizations close their doors and all their work
2475 and research just disappear. Open-sourcing ensured that Arduino would
2476 outlive the Ivrea closure.  Persistence is one thing Tom really likes about
2477 open source. If key people leave, or a company shuts down, an open-source
2478 product lives on. In Tom’s view, <span class="quote">“<span class="quote">Open sourcing makes it easier to
2479 trust a product.</span>”</span>
2480       </p><p>
2481         With the school closing, David and some of the other Arduino founders
2482 started a consulting firm and multidisciplinary design studio they called
2483 Tinker, in London. Tinker designed products and services that bridged the
2484 digital and the physical, and they taught people how to use new technologies
2485 in creative ways.  Revenue from Tinker was invested in sustaining and
2486 enhancing Arduino.
2487       </p><p>
2488         For Tom, part of Arduino’s success is because the founders made themselves
2489 the first customer of their product. They made products they themselves
2490 personally wanted. It was a matter of <span class="quote">“<span class="quote">I need this thing,</span>”</span> not
2491 <span class="quote">“<span class="quote">If we make this, we’ll make a lot of money.</span>”</span> Tom notes that
2492 being your own first customer makes you more confident and convincing at
2493 selling your product.
2494       </p><p>
2495         Arduino’s business model has evolved over time—and Tom says model is a
2496 grandiose term for it. Originally, they just wanted to make a few boards and
2497 get them out into the world. They started out with two hundred boards, sold
2498 them, and made a little profit. They used that to make another thousand,
2499 which generated enough revenue to make five thousand. In the early days,
2500 they simply tried to generate enough funding to keep the venture going day
2501 to day. When they hit the ten thousand mark, they started to think about
2502 Arduino as a company. By then it was clear you can open-source the design
2503 but still manufacture the physical product. As long as it’s a quality
2504 product and sold at a reasonable price, people will buy it.
2505       </p><p>
2506         Arduino now has a worldwide community of makers—students, hobbyists,
2507 artists, programmers, and professionals. Arduino provides a wiki called
2508 Playground (a wiki is where all users can edit and add pages, contributing
2509 to and benefiting from collective research). People share code, circuit
2510 diagrams, tutorials, DIY instructions, and tips and tricks, and show off
2511 their projects. In addition, there’s a multilanguage discussion forum where
2512 users can get help using Arduino, discuss topics like robotics, and make
2513 suggestions for new Arduino product designs. As of January 2017, 324,928
2514 members had made 2,989,489 posts on 379,044 topics. The worldwide community
2515 of makers has contributed an incredible amount of accessible knowledge
2516 helpful to novices and experts alike.
2517       </p><p>
2518         Transitioning Arduino from a project to a company was a big step. Other
2519 businesses who made boards were charging a lot of money for them. Arduino
2520 wanted to make theirs available at a low price to people across a wide range
2521 of industries. As with any business, pricing was key. They wanted prices
2522 that would get lots of customers but were also high enough to sustain the
2523 business.
2524       </p><p>
2525         For a business, getting to the end of the year and not being in the red is a
2526 success. Arduino may have an open-licensing strategy, but they are still a
2527 business, and all the things needed to successfully run one still
2528 apply. David says, <span class="quote">“<span class="quote">If you do those other things well, sharing things
2529 in an open-source way can only help you.</span>”</span>
2530       </p><p>
2531         While openly licensing the designs, documentation, and software ensures
2532 longevity, it does have risks. There’s a possibility that others will create
2533 knockoffs, clones, and copies. The CC BY-SA license means anyone can produce
2534 copies of their boards, redesign them, and even sell boards that copy the
2535 design. They don’t have to pay a license fee to Arduino or even ask
2536 permission. However, if they republish the design of the board, they have to
2537 give attribution to Arduino. If they change the design, they must release
2538 the new design using the same Creative Commons license to ensure that the
2539 new version is equally free and open.
2540       </p><p>
2541         Tom and David say that a lot of people have built companies off of Arduino,
2542 with dozens of Arduino derivatives out there. But in contrast to closed
2543 business models that can wring money out of the system over many years
2544 because there is no competition, Arduino founders saw competition as keeping
2545 them honest, and aimed for an environment of collaboration. A benefit of
2546 open over closed is the many new ideas and designs others have contributed
2547 back to the Arduino ecosystem, ideas and designs that Arduino and the
2548 Arduino community use and incorporate into new products.
2549       </p><p>
2550         Over time, the range of Arduino products has diversified, changing and
2551 adapting to new needs and challenges. In addition to simple entry level
2552 boards, new products have been added ranging from enhanced boards that
2553 provide advanced functionality and faster performance, to boards for
2554 creating Internet of Things applications, wearables, and 3-D printing. The
2555 full range of official Arduino products includes boards, modules (a smaller
2556 form-factor of classic boards), shields (elements that can be plugged onto a
2557 board to give it extra features), and kits.<a href="#ftn.idm946" class="footnote" name="idm946"><sup class="footnote">[112]</sup></a>
2558       </p><p>
2559         Arduino’s focus is on high-quality boards, well-designed support materials,
2560 and the building of community; this focus is one of the keys to their
2561 success. And being open lets you build a real community. David says
2562 Arduino’s community is a big strength and something that really does
2563 matter—in his words, <span class="quote">“<span class="quote">It’s good business.</span>”</span> When they started,
2564 the Arduino team had almost entirely no idea how to build a community. They
2565 started by conducting numerous workshops, working directly with people using
2566 the platform to make sure the hardware and software worked the way it was
2567 meant to work and solved people’s problems. The community grew organically
2568 from there.
2569       </p><p>
2570         A key decision for Arduino was trademarking the name. The founders needed a
2571 way to guarantee to people that they were buying a quality product from a
2572 company committed to open-source values and knowledge sharing. Trademarking
2573 the Arduino name and logo expresses that guarantee and helps customers
2574 easily identify their products, and the products sanctioned by them. If
2575 others want to sell boards using the Arduino name and logo, they have to pay
2576 a small fee to Arduino. This allows Arduino to scale up manufacturing and
2577 distribution while at the same time ensuring the Arduino brand isn’t hurt by
2578 low-quality copies.
2579       </p><p>
2580         Current official manufacturers are Smart Projects in Italy, SparkFun in the
2581 United States, and Dog Hunter in Taiwan/China.  These are the only
2582 manufacturers that are allowed to use the Arduino logo on their
2583 boards. Trademarking their brand provided the founders with a way to protect
2584 Arduino, build it out further, and fund software and tutorial
2585 development. The trademark-licensing fee for the brand became Arduino’s
2586 revenue-generating model.
2587       </p><p>
2588         How far to open things up wasn’t always something the founders perfectly
2589 agreed on. David, who was always one to advocate for opening things up more,
2590 had some fears about protecting the Arduino name, thinking people would be
2591 mad if they policed their brand. There was some early backlash with a
2592 project called Freeduino, but overall, trademarking and branding has been a
2593 critical tool for Arduino.
2594       </p><p>
2595         David encourages people and businesses to start by sharing everything as a
2596 default strategy, and then think about whether there is anything that really
2597 needs to be protected and why.  There are lots of good reasons to not open
2598 up certain elements.  This strategy of sharing everything is certainly the
2599 complete opposite of how today’s world operates, where nothing is shared.
2600 Tom suggests a business formalize which elements are based on open sharing
2601 and which are closed. An Arduino blog post from 2013 entitled <span class="quote">“<span class="quote">Send In
2602 the Clones,</span>”</span> by one of the founders Massimo Banzi, does a great job
2603 of explaining the full complexities of how trademarking their brand has
2604 played out, distinguishing between official boards and those that are
2605 clones, derivatives, compatibles, and counterfeits.<a href="#ftn.idm956" class="footnote" name="idm956"><sup class="footnote">[113]</sup></a>
2606       </p><p>
2607         For David, an exciting aspect of Arduino is the way lots of people can use
2608 it to adapt technology in many different ways.  Technology is always making
2609 more things possible but doesn’t always focus on making it easy to use and
2610 adapt. This is where Arduino steps in. Arduino’s goal is <span class="quote">“<span class="quote">making
2611 things that help other people make things.</span>”</span>
2612       </p><p>
2613         Arduino has been hugely successful in making technology and electronics
2614 reach a larger audience. For Tom, Arduino has been about <span class="quote">“<span class="quote">the
2615 democratization of technology.</span>”</span> Tom sees Arduino’s open-source
2616 strategy as helping the world get over the idea that technology has to be
2617 protected. Tom says, <span class="quote">“<span class="quote">Technology is a literacy everyone should
2618 learn.</span>”</span>
2619       </p><p>
2620         Ultimately, for Arduino, going open has been good business—good for product
2621 development, good for distribution, good for pricing, and good for
2622 manufacturing.
2623       </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm946" class="footnote"><p><a href="#idm946" 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.idm956" class="footnote"><p><a href="#idm956" 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>Capítulo 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>
2624           Ártica provides online courses and consulting services focused on how to use
2625 digital technology to share knowledge and enable collaboration in arts and
2626 culture. Founded in 2011 in Uruguay.
2627         </p><p>
2628           <a class="ulink" href="http://www.articaonline.com" target="_top">http://www.articaonline.com</a>
2629         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
2630 services
2631         </p><p><span class="strong"><strong>Interview date</strong></span>: March 9, 2016
2632         </p><p><span class="strong"><strong>Interviewees</strong></span>: Mariana Fossatti and Jorge
2633 Gemetto, cofounders
2634         </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}
2635     \textit{
2636           Profile written by Sarah Hinchliff Pearson
2637         }
2638     \end{flushright}</td></tr></table></div><p>
2639         The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
2640 ultimate example of DIY. Not only are they successful entrepreneurs, the
2641 niche in which their small business operates is essentially one they built
2642 themselves.
2643       </p><p>
2644         Their dream jobs didn’t exist, so they created them.
2645       </p><p>
2646         In 2011, Mariana was a sociologist working for an international organization
2647 to develop research and online education about rural-development
2648 issues. Jorge was a psychologist, also working in online education. Both
2649 were bloggers and heavy users of social media, and both had a passion for
2650 arts and culture. They decided to take their skills in digital technology
2651 and online learning and apply them to a topic area they loved. They launched
2652 Ártica, an online business that provides education and consulting for people
2653 and institutions creating artistic and cultural projects on the Internet.
2654       </p><p>
2655         Ártica feels like a uniquely twenty-first century business. The small
2656 company has a global online presence with no physical offices. Jorge and
2657 Mariana live in Uruguay, and the other two full-time employees, who Jorge
2658 and Mariana have never actually met in person, live in Spain. They started
2659 by creating a MOOC (massive open online course) about remix culture and
2660 collaboration in the arts, which gave them a direct way to reach an
2661 international audience, attracting students from across Latin America and
2662 Spain. In other words, it is the classic Internet story of being able to
2663 directly tap into an audience without relying upon gatekeepers or
2664 intermediaries.
2665       </p><p>
2666         Ártica offers personalized education and consulting services, and helps
2667 clients implement projects. All of these services are customized. They call
2668 it an <span class="quote">“<span class="quote">artisan</span>”</span> process because of the time and effort it takes
2669 to adapt their work for the particular needs of students and
2670 clients. <span class="quote">“<span class="quote">Each student or client is paying for a specific solution to
2671 his or her problems and questions,</span>”</span> Mariana said. Rather than sell
2672 access to their content, they provide it for free and charge for the
2673 personalized services.
2674       </p><p>
2675         When they started, they offered a smaller number of courses designed to
2676 attract large audiences. <span class="quote">“<span class="quote">Over the years, we realized that online
2677 communities are more specific than we thought,</span>”</span> Mariana said. Ártica
2678 now provides more options for classes and has lower enrollment in each
2679 course. This means they can provide more attention to individual students
2680 and offer classes on more specialized topics.
2681       </p><p>
2682         Online courses are their biggest revenue stream, but they also do more than
2683 a dozen consulting projects each year, ranging from digitization to event
2684 planning to marketing campaigns. Some are significant in scope, particularly
2685 when they work with cultural institutions, and some are smaller projects
2686 commissioned by individual artists.
2687       </p><p>
2688         Ártica also seeks out public and private funding for specific
2689 projects. Sometimes, even if they are unsuccessful in subsidizing a project
2690 like a new course or e-book, they will go ahead because they believe in
2691 it. They take the stance that every new project leads them to something new,
2692 every new resource they create opens new doors.
2693       </p><p>
2694         Ártica relies heavily on their free Creative Commons–licensed content to
2695 attract new students and clients. Everything they create—online education,
2696 blog posts, videos—is published under an Attribution-ShareAlike license (CC
2697 BY-SA). <span class="quote">“<span class="quote">We use a ShareAlike license because we want to give the
2698 greatest freedom to our students and readers, and we also want that freedom
2699 to be viral,</span>”</span> Jorge said. For them, giving others the right to reuse
2700 and remix their content is a fundamental value. <span class="quote">“<span class="quote">How can you offer an
2701 online educational service without giving permission to download, make and
2702 keep copies, or print the educational resources?</span>”</span> Jorge
2703 said. <span class="quote">“<span class="quote">If we want to do the best for our students—those who trust in
2704 us to the point that they are willing to pay online without face-to-face
2705 contact—we have to offer them a fair and ethical agreement.</span>”</span>
2706       </p><p>
2707         They also believe sharing their ideas and expertise openly helps them build
2708 their reputation and visibility. People often share and cite their work. A
2709 few years ago, a publisher even picked up one of their e-books and
2710 distributed printed copies. Ártica views reuse of their work as a way to
2711 open up new opportunities for their business.
2712       </p><p>
2713         This belief that openness creates new opportunities reflects another
2714 belief—in serendipity. When describing their process for creating content,
2715 they spoke of all of the spontaneous and organic ways they find
2716 inspiration. <span class="quote">“<span class="quote">Sometimes, the collaborative process starts with a
2717 conversation between us, or with friends from other projects,</span>”</span> Jorge
2718 said.  <span class="quote">“<span class="quote">That can be the first step for a new blog post or another
2719 simple piece of content, which can evolve to a more complex product in the
2720 future, like a course or a book.</span>”</span>
2721       </p><p>
2722         Rather than planning their work in advance, they let their creative process
2723 be dynamic. <span class="quote">“<span class="quote">This doesn’t mean that we don’t need to work hard in
2724 order to get good professional results, but the design process is more
2725 flexible,</span>”</span> Jorge said. They share early and often, and they adjust
2726 based on what they learn, always exploring and testing new ideas and ways of
2727 operating. In many ways, for them, the process is just as important as the
2728 final product.
2729       </p><p>
2730         People and relationships are also just as important, sometimes
2731 more. <span class="quote">“<span class="quote">In the educational and cultural business, it is more important
2732 to pay attention to people and process, rather than content or specific
2733 formats or materials,</span>”</span> Mariana said. <span class="quote">“<span class="quote">Materials and content are
2734 fluid. The important thing is the relationships.</span>”</span>
2735       </p><p>
2736         Ártica believes in the power of the network. They seek to make connections
2737 with people and institutions across the globe so they can learn from them
2738 and share their knowledge.
2739       </p><p>
2740         At the core of everything Ártica does is a set of values.  <span class="quote">“<span class="quote">Good
2741 content is not enough,</span>”</span> Jorge said. <span class="quote">“<span class="quote">We also think that it is
2742 very important to take a stand for some things in the cultural
2743 sector.</span>”</span> Mariana and Jorge are activists. They defend free culture
2744 (the movement promoting the freedom to modify and distribute creative work)
2745 and work to demonstrate the intersection between free culture and other
2746 social-justice movements. Their efforts to involve people in their work and
2747 enable artists and cultural institutions to better use technology are all
2748 tied closely to their belief system. Ultimately, what drives their work is a
2749 mission to democratize art and culture.
2750       </p><p>
2751         Of course, Ártica also has to make enough money to cover its expenses. Human
2752 resources are, by far, their biggest expense.  They tap a network of
2753 collaborators on a case-by-case basis and hire contractors for specific
2754 projects. Whenever possible, they draw from artistic and cultural resources
2755 in the commons, and they rely on free software. Their operation is small,
2756 efficient, and sustainable, and because of that, it is a success.
2757       </p><p><span class="quote">“<span class="quote">There are lots of people offering online courses,</span>”</span> Jorge
2758 said. <span class="quote">“<span class="quote">But it is easy to differentiate us. We have an approach that is
2759 very specific and personal.</span>”</span> Ártica’s model is rooted in the personal
2760 at every level. For Mariana and Jorge, success means doing what brings them
2761 personal meaning and purpose, and doing it sustainably and collaboratively.
2762       </p><p>
2763         In their work with younger artists, Mariana and Jorge try to emphasize that
2764 this model of success is just as valuable as the picture of success we get
2765 from the media. <span class="quote">“<span class="quote">If they seek only the traditional type of success,
2766 they will get frustrated,</span>”</span> Mariana said. <span class="quote">“<span class="quote">We try to show them
2767 another image of what it looks like.</span>”</span>
2768       </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Capítulo 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>
2769           The Blender Institute is an animation studio that creates 3-D films using
2770 Blender software. Founded in 2006 in the Netherlands.
2771         </p><p>
2772           <a class="ulink" href="http://www.blender.org" target="_top">http://www.blender.org</a>
2773         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
2774 (subscription-based), charging for physical copies, selling merchandise
2775         </p><p><span class="strong"><strong>Interview date</strong></span>: March 8, 2016
2776         </p><p><span class="strong"><strong>Interviewee</strong></span>: Francesco Siddi, production
2777 coordinator
2778         </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}
2779     \textit{
2780           Profile written by Sarah Hinchliff Pearson
2781         }
2782     \end{flushright}</td></tr></table></div><p>
2783         For Ton Roosendaal, the creator of Blender software and its related
2784 entities, sharing is practical. Making their 3-D content creation software
2785 available under a free software license has been integral to its development
2786 and popularity. Using that software to make movies that were licensed with
2787 Creative Commons pushed that development even further. Sharing enables
2788 people to participate and to interact with and build upon the technology and
2789 content they create in a way that benefits Blender and its community in
2790 concrete ways.
2791       </p><p>
2792         Each open-movie project Blender runs produces a host of openly licensed
2793 outputs, not just the final film itself but all of the source material as
2794 well. The creative process also enhances the development of the Blender
2795 software because the technical team responds directly to the needs of the
2796 film production team, creating tools and features that make their lives
2797 easier. And, of course, each project involves a long, rewarding process for
2798 the creative and technical community working together.
2799       </p><p>
2800         Rather than just talking about the theoretical benefits of sharing and free
2801 culture, Ton is very much about doing and making free culture. Blender’s
2802 production coordinator Francesco Siddi told us, <span class="quote">“<span class="quote">Ton believes if you
2803 don’t make content using your tools, then you’re not doing anything.</span>”</span>
2804       </p><p>
2805         Blender’s history begins in the late 1990s, when Ton created the Blender
2806 software. Originally, the software was an in-house resource for his
2807 animation studio based in the Netherlands.  Investors became interested in
2808 the software, so he began marketing the software to the public, offering a
2809 free version in addition to a paid version. Sales were disappointing, and
2810 his investors gave up on the endeavor in the early 2000s. He made a deal
2811 with investors—if he could raise enough money, he could then make the
2812 Blender software available under the GNU General Public License.
2813       </p><p>
2814         This was long before Kickstarter and other online crowdfunding sites
2815 existed, but Ton ran his own version of a crowdfunding campaign and quickly
2816 raised the money he needed. The Blender software became freely available for
2817 anyone to use. Simply applying the General Public License to the software,
2818 however, was not enough to create a thriving community around it.  Francesco
2819 told us, <span class="quote">“<span class="quote">Software of this complexity relies on people and their
2820 vision of how people work together. Ton is a fantastic community builder and
2821 manager, and he put a lot of work into fostering a community of developers
2822 so that the project could live.</span>”</span>
2823       </p><p>
2824         Like any successful free and open-source software project, Blender developed
2825 quickly because the community could make fixes and
2826 improvements. <span class="quote">“<span class="quote">Software should be free and open to hack,</span>”</span>
2827 Francesco said. <span class="quote">“<span class="quote">Otherwise, everyone is doing the same thing in the
2828 dark for ten years.</span>”</span> Ton set up the Blender Foundation to oversee and
2829 steward the software development and maintenance.
2830       </p><p>
2831         After a few years, Ton began looking for new ways to push development of the
2832 software. He came up with the idea of creating CC-licensed films using the
2833 Blender software. Ton put a call online for all interested and skilled
2834 artists. Francesco said the idea was to get the best artists available, put
2835 them in a building together with the best developers, and have them work
2836 together. They would not only produce high-quality openly licensed content,
2837 they would improve the Blender software in the process.
2838       </p><p>
2839         They turned to crowdfunding to subsidize the costs of the project. They had
2840 about twenty people working full-time for six to ten months, so the costs
2841 were significant. Francesco said that when their crowdfunding campaign
2842 succeeded, people were astounded. <span class="quote">“<span class="quote">The idea that making money was
2843 possible by producing CC-licensed material was mind-blowing to
2844 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
2845 believe it.</span>’</span></span>”</span>
2846       </p><p>
2847         The first film, which was released in 2006, was an experiment.  It was so
2848 successful that Ton decided to set up the Blender Institute, an entity
2849 dedicated to hosting open-movie projects.  The Blender Institute’s next
2850 project was an even bigger success.  The film, Big Buck Bunny, went viral,
2851 and its animated characters were picked up by marketers.
2852       </p><p>
2853         Francesco said that, over time, the Blender Institute projects have gotten
2854 bigger and more prominent. That means the filmmaking process has become more
2855 complex, combining technical experts and artists who focus on
2856 storytelling. Francesco says the process is almost on an industrial scale
2857 because of the number of moving parts. This requires a lot of specialized
2858 assistance, but the Blender Institute has no problem finding the talent it
2859 needs to help on projects. <span class="quote">“<span class="quote">Blender hardly does any recruiting for
2860 film projects because the talent emerges naturally,</span>”</span> Francesco
2861 said. <span class="quote">“<span class="quote">So many people want to work with us, and we can’t always hire
2862 them because of budget constraints.</span>”</span>
2863       </p><p>
2864         Blender has had a lot of success raising money from its community over the
2865 years. In many ways, the pitch has gotten easier to make. Not only is
2866 crowdfunding simply more familiar to the public, but people know and trust
2867 Blender to deliver, and Ton has developed a reputation as an effective
2868 community leader and visionary for their work. <span class="quote">“<span class="quote">There is a whole
2869 community who sees and understands the benefit of these projects,</span>”</span>
2870 Francesco said.
2871       </p><p>
2872         While these benefits of each open-movie project make a compelling pitch for
2873 crowdfunding campaigns, Francesco told us the Blender Institute has found
2874 some limitations in the standard crowdfunding model where you propose a
2875 specific project and ask for funding. <span class="quote">“<span class="quote">Once a project is over,
2876 everyone goes home,</span>”</span> he said. <span class="quote">“<span class="quote">It is great fun, but then it
2877 ends.  That is a problem.</span>”</span>
2878       </p><p>
2879         To make their work more sustainable, they needed a way to receive ongoing
2880 support rather than on a project-by-project basis. Their solution is Blender
2881 Cloud, a subscription-style crowdfunding model akin to the online
2882 crowdfunding platform, Patreon. For about ten euros each month, subscribers
2883 get access to download everything the Blender Institute produces—software,
2884 art, training, and more. All of the assets are available under an
2885 Attribution license (CC BY) or placed in the public domain (CC0), but they
2886 are initially made available only to subscribers. Blender Cloud enables
2887 subscribers to follow Blender’s movie projects as they develop, sharing
2888 detailed information and content used in the creative process. Blender Cloud
2889 also has extensive training materials and libraries of characters and other
2890 assets used in various projects.
2891       </p><p>
2892         The continuous financial support provided by Blender Cloud subsidizes five
2893 to six full-time employees at the Blender Institute. Francesco says their
2894 goal is to grow their subscriber base. <span class="quote">“<span class="quote">This is our freedom,</span>”</span>
2895 he told us, <span class="quote">“<span class="quote">and for artists, freedom is everything.</span>”</span>
2896       </p><p>
2897         Blender Cloud is the primary revenue stream of the Blender Institute. The
2898 Blender Foundation is funded primarily by donations, and that money goes
2899 toward software development and maintenance. The revenue streams of the
2900 Institute and Foundation are deliberately kept separate. Blender also has
2901 other revenue streams, such as the Blender Store, where people can purchase
2902 DVDs, T-shirts, and other Blender products.
2903       </p><p>
2904         Ton has worked on projects relating to his Blender software for nearly
2905 twenty years. Throughout most of that time, he has been committed to making
2906 the software and the content produced with the software free and
2907 open. Selling a license has never been part of the business model.
2908       </p><p>
2909         Since 2006, he has been making films available along with all of their
2910 source material. He says he has hardly ever seen people stepping into
2911 Blender’s shoes and trying to make money off of their content. Ton believes
2912 this is because the true value of what they do is in the creative and
2913 production process.  <span class="quote">“<span class="quote">Even when you share everything, all your
2914 original sources, it still takes a lot of talent, skills, time, and budget
2915 to reproduce what you did,</span>”</span> Ton said.
2916       </p><p>
2917         For Ton and Blender, it all comes back to doing.
2918       </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Capítulo 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>
2919           Cards Against Humanity is a private, for-profit company that makes a popular
2920 party game by the same name. Founded in 2011 in the U.S.
2921         </p><p>
2922           <a class="ulink" href="http://www.cardsagainsthumanity.com" target="_top">http://www.cardsagainsthumanity.com</a>
2923         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
2924 copies
2925         </p><p><span class="strong"><strong>Interview date</strong></span>: February 3, 2016
2926         </p><p><span class="strong"><strong>Interviewee</strong></span>: Max Temkin, cofounder
2927         </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}
2928     \textit{
2929           Profile written by Sarah Hinchliff Pearson
2930         }
2931     \end{flushright}</td></tr></table></div><p>
2932         If you ask cofounder Max Temkin, there is nothing particularly interesting
2933 about the Cards Against Humanity business model.  <span class="quote">“<span class="quote">We make a
2934 product. We sell it for money. Then we spend less money than we
2935 make,</span>”</span> Max said.
2936       </p><p>
2937         He is right. Cards Against Humanity is a simple party game, modeled after
2938 the game Apples to Apples. To play, one player asks a question or
2939 fill-in-the-blank statement from a black card, and the other players submit
2940 their funniest white card in response. The catch is that all of the cards
2941 are filled with crude, gruesome, and otherwise awful things. For the right
2942 kind of people (<span class="quote">“<span class="quote">horrible people,</span>”</span> according to Cards Against
2943 Humanity advertising), this makes for a hilarious and fun game.
2944       </p><p>
2945         The revenue model is simple. Physical copies of the game are sold for a
2946 profit. And it works. At the time of this writing, Cards Against Humanity is
2947 the number-one best-selling item out of all toys and games on Amazon. There
2948 are official expansion packs available, and several official themed packs
2949 and international editions as well.
2950       </p><p>
2951         But Cards Against Humanity is also available for free. Anyone can download a
2952 digital version of the game on the Cards Against Humanity website. More than
2953 one million people have downloaded the game since the company began tracking
2954 the numbers.
2955       </p><p>
2956         The game is available under an Attribution-NonCommercial-ShareAlike license
2957 (CC BY-NC-SA). That means, in addition to copying the game, anyone can
2958 create new versions of the game as long as they make it available under the
2959 same noncommercial terms. The ability to adapt the game is like an entire
2960 new game unto itself.
2961       </p><p>
2962         All together, these factors—the crass tone of the game and company, the free
2963 download, the openness to fans remixing the game—give the game a massive
2964 cult following.
2965       </p><p>
2966         Their success is not the result of a grand plan. Instead, Cards Against
2967 Humanity was the last in a long line of games and comedy projects that Max
2968 Temkin and his friends put together for their own amusement. As Max tells
2969 the story, they made the game so they could play it themselves on New Year’s
2970 Eve because they were too nerdy to be invited to other parties. The game was
2971 a hit, so they decided to put it up online as a free PDF. People started
2972 asking if they could pay to have the game printed for them, and eventually
2973 they decided to run a Kickstarter to fund the printing. They set their
2974 Kickstarter goal at $4,000—and raised $15,000. The game was officially
2975 released in May 2011.
2976       </p><p>
2977         The game caught on quickly, and it has only grown more popular over
2978 time. Max says the eight founders never had a meeting where they decided to
2979 make it an ongoing business. <span class="quote">“<span class="quote">It kind of just happened,</span>”</span> he
2980 said.
2981       </p><p>
2982         But this tale of a <span class="quote">“<span class="quote">happy accident</span>”</span> belies marketing
2983 genius. Just like the game, the Cards Against Humanity brand is irreverent
2984 and memorable. It is hard to forget a company that calls the FAQ on their
2985 website <span class="quote">“<span class="quote">Your dumb questions.</span>”</span>
2986       </p><p>
2987         Like most quality satire, however, there is more to the joke than vulgarity
2988 and shock value. The company’s marketing efforts around Black Friday
2989 illustrate this particularly well. For those outside the United States,
2990 Black Friday is the term for the day after the Thanksgiving holiday, the
2991 biggest shopping day of the year. It is an incredibly important day for
2992 Cards Against Humanity, like it is for all U.S. retailers. Max said they
2993 struggled with what to do on Black Friday because they didn’t want to
2994 support what he called the <span class="quote">“<span class="quote">orgy of consumerism</span>”</span> the day has
2995 become, particularly since it follows a day that is about being grateful for
2996 what you have. In 2013, after deliberating, they decided to have an
2997 Everything Costs $5 More sale.
2998       </p><p><span class="quote">“<span class="quote">We sweated it out the night before Black Friday, wondering if our
2999 fans were going to hate us for it,</span>”</span> he said. <span class="quote">“<span class="quote">But it made us
3000 laugh so we went with it. People totally caught the joke.</span>”</span>
3001       </p><p>
3002         This sort of bold transparency delights the media, but more importantly, it
3003 engages their fans. <span class="quote">“<span class="quote">One of the most surprising things you can do in
3004 capitalism is just be honest with people,</span>”</span> Max said. <span class="quote">“<span class="quote">It shocks
3005 people that there is transparency about what you are doing.</span>”</span>
3006       </p><p>
3007         Max also likened it to a grand improv scene. <span class="quote">“<span class="quote">If we do something a
3008 little subversive and unexpected, the public wants to be a part of the
3009 joke.</span>”</span> One year they did a Give Cards Against Humanity $5 event,
3010 where people literally paid them five dollars for no reason. Their fans
3011 wanted to make the joke funnier by making it successful. They made $70,000
3012 in a single day.
3013       </p><p>
3014         This remarkable trust they have in their customers is what inspired their
3015 decision to apply a Creative Commons license to the game. Trusting your
3016 customers to reuse and remix your work requires a leap of faith. Cards
3017 Against Humanity obviously isn’t afraid of doing the unexpected, but there
3018 are lines even they do not want to cross. Before applying the license, Max
3019 said they worried that some fans would adapt the game to include all of the
3020 jokes they intentionally never made because they crossed that
3021 line. <span class="quote">“<span class="quote">It happened, and the world didn’t end,</span>”</span> Max
3022 said. <span class="quote">“<span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
3023 times over because there are so many benefits.</span>”</span>
3024       </p><p>
3025         Any successful product inspires its biggest fans to create remixes of it,
3026 but unsanctioned adaptations are more likely to fly under the radar. The
3027 Creative Commons license gives fans of Cards Against Humanity the freedom to
3028 run with the game and copy, adapt, and promote their creations openly. Today
3029 there are thousands of fan expansions of the game.
3030       </p><p>
3031         Max said, <span class="quote">“<span class="quote">CC was a no-brainer for us because it gets the most people
3032 involved. Making the game free and available under a CC license led to the
3033 unbelievable situation where we are one of the best-marketed games in the
3034 world, and we have never spent a dime on marketing.</span>”</span>
3035       </p><p>
3036         Of course, there are limits to what the company allows its customers to do
3037 with the game. They chose the Attribution-NonCommercial-ShareAlike license
3038 because it restricts people from using the game to make money. It also
3039 requires that adaptations of the game be made available under the same
3040 licensing terms if they are shared publicly. Cards Against Humanity also
3041 polices its brand. <span class="quote">“<span class="quote">We feel like we’re the only ones who can use our
3042 brand and our game and make money off of it,</span>”</span> Max said. About 99.9
3043 percent of the time, they just send an email to those making commercial use
3044 of the game, and that is the end of it. There have only been a handful of
3045 instances where they had to get a lawyer involved.
3046       </p><p>
3047         Just as there is more than meets the eye to the Cards Against Humanity
3048 business model, the same can be said of the game itself. To be playable,
3049 every white card has to work syntactically with enough black cards. The
3050 eight creators invest an incredible amount of work into creating new cards
3051 for the game. <span class="quote">“<span class="quote">We have daylong arguments about commas,</span>”</span> Max
3052 said. <span class="quote">“<span class="quote">The slacker tone of the cards gives people the impression that
3053 it is easy to write them, but it is actually a lot of work and
3054 quibbling.</span>”</span>
3055       </p><p>
3056         That means cocreation with their fans really doesn’t work. The company has a
3057 submission mechanism on their website, and they get thousands of
3058 suggestions, but it is very rare that a submitted card is adopted. Instead,
3059 the eight initial creators remain the primary authors of expansion decks and
3060 other new products released by the company. Interestingly, the creativity of
3061 their customer base is really only an asset to the company once their
3062 original work is created and published when people make their own
3063 adaptations of the game.
3064       </p><p>
3065         For all of their success, the creators of Cards Against Humanity are only
3066 partially motivated by money. Max says they have always been interested in
3067 the Walt Disney philosophy of financial success. <span class="quote">“<span class="quote">We don’t make jokes
3068 and games to make money—we make money so we can make more jokes and
3069 games,</span>”</span> he said.
3070       </p><p>
3071         In fact, the company has given more than $4 million to various charities and
3072 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
3073 have other interests and hobbies. We are passionate about other things going
3074 on in our lives. A lot of the activism we have done comes out of us taking
3075 things from the rest of our lives and channeling some of the excitement from
3076 the game into it.</span>”</span>
3077       </p><p>
3078         Seeing money as fuel rather than the ultimate goal is what has enabled them
3079 to embrace Creative Commons licensing without reservation. CC licensing
3080 ended up being a savvy marketing move for the company, but nonetheless,
3081 giving up exclusive control of your work necessarily means giving up some
3082 opportunities to extract more money from customers.
3083       </p><p><span class="quote">“<span class="quote">It’s not right for everyone to release everything under CC
3084 licensing,</span>”</span> Max said. <span class="quote">“<span class="quote">If your only goal is to make a lot of
3085 money, then CC is not best strategy. This kind of business model, though,
3086 speaks to your values, and who you are and why you’re making things.</span>”</span>
3087       </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Capítulo 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>
3088           The Conversation is an independent source of news, sourced from the academic
3089 and research community and delivered direct to the public over the
3090 Internet. Founded in 2011 in Australia.
3091         </p><p>
3092           <a class="ulink" href="http://theconversation.com" target="_top">http://theconversation.com</a>
3093         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
3094 (universities pay membership fees to have their faculties serve as writers),
3095 grant funding
3096         </p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
3097         </p><p><span class="strong"><strong>Interviewee</strong></span>: Andrew Jaspan, founder
3098         </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}
3099     \textit{
3100           Profile written by Paul Stacey
3101         }
3102     \end{flushright}</td></tr></table></div><p>
3103         Andrew Jaspan spent years as an editor of major newspapers including the
3104 Observer in London, the Sunday Herald in Glasgow, and the Age in Melbourne,
3105 Australia. He experienced firsthand the decline of newspapers, including the
3106 collapse of revenues, layoffs, and the constant pressure to reduce
3107 costs. After he left the Age in 2005, his concern for the future journalism
3108 didn’t go away. Andrew made a commitment to come up with an alternative
3109 model.
3110       </p><p>
3111         Around the time he left his job as editor of the Melbourne Age, Andrew
3112 wondered where citizens would get news grounded in fact and evidence rather
3113 than opinion or ideology. He believed there was still an appetite for
3114 journalism with depth and substance but was concerned about the increasing
3115 focus on the sensational and sexy.
3116       </p><p>
3117         While at the Age, he’d become friends with a vice-chancellor of a university
3118 in Melbourne who encouraged him to talk to smart people across campus—an
3119 astrophysicist, a Nobel laureate, earth scientists, economists . . . These
3120 were the kind of smart people he wished were more involved in informing the
3121 world about what is going on and correcting the errors that appear in
3122 media.  However, they were reluctant to engage with mass media. Often,
3123 journalists didn’t understand what they said, or unilaterally chose what
3124 aspect of a story to tell, putting out a version that these people felt was
3125 wrong or mischaracterized. Newspapers want to attract a mass
3126 audience. Scholars want to communicate serious news, findings, and
3127 insights. It’s not a perfect match.  Universities are massive repositories
3128 of knowledge, research, wisdom, and expertise. But a lot of that stays
3129 behind a wall of their own making—there are the walled garden and ivory
3130 tower metaphors, and in more literal terms, the paywall. Broadly speaking,
3131 universities are part of society but disconnected from it. They are an
3132 enormous public resource but not that good at presenting their expertise to
3133 the wider public.
3134       </p><p>
3135         Andrew believed he could to help connect academics back into the public
3136 arena, and maybe help society find solutions to big problems. He thought
3137 about pairing professional editors with university and research experts,
3138 working one-on-one to refine everything from story structure to headline,
3139 captions, and quotes. The editors could help turn something that is academic
3140 into something understandable and readable. And this would be a key
3141 difference from traditional journalism—the subject matter expert would get a
3142 chance to check the article and give final approval before it is
3143 published. Compare this with reporters just picking and choosing the quotes
3144 and writing whatever they want.
3145       </p><p>
3146         The people he spoke to liked this idea, and Andrew embarked on raising money
3147 and support with the help of the Commonwealth Scientific and Industrial
3148 Research Organisation (CSIRO), the University of Melbourne, Monash
3149 University, the University of Technology Sydney, and the University of
3150 Western Australia.  These founding partners saw the value of an independent
3151 information channel that would also showcase the talent and knowledge of the
3152 university and research sector. With their help, in 2011, the Conversation,
3153 was launched as an independent news site in Australia. Everything published
3154 in the Conversation is openly licensed with Creative Commons.
3155       </p><p>
3156         The Conversation is founded on the belief that underpinning a functioning
3157 democracy is access to independent, high-quality, informative
3158 journalism. The Conversation’s aim is for people to have a better
3159 understanding of current affairs and complex issues—and hopefully a better
3160 quality of public discourse. The Conversation sees itself as a source of
3161 trusted information dedicated to the public good. Their core mission is
3162 simple: to provide readers with a reliable source of evidence-based
3163 information.
3164       </p><p>
3165         Andrew worked hard to reinvent a methodology for creating reliable, credible
3166 content. He introduced strict new working practices, a charter, and codes of
3167 conduct.<a href="#ftn.idm1137" class="footnote" name="idm1137"><sup class="footnote">[114]</sup></a> These include fully disclosing
3168 who every author is (with their relevant expertise); who is funding their
3169 research; and if there are any potential or real conflicts of interest.
3170 Also important is where the content originates, and even though it comes
3171 from the university and research community, it still needs to be fully
3172 disclosed. The Conversation does not sit behind a paywall. Andrew believes
3173 access to information is an issue of equality—everyone should have access,
3174 like access to clean water. The Conversation is committed to an open and
3175 free Internet. Everyone should have free access to their content, and be
3176 able to share it or republish it.
3177       </p><p>
3178         Creative Commons help with these goals; articles are published with the
3179 Attribution- NoDerivs license (CC BY-ND). They’re freely available for
3180 others to republish elsewhere as long as attribution is given and the
3181 content is not edited. Over five years, more than twenty-two thousand sites
3182 have republished their content. The Conversation website gets about 2.9
3183 million unique views per month, but through republication they have
3184 thirty-five million readers. This couldn’t have been done without the
3185 Creative Commons license, and in Andrew’s view, Creative Commons is central
3186 to everything the Conversation does.
3187       </p><p>
3188         When readers come across the Conversation, they seem to like what they find
3189 and recommend it to their friends, peers, and networks. Readership has grown
3190 primarily through word of mouth.  While they don’t have sales and marketing,
3191 they do promote their work through social media (including Twitter and
3192 Facebook), and by being an accredited supplier to Google News.
3193       </p><p>
3194         It’s usual for the founders of any company to ask themselves what kind of
3195 company it should be. It quickly became clear to the founders of the
3196 Conversation that they wanted to create a public good rather than make money
3197 off of information. Most media companies are working to aggregate as many
3198 eyeballs as possible and sell ads. The Conversation founders didn’t want
3199 this model. It takes no advertising and is a not-for-profit venture.
3200       </p><p>
3201         There are now different editions of the Conversation for Africa, the United
3202 Kingdom, France, and the United States, in addition to the one for
3203 Australia. All five editions have their own editorial mastheads, advisory
3204 boards, and content. The Conversation’s global virtual newsroom has roughly
3205 ninety staff working with thirty-five thousand academics from over sixteen
3206 hundred universities around the world. The Conversation would like to be
3207 working with university scholars from even more parts of the world.
3208       </p><p>
3209         Additionally, each edition has its own set of founding partners, strategic
3210 partners, and funders. They’ve received funding from foundations,
3211 corporates, institutions, and individual donations, but the Conversation is
3212 shifting toward paid memberships by universities and research institutions
3213 to sustain operations.  This would safeguard the current service and help
3214 improve coverage and features.
3215       </p><p>
3216         When professors from member universities write an article, there is some
3217 branding of the university associated with the article.  On the Conversation
3218 website, paying university members are listed as <span class="quote">“<span class="quote">members and
3219 funders.</span>”</span> Early participants may be designated as <span class="quote">“<span class="quote">founding
3220 members,</span>”</span> with seats on the editorial advisory board.
3221       </p><p>
3222         Academics are not paid for their contributions, but they get free editing
3223 from a professional (four to five hours per piece, on average). They also
3224 get access to a large audience. Every author and member university has
3225 access to a special analytics dashboard where they can check the reach of an
3226 article. The metrics include what people are tweeting, the comments,
3227 countries the readership represents, where the article is being republished,
3228 and the number of readers per article.
3229       </p><p>
3230         The Conversation plans to expand the dashboard to show not just reach but
3231 impact. This tracks activities, behaviors, and events that occurred as a
3232 result of publication, including things like a scholar being asked to go on
3233 a show to discuss their piece, give a talk at a conference, collaborate,
3234 submit a journal paper, and consult a company on a topic.
3235       </p><p>
3236         These reach and impact metrics show the benefits of membership.  With the
3237 Conversation, universities can engage with the public and show why they’re
3238 of value.
3239       </p><p>
3240         With its tagline, <span class="quote">“<span class="quote">Academic Rigor, Journalistic Flair,</span>”</span> the
3241 Conversation represents a new form of journalism that contributes to a more
3242 informed citizenry and improved democracy around the world. Its open
3243 business model and use of Creative Commons show how it’s possible to
3244 generate both a public good and operational revenue at the same time.
3245       </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1137" class="footnote"><p><a href="#idm1137" 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>Capítulo 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>
3246           Cory Doctorow is a science fiction writer, activist, blogger, and
3247 journalist. Based in the U.S.
3248         </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>
3249         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
3250 copies (book sales), pay-what-you-want, selling translation rights to books
3251         </p><p><span class="strong"><strong>Interview date</strong></span>: January 12, 2016
3252         </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}
3253     \textit{
3254           Profile written by Sarah Hinchliff Pearson
3255         }
3256     \end{flushright}</td></tr></table></div><p>
3257         Cory Doctorow hates the term <span class="quote">“<span class="quote">business model,</span>”</span> and he is
3258 adamant that he is not a brand. <span class="quote">“<span class="quote">To me, branding is the idea that you
3259 can take a thing that has certain qualities, remove the qualities, and go on
3260 selling it,</span>”</span> he said.  <span class="quote">“<span class="quote">I’m not out there trying to figure out
3261 how to be a brand.  I’m doing this thing that animates me to work crazy
3262 insane hours because it’s the most important thing I know how to do.</span>”</span>
3263       </p><p>
3264         Cory calls himself an entrepreneur. He likes to say his success came from
3265 making stuff people happened to like and then getting out of the way of them
3266 sharing it.
3267       </p><p>
3268         He is a science fiction writer, activist, blogger, and journalist. Beginning
3269 with his first novel, Down and Out in the Magic Kingdom, in 2003, his work
3270 has been published under a Creative Commons license. Cory is coeditor of the
3271 popular CC-licensed site Boing Boing, where he writes about technology,
3272 politics, and intellectual property. He has also written several nonfiction
3273 books, including the most recent Information Doesn’t Want to Be Free, about
3274 the ways in which creators can make a living in the Internet age.
3275       </p><p>
3276         Cory primarily makes money by selling physical books, but he also takes on
3277 paid speaking gigs and is experimenting with pay-what-you-want models for
3278 his work.
3279       </p><p>
3280         While Cory’s extensive body of fiction work has a large following, he is
3281 just as well known for his activism. He is an outspoken opponent of
3282 restrictive copyright and digital-rights-management (DRM) technology used to
3283 lock up content because he thinks both undermine creators and the public
3284 interest. He is currently a special adviser at the Electronic Frontier
3285 Foundation, where he is involved in a lawsuit challenging the U.S. law that
3286 protects DRM. Cory says his political work doesn’t directly make him money,
3287 but if he gave it up, he thinks he would lose credibility and, more
3288 importantly, lose the drive that propels him to create.  <span class="quote">“<span class="quote">My political
3289 work is a different expression of the same artistic-political urge,</span>”</span>
3290 he said. <span class="quote">“<span class="quote">I have this suspicion that if I gave up the things that
3291 didn’t make me money, the genuineness would leach out of what I do, and the
3292 quality that causes people to like what I do would be gone.</span>”</span>
3293       </p><p>
3294         Cory has been financially successful, but money is not his primary
3295 motivation. At the start of his book Information Doesn’t Want to Be Free, he
3296 stresses how important it is not to become an artist if your goal is to get
3297 rich. <span class="quote">“<span class="quote">Entering the arts because you want to get rich is like buying
3298 lottery tickets because you want to get rich,</span>”</span> he wrote. <span class="quote">“<span class="quote">It
3299 might work, but it almost certainly won’t. Though, of course, someone always
3300 wins the lottery.</span>”</span> He acknowledges that he is one of the lucky few to
3301 <span class="quote">“<span class="quote">make it,</span>”</span> but he says he would be writing no matter
3302 what. <span class="quote">“<span class="quote">I am compelled to write,</span>”</span> he wrote. <span class="quote">“<span class="quote">Long before I
3303 wrote to keep myself fed and sheltered, I was writing to keep myself
3304 sane.</span>”</span>
3305       </p><p>
3306         Just as money is not his primary motivation to create, money is not his
3307 primary motivation to share. For Cory, sharing his work with Creative
3308 Commons is a moral imperative. <span class="quote">“<span class="quote">It felt morally right,</span>”</span> he said
3309 of his decision to adopt Creative Commons licenses. <span class="quote">“<span class="quote">I felt like I
3310 wasn’t contributing to the culture of surveillance and censorship that has
3311 been created to try to stop copying.</span>”</span> In other words, using CC
3312 licenses symbolizes his worldview.
3313       </p><p>
3314         He also feels like there is a solid commercial basis for licensing his work
3315 with Creative Commons. While he acknowledges he hasn’t been able to do a
3316 controlled experiment to compare the commercial benefits of licensing with
3317 CC against reserving all rights, he thinks he has sold more books using a CC
3318 license than he would have without it. Cory says his goal is to convince
3319 people they should pay him for his work. <span class="quote">“<span class="quote">I started by not calling
3320 them thieves,</span>”</span> he said.
3321       </p><p>
3322         Cory started using CC licenses soon after they were first created. At the
3323 time his first novel came out, he says the science fiction genre was overrun
3324 with people scanning and downloading books without permission. When he and
3325 his publisher took a closer look at who was doing that sort of thing online,
3326 they realized it looked a lot like book promotion. <span class="quote">“<span class="quote">I knew there was a
3327 relationship between having enthusiastic readers and having a successful
3328 career as a writer,</span>”</span> he said.  <span class="quote">“<span class="quote">At the time, it took eighty
3329 hours to OCR a book, which is a big effort. I decided to spare them the time
3330 and energy, and give them the book for free in a format destined to
3331 spread.</span>”</span>
3332       </p><p>
3333         Cory admits the stakes were pretty low for him when he first adopted
3334 Creative Commons licenses. He only had to sell two thousand copies of his
3335 book to break even. People often said he was only able to use CC licenses
3336 successfully at that time because he was just starting out. Now they say he
3337 can only do it because he is an established author.
3338       </p><p>
3339         The bottom line, Cory says, is that no one has found a way to prevent people
3340 from copying the stuff they like. Rather than fighting the tide, Cory makes
3341 his work intrinsically shareable.  <span class="quote">“<span class="quote">Getting the hell out of the way
3342 for people who want to share their love of you with other people sounds
3343 obvious, but it’s remarkable how many people don’t do it,</span>”</span> he said.
3344       </p><p>
3345         Making his work available under Creative Commons licenses enables him to
3346 view his biggest fans as his ambassadors.  <span class="quote">“<span class="quote">Being open to fan activity
3347 makes you part of the conversation about what fans do with your work and how
3348 they interact with it,</span>”</span> he said. Cory’s own website routinely
3349 highlights cool things his audience has done with his work.  Unlike
3350 corporations like Disney that tend to have a hands-off relationship with
3351 their fan activity, he has a symbiotic relationship with his
3352 audience. <span class="quote">“<span class="quote">Engaging with your audience can’t guarantee you
3353 success,</span>”</span> he said.  <span class="quote">“<span class="quote">And Disney is an example of being able to
3354 remain aloof and still being the most successful company in the creative
3355 industry in history. But I figure my likelihood of being Disney is pretty
3356 slim, so I should take all the help I can get.</span>”</span>
3357       </p><p>
3358         His first book was published under the most restrictive Creative Commons
3359 license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND). It allows only
3360 verbatim copying for noncommercial purposes. His later work is published
3361 under the Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA), which
3362 gives people the right to adapt his work for noncommercial purposes but only
3363 if they share it back under the same license terms. Before releasing his
3364 work under a CC license that allows adaptations, he always sells the right
3365 to translate the book to other languages to a commercial publisher first. He
3366 wants to reach new potential buyers in other parts of the world, and he
3367 thinks it is more difficult to get people to pay for translations if there
3368 are fan translations already available for free.
3369       </p><p>
3370         In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
3371 to thinking like a dandelion. Dandelions produce thousands of seeds each
3372 spring, and they are blown into the air going in every direction. The
3373 strategy is to maximize the number of blind chances the dandelion has for
3374 continuing its genetic line. Similarly, he says there are lots of people out
3375 there who may want to buy creative work or compensate authors for it in some
3376 other way. <span class="quote">“<span class="quote">The more places your work can find itself, the greater the
3377 likelihood that it will find one of those would-be customers in some
3378 unsuspected crack in the metaphorical pavement,</span>”</span> he wrote. <span class="quote">“<span class="quote">The
3379 copies that others make of my work cost me nothing, and present the
3380 possibility that I’ll get something.</span>”</span>
3381       </p><p>
3382         Applying a CC license to his work increases the chances it will be shared
3383 more widely around the Web. He avoids DRM—and openly opposes the
3384 practice—for similar reasons. DRM has the effect of tying a work to a
3385 particular platform. This digital lock, in turn, strips the authors of
3386 control over their own work and hands that control over to the platform. He
3387 calls it Cory’s First Law: <span class="quote">“<span class="quote">Anytime someone puts a lock on something
3388 that belongs to you and won’t give you the key, that lock isn’t there for
3389 your benefit.</span>”</span>
3390       </p><p>
3391         Cory operates under the premise that artists benefit when there are more,
3392 rather than fewer, places where people can access their work. The Internet
3393 has opened up those avenues, but DRM is designed to limit them. <span class="quote">“<span class="quote">On
3394 the one hand, we can credibly make our work available to a widely dispersed
3395 audience,</span>”</span> he said. <span class="quote">“<span class="quote">On the other hand, the intermediaries we
3396 historically sold to are making it harder to go around them.</span>”</span> Cory
3397 continually looks for ways to reach his audience without relying upon major
3398 platforms that will try to take control over his work.
3399       </p><p>
3400         Cory says his e-book sales have been lower than those of his competitors,
3401 and he attributes some of that to the CC license making the work available
3402 for free. But he believes people are willing to pay for content they like,
3403 even when it is available for free, as long as it is easy to do. He was
3404 extremely successful using Humble Bundle, a platform that allows people to
3405 pay what they want for DRM-free versions of a bundle of a particular
3406 creator’s work. He is planning to try his own pay-what-you-want experiment
3407 soon.
3408       </p><p>
3409         Fans are particularly willing to pay when they feel personally connected to
3410 the artist. Cory works hard to create that personal connection. One way he
3411 does this is by personally answering every single email he gets. <span class="quote">“<span class="quote">If
3412 you look at the history of artists, most die in penury,</span>”</span> he
3413 said. <span class="quote">“<span class="quote">That reality means that for artists, we have to find ways to
3414 support ourselves when public tastes shift, when copyright stops
3415 producing. Future-proofing your artistic career in many ways means figuring
3416 out how to stay connected to those people who have been touched by your
3417 work.</span>”</span>
3418       </p><p>
3419         Cory’s realism about the difficulty of making a living in the arts does not
3420 reflect pessimism about the Internet age. Instead, he says the fact that it
3421 is hard to make a living as an artist is nothing new. What is new, he writes
3422 in his book, <span class="quote">“<span class="quote">is how many ways there are to make things, and to get
3423 them into other people’s hands and minds.</span>”</span>
3424       </p><p>
3425         It has never been easier to think like a dandelion.
3426       </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Capítulo 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>
3427           Figshare is a for-profit company offering an online repository where
3428 researchers can preserve and share the output of their research, including
3429 figures, data sets, images, and videos.  Founded in 2011 in the UK.
3430         </p><p>
3431           <a class="ulink" href="http://figshare.com" target="_top">http://figshare.com</a>
3432         </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
3433 services to creators
3434         </p><p><span class="strong"><strong>Interview date</strong></span>: January 28, 2016
3435         </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Hahnel, founder
3436         </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}
3437     \textit{
3438           Profile written by Paul Stacey
3439         }
3440     \end{flushright}</td></tr></table></div><p>
3441         Figshare’s mission is to change the face of academic publishing through
3442 improved dissemination, discoverability, and reusability of scholarly
3443 research. Figshare is a repository where users can make all the output of
3444 their research available—from posters and presentations to data sets and
3445 code—in a way that’s easy to discover, cite, and share. Users can upload any
3446 file format, which can then be previewed in a Web browser. Research output
3447 is disseminated in a way that the current scholarly-publishing model does
3448 not allow.
3449       </p><p>
3450         Figshare founder Mark Hahnel often gets asked: How do you make money? How do
3451 we know you’ll be here in five years? Can you, as a for-profit venture, be
3452 trusted? Answers have evolved over time.
3453       </p><p>
3454         Mark traces the origins of Figshare back to when he was a graduate student
3455 getting his PhD in stem cell biology. His research involved working with
3456 videos of stem cells in motion.  However, when he went to publish his
3457 research, there was no way for him to also publish the videos, figures,
3458 graphs, and data sets. This was frustrating. Mark believed publishing his
3459 complete research would lead to more citations and be better for his career.
3460       </p><p>
3461         Mark does not consider himself an advanced software programmer.
3462 Fortunately, things like cloud-based computing and wikis had become
3463 mainstream, and he believed it ought to be possible to put all his research
3464 online and share it with anyone. So he began working on a solution.
3465       </p><p>
3466         There were two key needs: licenses to make the data citable, and persistent
3467 identifiers— URL links that always point back to the original object
3468 ensuring the research is citable for the long term.
3469       </p><p>
3470         Mark chose Digital Object Identifiers (DOIs) to meet the need for a
3471 persistent identifier. In the DOI system, an object’s metadata is stored as
3472 a series of numbers in the DOI name.  Referring to an object by its DOI is
3473 more stable than referring to it by its URL, because the location of an
3474 object (the web page or URL) can often change. Mark partnered with DataCite
3475 for the provision of DOIs for research data.
3476       </p><p>
3477         As for licenses, Mark chose Creative Commons. The open-access and
3478 open-science communities were already using and recommending Creative
3479 Commons. Based on what was happening in those communities and Mark’s
3480 dialogue with peers, he went with CC0 (in the public domain) for data sets
3481 and CC BY (Attribution) for figures, videos, and data sets.
3482       </p><p>
3483         So Mark began using DOIs and Creative Commons for his own research work. He
3484 had a science blog where he wrote about it and made all his data
3485 open. People started commenting on his blog that they wanted to do the
3486 same. So he opened it up for them to use, too.
3487       </p><p>
3488         People liked the interface and simple upload process. People started asking
3489 if they could also share theses, grant proposals, and code. Inclusion of
3490 code raised new licensing issues, as Creative Commons licenses are not used
3491 for software. To allow the sharing of software code, Mark chose the MIT
3492 license, but GNU and Apache licenses can also be used.
3493       </p><p>
3494         Mark sought investment to make this into a scalable product.  After a few
3495 unsuccessful funding pitches, UK-based Digital Science expressed interest
3496 but insisted on a more viable business model. They made an initial
3497 investment, and together they came up with a freemium-like business model.
3498       </p><p>
3499         Under the freemium model, academics upload their research to Figshare for
3500 storage and sharing for free. Each research object is licensed with Creative
3501 Commons and receives a DOI link. The premium option charges researchers a
3502 fee for gigabytes of private storage space, and for private online space
3503 designed for a set number of research collaborators, which is ideal for
3504 larger teams and geographically dispersed research groups.  Figshare sums up
3505 its value proposition to researchers as <span class="quote">“<span class="quote">You retain ownership. You
3506 license it. You get credit. We just make sure it persists.</span>”</span>
3507       </p><p>
3508         In January 2012, Figshare was launched. (The fig in Figshare stands for
3509 figures.) Using investment funds, Mark made significant improvements to
3510 Figshare. For example, researchers could quickly preview their research
3511 files within a browser without having to download them first or require
3512 third-party software. Journals who were still largely publishing articles as
3513 static noninteractive PDFs became interested in having Figshare provide that
3514 functionality for them.
3515       </p><p>
3516         Figshare diversified its business model to include services for
3517 journals. Figshare began hosting large amounts of data for the journals’
3518 online articles. This additional data improved the quality of the
3519 articles. Outsourcing this service to Figshare freed publishers from having
3520 to develop this functionality as part of their own
3521 infrastructure. Figshare-hosted data also provides a link back to the
3522 article, generating additional click-through and readership—a benefit to
3523 both journal publishers and researchers. Figshare now provides research-data
3524 infrastructure for a wide variety of publishers including Wiley, Springer
3525 Nature, PLOS, and Taylor and Francis, to name a few, and has convinced them
3526 to use Creative Commons licenses for the data.
3527       </p><p>
3528         Governments allocate significant public funds to research. In parallel with
3529 the launch of Figshare, governments around the world began requesting the
3530 research they fund be open and accessible. They mandated that researchers
3531 and academic institutions better manage and disseminate their research
3532 outputs. Institutions looking to comply with this new mandate became
3533 interested in Figshare. Figshare once again diversified its business model,
3534 adding services for institutions.
3535       </p><p>
3536         Figshare now offers a range of fee-based services to institutions, including
3537 their own minibranded Figshare space (called Figshare for Institutions) that
3538 securely hosts research data of institutions in the cloud. Services include
3539 not just hosting but data metrics, data dissemination, and user-group
3540 administration. Figshare’s workflow, and the services they offer for
3541 institutions, take into account the needs of librarians and administrators,
3542 as well as of the researchers.
3543       </p><p>
3544         As with researchers and publishers, Fig-share encouraged institutions to
3545 share their research with CC BY (Attribution)  and their data with CC0 (into
3546 the public domain). Funders who require researchers and institutions to use
3547 open licensing believe in the social responsibilities and benefits of making
3548 research accessible to all. Publishing research in this open way has come to
3549 be called open access. But not all funders specify CC BY; some institutions
3550 want to offer their researchers a choice, including less permissive licenses
3551 like CC BY-NC (Attribution-NonCommercial), CC BY-SA
3552 (Attribution-ShareAlike), or CC BY-ND (Attribution-NoDerivs).
3553       </p><p>
3554         For Mark this created a conflict. On the one hand, the principles and
3555 benefits of open science are at the heart of Figshare, and Mark believes CC
3556 BY is the best license for this.  On the other hand, institutions were
3557 saying they wouldn’t use Figshare unless it offered a choice in licenses. He
3558 initially refused to offer anything beyond CC0 and CC BY, but after seeing
3559 an open-source CERN project offer all Creative Commons licenses without any
3560 negative repercussions, he decided to follow suit.
3561       </p><p>
3562         Mark is thinking of doing a Figshare study that tracks research
3563 dissemination according to Creative Commons license, and gathering metrics
3564 on views, citations, and downloads. You could see which license generates
3565 the biggest impact. If the data showed that CC BY is more impactful, Mark
3566 believes more and more researchers and institutions will make it their
3567 license of choice.
3568       </p><p>
3569         Figshare has an Application Programming Interface (API) that makes it
3570 possible for data to be pulled from Figshare and used in other
3571 applications. As an example, Mark shared a Figshare data set showing the
3572 journal subscriptions that higher-education institutions in the United
3573 Kingdom paid to ten major publishers.<a href="#ftn.idm1245" class="footnote" name="idm1245"><sup class="footnote">[115]</sup></a>
3574 Figshare’s API enables that data to be pulled into an app developed by a
3575 completely different researcher that converts the data into a visually
3576 interesting graph, which any viewer can alter by changing any of the
3577 variables.<a href="#ftn.idm1248" class="footnote" name="idm1248"><sup class="footnote">[116]</sup></a>
3578       </p><p>
3579         The free version of Figshare has built a community of academics, who through
3580 word of mouth and presentations have promoted and spread awareness of
3581 Figshare. To amplify and reward the community, Figshare established an
3582 Advisor program, providing those who promoted Figshare with hoodies and
3583 T-shirts, early access to new features, and travel expenses when they gave
3584 presentations outside of their area. These Advisors also helped Mark on what
3585 license to use for software code and whether to offer universities an option
3586 of using Creative Commons licenses.
3587       </p><p>
3588         Mark says his success is partly about being in the right place at the right
3589 time. He also believes that the diversification of Figshare’s model over
3590 time has been key to success. Figshare now offers a comprehensive set of
3591 services to researchers, publishers, and institutions.<a href="#ftn.idm1253" class="footnote" name="idm1253"><sup class="footnote">[117]</sup></a> If he had relied solely on revenue from premium
3592 subscriptions, he believes Figshare would have struggled. In Figshare’s
3593 early days, their primary users were early-career and late-career
3594 academics. It has only been because funders mandated open licensing that
3595 Figshare is now being used by the mainstream.
3596       </p><p>
3597         Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
3598 800,000–plus user uploads, 2 million–plus articles, 500,000-plus
3599 collections, and 5,000–plus projects. Sixty percent of their traffic comes
3600 from Google. A sister company called Altmetric tracks the use of Figshare by
3601 others, including Wikipedia and news sources.
3602       </p><p>
3603         Figshare uses the revenue it generates from the premium subscribers, journal
3604 publishers, and institutions to fund and expand what it can offer to
3605 researchers for free. Figshare has publicly stuck to its principles—keeping
3606 the free service free and requiring the use of CC BY and CC0 from the
3607 start—and from Mark’s perspective, this is why people trust Figshare. Mark
3608 sees new competitors coming forward who are just in it for money. If
3609 Figshare was only in it for the money, they wouldn’t care about offering a
3610 free version. Figshare’s principles and advocacy for openness are a key
3611 differentiator. Going forward, Mark sees Figshare not only as supporting
3612 open access to research but also enabling people to collaborate and make new
3613 discoveries.
3614       </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1245" class="footnote"><p><a href="#idm1245" 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.idm1248" class="footnote"><p><a href="#idm1248" 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.idm1253" class="footnote"><p><a href="#idm1253" 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>Capítulo 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>
3615           Figure.NZ is a nonprofit charity that makes an online data platform designed
3616 to make data reusable and easy to understand. Founded in 2012 in New
3617 Zealand.
3618         </p><p>
3619           <a class="ulink" href="http://figure.nz" target="_top">http://figure.nz</a>
3620         </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
3621 services to creators, donations, sponsorships
3622         </p><p><span class="strong"><strong>Interview date</strong></span>: May 3, 2016
3623         </p><p><span class="strong"><strong>Interviewee</strong></span>: Lillian Grace, founder
3624         </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}
3625     \textit{
3626           Profile written by Paul Stacey
3627         }
3628     \end{flushright}</td></tr></table></div><p>
3629         In the paper Harnessing the Economic and Social Power of Data presented at
3630 the New Zealand Data Futures Forum in 2014,<a href="#ftn.idm1272" class="footnote" name="idm1272"><sup class="footnote">[118]</sup></a> Figure.NZ founder Lillian Grace said there are thousands of
3631 valuable and relevant data sets freely available to us right now, but most
3632 people don’t use them. She used to think this meant people didn’t care about
3633 being informed, but she’s come to see that she was wrong. Almost everyone
3634 wants to be informed about issues that matter—not only to them, but also to
3635 their families, their communities, their businesses, and their country. But
3636 there’s a big difference between availability and accessibility of
3637 information. Data is spread across thousands of sites and is held within
3638 databases and spreadsheets that require both time and skill to engage
3639 with. To use data when making a decision, you have to know what specific
3640 question to ask, identify a source that has collected the data, and
3641 manipulate complex tools to extract and visualize the information within the
3642 data set. Lillian established Figure.NZ to make data truly accessible to
3643 all, with a specific focus on New Zealand.
3644       </p><p>
3645         Lillian had the idea for Figure.NZ in February 2012 while working for the
3646 New Zealand Institute, a think tank concerned with improving economic
3647 prosperity, social well-being, environmental quality, and environmental
3648 productivity for New Zealand and New Zealanders. While giving talks to
3649 community and business groups, Lillian realized <span class="quote">“<span class="quote">every single issue we
3650 addressed would have been easier to deal with if more people understood the
3651 basic facts.</span>”</span> But understanding the basic facts sometimes requires
3652 data and research that you often have to pay for.
3653       </p><p>
3654         Lillian began to imagine a website that lifted data up to a visual form that
3655 could be easily understood and freely accessed.  Initially launched as Wiki
3656 New Zealand, the original idea was that people could contribute their data
3657 and visuals via a wiki.  However, few people had graphs that could be used
3658 and shared, and there were no standards or consistency around the data and
3659 the visuals. Realizing the wiki model wasn’t working, Lillian brought the
3660 process of data aggregation, curation, and visual presentation in-house, and
3661 invested in the technology to help automate some of it. Wiki New Zealand
3662 became Figure.NZ, and efforts were reoriented toward providing services to
3663 those wanting to open their data and present it visually.
3664       </p><p>
3665         Here’s how it works. Figure.NZ sources data from other organizations,
3666 including corporations, public repositories, government departments, and
3667 academics. Figure.NZ imports and extracts that data, and then validates and
3668 standardizes it—all with a strong eye on what will be best for users. They
3669 then make the data available in a series of standardized forms, both human-
3670 and machine-readable, with rich metadata about the sources, the licenses,
3671 and data types. Figure.NZ has a chart-designing tool that makes simple bar,
3672 line, and area graphs from any data source. The graphs are posted to the
3673 Figure.NZ website, and they can also be exported in a variety of formats for
3674 print or online use. Figure.NZ makes its data and graphs available using the
3675 Attribution (CC BY) license. This allows others to reuse, revise, remix, and
3676 redistribute Figure.NZ data and graphs as long as they give attribution to
3677 the original source and to Figure.NZ.
3678       </p><p>
3679         Lillian characterizes the initial decision to use Creative Commons as
3680 naively fortunate. It was first recommended to her by a colleague. Lillian
3681 spent time looking at what Creative Commons offered and thought it looked
3682 good, was clear, and made common sense. It was easy to use and easy for
3683 others to understand.  Over time, she’s come to realize just how fortunate
3684 and important that decision turned out to be. New Zealand’s government has
3685 an open-access and licensing framework called NZGOAL, which provides
3686 guidance for agencies when they release copyrighted and noncopyrighted work
3687 and material.<a href="#ftn.idm1280" class="footnote" name="idm1280"><sup class="footnote">[119]</sup></a> It aims to standardize
3688 the licensing of works with government copyright and how they can be reused,
3689 and it does this with Creative Commons licenses. As a result, 98 percent of
3690 all government-agency data is Creative Commons licensed, fitting in nicely
3691 with Figure.NZ’s decision.
3692       </p><p>
3693         Lillian thinks current ideas of what a business is are relatively new, only
3694 a hundred years old or so. She’s convinced that twenty years from now, we
3695 will see new and different models for business. Figure.NZ is set up as a
3696 nonprofit charity. It is purpose-driven but also strives to pay people well
3697 and thinks like a business. Lillian sees the charity-nonprofit status as an
3698 essential element for the mission and purpose of Figure.NZ. She believes
3699 Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
3700 nonprofit status assures people who have data and people who want to use it
3701 that they can rely on Figure.NZ’s motives. People see them as a trusted
3702 wrangler and source.
3703       </p><p>
3704         Although Figure.NZ is a social enterprise that openly licenses their data
3705 and graphs for everyone to use for free, they have taken care not to be
3706 perceived as a free service all around the table. Lillian believes hundreds
3707 of millions of dollars are spent by the government and organizations to
3708 collect data.  However, very little money is spent on taking that data and
3709 making it accessible, understandable, and useful for decision
3710 making. Government uses some of the data for policy, but Lillian believes
3711 that it is underutilized and the potential value is much larger. Figure.NZ
3712 is focused on solving that problem. They believe a portion of money
3713 allocated to collecting data should go into making sure that data is useful
3714 and generates value. If the government wants citizens to understand why
3715 certain decisions are being made and to be more aware about what the
3716 government is doing, why not transform the data it collects into easily
3717 understood visuals? It could even become a way for a government or any
3718 organization to differentiate, market, and brand itself.
3719       </p><p>
3720         Figure.NZ spends a lot of time seeking to understand the motivations of data
3721 collectors and to identify the channels where it can provide value. Every
3722 part of their business model has been focused on who is going to get value
3723 from the data and visuals.
3724       </p><p>
3725         Figure.NZ has multiple lines of business. They provide commercial services
3726 to organizations that want their data publicly available and want to use
3727 Figure.NZ as their publishing platform. People who want to publish open data
3728 appreciate Figure.NZ’s ability to do it faster, more easily, and better than
3729 they can. Customers are encouraged to help their users find, use, and make
3730 things from the data they make available on Figure.NZ’s website. Customers
3731 control what is released and the license terms (although Figure.NZ
3732 encourages Creative Commons licensing). Figure.NZ also serves customers who
3733 want a specific collection of charts created—for example, for their website
3734 or annual report. Charging the organizations that want to make their data
3735 available enables Figure.NZ to provide their site free to all users, to
3736 truly democratize data.
3737       </p><p>
3738         Lillian notes that the current state of most data is terrible and often not
3739 well understood by the people who have it. This sometimes makes it difficult
3740 for customers and Figure.NZ to figure out what it would cost to import,
3741 standardize, and display that data in a useful way. To deal with this,
3742 Figure.NZ uses <span class="quote">“<span class="quote">high-trust contracts,</span>”</span> where customers allocate
3743 a certain budget to the task that Figure.NZ is then free to draw from, as
3744 long as Figure.NZ frequently reports on what they’ve produced so the
3745 customer can determine the value for money. This strategy has helped build
3746 trust and transparency about the level of effort associated with doing work
3747 that has never been done before.
3748       </p><p>
3749         A second line of business is what Figure.NZ calls partners. ASB Bank and
3750 Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
3751 example, with their support Figure.NZ has been able to create Business
3752 Figures, a special way for businesses to find useful data without having to
3753 know what questions to ask.<a href="#ftn.idm1290" class="footnote" name="idm1290"><sup class="footnote">[120]</sup></a>
3754       </p><p>
3755         Figure.NZ also has patrons.<a href="#ftn.idm1294" class="footnote" name="idm1294"><sup class="footnote">[121]</sup></a> Patrons
3756 donate to topic areas they care about, directly enabling Figure.NZ to get
3757 data together to flesh out those areas. Patrons do not direct what data is
3758 included or excluded.
3759       </p><p>
3760         Figure.NZ also accepts philanthropic donations, which are used to provide
3761 more content, extend technology, and improve services, or are targeted to
3762 fund a specific effort or provide in-kind support. As a charity, donations
3763 are tax deductible.
3764       </p><p>
3765         Figure.NZ has morphed and grown over time. With data aggregation, curation,
3766 and visualizing services all in-house, Figure.NZ has developed a deep
3767 expertise in taking random styles of data, standardizing it, and making it
3768 useful. Lillian realized that Figure.NZ could easily become a warehouse of
3769 seventy people doing data. But for Lillian, growth isn’t always good. In her
3770 view, bigger often means less effective. Lillian set artificial constraints
3771 on growth, forcing the organization to think differently and be more
3772 efficient. Rather than in-house growth, they are growing and building
3773 external relationships.
3774       </p><p>
3775         Figure.NZ’s website displays visuals and data associated with a wide range
3776 of categories including crime, economy, education, employment, energy,
3777 environment, health, information and communications technology, industry,
3778 tourism, and many others. A search function helps users find tables and
3779 graphs. Figure.NZ does not provide analysis or interpretation of the data or
3780 visuals. Their goal is to teach people how to think, not think for
3781 them. Figure.NZ wants to create intuitive experiences, not user manuals.
3782       </p><p>
3783         Figure.NZ believes data and visuals should be useful. They provide their
3784 customers with a data collection template and teach them why it’s important
3785 and how to use it. They’ve begun putting more emphasis on tracking what
3786 users of their website want. They also get requests from social media and
3787 through email for them to share data for a specific topic—for example, can
3788 you share data for water quality? If they have the data, they respond
3789 quickly; if they don’t, they try and identify the organizations that would
3790 have that data and forge a relationship so they can be included on
3791 Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
3792 people to be curious about, access, and interpret data on topics they are
3793 interested in.
3794       </p><p>
3795         Lillian has a deep and profound vision for Figure.NZ that goes well beyond
3796 simply providing open-data services. She says things are different now. "We
3797 used to live in a world where it was really hard to share information
3798 widely. And in that world, the best future was created by having a few great
3799 leaders who essentially had access to the information and made decisions on
3800 behalf of others, whether it was on behalf of a country or companies.
3801       </p><p>
3802         "But now we live in a world where it’s really easy to share information
3803 widely and also to communicate widely. In the world we live in now, the best
3804 future is the one where everyone can make well-informed decisions.
3805       </p><p>
3806         "The use of numbers and data as a way of making well-informed decisions is
3807 one of the areas where there is the biggest gaps. We don’t really use
3808 numbers as a part of our thinking and part of our understanding yet.
3809       </p><p>
3810         "Part of the reason is the way data is spread across hundreds of sites. In
3811 addition, for the most part, deep thinking based on data is constrained to
3812 experts because most people don’t have data literacy. There once was a time
3813 when many citizens in society couldn’t read or write. However, as a society,
3814 we’ve now come to believe that reading and writing skills should be
3815 something all citizens have. We haven’t yet adopted a similar belief around
3816 numbers and data literacy. We largely still believe that only a few
3817 specially trained people can analyze and think with numbers.
3818       </p><p>
3819         "Figure.NZ may be the first organization to assert that everyone can use
3820 numbers in their thinking, and it’s built a technological platform along
3821 with trust and a network of relationships to make that possible. What you
3822 can see on Figure.NZ are tens of thousands of graphs, maps, and data.
3823       </p><p>
3824         <span class="quote">“<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
3825 analyze what they see around them. A way to be thoughtful and informed about
3826 society. A means of engaging in conversation and shaping decision making
3827 that transcends personal experience. The long-term value and impact is
3828 almost impossible to measure, but the goal is to help citizens gain
3829 understanding and work together in more informed ways to shape the
3830 future.</span>”</span>
3831       </p><p>
3832         Lillian sees Figure.NZ’s model as having global potential. But for now,
3833 their focus is completely on making Figure.NZ work in New Zealand and to get
3834 the <span class="quote">“<span class="quote">network effect</span>”</span>— users dramatically increasing value for
3835 themselves and for others through use of their service. Creative Commons is
3836 core to making the network effect possible.
3837       </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1272" class="footnote"><p><a href="#idm1272" 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.idm1280" class="footnote"><p><a href="#idm1280" 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.idm1290" class="footnote"><p><a href="#idm1290" 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.idm1294" class="footnote"><p><a href="#idm1294" 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>Capítulo 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>
3838           Knowledge Unlatched is a not-for-profit community interest company that
3839 brings libraries together to pool funds to publish open-access
3840 books. Founded in 2012 in the UK.
3841         </p><p>
3842           <a class="ulink" href="http://knowledgeunlatched.org" target="_top">http://knowledgeunlatched.org</a>
3843         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding (specialized)
3844         </p><p><span class="strong"><strong>Interview date</strong></span>: February 26, 2016
3845         </p><p><span class="strong"><strong>Interviewee</strong></span>: Frances Pinter, founder
3846         </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}
3847     \textit{
3848           Profile written by Paul Stacey
3849         }
3850     \end{flushright}</td></tr></table></div><p>
3851         The serial entrepreneur Dr. Frances Pinter has been at the forefront of
3852 innovation in the publishing industry for nearly forty years. She founded
3853 the UK-based Knowledge Unlatched with a mission to enable open access to
3854 scholarly books. For Frances, the current scholarly- book-publishing system
3855 is not working for anyone, and especially not for monographs in the
3856 humanities and social sciences. Knowledge Unlatched is committed to changing
3857 this and has been working with libraries to create a sustainable alternative
3858 model for publishing scholarly books, sharing the cost of making monographs
3859 (released under a Creative Commons license) and savings costs over the long
3860 term. Since its launch, Knowledge Unlatched has received several awards,
3861 including the IFLA/Brill Open Access award in 2014 and a Curtin University
3862 Commercial Innovation Award for Innovation in Education in 2015.
3863       </p><p>
3864         Dr. Pinter has been in academic publishing most of her career.  About ten
3865 years ago, she became acquainted with the Creative Commons founder Lawrence
3866 Lessig and got interested in Creative Commons as a tool for both protecting
3867 content online and distributing it free to users.
3868       </p><p>
3869         Not long after, she ran a project in Africa convincing publishers in Uganda
3870 and South Africa to put some of their content online for free using a
3871 Creative Commons license and to see what happened to print sales. Sales went
3872 up, not down.
3873       </p><p>
3874         In 2008, Bloomsbury Academic, a new imprint of Bloomsbury Publishing in the
3875 United Kingdom, appointed her its founding publisher in London. As part of
3876 the launch, Frances convinced Bloomsbury to differentiate themselves by
3877 putting out monographs for free online under a Creative Commons license
3878 (BY-NC or BY-NC-ND, i.e., Attribution-NonCommercial or
3879 Attribution-NonCommercial-NoDerivs). This was seen as risky, as the biggest
3880 cost for publishers is getting a book to the stage where it can be
3881 printed. If everyone read the online book for free, there would be no
3882 print-book sales at all, and the costs associated with getting the book to
3883 print would be lost.  Surprisingly, Bloomsbury found that sales of the print
3884 versions of these books were 10 to 20 percent higher than normal. Frances
3885 found it intriguing that the Creative Commons–licensed free online book acts
3886 as a marketing vehicle for the print format.
3887       </p><p>
3888         Frances began to look at customer interest in the three forms of the book:
3889 1) the Creative Commons–licensed free online book in PDF form, 2) the
3890 printed book, and 3) a digital version of the book on an aggregator platform
3891 with enhanced features. She thought of this as the <span class="quote">“<span class="quote">ice cream
3892 model</span>”</span>: the free PDF was vanilla ice cream, the printed book was an
3893 ice cream cone, and the enhanced e-book was an ice cream sundae.
3894       </p><p>
3895         After a while, Frances had an epiphany—what if there was a way to get
3896 libraries to underwrite the costs of making these books up until they’re
3897 ready be printed, in other words, cover the fixed costs of getting to the
3898 first digital copy? Then you could either bring down the cost of the printed
3899 book, or do a whole bunch of interesting things with the printed book and
3900 e-book—the ice cream cone or sundae part of the model.
3901       </p><p>
3902         This idea is similar to the article-processing charge some open-access
3903 journals charge researchers to cover publishing costs. Frances began to
3904 imagine a coalition of libraries paying for the prepress costs—a
3905 <span class="quote">“<span class="quote">book-processing charge</span>”</span>—and providing everyone in the world
3906 with an open-access version of the books released under a Creative Commons
3907 license.
3908       </p><p>
3909         This idea really took hold in her mind. She didn’t really have a name for it
3910 but began talking about it and making presentations to see if there was
3911 interest. The more she talked about it, the more people agreed it had
3912 appeal. She offered a bottle of champagne to anyone who could come up with a
3913 good name for the idea. Her husband came up with Knowledge Unlatched, and
3914 after two years of generating interest, she decided to move forward and
3915 launch a community interest company (a UK term for not-for-profit social
3916 enterprises) in 2012.
3917       </p><p>
3918         She describes the business model in a paper called Knowledge Unlatched:
3919 Toward an Open and Networked Future for Academic Publishing:
3920       </p><div class="orderedlist"><ol class="orderedlist compact" type="1"><li class="listitem"><p>
3921             Publishers offer titles for sale reflecting origination costs only via
3922 Knowledge Unlatched.
3923           </p></li><li class="listitem"><p>
3924             Individual libraries select titles either as individual titles or as
3925 collections (as they do from library suppliers now).
3926           </p></li><li class="listitem"><p>
3927             Their selections are sent to Knowledge Unlatched specifying the titles to be
3928 purchased at the stated price(s).
3929           </p></li><li class="listitem"><p>
3930             The price, called a Title Fee (set by publishers and negotiated by Knowledge
3931 Unlatched), is paid to publishers to cover the fixed costs of publishing
3932 each of the titles that were selected by a minimum number of libraries to
3933 cover the Title Fee.
3934           </p></li><li class="listitem"><p>
3935             Publishers make the selected titles available Open Access (on a Creative
3936 Commons or similar open license) and are then paid the Title Fee which is
3937 the total collected from the libraries.
3938           </p></li><li class="listitem"><p>
3939             Publishers make print copies, e-Pub, and other digital versions of selected
3940 titles available to member libraries at a discount that reflects their
3941 contribution to the Title Fee and incentivizes membership.<a href="#ftn.idm1347" class="footnote" name="idm1347"><sup class="footnote">[122]</sup></a>
3942           </p></li></ol></div><p>
3943         The first round of this model resulted in a collection of twenty-eight
3944 current titles from thirteen recognized scholarly publishers being
3945 unlatched. The target was to have two hundred libraries participate. The
3946 cost of the package per library was capped at $1,680, which was an average
3947 price of sixty dollars per book, but in the end they had nearly three
3948 hundred libraries sharing the costs, and the price per book came in at just
3949 under forty-three dollars.
3950       </p><p>
3951         The open-access, Creative Commons versions of these twenty-eight books are
3952 still available online.<a href="#ftn.idm1352" class="footnote" name="idm1352"><sup class="footnote">[123]</sup></a> Most books have
3953 been licensed with CC BY-NC or CC BY-NC-ND. Authors are the copyright
3954 holder, not the publisher, and negotiate choice of license as part of the
3955 publishing agreement. Frances has found that most authors want to retain
3956 control over the commercial and remix use of their work.  Publishers list
3957 the book in their catalogs, and the noncommercial restriction in the
3958 Creative Commons license ensures authors continue to get royalties on sales
3959 of physical copies.
3960       </p><p>
3961         There are three cost variables to consider for each round: the overall cost
3962 incurred by the publishers, total cost for each library to acquire all the
3963 books, and the individual price per book. The fee publishers charge for each
3964 title is a fixed charge, and Knowledge Unlatched calculates the total amount
3965 for all the books being unlatched at a time. The cost of an order for each
3966 library is capped at a maximum based on a minimum number of libraries
3967 participating. If the number of participating libraries exceeds the minimum,
3968 then the cost of the order and the price per book go down for each library.
3969       </p><p>
3970         The second round, recently completed, unlatched seventy-eight books from
3971 twenty-six publishers. For this round, Frances was experimenting with the
3972 size and shape of the offerings. Books were being bundled into eight small
3973 packages separated by subject (including Anthropology, History, Literature,
3974 Media and Communications, and Politics), of around ten books per package.
3975 Three hundred libraries around the world have to commit to at least six of
3976 the eight packages to enable unlatching. The average cost per book was just
3977 under fifty dollars. The unlatching process took roughly ten months. It
3978 started with a call to publishers for titles, followed by having a library
3979 task force select the titles, getting authors’ permissions, getting the
3980 libraries to pledge, billing the libraries, and finally, unlatching.
3981       </p><p>
3982         The longest part of the whole process is getting libraries to pledge and
3983 commit funds. It takes about five months, as library buy-in has to fit
3984 within acquisition cycles, budget cycles, and library-committee meetings.
3985       </p><p>
3986         Knowledge Unlatched informs and recruits libraries through social media,
3987 mailing lists, listservs, and library associations. Of the three hundred
3988 libraries that participated in the first round, 80 percent are also
3989 participating in the second round, and there are an additional eighty new
3990 libraries taking part. Knowledge Unlatched is also working not just with
3991 individual libraries but also library consortia, which has been getting even
3992 more libraries involved.
3993       </p><p>
3994         Knowledge Unlatched is scaling up, offering 150 new titles in the second
3995 half of 2016. It will also offer backlist titles, and in 2017 will start to
3996 make journals open access too.
3997       </p><p>
3998         Knowledge Unlatched deliberately chose monographs as the initial type of
3999 book to unlatch. Monographs are foundational and important, but also
4000 problematic to keep going in the standard closed publishing model.
4001       </p><p>
4002         The cost for the publisher to get to a first digital copy of a monograph is
4003 $5,000 to $50,000. A good one costs in the $10,000 to $15,000
4004 range. Monographs typically don’t sell a lot of copies. A publisher who in
4005 the past sold three thousand copies now typically sells only three
4006 hundred. That makes unlatching monographs a low risk for publishers. For the
4007 first round, it took five months to get thirteen publishers. For the second
4008 round, it took one month to get twenty-six.
4009       </p><p>
4010         Authors don’t generally make a lot of royalties from monographs.  Royalties
4011 range from zero dollars to 5 to 10 percent of receipts. The value to the
4012 author is the awareness it brings to them; when their book is being read, it
4013 increases their reputation. Open access through unlatching generates many
4014 more downloads and therefore awareness. (On the Knowledge Unlatched website,
4015 you can find interviews with the twenty-eight round-one authors describing
4016 their experience and the benefits of taking part.)<a href="#ftn.idm1363" class="footnote" name="idm1363"><sup class="footnote">[124]</sup></a>
4017       </p><p>
4018         Library budgets are constantly being squeezed, partly due to the inflation
4019 of journal subscriptions. But even without budget constraints, academic
4020 libraries are moving away from buying physical copies. An academic library
4021 catalog entry is typically a URL to wherever the book is hosted. Or if they
4022 have enough electronic storage space, they may download the digital file
4023 into their digital repository. Only secondarily do they consider getting a
4024 print book, and if they do, they buy it separately from the digital version.
4025       </p><p>
4026         Knowledge Unlatched offers libraries a compelling economic argument. Many of
4027 the participating libraries would have bought a copy of the monograph
4028 anyway, but instead of paying $95 for a print copy or $150 for a digital
4029 multiple-use copy, they pay $50 to unlatch. It costs them less, and it opens
4030 the book to not just the participating libraries, but to the world.
4031       </p><p>
4032         Not only do the economics make sense, but there is very strong alignment
4033 with library mandates. The participating libraries pay less than they would
4034 have in the closed model, and the open-access book is available to all
4035 libraries. While this means nonparticipating libraries could be seen as free
4036 riders, in the library world, wealthy libraries are used to paying more than
4037 poor libraries and accept that part of their money should be spent to
4038 support open access. <span class="quote">“<span class="quote">Free ride</span>”</span> is more like community
4039 responsibility. By the end of March 2016, the round-one books had been
4040 downloaded nearly eighty thousand times in 175 countries.
4041       </p><p>
4042         For publishers, authors, and librarians, the Knowledge Unlatched model for
4043 monographs is a win-win-win.
4044       </p><p>
4045         In the first round, Knowledge Unlatched’s overheads were covered by
4046 grants. In the second round, they aim to demonstrate the model is
4047 sustainable. Libraries and publishers will each pay a 7.5 percent service
4048 charge that will go toward Knowledge Unlatched’s running costs. With plans
4049 to scale up in future rounds, Frances figures they can fully recover costs
4050 when they are unlatching two hundred books at a time. Moving forward,
4051 Knowledge Unlatched is making investments in technology and
4052 processes. Future plans include unlatching journals and older books.
4053       </p><p>
4054         Frances believes that Knowledge Unlatched is tapping into new ways of
4055 valuing academic content. It’s about considering how many people can find,
4056 access, and use your content without pay barriers. Knowledge Unlatched taps
4057 into the new possibilities and behaviors of the digital world. In the
4058 Knowledge Unlatched model, the content-creation process is exactly the same
4059 as it always has been, but the economics are different. For Frances,
4060 Knowledge Unlatched is connected to the past but moving into the future, an
4061 evolution rather than a revolution.
4062       </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1347" class="footnote"><p><a href="#idm1347" 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.idm1352" class="footnote"><p><a href="#idm1352" 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.idm1363" class="footnote"><p><a href="#idm1363" 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>Capítulo 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>
4063           Lumen Learning is a for-profit company helping educational institutions use
4064 open educational resources (OER). Founded in 2013 in the U.S.
4065         </p><p>
4066           <a class="ulink" href="http://lumenlearning.com" target="_top">http://lumenlearning.com</a>
4067         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
4068 services, grant funding
4069         </p><p><span class="strong"><strong>Interview date</strong></span>: December 21, 2015
4070         </p><p><span class="strong"><strong>Interviewees</strong></span>: David Wiley and Kim Thanos,
4071 cofounders
4072         </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}
4073     \textit{
4074           Profile written by Paul Stacey
4075         }
4076     \end{flushright}</td></tr></table></div><p>
4077         Cofounded by open education visionary Dr. David Wiley and
4078 education-technology strategist Kim Thanos, Lumen Learning is dedicated to
4079 improving student success, bringing new ideas to pedagogy, and making
4080 education more affordable by facilitating adoption of open educational
4081 resources. In 2012, David and Kim partnered on a grant-funded project called
4082 the Kaleidoscope Open Course Initiative.<a href="#ftn.idm1387" class="footnote" name="idm1387"><sup class="footnote">[125]</sup></a> It involved a set of fully open general-education courses across
4083 eight colleges predominantly serving at-risk students, with goals to
4084 dramatically reduce textbook costs and collaborate to improve the courses to
4085 help students succeed.  David and Kim exceeded those goals: the cost of the
4086 required textbooks, replaced with OER, decreased to zero dollars, and
4087 average student-success rates improved by 5 to 10 percent when compared with
4088 previous years. After a second round of funding, a total of more than
4089 twenty-five institutions participated in and benefited from this project. It
4090 was career changing for David and Kim to see the impact this initiative had
4091 on low-income students. David and Kim sought further funding from the Bill
4092 and Melinda Gates Foundation, who asked them to define a plan to scale their
4093 work in a financially sustainable way. That is when they decided to create
4094 Lumen Learning.
4095       </p><p>
4096         David and Kim went back and forth on whether it should be a nonprofit or
4097 for- profit. A nonprofit would make it a more comfortable fit with the
4098 education sector but meant they’d be constantly fund-raising and seeking
4099 grants from philanthropies.  Also, grants usually require money to be used
4100 in certain ways for specific deliverables. If you learn things along the way
4101 that change how you think the grant money should be used, there often isn’t
4102 a lot of flexibility to do so.
4103       </p><p>
4104         But as a for-profit, they’d have to convince educational institutions to pay
4105 for what Lumen had to offer. On the positive side, they’d have more control
4106 over what to do with the revenue and investment money; they could make
4107 decisions to invest the funds or use them differently based on the situation
4108 and shifting opportunities. In the end, they chose the for-profit status,
4109 with its different model for and approach to sustainability.
4110       </p><p>
4111         Right from the start, David and Kim positioned Lumen Learning as a way to
4112 help institutions engage in open educational resources, or OER. OER are
4113 teaching, learning, and research materials, in all different media, that
4114 reside in the public domain or are released under an open license that
4115 permits free use and repurposing by others.
4116       </p><p>
4117         Originally, Lumen did custom contracts for each institution.  This was
4118 complicated and challenging to manage. However, through that process
4119 patterns emerged which allowed them to generalize a set of approaches and
4120 offerings. Today they don’t customize as much as they used to, and instead
4121 they tend to work with customers who can use their off-the-shelf
4122 options. Lumen finds that institutions and faculty are generally very good
4123 at seeing the value Lumen brings and are willing to pay for it. Serving
4124 disadvantaged learner populations has led Lumen to be very pragmatic; they
4125 describe what they offer in quantitative terms—with facts and figures—and in
4126 a way that is very student-focused. Lumen Learning helps colleges and
4127 universities—
4128       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4129             replace expensive textbooks in high-enrollment courses with OER;
4130           </p></li><li class="listitem"><p>
4131             provide enrolled students day one access to Lumen’s fully customizable OER
4132 course materials through the institution’s learning-management system;
4133           </p></li><li class="listitem"><p>
4134             measure improvements in student success with metrics like passing rates,
4135 persistence, and course completion; and
4136           </p></li><li class="listitem"><p>
4137             collaborate with faculty to make ongoing improvements to OER based on
4138 student success research.
4139           </p></li></ul></div><p>
4140         Lumen has developed a suite of open, Creative Commons–licensed courseware in
4141 more than sixty-five subjects. All courses are freely and publicly available
4142 right off their website. They can be copied and used by others as long as
4143 they provide attribution to Lumen Learning following the terms of the
4144 Creative Commons license.
4145       </p><p>
4146         Then there are three types of bundled services that cost money.  One option,
4147 which Lumen calls Candela courseware, offers integration with the
4148 institution’s learning-management system, technical and pedagogical support,
4149 and tracking of effectiveness. Candela courseware costs institutions ten
4150 dollars per enrolled student.
4151       </p><p>
4152         A second option is Waymaker, which offers the services of Candela but adds
4153 personalized learning technologies, such as study plans, automated messages,
4154 and assessments, and helps instructors find and support the students who
4155 need it most.  Waymaker courses cost twenty-five dollars per enrolled
4156 student.
4157       </p><p>
4158         The third and emerging line of business for Lumen is providing guidance and
4159 support for institutions and state systems that are pursuing the development
4160 of complete OER degrees. Often called Z-Degrees, these programs eliminate
4161 textbook costs for students in all courses that make up the degree (both
4162 required and elective) by replacing commercial textbooks and other expensive
4163 resources with OER.
4164       </p><p>
4165         Lumen generates revenue by charging for their value-added tools and services
4166 on top of their free courses, just as solar-power companies provide the
4167 tools and services that help people use a free resource—sunlight. And
4168 Lumen’s business model focuses on getting the institutions to pay, not the
4169 students. With projects they did prior to Lumen, David and Kim learned that
4170 students who have access to all course materials from day one have greater
4171 success. If students had to pay, Lumen would have to restrict access to
4172 those who paid. Right from the start, their stance was that they would not
4173 put their content behind a paywall. Lumen invests zero dollars in
4174 technologies and processes for restricting access—no digital rights
4175 management, no time bombs.  While this has been a challenge from a
4176 business-model perspective, from an open-access perspective, it has
4177 generated immense goodwill in the community.
4178       </p><p>
4179         In most cases, development of their courses is funded by the institution
4180 Lumen has a contract with. When creating new courses, Lumen typically works
4181 with the faculty who are teaching the new course. They’re often part of the
4182 institution paying Lumen, but sometimes Lumen has to expand the team and
4183 contract faculty from other institutions. First, the faculty identifies all
4184 of the course’s learning outcomes. Lumen then searches for, aggregates, and
4185 curates the best OER they can find that addresses those learning needs,
4186 which the faculty reviews.
4187       </p><p>
4188         Sometimes faculty like the existing OER but not the way it is presented. The
4189 open licensing of existing OER allows Lumen to pick and choose from images,
4190 videos, and other media to adapt and customize the course. Lumen creates new
4191 content as they discover gaps in existing OER. Test-bank items and feedback
4192 for students on their progress are areas where new content is frequently
4193 needed. Once a course is created, Lumen puts it on their platform with all
4194 the attributions and links to the original sources intact, and any of
4195 Lumen’s new content is given an Attribution (CC BY) license.
4196       </p><p>
4197         Using only OER made them experience firsthand how complex it could be to mix
4198 differently licensed work together. A common strategy with OER is to place
4199 the Creative Commons license and attribution information in the website’s
4200 footer, which stays the same for all pages. This doesn’t quite work,
4201 however, when mixing different OER together.
4202       </p><p>
4203         Remixing OER often results in multiple attributions on every page of every
4204 course—text from one place, images from another, and videos from yet
4205 another. Some are licensed as Attribution (CC BY), others as
4206 Attribution-ShareAlike (CC BY-SA). If this information is put within the
4207 text of the course, faculty members sometimes try to edit it and students
4208 find it a distraction. Lumen dealt with this challenge by capturing the
4209 license and attribution information as metadata, and getting it to show up
4210 at the end of each page.
4211       </p><p>
4212         Lumen’s commitment to open licensing and helping low-income students has led
4213 to strong relationships with institutions, open-education enthusiasts, and
4214 grant funders. People in their network generously increase the visibility of
4215 Lumen through presentations, word of mouth, and referrals. Sometimes the
4216 number of general inquiries exceed Lumen’s sales capacity.
4217       </p><p>
4218         To manage demand and ensure the success of projects, their strategy is to be
4219 proactive and focus on what’s going on in higher education in different
4220 regions of the United States, watching out for things happening at the
4221 system level in a way that fits with what Lumen offers. A great example is
4222 the Virginia community college system, which is building out
4223 Z-Degrees. David and Kim say there are nine other U.S. states with similar
4224 system-level activity where Lumen is strategically focusing its
4225 efforts. Where there are projects that would require a lot of resources on
4226 Lumen’s part, they prioritize the ones that would impact the largest number
4227 of students.
4228       </p><p>
4229         As a business, Lumen is committed to openness. There are two core
4230 nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
4231 Commons licenses, for all the materials it creates; and day-one access for
4232 students. Having clear nonnegotiables allows them to then engage with the
4233 education community to solve for other challenges and work with institutions
4234 to identify new business models that achieve institution goals, while
4235 keeping Lumen healthy.
4236       </p><p>
4237         Openness also means that Lumen’s OER must necessarily be nonexclusive and
4238 nonrivalrous. This represents several big challenges for the business model:
4239 Why should you invest in creating something that people will be reluctant to
4240 pay for? How do you ensure that the investment the diverse education
4241 community makes in OER is not exploited? Lumen thinks we all need to be
4242 clear about how we are benefiting from and contributing to the open
4243 community.
4244       </p><p>
4245         In the OER sector, there are examples of corporations, and even
4246 institutions, acting as free riders. Some simply take and use open resources
4247 without paying anything or contributing anything back. Others give back the
4248 minimum amount so they can save face.  Sustainability will require those
4249 using open resources to give back an amount that seems fair or even give
4250 back something that is generous.
4251       </p><p>
4252         Lumen does track institutions accessing and using their free content. They
4253 proactively contact those institutions, with an estimate of how much their
4254 students are saving and encouraging them to switch to a paid model. Lumen
4255 explains the advantages of the paid model: a more interactive relationship
4256 with Lumen; integration with the institution’s learning-management system; a
4257 guarantee of support for faculty and students; and future sustainability
4258 with funding supporting the evolution and improvement of the OER they are
4259 using.
4260       </p><p>
4261         Lumen works hard to be a good corporate citizen in the OER community. For
4262 David and Kim, a good corporate citizen gives more than they take, adds
4263 unique value, and is very transparent about what they are taking from
4264 community, what they are giving back, and what they are monetizing. Lumen
4265 believes these are the building blocks of a sustainable model and strives
4266 for a correct balance of all these factors.
4267       </p><p>
4268         Licensing all the content they produce with CC BY is a key part of giving
4269 more value than they take. They’ve also worked hard at finding the right
4270 structure for their value-add and how to package it in a way that is
4271 understandable and repeatable.
4272       </p><p>
4273         As of the fall 2016 term, Lumen had eighty-six different open courses,
4274 working relationships with ninety-two institutions, and more than
4275 seventy-five thousand student enrollments. Lumen received early start-up
4276 funding from the Bill and Melinda Gates Foundation, the Hewlett Foundation,
4277 and the Shuttleworth Foundation. Since then, Lumen has also attracted
4278 investment funding. Over the last three years, Lumen has been roughly 60
4279 percent grant funded, 20 percent revenue earned, and 20 percent funded with
4280 angel capital. Going forward, their strategy is to replace grant funding
4281 with revenue.
4282       </p><p>
4283         In creating Lumen Learning, David and Kim say they’ve landed on solutions
4284 they never imagined, and there is still a lot of learning taking place. For
4285 them, open business models are an emerging field where we are all learning
4286 through sharing. Their biggest recommendations for others wanting to pursue
4287 the open model are to make your commitment to open resources public, let
4288 people know where you stand, and don’t back away from it. It really is about
4289 trust.
4290       </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1387" class="footnote"><p><a href="#idm1387" 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>Capítulo 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>
4291           Jonathan Mann is a singer and songwriter who is most well known as the
4292 <span class="quote">“<span class="quote">Song A Day</span>”</span> guy. Based in the U.S.
4293         </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>
4294         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
4295 services, pay-what-you-want, crowdfunding (subscription-based), charging for
4296 in-person version (speaking engagements and musical performances)
4297         </p><p><span class="strong"><strong>Interview date</strong></span>: February 22, 2016
4298         </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}
4299     \textit{
4300           Profile written by Sarah Hinchliff Pearson
4301         }
4302     \end{flushright}</td></tr></table></div><p>
4303         Jonathan Mann thinks of his business model as
4304 <span class="quote">“<span class="quote">hustling</span>”</span>—seizing nearly every opportunity he sees to make
4305 money. The bulk of his income comes from writing songs under commission for
4306 people and companies, but he has a wide variety of income sources. He has
4307 supporters on the crowdfunding site Patreon. He gets advertising revenue
4308 from YouTube and Bandcamp, where he posts all of his music. He gives paid
4309 speaking engagements about creativity and motivation. He has been hired by
4310 major conferences to write songs summarizing what speakers have said in the
4311 conference sessions.
4312       </p><p>
4313         His entrepreneurial spirit is coupled with a willingness to take action
4314 quickly. A perfect illustration of his ability to act fast happened in 2010,
4315 when he read that Apple was having a conference the following day to address
4316 a snafu related to the iPhone 4. He decided to write and post a song about
4317 the iPhone 4 that day, and the next day he got a call from the public
4318 relations people at Apple wanting to use and promote his video at the Apple
4319 conference. The song then went viral, and the experience landed him in Time
4320 magazine.
4321       </p><p>
4322         Jonathan’s successful <span class="quote">“<span class="quote">hustling</span>”</span> is also about old-fashioned
4323 persistence. He is currently in his eighth straight year of writing one song
4324 each day. He holds the Guinness World Record for consecutive daily
4325 songwriting, and he is widely known as the <span class="quote">“<span class="quote">song-a-day guy.</span>”</span>
4326       </p><p>
4327         He fell into this role by, naturally, seizing a random opportunity a friend
4328 alerted him to seven years ago—an event called Fun-A-Day, where people are
4329 supposed to create a piece of art every day for thirty-one days straight. He
4330 was in need of a new project, so he decided to give it a try by writing and
4331 posting a song each day. He added a video component to the songs because he
4332 knew people were more likely to watch video online than simply listening to
4333 audio files.
4334       </p><p>
4335         He had a really good time doing the thirty-one-day challenge, so he decided
4336 to see if he could continue it for one year. He never stopped. He has
4337 written and posted a new song literally every day, seven days a week, since
4338 he began the project in 2009. When he isn’t writing songs that he is hired
4339 to write by clients, he writes songs about whatever is on his mind that
4340 day. His songs are catchy and mostly lighthearted, but they often contain at
4341 least an undercurrent of a deeper theme or meaning.  Occasionally, they are
4342 extremely personal, like the song he cowrote with his exgirlfriend
4343 announcing their breakup. Rain or shine, in sickness or health, Jonathan
4344 posts and writes a song every day. If he is on a flight or otherwise
4345 incapable of getting Internet access in time to meet the deadline, he will
4346 prepare ahead and have someone else post the song for him.
4347       </p><p>
4348         Over time, the song-a-day gig became the basis of his livelihood. In the
4349 beginning, he made money one of two ways. The first was by entering a wide
4350 variety of contests and winning a handful. The second was by having the
4351 occasional song and video go some varying degree of viral, which would bring
4352 more eyeballs and mean that there were more people wanting him to write
4353 songs for them. Today he earns most of his money this way.
4354       </p><p>
4355         His website explains his gig as <span class="quote">“<span class="quote">taking any message, from the super
4356 simple to the totally complicated, and conveying that message through a
4357 heartfelt, fun and quirky song.</span>”</span> He charges $500 to create a produced
4358 song and $300 for an acoustic song. He has been hired for product launches,
4359 weddings, conferences, and even Kickstarter campaigns like the one that
4360 funded the production of this book.
4361       </p><p>
4362         Jonathan can’t recall when exactly he first learned about Creative Commons,
4363 but he began applying CC licenses to his songs and videos as soon as he
4364 discovered the option. <span class="quote">“<span class="quote">CC seems like such a no-brainer,</span>”</span>
4365 Jonathan said. <span class="quote">“<span class="quote">I don’t understand how anything else would make
4366 sense. It seems like such an obvious thing that you would want your work to
4367 be able to be shared.</span>”</span>
4368       </p><p>
4369         His songs are essentially marketing for his services, so obviously the
4370 further his songs spread, the better. Using CC licenses helps grease the
4371 wheels, letting people know that Jonathan allows and encourages them to
4372 copy, interact with, and remix his music. <span class="quote">“<span class="quote">If you let someone cover
4373 your song or remix it or use parts of it, that’s how music is supposed to
4374 work,</span>”</span> Jonathan said. <span class="quote">“<span class="quote">That is how music has worked since the
4375 beginning of time. Our me-me, mine-mine culture has undermined that.</span>”</span>
4376       </p><p>
4377         There are some people who cover his songs fairly regularly, and he would
4378 never shut that down. But he acknowledges there is a lot more he could do to
4379 build community. <span class="quote">“<span class="quote">There is all of this conventional wisdom about how
4380 to build an audience online, and I generally think I don’t do any of
4381 that,</span>”</span> Jonathan said.
4382       </p><p>
4383         He does have a fan community he cultivates on Bandcamp, but it isn’t his
4384 major focus. <span class="quote">“<span class="quote">I do have a core audience that has stuck around for a
4385 really long time, some even longer than I’ve been doing song-a-day,</span>”</span>
4386 he said. <span class="quote">“<span class="quote">There is also a transitional aspect that drop in and get
4387 what they need and then move on.</span>”</span> Focusing less on community building
4388 than other artists makes sense given Jonathan’s primary income source of
4389 writing custom songs for clients.
4390       </p><p>
4391         Jonathan recognizes what comes naturally to him and leverages those
4392 skills. Through the practice of daily songwriting, he realized he has a gift
4393 for distilling complicated subjects into simple concepts and putting them to
4394 music. In his song <span class="quote">“<span class="quote">How to Choose a Master Password,</span>”</span> Jonathan
4395 explained the process of creating a secure password in a silly, simple
4396 song. He was hired to write the song by a client who handed him a long
4397 technical blog post from which to draw the information. Like a good (and
4398 rare) journalist, he translated the technical concepts into something
4399 understandable.
4400       </p><p>
4401         When he is hired by a client to write a song, he first asks them to send a
4402 list of talking points and other information they want to include in the
4403 song. He puts all of that into a text file and starts moving things around,
4404 cutting and pasting until the message starts to come together. The first
4405 thing he tries to do is grok the core message and develop the chorus. Then
4406 he looks for connections or parts he can make rhyme. The entire process
4407 really does resemble good journalism, but of course the final product of his
4408 work is a song rather than news. <span class="quote">“<span class="quote">There is something about being
4409 challenged and forced to take information that doesn’t seem like it should
4410 be sung about or doesn’t seem like it lends itself to a song,</span>”</span> he
4411 said. <span class="quote">“<span class="quote">I find that creative challenge really satisfying. I enjoy
4412 getting lost in that process.</span>”</span>
4413       </p><p>
4414         Jonathan admits that in an ideal world, he would exclusively write the music
4415 he wanted to write, rather than what clients hire him to write. But his
4416 business model is about capitalizing on his strengths as a songwriter, and
4417 he has found a way to keep it interesting for himself.
4418       </p><p>
4419         Jonathan uses nearly every tool possible to make money from his art, but he
4420 does have lines he won’t cross. He won’t write songs about things he
4421 fundamentally does not believe in, and there are times he has turned down
4422 jobs on principle. He also won’t stray too much from his natural
4423 style. <span class="quote">“<span class="quote">My style is silly, so I can’t really accommodate people who
4424 want something super serious,</span>”</span> Jonathan said. <span class="quote">“<span class="quote">I do what I do
4425 very easily, and it’s part of who I am.</span>”</span> Jonathan hasn’t gotten into
4426 writing commercials for the same reasons; he is best at using his own unique
4427 style rather than mimicking others.
4428       </p><p>
4429         Jonathan’s song-a-day commitment exemplifies the power of habit and
4430 grit. Conventional wisdom about creative productivity, including advice in
4431 books like the best-seller The Creative Habit by Twyla Tharp, routinely
4432 emphasizes the importance of ritual and action. No amount of planning can
4433 replace the value of simple practice and just doing. Jonathan Mann’s work is
4434 a living embodiment of these principles.
4435       </p><p>
4436         When he speaks about his work, he talks about how much the song-a-day
4437 process has changed him. Rather than seeing any given piece of work as
4438 precious and getting stuck on trying to make it perfect, he has become
4439 comfortable with just doing. If today’s song is a bust, tomorrow’s song
4440 might be better.
4441       </p><p>
4442         Jonathan seems to have this mentality about his career more generally. He is
4443 constantly experimenting with ways to make a living while sharing his work
4444 as widely as possible, seeing what sticks. While he has major
4445 accomplishments he is proud of, like being in the Guinness World Records or
4446 having his song used by Steve Jobs, he says he never truly feels successful.
4447       </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
4448 extent, a creative person is not ever going to feel completely satisfied
4449 because then so much of what drives you would be gone.</span>”</span>
4450       </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Capítulo 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>
4451           The Noun Project is a for-profit company offering an online platform to
4452 display visual icons from a global network of designers. Founded in 2010 in
4453 the U.S.
4454         </p><p>
4455           <a class="ulink" href="http://thenounproject.com" target="_top">http://thenounproject.com</a>
4456         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction
4457 fee, charging for custom services
4458         </p><p><span class="strong"><strong>Interview date</strong></span>: October 6, 2015
4459         </p><p><span class="strong"><strong>Interviewee</strong></span>: Edward Boatman, cofounder
4460         </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}
4461     \textit{
4462           Profile written by Paul Stacey
4463         }
4464     \end{flushright}</td></tr></table></div><p>
4465         The Noun Project creates and shares visual language. There are millions who
4466 use Noun Project symbols to simplify communication across borders,
4467 languages, and cultures.
4468       </p><p>
4469         The original idea for the Noun Project came to cofounder Edward Boatman
4470 while he was a student in architecture design school.  He’d always done a
4471 lot of sketches and started to draw what used to fascinate him as a child,
4472 like trains, sequoias, and bulldozers. He began thinking how great it would
4473 be if he had a simple image or small icon of every single object or concept
4474 on the planet.
4475       </p><p>
4476         When Edward went on to work at an architecture firm, he had to make a lot of
4477 presentation boards for clients. But finding high-quality sources for
4478 symbols and icons was difficult. He couldn’t find any website that could
4479 provide them. Perhaps his idea for creating a library of icons could
4480 actually help people in similar situations.
4481       </p><p>
4482         With his partner, Sofya Polyakov, he began collecting symbols for a website
4483 and writing a business plan. Inspiration came from the book Professor and
4484 the Madman, which chronicles the use of crowdsourcing to create the Oxford
4485 English Dictionary in 1870.  Edward began to imagine crowdsourcing icons and
4486 symbols from volunteer designers around the world.
4487       </p><p>
4488         Then Edward got laid off during the recession, which turned out to be a huge
4489 catalyst. He decided to give his idea a go, and in 2010 Edward and Sofya
4490 launched the Noun Project with a Kickstarter campaign, back when Kickstarter
4491 was in its infancy.<a href="#ftn.idm1490" class="footnote" name="idm1490"><sup class="footnote">[126]</sup></a> They thought it’d
4492 be a good way to introduce the global web community to their idea. Their
4493 goal was to raise $1,500, but in twenty days they got over $14,000. They
4494 realized their idea had the potential to be something much bigger.
4495       </p><p>
4496         They created a platform where symbols and icons could be uploaded, and
4497 Edward began recruiting talented designers to contribute their designs, a
4498 process he describes as a relatively easy sell. Lots of designers have old
4499 drawings just gathering <span class="quote">“<span class="quote">digital dust</span>”</span> on their hard
4500 drives. It’s easy to convince them to finally share them with the world.
4501       </p><p>
4502         The Noun Project currently has about seven thousand designers from around
4503 the world. But not all submissions are accepted. The Noun Project’s
4504 quality-review process means that only the best works become part of its
4505 collection. They make sure to provide encouraging, constructive feedback
4506 whenever they reject a piece of work, which maintains and builds the
4507 relationship they have with their global community of designers.
4508       </p><p>
4509         Creative Commons is an integral part of the Noun Project’s business model;
4510 this decision was inspired by Chris Anderson’s book Free: The Future of
4511 Radical Price, which introduced Edward to the idea that you could build a
4512 business model around free content.
4513       </p><p>
4514         Edward knew he wanted to offer a free visual language while still providing
4515 some protection and reward for its contributors.  There is a tension between
4516 those two goals, but for Edward, Creative Commons licenses bring this
4517 idealism and business opportunity together elegantly. He chose the
4518 Attribution (CC BY)  license, which means people can download the icons for
4519 free and modify them and even use them commercially. The requirement to give
4520 attribution to the original creator ensures that the creator can build a
4521 reputation and get global recognition for their work. And if they simply
4522 want to offer an icon that people can use without having to give credit,
4523 they can use CC0 to put the work into the public domain.
4524       </p><p>
4525         Noun Project’s business model and means of generating revenue have evolved
4526 significantly over time. Their initial plan was to sell T-shirts with the
4527 icons on it, which in retrospect Edward says was a horrible idea. They did
4528 get a lot of email from people saying they loved the icons but asking if
4529 they could pay a fee instead of giving attribution. Ad agencies (among
4530 others)  wanted to keep marketing and presentation materials clean and free
4531 of attribution statements. For Edward, <span class="quote">“<span class="quote">That’s when our lightbulb went
4532 off.</span>”</span>
4533       </p><p>
4534         They asked their global network of designers whether they’d be open to
4535 receiving modest remuneration instead of attribution.  Designers saw it as a
4536 win-win. The idea that you could offer your designs for free and have a
4537 global audience and maybe even make some money was pretty exciting for most
4538 designers.
4539       </p><p>
4540         The Noun Project first adopted a model whereby using an icon without giving
4541 attribution would cost $1.99 per icon. The model’s second iteration added a
4542 subscription component, where there would be a monthly fee to access a
4543 certain number of icons—ten, fifty, a hundred, or five hundred. However,
4544 users didn’t like these hard-count options. They preferred to try out many
4545 similar icons to see which worked best before eventually choosing the one
4546 they wanted to use. So the Noun Project moved to an unlimited model, whereby
4547 users have unlimited access to the whole library for a flat monthly
4548 fee. This service is called NounPro and costs $9.99 per month. Edward says
4549 this model is working well—good for customers, good for creators, and good
4550 for the platform.
4551       </p><p>
4552         Customers then began asking for an application-programming interface (API),
4553 which would allow Noun Project icons and symbols to be directly accessed
4554 from within other applications.  Edward knew that the icons and symbols
4555 would be valuable in a lot of different contexts and that they couldn’t
4556 possibly know all of them in advance, so they built an API with a lot of
4557 flexibility. Knowing that most API applications would want to use the icons
4558 without giving attribution, the API was built with the aim of charging for
4559 its use. You can use what’s called the <span class="quote">“<span class="quote">Playground API</span>”</span> for
4560 free to test how it integrates with your application, but full
4561 implementation will require you to purchase the API Pro version.
4562       </p><p>
4563         The Noun Project shares revenue with its international designers. For
4564 one-off purchases, the revenue is split 70 percent to the designer and 30
4565 percent to Noun Project.
4566       </p><p>
4567         The revenue from premium purchases (the subscription and API options) is
4568 split a little differently. At the end of each month, the total revenue from
4569 subscriptions is divided by Noun Project’s total number of downloads,
4570 resulting in a rate per download—for example, it could be $0.13 per download
4571 for that month. For each download, the revenue is split 40 percent to the
4572 designer and 60 percent to the Noun Project. (For API usage, it’s per use
4573 instead of per download.) Noun Project’s share is higher this time as it’s
4574 providing more service to the user.
4575       </p><p>
4576         The Noun Project tries to be completely transparent about their royalty
4577 structure.<a href="#ftn.idm1507" class="footnote" name="idm1507"><sup class="footnote">[127]</sup></a> They tend to over
4578 communicate with creators about it because building trust is the top
4579 priority.
4580       </p><p>
4581         For most creators, contributing to the Noun Project is not a full-time job
4582 but something they do on the side. Edward categorizes monthly earnings for
4583 creators into three broad categories: enough money to buy beer; enough to
4584 pay the bills; and most successful of all, enough to pay the rent.
4585       </p><p>
4586         Recently the Noun Project launched a new app called Lingo.  Designers can
4587 use Lingo to organize not just their Noun Project icons and symbols but also
4588 their photos, illustrations, UX designs, et cetera. You simply drag any
4589 visual item directly into Lingo to save it. Lingo also works for teams so
4590 people can share visuals with each other and search across their combined
4591 collections. Lingo is free for personal use. A pro version for $9.99 per
4592 month lets you add guests. A team version for $49.95 per month allows up to
4593 twenty-five team members to collaborate, and to view, use, edit, and add new
4594 assets to each other’s collections. And if you subscribe to NounPro, you can
4595 access Noun Project from within Lingo.
4596       </p><p>
4597         The Noun Project gives a ton of value away for free. A very large percentage
4598 of their roughly one million members have a free account, but there are
4599 still lots of paid accounts coming from digital designers, advertising and
4600 design agencies, educators, and others who need to communicate ideas
4601 visually.
4602       </p><p>
4603         For Edward, <span class="quote">“<span class="quote">creating, sharing, and celebrating the world’s visual
4604 language</span>”</span> is the most important aspect of what they do; it’s their
4605 stated mission. It differentiates them from others who offer graphics,
4606 icons, or clip art.
4607       </p><p>
4608         Noun Project creators agree. When surveyed on why they participate in the
4609 Noun Project, this is how designers rank their reasons: 1) to support the
4610 Noun Project mission, 2) to promote their own personal brand, and 3) to
4611 generate money. It’s striking to see that money comes third, and mission,
4612 first. If you want to engage a global network of contributors, it’s
4613 important to have a mission beyond making money.
4614       </p><p>
4615         In Edward’s view, Creative Commons is central to their mission of sharing
4616 and social good. Using Creative Commons makes the Noun Project’s mission
4617 genuine and has generated a lot of their initial traction and
4618 credibility. CC comes with a built-in community of users and fans.
4619       </p><p>
4620         Edward told us, <span class="quote">“<span class="quote">Don’t underestimate the power of a passionate
4621 community around your product or your business. They are going to go to bat
4622 for you when you’re getting ripped in the media. If you go down the road of
4623 choosing to work with Creative Commons, you’re taking the first step to
4624 building a great community and tapping into a really awesome community that
4625 comes with it. But you need to continue to foster that community through
4626 other initiatives and continue to nurture it.</span>”</span>
4627       </p><p>
4628         The Noun Project nurtures their creators’ second motivation—promoting a
4629 personal brand—by connecting every icon and symbol to the creator’s name and
4630 profile page; each profile features their full collection. Users can also
4631 search the icons by the creator’s name.
4632       </p><p>
4633         The Noun Project also builds community through Iconathons—hackathons for
4634 icons.<a href="#ftn.idm1521" class="footnote" name="idm1521"><sup class="footnote">[128]</sup></a> In partnership with a sponsoring
4635 organization, the Noun Project comes up with a theme (e.g., sustainable
4636 energy, food bank, guerrilla gardening, human rights) and a list of icons
4637 that are needed, which designers are invited to create at the event. The
4638 results are vectorized, and added to the Noun Project using CC0 so they can
4639 be used by anyone for free.
4640       </p><p>
4641         Providing a free version of their product that satisfies a lot of their
4642 customers’ needs has actually enabled the Noun Project to build the paid
4643 version, using a service-oriented model. The Noun Project’s success lies in
4644 creating services and content that are a strategic mix of free and paid
4645 while staying true to their mission—creating, sharing, and celebrating the
4646 world’s visual language. Integrating Creative Commons into their model has
4647 been key to that goal.
4648       </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1490" class="footnote"><p><a href="#idm1490" 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.idm1507" class="footnote"><p><a href="#idm1507" 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.idm1521" class="footnote"><p><a href="#idm1521" 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>Capítulo 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>
4649           The Open Data Institute is an independent nonprofit that connects, equips,
4650 and inspires people around the world to innovate with data. Founded in 2012
4651 in the UK.
4652         </p><p>
4653           <a class="ulink" href="http://theodi.org" target="_top">http://theodi.org</a>
4654         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant and government
4655 funding, charging for custom services, donations
4656         </p><p><span class="strong"><strong>Interview date</strong></span>: November 11, 2015
4657         </p><p><span class="strong"><strong>Interviewee</strong></span>: Jeni Tennison, technical
4658 director
4659         </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}
4660     \textit{
4661           Profile written by Paul Stacey
4662         }
4663     \end{flushright}</td></tr></table></div><p>
4664         Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the
4665 London-based Open Data Institute (ODI) offers data-related training, events,
4666 consulting services, and research. For ODI, Creative Commons licenses are
4667 central to making their own business model and their customers’ open. CC BY
4668 (Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the
4669 public domain) all play a critical role in ODI’s mission to help people
4670 around the world innovate with data.
4671       </p><p>
4672         Data underpins planning and decision making across all aspects of
4673 society. Weather data helps farmers know when to plant their crops, flight
4674 time data from airplane companies helps us plan our travel, data on local
4675 housing informs city planning. When this data is not only accurate and
4676 timely, but open and accessible, it opens up new possibilities. Open data
4677 can be a resource businesses use to build new products and services. It can
4678 help governments measure progress, improve efficiency, and target
4679 investments. It can help citizens improve their lives by better
4680 understanding what is happening around them.
4681       </p><p>
4682         The Open Data Institute’s 2012–17 business plan starts out by describing its
4683 vision to establish itself as a world-leading center and to research and be
4684 innovative with the opportunities created by the UK government’s open data
4685 policy. (The government was an early pioneer in open policy and open-data
4686 initiatives.)  It goes on to say that the ODI wants to—
4687       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4688             demonstrate the commercial value of open government data and how open-data
4689 policies affect this;
4690           </p></li><li class="listitem"><p>
4691             develop the economic benefits case and business models for open data;
4692           </p></li><li class="listitem"><p>
4693             help UK businesses use open data; and
4694           </p></li><li class="listitem"><p>
4695             show how open data can improve public services.<a href="#ftn.idm1550" class="footnote" name="idm1550"><sup class="footnote">[129]</sup></a>
4696           </p></li></ul></div><p>
4697         ODI is very explicit about how it wants to make open business models, and
4698 defining what this means. Jeni Tennison, ODI’s technical director, puts it
4699 this way: <span class="quote">“<span class="quote">There is a whole ecosystem of open—open-source software,
4700 open government, open-access research—and a whole ecosystem of data. ODI’s
4701 work cuts across both, with an emphasis on where they overlap—with open
4702 data.</span>”</span> ODI’s particular focus is to show open data’s potential for
4703 revenue.
4704       </p><p>
4705         As an independent nonprofit, ODI secured £10 million over five years from
4706 the UK government via Innovate UK, an agency that promotes innovation in
4707 science and technology. For this funding, ODI has to secure matching funds
4708 from other sources, some of which were met through a $4.75-million
4709 investment from the Omidyar Network.
4710       </p><p>
4711         Jeni started out as a developer and technical architect for data.gov.uk, the
4712 UK government’s pioneering open-data initiative. She helped make data sets
4713 from government departments available as open data. She joined ODI in 2012
4714 when it was just starting up, as one of six people. It now has a staff of
4715 about sixty.
4716       </p><p>
4717         ODI strives to have half its annual budget come from the core UK government
4718 and Omidyar grants, and the other half from project-based research and
4719 commercial work. In Jeni’s view, having this balance of revenue sources
4720 establishes some stability, but also keeps them motivated to go out and
4721 generate these matching funds in response to market needs.
4722       </p><p>
4723         On the commercial side, ODI generates funding through memberships, training,
4724 and advisory services.
4725       </p><p>
4726         You can join the ODI as an individual or commercial member.  Individual
4727 membership is pay-what-you-can, with options ranging from £1 to
4728 £100. Members receive a newsletter and related communications and a discount
4729 on ODI training courses and the annual summit, and they can display an
4730 ODI-supporter badge on their website. Commercial membership is divided into
4731 two tiers: small to medium size enterprises and nonprofits at £720 a year,
4732 and corporations and government organizations at £2,200 a year.  Commercial
4733 members have greater opportunities to connect and collaborate, explore the
4734 benefits of open data, and unlock new business opportunities. (All members
4735 are listed on their website.)<a href="#ftn.idm1560" class="footnote" name="idm1560"><sup class="footnote">[130]</sup></a>
4736       </p><p>
4737         ODI provides standardized open data training courses in which anyone can
4738 enroll. The initial idea was to offer an intensive and academically oriented
4739 diploma in open data, but it quickly became clear there was no market for
4740 that. Instead, they offered a five-day-long public training course, which
4741 has subsequently been reduced to three days; now the most popular course is
4742 one day long. The fee, in addition to the time commitment, can be a barrier
4743 for participation. Jeni says, <span class="quote">“<span class="quote">Most of the people who would be able to
4744 pay don’t know they need it. Most who know they need it can’t pay.</span>”</span>
4745 Public-sector organizations sometimes give vouchers to their employees so
4746 they can attend as a form of professional development.
4747       </p><p>
4748         ODI customizes training for clients as well, for which there is more
4749 demand. Custom training usually emerges through an established relationship
4750 with an organization. The training program is based on a definition of
4751 open-data knowledge as applicable to the organization and on the skills
4752 needed by their high-level executives, management, and technical staff. The
4753 training tends to generate high interest and commitment.
4754       </p><p>
4755         Education about open data is also a part of ODI’s annual summit event, where
4756 curated presentations and speakers showcase the work of ODI and its members
4757 across the entire ecosystem. Tickets to the summit are available to the
4758 public, and hundreds of people and organizations attend and participate. In
4759 2014, there were four thematic tracks and over 750 attendees.
4760       </p><p>
4761         In addition to memberships and training, ODI provides advisory services to
4762 help with technical-data support, technology development, change management,
4763 policies, and other areas. ODI has advised large commercial organizations,
4764 small businesses, and international governments; the focus at the moment is
4765 on government, but ODI is working to shift more toward commercial
4766 organizations.
4767       </p><p>
4768         On the commercial side, the following value propositions seem to resonate:
4769       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4770             Data-driven insights. Businesses need data from outside their business to
4771 get more insight. Businesses can generate value and more effectively pursue
4772 their own goals if they open up their own data too. Big data is a hot topic.
4773           </p></li><li class="listitem"><p>
4774             Open innovation. Many large-scale enterprises are aware they don’t innovate
4775 very well. One way they can innovate is to open up their data. ODI
4776 encourages them to do so even if it exposes problems and challenges. The key
4777 is to invite other people to help while still maintaining organizational
4778 autonomy.
4779           </p></li><li class="listitem"><p>
4780             Corporate social responsibility. While this resonates with businesses, ODI
4781 cautions against having it be the sole reason for making data open. If a
4782 business is just thinking about open data as a way to be transparent and
4783 accountable, they can miss out on efficiencies and opportunities.
4784           </p></li></ul></div><p>
4785         During their early years, ODI wanted to focus solely on the United
4786 Kingdom. But in their first year, large delegations of government visitors
4787 from over fifty countries wanted to learn more about the UK government’s
4788 open-data practices and how ODI saw that translating into economic
4789 value. They were contracted as a service provider to international
4790 governments, which prompted a need to set up international ODI
4791 <span class="quote">“<span class="quote">nodes.</span>”</span>
4792       </p><p>
4793         Nodes are franchises of the ODI at a regional or city level.  Hosted by
4794 existing (for-profit or not-for-profit) organizations, they operate locally
4795 but are part of the global network. Each ODI node adopts the charter, a set
4796 of guiding principles and rules under which ODI operates. They develop and
4797 deliver training, connect people and businesses through membership and
4798 events, and communicate open-data stories from their part of the
4799 world. There are twenty-seven different nodes across nineteen countries. ODI
4800 nodes are charged a small fee to be part of the network and to use the
4801 brand.
4802       </p><p>
4803         ODI also runs programs to help start-ups in the UK and across Europe develop
4804 a sustainable business around open data, offering mentoring, advice,
4805 training, and even office space.<a href="#ftn.idm1580" class="footnote" name="idm1580"><sup class="footnote">[131]</sup></a>
4806       </p><p>
4807         A big part of ODI’s business model revolves around community
4808 building. Memberships, training, summits, consulting services, nodes, and
4809 start-up programs create an ever-growing network of open-data users and
4810 leaders. (In fact, ODI even operates something called an Open Data Leaders
4811 Network.) For ODI, community is key to success. They devote significant time
4812 and effort to build it, not just online but through face-to-face events.
4813       </p><p>
4814         ODI has created an online tool that organizations can use to assess the
4815 legal, practical, technical, and social aspects of their open data. If it is
4816 of high quality, the organization can earn ODI’s Open Data Certificate, a
4817 globally recognized mark that signals that their open data is useful,
4818 reliable, accessible, discoverable, and supported.<a href="#ftn.idm1586" class="footnote" name="idm1586"><sup class="footnote">[132]</sup></a>
4819       </p><p>
4820         Separate from commercial activities, the ODI generates funding through
4821 research grants. Research includes looking at evidence on the impact of open
4822 data, development of open-data tools and standards, and how to deploy open
4823 data at scale.
4824       </p><p>
4825         Creative Commons 4.0 licenses cover database rights and ODI recommends CC
4826 BY, CC BY-SA, and CC0 for data releases. ODI encourages publishers of data
4827 to use Creative Commons licenses rather than creating new <span class="quote">“<span class="quote">open
4828 licenses</span>”</span> of their own.
4829       </p><p>
4830         For ODI, open is at the heart of what they do. They also release any
4831 software code they produce under open-source-software licenses, and
4832 publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
4833 to connect and equip people around the world so they can innovate with
4834 data. Disseminating stories, research, guidance, and code under an open
4835 license is essential for achieving that mission. It also demonstrates that
4836 it is perfectly possible to generate sustainable revenue streams that do not
4837 rely on restrictive licensing of content, data, or code.  People pay to have
4838 ODI experts provide training to them, not for the content of the training;
4839 people pay for the advice ODI gives them, not for the methodologies they
4840 use. Producing open content, data, and source code helps establish
4841 credibility and creates leads for the paid services that they
4842 offer. According to Jeni, <span class="quote">“<span class="quote">The biggest lesson we have learned is that
4843 it is completely possible to be open, get customers, and make money.</span>”</span>
4844       </p><p>
4845         To serve as evidence of a successful open business model and return on
4846 investment, ODI has a public dashboard of key performance indicators. Here
4847 are a few metrics as of April 27, 2016:
4848       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4849             Total amount of cash investments unlocked in direct investments in ODI,
4850 competition funding, direct contracts, and partnerships, and income that ODI
4851 nodes and ODI start-ups have generated since joining the ODI program: £44.5
4852 million
4853           </p></li><li class="listitem"><p>
4854             Total number of active members and nodes across the globe: 1,350
4855           </p></li><li class="listitem"><p>
4856             Total sales since ODI began: £7.44 million
4857           </p></li><li class="listitem"><p>
4858             Total number of unique people reached since ODI began, in person and online:
4859 2.2 million
4860           </p></li><li class="listitem"><p>
4861             Total Open Data Certificates created: 151,000
4862           </p></li><li class="listitem"><p>
4863             Total number of people trained by ODI and its nodes since ODI began:
4864 5,080<a href="#ftn.idm1608" class="footnote" name="idm1608"><sup class="footnote">[133]</sup></a>
4865           </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1550" class="footnote"><p><a href="#idm1550" 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.idm1560" class="footnote"><p><a href="#idm1560" 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.idm1580" class="footnote"><p><a href="#idm1580" 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.idm1586" class="footnote"><p><a href="#idm1586" 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.idm1608" class="footnote"><p><a href="#idm1608" 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>Capítulo 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>
4866           Opendesk is a for-profit company offering an online platform that connects
4867 furniture designers around the world with customers and local makers who
4868 bring the designs to life.  Founded in 2014 in the UK.
4869         </p><p>
4870           <a class="ulink" href="http://www.opendesk.cc" target="_top">http://www.opendesk.cc</a>
4871         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
4872         </p><p><span class="strong"><strong>Interview date</strong></span>: November 4, 2015
4873         </p><p><span class="strong"><strong>Interviewees</strong></span>: Nick Ierodiaconou and Joni
4874 Steiner, cofounders
4875         </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}
4876     \textit{
4877           Profile written by Paul Stacey
4878         }
4879     \end{flushright}</td></tr></table></div><p>
4880         Opendesk is an online platform that connects furniture designers around the
4881 world not just with customers but also with local registered makers who
4882 bring the designs to life. Opendesk and the designer receive a portion of
4883 every sale that is made by a maker.
4884       </p><p>
4885         Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as
4886 architects together. They also made goods. Their first client was Mint
4887 Digital, who had an interest in open licensing. Nick and Joni were exploring
4888 digital fabrication, and Mint’s interest in open licensing got them to
4889 thinking how the open-source world may interact and apply to physical
4890 goods. They sought to design something for their client that was also
4891 reproducible. As they put it, they decided to <span class="quote">“<span class="quote">ship the recipe, but
4892 not the goods.</span>”</span> They created the design using software, put it under
4893 an open license, and had it manufactured locally near the client. This was
4894 the start of the idea for Opendesk. The idea for Wikihouse—another open
4895 project dedicated to accessible housing for all—started as discussions
4896 around the same table.  The two projects ultimately went on separate paths,
4897 with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit
4898 company.
4899       </p><p>
4900         When Nick and Joni set out to create Opendesk, there were a lot of questions
4901 about the viability of distributed manufacturing.  No one was doing it in a
4902 way that was even close to realistic or competitive. The design community
4903 had the intent, but fulfilling this vision was still a long way away.
4904       </p><p>
4905         And now this sector is emerging, and Nick and Joni are highly interested in
4906 the commercialization aspects of it. As part of coming up with a business
4907 model, they began investigating intellectual property and licensing
4908 options. It was a thorny space, especially for designs. Just what aspect of
4909 a design is copyrightable? What is patentable? How can allowing for digital
4910 sharing and distribution be balanced against the designer’s desire to still
4911 hold ownership? In the end, they decided there was no need to reinvent the
4912 wheel and settled on using Creative Commons.
4913       </p><p>
4914         When designing the Opendesk system, they had two goals. They wanted anyone,
4915 anywhere in the world, to be able to download designs so that they could be
4916 made locally, and they wanted a viable model that benefited designers when
4917 their designs were sold. Coming up with a business model was going to be
4918 complex.
4919       </p><p>
4920         They gave a lot of thought to three angles—the potential for social sharing,
4921 allowing designers to choose their license, and the impact these choices
4922 would have on the business model.
4923       </p><p>
4924         In support of social sharing, Opendesk actively advocates for (but doesn’t
4925 demand) open licensing. And Nick and Joni are agnostic about which Creative
4926 Commons license is used; it’s up to the designer. They can be proprietary or
4927 choose from the full suite of Creative Commons licenses, deciding for
4928 themselves how open or closed they want to be.
4929       </p><p>
4930         For the most part, designers love the idea of sharing content.  They
4931 understand that you get positive feedback when you’re attributed, what Nick
4932 and Joni called <span class="quote">“<span class="quote">reputational glow.</span>”</span> And Opendesk does an
4933 awesome job profiling the designers.<a href="#ftn.idm1634" class="footnote" name="idm1634"><sup class="footnote">[134]</sup></a>
4934       </p><p>
4935         While designers are largely OK with personal sharing, there is a concern
4936 that someone will take the design and manufacture the furniture in bulk,
4937 with the designer not getting any benefits.  So most Opendesk designers
4938 choose the Attribution-NonCommercial license (CC BY-NC).
4939       </p><p>
4940         Anyone can download a design and make it themselves, provided it’s for
4941 noncommercial use — and there have been many, many downloads. Or users can
4942 buy the product from Opendesk, or from a registered maker in Opendesk’s
4943 network, for on-demand personal fabrication. The network of Opendesk makers
4944 currently is made up of those who do digital fabrication using a
4945 computer-controlled CNC (Computer Numeric Control) machining device that
4946 cuts shapes out of wooden sheets according to the specifications in the
4947 design file.
4948       </p><p>
4949         Makers benefit from being part of Opendesk’s network. Making furniture for
4950 local customers is paid work, and Opendesk generates business for them. Joni
4951 said, <span class="quote">“<span class="quote">Finding a whole network and community of makers was pretty easy
4952 because we built a site where people could write in about their
4953 capabilities.  Building the community by learning from the maker community
4954 is how we have moved forward.</span>”</span> Opendesk now has relationships with
4955 hundreds of makers in countries all around the world.<a href="#ftn.idm1641" class="footnote" name="idm1641"><sup class="footnote">[135]</sup></a>
4956       </p><p>
4957         The makers are a critical part of the Opendesk business model.  Their model
4958 builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
4959 website:
4960       </p><p>
4961         When customers buy an Opendesk product directly from a registered maker,
4962 they pay:
4963       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4964             the manufacturing cost as set by the maker (this covers material and labour
4965 costs for the product to be manufactured and any extra assembly costs
4966 charged by the maker)
4967           </p></li><li class="listitem"><p>
4968             a design fee for the designer (a design fee that is paid to the designer
4969 every time their design is used)
4970           </p></li><li class="listitem"><p>
4971             a percentage fee to the Opendesk platform (this supports the infrastructure
4972 and ongoing development of the platform that helps us build out our
4973 marketplace)
4974           </p></li><li class="listitem"><p>
4975             a percentage fee to the channel through which the sale is made (at the
4976 moment this is Opendesk, but in the future we aim to open this up to
4977 third-party sellers who can sell Opendesk products through their own
4978 channels—this covers sales and marketing fees for the relevant channel)
4979           </p></li><li class="listitem"><p>
4980             a local delivery service charge (the delivery is typically charged by the
4981 maker, but in some cases may be paid to a third-party delivery partner)
4982           </p></li><li class="listitem"><p>
4983             charges for any additional services the customer chooses, such as on-site
4984 assembly (additional services are discretionary—in many cases makers will be
4985 happy to quote for assembly on-site and designers may offer bespoke design
4986 options)
4987           </p></li><li class="listitem"><p>
4988             local sales taxes (variable by customer and maker location)<a href="#ftn.idm1661" class="footnote" name="idm1661"><sup class="footnote">[136]</sup></a>
4989           </p></li></ul></div><p>
4990         They then go into detail how makers’ quotes are created:
4991       </p><p>
4992         When a customer wants to buy an Opendesk . . . they are provided with a
4993 transparent breakdown of fees including the manufacturing cost, design fee,
4994 Opendesk platform fee and channel fees. If a customer opts to buy by getting
4995 in touch directly with a registered local maker using a downloaded Opendesk
4996 file, the maker is responsible for ensuring the design fee, Opendesk
4997 platform fee and channel fees are included in any quote at the time of
4998 sale. Percentage fees are always based on the underlying manufacturing cost
4999 and are typically apportioned as follows:
5000       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5001             manufacturing cost: fabrication, finishing and any other costs as set by the
5002 maker (excluding any services like delivery or on-site assembly)
5003           </p></li><li class="listitem"><p>
5004             design fee: 8 percent of the manufacturing cost
5005           </p></li><li class="listitem"><p>
5006             platform fee: 12 percent of the manufacturing cost
5007           </p></li><li class="listitem"><p>
5008             channel fee: 18 percent of the manufacturing cost
5009           </p></li><li class="listitem"><p>
5010             sales tax: as applicable (depends on product and location)
5011           </p></li></ul></div><p>
5012         Opendesk shares revenue with their community of designers.  According to
5013 Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
5014 percent is more generous, and providing a higher value to the designer.
5015       </p><p>
5016         The Opendesk website features stories of designers and makers.  Denis Fuzii
5017 published the design for the Valovi Chair from his studio in São Paulo. His
5018 designs have been downloaded over five thousand times in ninety-five
5019 countries. I.J. CNC Services is Ian Jinks, a professional maker based in the
5020 United Kingdom.  Opendesk now makes up a large proportion of his business.
5021       </p><p>
5022         To manage resources and remain effective, Opendesk has so far focused on a
5023 very narrow niche—primarily office furniture of a certain simple aesthetic,
5024 which uses only one type of material and one manufacturing technique. This
5025 allows them to be more strategic and more disruptive in the market, by
5026 getting things to market quickly with competitive prices. It also reflects
5027 their vision of creating reproducible and functional pieces.
5028       </p><p>
5029         On their website, Opendesk describes what they do as <span class="quote">“<span class="quote">open
5030 making</span>”</span>: <span class="quote">“<span class="quote">Designers get a global distribution channel. Makers
5031 get profitable jobs and new customers. You get designer products without the
5032 designer price tag, a more social, eco-friendly alternative to
5033 mass-production and an affordable way to buy custom-made products.</span>”</span>
5034       </p><p>
5035         Nick and Joni say that customers like the fact that the furniture has a
5036 known provenance. People really like that their furniture was designed by a
5037 certain international designer but was made by a maker in their local
5038 community; it’s a great story to tell. It certainly sets apart Opendesk
5039 furniture from the usual mass-produced items from a store.
5040       </p><p>
5041         Nick and Joni are taking a community-based approach to define and evolve
5042 Opendesk and the <span class="quote">“<span class="quote">open making</span>”</span> business model. They’re engaging
5043 thought leaders and practitioners to define this new movement. They have a
5044 separate Open Making site, which includes a manifesto, a field guide, and an
5045 invitation to get involved in the Open Making community.<a href="#ftn.idm1686" class="footnote" name="idm1686"><sup class="footnote">[137]</sup></a> People can submit ideas and discuss the principles
5046 and business practices they’d like to see used.
5047       </p><p>
5048         Nick and Joni talked a lot with us about intellectual property (IP) and
5049 commercialization. Many of their designers fear the idea that someone could
5050 take one of their design files and make and sell infinite number of pieces
5051 of furniture with it. As a consequence, most Opendesk designers choose the
5052 Attribution-NonCommercial license (CC BY-NC).
5053       </p><p>
5054         Opendesk established a set of principles for what their community considers
5055 commercial and noncommercial use. Their website states:
5056       </p><p>
5057         It is unambiguously commercial use when anyone:
5058       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5059             charges a fee or makes a profit when making an Opendesk
5060           </p></li><li class="listitem"><p>
5061             sells (or bases a commercial service on) an Opendesk
5062           </p></li></ul></div><p>
5063         It follows from this that noncommercial use is when you make an Opendesk
5064 yourself, with no intention to gain commercial advantage or monetary
5065 compensation. For example, these qualify as noncommercial:
5066       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5067             you are an individual with your own CNC machine, or access to a shared CNC
5068 machine, and will personally cut and make a few pieces of furniture yourself
5069           </p></li><li class="listitem"><p>
5070             you are a student (or teacher) and you use the design files for educational
5071 purposes or training (and do not intend to sell the resulting pieces)
5072           </p></li><li class="listitem"><p>
5073             you work for a charity and get furniture cut by volunteers, or by employees
5074 at a fab lab or maker space
5075           </p></li></ul></div><p>
5076         Whether or not people technically are doing things that implicate IP, Nick
5077 and Joni have found that people tend to comply with the wishes of creators
5078 out of a sense of fairness.  They have found that behavioral economics can
5079 replace some of the thorny legal issues. In their business model, Nick and
5080 Joni are trying to suspend the focus on IP and build an open business model
5081 that works for all stakeholders—designers, channels, manufacturers, and
5082 customers. For them, the value Opendesk generates hangs off
5083 <span class="quote">“<span class="quote">open,</span>”</span> not IP.
5084       </p><p>
5085         The mission of Opendesk is about relocalizing manufacturing, which changes
5086 the way we think about how goods are made.  Commercialization is integral to
5087 their mission, and they’ve begun to focus on success metrics that track how
5088 many makers and designers are engaged through Opendesk in revenue-making
5089 work.
5090       </p><p>
5091         As a global platform for local making, Opendesk’s business model has been
5092 built on honesty, transparency, and inclusivity. As Nick and Joni describe
5093 it, they put ideas out there that get traction and then have faith in
5094 people.
5095       </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1634" class="footnote"><p><a href="#idm1634" 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.idm1641" class="footnote"><p><a href="#idm1641" 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.idm1661" class="footnote"><p><a href="#idm1661" 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.idm1686" class="footnote"><p><a href="#idm1686" 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>Capítulo 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>
5096           OpenStax is a nonprofit that provides free, openly licensed textbooks for
5097 high-enrollment introductory college courses and Advanced Placement
5098 courses. Founded in 2012 in the U.S.
5099         </p><p>
5100           <a class="ulink" href="http://www.openstaxcollege.org" target="_top">http://www.openstaxcollege.org</a>
5101         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding, charging
5102 for custom services, charging for physical copies (textbook sales)
5103         </p><p><span class="strong"><strong>Interview date</strong></span>: December 16, 2015
5104         </p><p><span class="strong"><strong>Interviewee</strong></span>: David Harris,
5105 editor-in-chief
5106         </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}
5107     \textit{
5108           Profile written by Paul Stacey
5109         }
5110     \end{flushright}</td></tr></table></div><p>
5111         OpenStax is an extension of a program called Connexions, which was started
5112 in 1999 by Dr. Richard Baraniuk, the Victor E.  Cameron Professor of
5113 Electrical and Computer Engineering at Rice University in Houston,
5114 Texas. Frustrated by the limitations of traditional textbooks and courses,
5115 Dr. Baraniuk wanted to provide authors and learners a way to share and
5116 freely adapt educational materials such as courses, books, and reports.
5117 Today, Connexions (now called OpenStax CNX) is one of the world’s best
5118 libraries of customizable educational materials, all licensed with Creative
5119 Commons and available to anyone, anywhere, anytime—for free.
5120       </p><p>
5121         In 2008, while in a senior leadership role at WebAssign and looking at ways
5122 to reduce the risk that came with relying on publishers, David Harris began
5123 investigating open educational resources (OER) and discovered Connexions. A
5124 year and a half later, Connexions received a grant to help grow the use of
5125 OER so that it could meet the needs of students who couldn’t afford
5126 textbooks. David came on board to spearhead this effort.  Connexions became
5127 OpenStax CNX; the program to create open textbooks became OpenStax College,
5128 now simply called OpenStax.
5129       </p><p>
5130         David brought with him a deep understanding of the best practices of
5131 publishing along with where publishers have inefficiencies. In David’s view,
5132 peer review and high standards for quality are critically important if you
5133 want to scale easily. Books have to have logical scope and sequence, they
5134 have to exist as a whole and not in pieces, and they have to be easy to
5135 find. The working hypothesis for the launch of OpenStax was to
5136 professionally produce a turnkey textbook by investing effort up front, with
5137 the expectation that this would lead to rapid growth through easy downstream
5138 adoptions by faculty and students.
5139       </p><p>
5140         In 2012, OpenStax College launched as a nonprofit with the aim of producing
5141 high-quality, peer-reviewed full-color textbooks that would be available for
5142 free for the twenty-five most heavily attended college courses in the
5143 nation. Today they are fast approaching that number. There is data that
5144 proves the success of their original hypothesis on how many students they
5145 could help and how much money they could help save.<a href="#ftn.idm1726" class="footnote" name="idm1726"><sup class="footnote">[138]</sup></a> Professionally produced content scales rapidly. All
5146 with no sales force!
5147       </p><p>
5148         OpenStax textbooks are all Attribution (CC BY) licensed, and each textbook
5149 is available as a PDF, an e-book, or web pages.  Those who want a physical
5150 copy can buy one for an affordable price. Given the cost of education and
5151 student debt in North America, free or very low-cost textbooks are very
5152 appealing.  OpenStax encourages students to talk to their professor and
5153 librarians about these textbooks and to advocate for their use.
5154       </p><p>
5155         Teachers are invited to try out a single chapter from one of the textbooks
5156 with students. If that goes well, they’re encouraged to adopt the entire
5157 book. They can simply paste a URL into their course syllabus, for free and
5158 unlimited access. And with the CC BY license, teachers are free to delete
5159 chapters, make changes, and customize any book to fit their needs.
5160       </p><p>
5161         Any teacher can post corrections, suggest examples for difficult concepts,
5162 or volunteer as an editor or author. As many teachers also want supplemental
5163 material to accompany a textbook, OpenStax also provides slide
5164 presentations, test banks, answer keys, and so on.
5165       </p><p>
5166         Institutions can stand out by offering students a lower-cost education
5167 through the use of OpenStax textbooks; there’s even a textbook-savings
5168 calculator they can use to see how much students would save. OpenStax keeps
5169 a running list of institutions that have adopted their
5170 textbooks.<a href="#ftn.idm1733" class="footnote" name="idm1733"><sup class="footnote">[139]</sup></a>
5171       </p><p>
5172         Unlike traditional publishers’ monolithic approach of controlling
5173 intellectual property, distribution, and so many other aspects, OpenStax has
5174 adopted a model that embraces open licensing and relies on an extensive
5175 network of partners.
5176       </p><p>
5177         Up-front funding of a professionally produced all-color turnkey textbook is
5178 expensive. For this part of their model, OpenStax relies on
5179 philanthropy. They have initially been funded by the William and Flora
5180 Hewlett Foundation, the Laura and John Arnold Foundation, the Bill and
5181 Melinda Gates Foundation, the 20 Million Minds Foundation, the Maxfield
5182 Foundation, the Calvin K.  Kazanjian Foundation, and Rice University. To
5183 develop additional titles and supporting technology is probably still going
5184 to require philanthropic investment.
5185       </p><p>
5186         However, ongoing operations will not rely on foundation grants but instead
5187 on funds received through an ecosystem of over forty partners, whereby a
5188 partner takes core content from OpenStax and adds features that it can
5189 create revenue from. For example, WebAssign, an online homework and
5190 assessment tool, takes the physics book and adds algorithmically generated
5191 physics problems, with problem-specific feedback, detailed solutions, and
5192 tutorial support. WebAssign resources are available to students for a fee.
5193       </p><p>
5194         Another example is Odigia, who has turned OpenStax books into interactive
5195 learning experiences and created additional tools to measure and promote
5196 student engagement. Odigia licenses its learning platform to
5197 institutions. Partners like Odigia and WebAssign give a percentage of the
5198 revenue they earn back to OpenStax, as mission-support fees. OpenStax has
5199 already published revisions of their titles, such as Introduction to
5200 Sociology 2e, using these funds.
5201       </p><p>
5202         In David’s view, this approach lets the market operate at peak
5203 efficiency. OpenStax’s partners don’t have to worry about developing
5204 textbook content, freeing them up from those development costs and letting
5205 them focus on what they do best.  With OpenStax textbooks available at no
5206 cost, they can provide their services at a lower cost—not free, but still
5207 saving students money. OpenStax benefits not only by receiving
5208 mission-support fees but through free publicity and marketing.  OpenStax
5209 doesn’t have a sales force; partners are out there showcasing their
5210 materials.
5211       </p><p>
5212         OpenStax’s cost of sales to acquire a single student is very, very low and
5213 is a fraction of what traditional players in the market face. This year,
5214 Tyton Partners is actually evaluating the costs of sales for an OER effort
5215 like OpenStax in comparison with incumbents. David looks forward to sharing
5216 these findings with the community.
5217       </p><p>
5218         While OpenStax books are available online for free, many students still want
5219 a print copy. Through a partnership with a print and courier company,
5220 OpenStax offers a complete solution that scales. OpenStax sells tens of
5221 thousands of print books.  The price of an OpenStax sociology textbook is
5222 about twenty-eight dollars, a fraction of what sociology textbooks usually
5223 cost. OpenStax keeps the prices low but does aim to earn a small margin on
5224 each book sold, which also contributes to ongoing operations.
5225       </p><p>
5226         Campus-based bookstores are part of the OpenStax solution.  OpenStax
5227 collaborates with NACSCORP (the National Association of College Stores
5228 Corporation) to provide print versions of their textbooks in the
5229 stores. While the overall cost of the textbook is significantly less than a
5230 traditional textbook, bookstores can still make a profit on sales. Sometimes
5231 students take the savings they have from the lower-priced book and use it to
5232 buy other things in the bookstore. And OpenStax is trying to break the
5233 expensive behavior of excessive returns by having a no-returns policy. This
5234 is working well, since the sell-through of their print titles is virtually a
5235 hundred percent.
5236       </p><p>
5237         David thinks of the OpenStax model as <span class="quote">“<span class="quote">OER 2.0.</span>”</span> So what is OER
5238 1.0? Historically in the OER field, many OER initiatives have been locally
5239 funded by institutions or government ministries. In David’s view, this
5240 results in content that has high local value but is infrequently adopted
5241 nationally. It’s therefore difficult to show payback over a time scale that
5242 is reasonable.
5243       </p><p>
5244         OER 2.0 is about OER intended to be used and adopted on a national level
5245 right from the start. This requires a bigger investment up front but pays
5246 off through wide geographic adoption. The OER 2.0 process for OpenStax
5247 involves two development models. The first is what David calls the
5248 acquisition model, where OpenStax purchases the rights from a publisher or
5249 author for an already published book and then extensively revises it. The
5250 OpenStax physics textbook, for example, was licensed from an author after
5251 the publisher released the rights back to the authors. The second model is
5252 to develop a book from scratch, a good example being their biology book.
5253       </p><p>
5254         The process is similar for both models. First they look at the scope and
5255 sequence of existing textbooks. They ask questions like what does the
5256 customer need? Where are students having challenges? Then they identify
5257 potential authors and put them through a rigorous evaluation—only one in ten
5258 authors make it through. OpenStax selects a team of authors who come
5259 together to develop a template for a chapter and collectively write the
5260 first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
5261 books with just a single author as David says it risks the project going
5262 longer than scheduled.) The draft is peer-reviewed with no less than three
5263 reviewers per chapter. A second draft is generated, with artists producing
5264 illustrations and visuals to go along with the text. The book is then
5265 copyedited to ensure grammatical correctness and a singular voice. Finally,
5266 it goes into production and through a final proofread. The whole process is
5267 very time-consuming.
5268       </p><p>
5269         All the people involved in this process are paid. OpenStax does not rely on
5270 volunteers. Writers, reviewers, illustrators, and editors are all paid an
5271 up-front fee—OpenStax does not use a royalty model. A best-selling author
5272 might make more money under the traditional publishing model, but that is
5273 only maybe 5 percent of all authors. From David’s perspective, 95 percent of
5274 all authors do better under the OER 2.0 model, as there is no risk to them
5275 and they earn all the money up front.
5276       </p><p>
5277         David thinks of the Attribution license (CC BY) as the <span class="quote">“<span class="quote">innovation
5278 license.</span>”</span> It’s core to the mission of OpenStax, letting people use
5279 their textbooks in innovative ways without having to ask for permission. It
5280 frees up the whole market and has been central to OpenStax being able to
5281 bring on partners. OpenStax sees a lot of customization of their
5282 materials. By enabling frictionless remixing, CC BY gives teachers control
5283 and academic freedom.
5284       </p><p>
5285         Using CC BY is also a good example of using strategies that traditional
5286 publishers can’t. Traditional publishers rely on copyright to prevent others
5287 from making copies and heavily invest in digital rights management to ensure
5288 their books aren’t shared. By using CC BY, OpenStax avoids having to deal
5289 with digital rights management and its costs. OpenStax books can be copied
5290 and shared over and over again. CC BY changes the rules of engagement and
5291 takes advantage of traditional market inefficiencies.
5292       </p><p>
5293         As of September 16, 2016, OpenStax has achieved some impressive
5294 results. From the OpenStax at a Glance fact sheet from their recent press
5295 kit:
5296       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5297             Books published: 23
5298           </p></li><li class="listitem"><p>
5299             Students who have used OpenStax: 1.6 million
5300           </p></li><li class="listitem"><p>
5301             Money saved for students: $155 million
5302           </p></li><li class="listitem"><p>
5303             Money saved for students in the 2016/17 academic year: $77 million
5304           </p></li><li class="listitem"><p>
5305             Schools that have used OpenStax: 2,668 (This number reflects all
5306 institutions using at least one OpenStax textbook. Out of 2,668 schools, 517
5307 are two-year colleges, 835 four-year colleges and universities, and 344
5308 colleges and universities outside the U.S.)
5309           </p></li></ul></div><p>
5310         While OpenStax has to date been focused on the United States, there is
5311 overseas adoption especially in the science, technology, engineering, and
5312 math (STEM) fields. Large scale adoption in the United States is seen as a
5313 necessary precursor to international interest.
5314       </p><p>
5315         OpenStax has primarily focused on introductory-level college courses where
5316 there is high enrollment, but they are starting to think about verticals—a
5317 broad offering for a specific group or need. David thinks it would be
5318 terrific if OpenStax could provide access to free textbooks through the
5319 entire curriculum of a nursing degree, for example.
5320       </p><p>
5321         Finally, for OpenStax success is not just about the adoption of their
5322 textbooks and student savings. There is a human aspect to the work that is
5323 hard to quantify but incredibly important. They get emails from students
5324 saying how OpenStax saved them from making difficult choices like buying
5325 food or a textbook.  OpenStax would also like to assess the impact their
5326 books have on learning efficiency, persistence, and completion. By building
5327 an open business model based on Creative Commons, OpenStax is making it
5328 possible for every student who wants access to education to get it.
5329       </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1726" class="footnote"><p><a href="#idm1726" 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.idm1733" class="footnote"><p><a href="#idm1733" 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>Capítulo 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>
5330           Amanda Palmer is a musician, artist, and writer. Based in the U.S.
5331         </p><p>
5332           <a class="ulink" href="http://amandapalmer.net" target="_top">http://amandapalmer.net</a>
5333         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
5334 (subscription-based), pay-what-you-want, charging for physical copies (book
5335 and album sales), charg-ing for in-person version (performances), selling
5336 merchandise
5337         </p><p><span class="strong"><strong>Interview date</strong></span>: December 15, 2015
5338         </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}
5339     \textit{
5340           Profile written by Sarah Hinchliff Pearson
5341         }
5342     \end{flushright}</td></tr></table></div><p>
5343         Since the beginning of her career, Amanda Palmer has been on what she calls
5344 a <span class="quote">“<span class="quote">journey with no roadmap,</span>”</span> continually experimenting to find
5345 new ways to sustain her creative work.<a href="#ftn.idm1780" class="footnote" name="idm1780"><sup class="footnote">[140]</sup></a>
5346       </p><p>
5347         In her best-selling book, The Art of Asking, Amanda articulates exactly what
5348 she has been and continues to strive for—<span class="quote">“<span class="quote">the ideal sweet spot
5349 . . . in which the artist can share freely and directly feel the
5350 reverberations of their artistic gifts to the community, and make a living
5351 doing that.</span>”</span>
5352       </p><p>
5353         While she seems to have successfully found that sweet spot for herself,
5354 Amanda is the first to acknowledge there is no silver bullet. She thinks the
5355 digital age is both an exciting and frustrating time for creators. <span class="quote">“<span class="quote">On
5356 the one hand, we have this beautiful shareability,</span>”</span> Amanda
5357 said. <span class="quote">“<span class="quote">On the other, you’ve got a bunch of confused artists wondering
5358 how to make money to buy food so we can make more art.</span>”</span>
5359       </p><p>
5360         Amanda began her artistic career as a street performer. She would dress up
5361 in an antique wedding gown, paint her face white, stand on a stack of milk
5362 crates, and hand out flowers to strangers as part of a silent dramatic
5363 performance. She collected money in a hat. Most people walked by her without
5364 stopping, but an essential few stopped to watch and drop some money into her
5365 hat to show their appreciation. Rather than dwelling on the majority of
5366 people who ignored her, she felt thankful for those who stopped. <span class="quote">“<span class="quote">All
5367 I needed was . . .  some people,</span>”</span> she wrote in her
5368 book. <span class="quote">“<span class="quote">Enough people. Enough to make it worth coming back the next
5369 day, enough people to help me make rent and put food on the table. Enough so
5370 I could keep making art.</span>”</span>
5371       </p><p>
5372         Amanda has come a long way from her street-performing days, but her career
5373 remains dominated by that same sentiment—finding ways to reach <span class="quote">“<span class="quote">her
5374 crowd</span>”</span> and feeling gratitude when she does. With her band the Dresden
5375 Dolls, Amanda tried the traditional path of signing with a record label. It
5376 didn’t take for a variety of reasons, but one of them was that the label had
5377 absolutely no interest in Amanda’s view of success. They wanted hits, but
5378 making music for the masses was never what Amanda and the Dresden Dolls set
5379 out to do.
5380       </p><p>
5381         After leaving the record label in 2008, she began experimenting with
5382 different ways to make a living. She released music directly to the public
5383 without involving a middle man, releasing digital files on a <span class="quote">“<span class="quote">pay what
5384 you want</span>”</span> basis and selling CDs and vinyl. She also made money from
5385 live performances and merchandise sales. Eventually, in 2012 she decided to
5386 try her hand at the sort of crowdfunding we know so well today. Her
5387 Kickstarter project started with a goal of $100,000, and she made $1.2
5388 million. It remains one of the most successful Kickstarter projects of all
5389 time.
5390       </p><p>
5391         Today, Amanda has switched gears away from crowdfunding for specific
5392 projects to instead getting consistent financial support from her fan base
5393 on Patreon, a crowdfunding site that allows artists to get recurring
5394 donations from fans. More than eight thousand people have signed up to
5395 support her so she can create music, art, and any other creative
5396 <span class="quote">“<span class="quote">thing</span>”</span> that she is inspired to make. The recurring pledges are
5397 made on a <span class="quote">“<span class="quote">per thing</span>”</span> basis. All of the content she makes is
5398 made freely available under an Attribution-NonCommercial-ShareAlike license
5399 (CC BY-NC-SA).
5400       </p><p>
5401         Making her music and art available under Creative Commons licensing
5402 undoubtedly limits her options for how she makes a living. But sharing her
5403 work has been part of her model since the beginning of her career, even
5404 before she discovered Creative Commons. Amanda says the Dresden Dolls used
5405 to get ten emails per week from fans asking if they could use their music
5406 for different projects. They said yes to all of the requests, as long as it
5407 wasn’t for a completely for-profit venture. At the time, they used a
5408 short-form agreement written by Amanda herself. <span class="quote">“<span class="quote">I made everyone sign
5409 that contract so at least I wouldn’t be leaving the band vulnerable to
5410 someone later going on and putting our music in a Camel cigarette
5411 ad,</span>”</span> Amanda said. Once she discovered Creative Commons, adopting the
5412 licenses was an easy decision because it gave them a more formal,
5413 standardized way of doing what they had been doing all along. The
5414 NonCommercial licenses were a natural fit.
5415       </p><p>
5416         Amanda embraces the way her fans share and build upon her music.  In The Art
5417 of Asking, she wrote that some of her fans’ unofficial videos using her
5418 music surpass the official videos in number of views on YouTube. Rather than
5419 seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">“<span class="quote">We
5420 got into this because we wanted to share the joy of music,</span>”</span> she said.
5421       </p><p>
5422         This is symbolic of how nearly everything she does in her career is
5423 motivated by a desire to connect with her fans. At the start of her career,
5424 she and the band would throw concerts at house parties. As the gatherings
5425 grew, the line between fans and friends was completely blurred. <span class="quote">“<span class="quote">Not
5426 only did most our early fans know where I lived and where we practiced, but
5427 most of them had also been in my kitchen,</span>”</span> Amanda wrote in The Art of
5428 Asking.
5429       </p><p>
5430         Even though her fan base is now huge and global, she continues to seek this
5431 sort of human connection with her fans. She seeks out face-to-face contact
5432 with her fans every chance she can get.  Her hugely successful Kickstarter
5433 featured fifty concerts at house parties for backers. She spends hours in
5434 the signing line after shows. It helps that Amanda has the kind of dynamic,
5435 engaging personality that instantly draws people to her, but a big component
5436 of her ability to connect with people is her willingness to
5437 listen. <span class="quote">“<span class="quote">Listening fast and caring immediately is a skill unto
5438 itself,</span>”</span> Amanda wrote.
5439       </p><p>
5440         Another part of the connection fans feel with Amanda is how much they know
5441 about her life. Rather than trying to craft a public persona or image, she
5442 essentially lives her life as an open book. She has written openly about
5443 incredibly personal events in her life, and she isn’t afraid to be
5444 vulnerable. Having that kind of trust in her fans—the trust it takes to be
5445 truly honest—begets trust from her fans in return. When she meets fans for
5446 the first time after a show, they can legitimately feel like they know her.
5447       </p><p><span class="quote">“<span class="quote">With social media, we’re so concerned with the picture looking
5448 palatable and consumable that we forget that being human and showing the
5449 flaws and exposing the vulnerability actually create a deeper connection
5450 than just looking fantastic,</span>”</span> Amanda said. <span class="quote">“<span class="quote">Everything in our
5451 culture is telling us otherwise. But my experience has shown me that the
5452 risk of making yourself vulnerable is almost always worth it.</span>”</span>
5453       </p><p>
5454         Not only does she disclose intimate details of her life to them, she sleeps
5455 on their couches, listens to their stories, cries with them. In short, she
5456 treats her fans like friends in nearly every possible way, even when they
5457 are complete strangers. This mentality—that fans are friends—is completely
5458 intertwined with Amanda’s success as an artist. It is also intertwined with
5459 her use of Creative Commons licenses. Because that is what you do with your
5460 friends—you share.
5461       </p><p>
5462         After years of investing time and energy into building trust with her fans,
5463 she has a strong enough relationship with them to ask for support—through
5464 pay-what-you-want donations, Kickstarter, Patreon, or even asking them to
5465 lend a hand at a concert. As Amanda explains it, crowdfunding (which is
5466 really what all of these different things are) is about asking for support
5467 from people who know and trust you. People who feel personally invested in
5468 your success.
5469       </p><p><span class="quote">“<span class="quote">When you openly, radically trust people, they not only take care of
5470 you, they become your allies, your family,</span>”</span> she wrote. There really
5471 is a feeling of solidarity within her core fan base. From the beginning,
5472 Amanda and her band encouraged people to dress up for their shows. They
5473 consciously cultivated a feeling of belonging to their <span class="quote">“<span class="quote">weird little
5474 family.</span>”</span>
5475       </p><p>
5476         This sort of intimacy with fans is not possible or even desirable for every
5477 creator. <span class="quote">“<span class="quote">I don’t take for granted that I happen to be the type of
5478 person who loves cavorting with strangers,</span>”</span> Amanda said. <span class="quote">“<span class="quote">I
5479 recognize that it’s not necessarily everyone’s idea of a good time. Everyone
5480 does it differently. Replicating what I have done won’t work for others if
5481 it isn’t joyful to them. It’s about finding a way to channel energy in a way
5482 that is joyful to you.</span>”</span>
5483       </p><p>
5484         Yet while Amanda joyfully interacts with her fans and involves them in her
5485 work as much as possible, she does keep one job primarily to herself—writing
5486 the music. She loves the creativity with which her fans use and adapt her
5487 work, but she intentionally does not involve them at the first stage of
5488 creating her artistic work. And, of course, the songs and music are what
5489 initially draw people to Amanda Palmer. It is only once she has connected to
5490 people through her music that she can then begin to build ties with them on
5491 a more personal level, both in person and online. In her book, Amanda
5492 describes it as casting a net. It starts with the art and then the bond
5493 strengthens with human connection.
5494       </p><p>
5495         For Amanda, the entire point of being an artist is to establish and maintain
5496 this connection. <span class="quote">“<span class="quote">It sounds so corny,</span>”</span> she said, <span class="quote">“<span class="quote">but my
5497 experience in forty years on this planet has pointed me to an obvious
5498 truth—that connection with human beings feels so much better and more
5499 fulfilling than approaching art through a capitalist lens. There is no more
5500 satisfying end goal than having someone tell you that what you do is
5501 genuinely of value to them.</span>”</span>
5502       </p><p>
5503         As she explains it, when a fan gives her a ten-dollar bill, usually what
5504 they are saying is that the money symbolizes some deeper value the music
5505 provided them. For Amanda, art is not just a product; it’s a
5506 relationship. Viewed from this lens, what Amanda does today is not that
5507 different from what she did as a young street performer. She shares her
5508 music and other artistic gifts. She shares herself. And then rather than
5509 forcing people to help her, she lets them.
5510       </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1780" class="footnote"><p><a href="#idm1780" 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>Capítulo 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>
5511           PLOS (Public Library of Science) is a nonprofit that publishes a library of
5512 academic journals and other scientific literature. Founded in 2000 in the
5513 U.S.
5514         </p><p>
5515           <a class="ulink" href="http://plos.org" target="_top">http://plos.org</a>
5516         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
5517 an author processing charge to be featured in the journal
5518         </p><p><span class="strong"><strong>Interview date</strong></span>: March 7, 2016
5519         </p><p><span class="strong"><strong>Interviewee</strong></span>: Louise Page, publisher
5520         </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}
5521     \textit{
5522           Profile written by Paul Stacey
5523         }
5524     \end{flushright}</td></tr></table></div><p>
5525         The Public Library of Science (PLOS) began in 2000 when three leading
5526 scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
5527 online petition. They were calling for scientists to stop submitting papers
5528 to journals that didn’t make the full text of their papers freely available
5529 immediately or within six months. Although tens of thousands signed the
5530 petition, most did not follow through. In August 2001, Patrick and Michael
5531 announced that they would start their own nonprofit publishing operation to
5532 do just what the petition promised. With start-up grant support from the
5533 Gordon and Betty Moore Foundation, PLOS was launched to provide new
5534 open-access journals for biomedicine, with research articles being released
5535 under Attribution (CC BY) licenses.
5536       </p><p>
5537         Traditionally, academic publishing begins with an author submitting a
5538 manuscript to a publisher. After in-house technical and ethical
5539 considerations, the article is then peer-reviewed to determine if the
5540 quality of the work is acceptable for publishing. Once accepted, the
5541 publisher takes the article through the process of copyediting, typesetting,
5542 and eventual publishing in a print or online publication. Traditional
5543 journal publishers recover costs and earn profit by charging a subscription
5544 fee to libraries or an access fee to users wanting to read the journal or
5545 article.
5546       </p><p>
5547         For Louise Page, the current publisher of PLOS, this traditional model
5548 results in inequity. Access is restricted to those who can pay. Most
5549 research is funded through government-appointed agencies, that is, with
5550 public funds. It’s unjust that the public who funded the research would be
5551 required to pay again to access the results. Not everyone can afford the
5552 ever-escalating subscription fees publishers charge, especially when library
5553 budgets are being reduced. Restricting access to the results of scientific
5554 research slows the dissemination of this research and advancement of the
5555 field. It was time for a new model.
5556       </p><p>
5557         That new model became known as open access. That is, free and open
5558 availability on the Internet. Open-access research articles are not behind a
5559 paywall and do not require a login. A key benefit of open access is that it
5560 allows people to freely use, copy, and distribute the articles, as they are
5561 primarily published under an Attribution (CC BY) license (which only
5562 requires the user to provide appropriate attribution). And more importantly,
5563 policy makers, clinicians, entrepreneurs, educators, and students around the
5564 world have free and timely access to the latest research immediately on
5565 publication.
5566       </p><p>
5567         However, open access requires rethinking the business model of research
5568 publication. Rather than charge a subscription fee to access the journal,
5569 PLOS decided to turn the model on its head and charge a publication fee,
5570 known as an article-processing charge. This up-front fee, generally paid by
5571 the funder of the research or the author’s institution, covers the expenses
5572 such as editorial oversight, peer-review management, journal production,
5573 online hosting, and support for discovery. Fees are per article and are
5574 billed upon acceptance for publishing. There are no additional charges based
5575 on word length, figures, or other elements.
5576       </p><p>
5577         Calculating the article-processing charge involves taking all the costs
5578 associated with publishing the journal and determining a cost per article
5579 that collectively recovers costs. For PLOS’s journals in biology, medicine,
5580 genetics, computational biology, neglected tropical diseases, and pathogens,
5581 the article-processing charge ranges from $2,250 to $2,900.
5582 Article-publication charges for PLOS ONE, a journal started in 2006, are
5583 just under $1,500.
5584       </p><p>
5585         PLOS believes that lack of funds should not be a barrier to
5586 publication. Since its inception, PLOS has provided fee support for
5587 individuals and institutions to help authors who can’t afford the
5588 article-processing charges.
5589       </p><p>
5590         Louise identifies marketing as one area of big difference between PLOS and
5591 traditional journal publishers. Traditional journals have to invest heavily
5592 in staff, buildings, and infrastructure to market their journal and convince
5593 customers to subscribe. Restricting access to subscribers means that tools
5594 for managing access control are necessary. They spend millions of dollars on
5595 access-control systems, staff to manage them, and sales staff. With PLOS’s
5596 open-access publishing, there’s no need for these massive expenses; the
5597 articles are free, open, and accessible to all upon
5598 publication. Additionally, traditional publishers tend to spend more on
5599 marketing to libraries, who ultimately pay the subscription fees. PLOS
5600 provides a better service for authors by promoting their research directly
5601 to the research community and giving the authors exposure. And this
5602 encourages other authors to submit their work for publication.
5603       </p><p>
5604         For Louise, PLOS would not exist without the Attribution license (CC
5605 BY). This makes it very clear what rights are associated with the content
5606 and provides a safe way for researchers to make their work available while
5607 ensuring they get recognition (appropriate attribution). For PLOS, all of
5608 this aligns with how they think research content should be published and
5609 disseminated.
5610       </p><p>
5611         PLOS also has a broad open-data policy. To get their research paper
5612 published, PLOS authors must also make their data available in a public
5613 repository and provide a data-availability statement.
5614       </p><p>
5615         Business-operation costs associated with the open-access model still largely
5616 follow the existing publishing model. PLOS journals are online only, but the
5617 editorial, peer-review, production, typesetting, and publishing stages are
5618 all the same as for a traditional publisher. The editorial teams must be top
5619 notch. PLOS has to function as well as or better than other premier
5620 journals, as researchers have a choice about where to publish.
5621       </p><p>
5622         Researchers are influenced by journal rankings, which reflect the place of a
5623 journal within its field, the relative difficulty of being published in that
5624 journal, and the prestige associated with it. PLOS journals rank high, even
5625 though they are relatively new.
5626       </p><p>
5627         The promotion and tenure of researchers are partially based how many times
5628 other researchers cite their articles. Louise says when researchers want to
5629 discover and read the work of others in their field, they go to an online
5630 aggregator or search engine, and not typically to a particular journal. The
5631 CC BY licensing of PLOS research articles ensures easy access for readers
5632 and generates more discovery and citations for authors.
5633       </p><p>
5634         Louise believes that open access has been a huge success, progressing from a
5635 movement led by a small cadre of researchers to something that is now
5636 widespread and used in some form by every journal publisher. PLOS has had a
5637 big impact. In 2012 to 2014, they published more open-access articles than
5638 BioMed Central, the original open-access publisher, or anyone else.
5639       </p><p>
5640         PLOS further disrupted the traditional journal-publishing model by
5641 pioneering the concept of a megajournal. The PLOS ONE megajournal, launched
5642 in 2006, is an open-access peer-reviewed academic journal that is much
5643 larger than a traditional journal, publishing thousands of articles per year
5644 and benefiting from economies of scale. PLOS ONE has a broad scope, covering
5645 science and medicine as well as social sciences and the humanities. The
5646 review and editorial process is less subjective. Articles are accepted for
5647 publication based on whether they are technically sound rather than
5648 perceived importance or relevance. This is very important in the current
5649 debate about the integrity and reproducibility of research because negative
5650 or null results can then be published as well, which are generally rejected
5651 by traditional journals. PLOS ONE, like all the PLOS journals, is online
5652 only with no print version. PLOS passes on the financial savings accrued
5653 through economies of scale to researchers and the public by lowering the
5654 article-processing charges, which are below that of other journals. PLOS ONE
5655 is the biggest journal in the world and has really set the bar for
5656 publishing academic journal articles on a large scale. Other publishers see
5657 the value of the PLOS ONE model and are now offering their own
5658 multidisciplinary forums for publishing all sound science.
5659       </p><p>
5660         Louise outlined some other aspects of the research-journal business model
5661 PLOS is experimenting with, describing each as a kind of slider that could
5662 be adjusted to change current practice.
5663       </p><p>
5664         One slider is time to publication. Time to publication may shorten as
5665 journals get better at providing quicker decisions to authors. However,
5666 there is always a trade-off with scale, as the bigger the volume of
5667 articles, the more time the approval process inevitably takes.
5668       </p><p>
5669         Peer review is another part of the process that could change.  It’s possible
5670 to redefine what peer review actually is, when to review, and what
5671 constitutes the final article for publication.  Louise talked about the
5672 potential to shift to an open-review process, placing the emphasis on
5673 transparency rather than double-blind reviews. Louise thinks we’re moving
5674 into a direction where it’s actually beneficial for an author to know who is
5675 reviewing their paper and for the reviewer to know their review will be
5676 public. An open-review process can also ensure everyone gets credit; right
5677 now, credit is limited to the publisher and author.
5678       </p><p>
5679         Louise says research with negative outcomes is almost as important as
5680 positive results. If journals published more research with negative
5681 outcomes, we’d learn from what didn’t work. It could also reduce how much
5682 the research wheel gets reinvented around the world.
5683       </p><p>
5684         Another adjustable practice is the sharing of articles at early preprint
5685 stages. Publication of research in a peer-reviewed journal can take a long
5686 time because articles must undergo extensive peer review. The need to
5687 quickly circulate current results within a scientific community has led to a
5688 practice of distributing pre-print documents that have not yet undergone
5689 peer review. Preprints broaden the peer-review process, allowing authors to
5690 receive early feedback from a wide group of peers, which can help revise and
5691 prepare the article for submission.  Offsetting the advantages of preprints
5692 are author concerns over ensuring their primacy of being first to come up
5693 with findings based on their research. Other researches may see findings the
5694 preprint author has not yet thought of. However, preprints help researchers
5695 get their discoveries out early and establish precedence. A big challenge is
5696 that researchers don’t have a lot of time to comment on preprints.
5697       </p><p>
5698         What constitutes a journal article could also change. The idea of a research
5699 article as printed, bound, and in a library stack is outdated. Digital and
5700 online open up new possibilities, such as a living document evolving over
5701 time, inclusion of audio and video, and interactivity, like discussion and
5702 recommendations.  Even the size of what gets published could change. With
5703 these changes the current form factor for what constitutes a research
5704 article would undergo transformation.
5705       </p><p>
5706         As journals scale up, and new journals are introduced, more and more
5707 information is being pushed out to readers, making the experience feel like
5708 drinking from a fire hose. To help mitigate this, PLOS aggregates and
5709 curates content from PLOS journals and their network of blogs.<a href="#ftn.idm1858" class="footnote" name="idm1858"><sup class="footnote">[141]</sup></a> It also offers something called Article-Level
5710 Metrics, which helps users assess research most relevant to the field
5711 itself, based on indicators like usage, citations, social bookmarking and
5712 dissemination activity, media and blog coverage, discussions, and
5713 ratings.<a href="#ftn.idm1861" class="footnote" name="idm1861"><sup class="footnote">[142]</sup></a> Louise believes that the
5714 journal model could evolve to provide a more friendly and interactive user
5715 experience, including a way for readers to communicate with authors.
5716       </p><p>
5717         The big picture for PLOS going forward is to combine and adjust these
5718 experimental practices in ways that continue to improve accessibility and
5719 dissemination of research, while ensuring its integrity and reliability. The
5720 ways they interlink are complex.  The process of change and adjustment is
5721 not linear. PLOS sees itself as a very flexible publisher interested in
5722 exploring all the permutations research-publishing can take, with authors
5723 and readers who are open to experimentation.
5724       </p><p>
5725         For PLOS, success is not about revenue. Success is about proving that
5726 scientific research can be communicated rapidly and economically at scale,
5727 for the benefit of researchers and society. The CC BY license makes it
5728 possible for PLOS to publish in a way that is unfettered, open, and fast,
5729 while ensuring that the authors get credit for their work. More than two
5730 million scientists, scholars, and clinicians visit PLOS every month, with
5731 more than 135,000 quality articles to peruse for free.
5732       </p><p>
5733         Ultimately, for PLOS, its authors, and its readers, success is about making
5734 research discoverable, available, and reproducible for the advancement of
5735 science.
5736       </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1858" class="footnote"><p><a href="#idm1858" 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.idm1861" class="footnote"><p><a href="#idm1861" 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>Capítulo 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>
5737           The Rijksmuseum is a Dutch national museum dedicated to art and
5738 history. Founded in 1800 in the Netherlands
5739         </p><p>
5740           <a class="ulink" href="http://www.rijksmuseum.nl" target="_top">http://www.rijksmuseum.nl</a>
5741         </p><p><span class="strong"><strong>Revenue model</strong></span>: grants and government
5742 funding, charging for in-person version (museum admission), selling
5743 merchandise
5744         </p><p><span class="strong"><strong>Interview date</strong></span>: December 11, 2015
5745         </p><p><span class="strong"><strong>Interviewee</strong></span>: Lizzy Jongma, the data
5746 manager of the collections information department
5747         </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}
5748     \textit{
5749           Profile written by Paul Stacey
5750         }
5751     \end{flushright}</td></tr></table></div><p>
5752         The Rijksmuseum, a national museum in the Netherlands dedicated to art and
5753 history, has been housed in its current building since 1885. The monumental
5754 building enjoyed more than 125 years of intensive use before needing a
5755 thorough overhaul. In 2003, the museum was closed for renovations. Asbestos
5756 was found in the roof, and although the museum was scheduled to be closed
5757 for only three to four years, renovations ended up taking ten years.  During
5758 this time, the collection was moved to a different part of Amsterdam, which
5759 created a physical distance with the curators. Out of necessity, they
5760 started digitally photographing the collection and creating metadata
5761 (information about each object to put into a database). With the renovations
5762 going on for so long, the museum became largely forgotten by the public.
5763 Out of these circumstances emerged a new and more open model for the museum.
5764       </p><p>
5765         By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager,
5766 staff were fed up with the situation the museum was in. They also realized
5767 that even with the new and larger space, it still wouldn’t be able to show
5768 very much of the whole collection—eight thousand of over one million works
5769 representing just 1 percent. Staff began exploring ways to express
5770 themselves, to have something to show for all of the work they had been
5771 doing. The Rijksmuseum is primarily funded by Dutch taxpayers, so was there
5772 a way for the museum provide benefit to the public while it was closed? They
5773 began thinking about sharing Rijksmuseum’s collection using information
5774 technology.  And they put up a card-catalog like database of the entire
5775 collection online.
5776       </p><p>
5777         It was effective but a bit boring. It was just data. A hackathon they were
5778 invited to got them to start talking about events like that as having
5779 potential. They liked the idea of inviting people to do cool stuff with
5780 their collection. What about giving online access to digital representations
5781 of the one hundred most important pieces in the Rijksmuseum collection? That
5782 eventually led to why not put the whole collection online?
5783       </p><p>
5784         Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
5785 library, museum, and archive for cultural heritage.<a href="#ftn.idm1884" class="footnote" name="idm1884"><sup class="footnote">[143]</sup></a> As an online portal to museum collections all
5786 across Europe, Europeana had become an important online platform. In October
5787 2010 Creative Commons released CC0 and its public-domain mark as tools
5788 people could use to identify works as free of known copyright. Europeana was
5789 the first major adopter, using CC0 to release metadata about their
5790 collection and the public domain mark for millions of digital works in their
5791 collection.  Lizzy says the Rijksmuseum initially found this change in
5792 business practice a bit scary, but at the same time it stimulated even more
5793 discussion on whether the Rijksmuseum should follow suit.
5794       </p><p>
5795         They realized that they don’t <span class="quote">“<span class="quote">own</span>”</span> the collection and couldn’t
5796 realistically monitor and enforce compliance with the restrictive licensing
5797 terms they currently had in place. For example, many copies and versions of
5798 Vermeer’s Milkmaid (part of their collection) were already online, many of
5799 them of very poor quality. They could spend time and money policing its use,
5800 but it would probably be futile and wouldn’t make people stop using their
5801 images online. They ended up thinking it’s an utter waste of time to hunt
5802 down people who use the Rijksmuseum collection.  And anyway, restricting
5803 access meant the people they were frustrating the most were schoolkids.
5804       </p><p>
5805         In 2011 the Rijksmuseum began making their digital photos of works known to
5806 be free of copyright available online, using Creative Commons CC0 to place
5807 works in the public domain. A medium-resolution image was offered for free,
5808 but a high-resolution version cost forty euros. People started paying, but
5809 Lizzy says getting the money was frequently a nightmare, especially from
5810 overseas customers. The administrative costs often offset revenue, and
5811 income above costs was relatively low.  In addition, having to pay for an
5812 image of a work in the public domain from a collection owned by the Dutch
5813 government (i.e., paid for by the public) was contentious and frustrating
5814 for some. Lizzy says they had lots of fierce debates about what to do.
5815       </p><p>
5816         In 2013 the Rijksmuseum changed its business model. They Creative Commons
5817 licensed their highest-quality images and released them online for
5818 free. Digitization still cost money, however; they decided to define
5819 discrete digitization projects and find sponsors willing to fund each
5820 project. This turned out to be a successful strategy, generating high
5821 interest from sponsors and lower administrative effort for the Rijksmuseum.
5822 They started out making 150,000 high-quality images of their collection
5823 available, with the goal to eventually have the entire collection online.
5824       </p><p>
5825         Releasing these high-quality images for free reduced the number of
5826 poor-quality images that were proliferating. The high-quality image of
5827 Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
5828 month. On the Internet, images from a source like the Rijksmuseum are more
5829 trusted, and releasing them with a Creative Commons CC0 means they can
5830 easily be found in other platforms. For example, Rijksmuseum images are now
5831 used in thousands of Wikipedia articles, receiving ten to eleven million
5832 views per month. This extends Rijksmuseum’s reach far beyond the scope of
5833 its website. Sharing these images online creates what Lizzy calls the
5834 <span class="quote">“<span class="quote">Mona Lisa effect,</span>”</span> where a work of art becomes so famous that
5835 people want to see it in real life by visiting the actual museum.
5836       </p><p>
5837         Every museum tends to be driven by the number of physical visitors. The
5838 Rijksmuseum is primarily publicly funded, receiving roughly 70 percent of
5839 its operating budget from the government. But like many museums, it must
5840 generate the rest of the funding through other means. The admission fee has
5841 long been a way to generate revenue generation, including for the
5842 Rijksmuseum.
5843       </p><p>
5844         As museums create a digital presence for themselves and put up digital
5845 representations of their collection online, there’s frequently a worry that
5846 it will lead to a drop in actual physical visits. For the Rijksmuseum, this
5847 has not turned out to be the case. Lizzy told us the Rijksmuseum used to get
5848 about one million visitors a year before closing and now gets more than two
5849 million a year. Making the collection available online has generated
5850 publicity and acts as a form of marketing. The Creative Commons mark
5851 encourages reuse as well. When the image is found on protest leaflets, milk
5852 cartons, and children’s toys, people also see what museum the image comes
5853 from and this increases the museum’s visibility.
5854       </p><p>
5855         In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
5856 a new web presence that would be different from any other museum’s. In
5857 addition to redesigning their main website to be mobile friendly and
5858 responsive to devices like the iPad, the Rijksmuseum also created the
5859 Rijksstudio, where users and artists could use and do various things with
5860 the Rijksmuseum collection.<a href="#ftn.idm1896" class="footnote" name="idm1896"><sup class="footnote">[144]</sup></a>
5861       </p><p>
5862         The Rijksstudio gives users access to over two hundred thousand high-quality
5863 digital representations of masterworks from the collection. Users can zoom
5864 in to any work and even clip small parts of images they like. Rijksstudio is
5865 a bit like Pinterest.  You can <span class="quote">“<span class="quote">like</span>”</span> works and compile your
5866 personal favorites, and you can share them with friends or download them
5867 free of charge. All the images in the Rijksstudio are copyright and royalty
5868 free, and users are encouraged to use them as they like, for private or even
5869 commercial purposes.
5870       </p><p>
5871         Users have created over 276,000 Rijksstudios, generating their own themed
5872 virtual exhibitions on a wide variety of topics ranging from tapestries to
5873 ugly babies and birds. Sets of images have also been created for educational
5874 purposes including use for school exams.
5875       </p><p>
5876         Some contemporary artists who have works in the Rijksmuseum collection
5877 contacted them to ask why their works were not included in the
5878 Rijksstudio. The answer was that contemporary artists’ works are still bound
5879 by copyright. The Rijksmuseum does encourage contemporary artists to use a
5880 Creative Commons license for their works, usually a CC BY-SA license
5881 (Attribution-ShareAlike), or a CC BY-NC (Attribution-NonCommercial) if they
5882 want to preclude commercial use. That way, their works can be made available
5883 to the public, but within limits the artists have specified.
5884       </p><p>
5885         The Rijksmuseum believes that art stimulates entrepreneurial activity. The
5886 line between creative and commercial can be blurry. As Lizzy says, even
5887 Rembrandt was commercial, making his livelihood from selling his
5888 paintings. The Rijksmuseum encourages entrepreneurial commercial use of the
5889 images in Rijksstudio. They’ve even partnered with the DIY marketplace Etsy
5890 to inspire people to sell their creations. One great example you can find on
5891 Etsy is a kimono designed by Angie Johnson, who used an image of an
5892 elaborate cabinet along with an oil painting by Jan Asselijn called The
5893 Threatened Swan.<a href="#ftn.idm1904" class="footnote" name="idm1904"><sup class="footnote">[145]</sup></a>
5894       </p><p>
5895         In 2013 the Rijksmuseum organized their first high-profile design
5896 competition, known as the Rijksstudio Award.<a href="#ftn.idm1908" class="footnote" name="idm1908"><sup class="footnote">[146]</sup></a> With the call to action Make Your Own Masterpiece, the competition
5897 invites the public to use Rijksstudio images to make new creative designs. A
5898 jury of renowned designers and curators selects ten finalists and three
5899 winners. The final award comes with a prize of €10,000. The second edition
5900 in 2015 attracted a staggering 892 top-class entries. Some award winners end
5901 up with their work sold through the Rijksmuseum store, such as the 2014
5902 entry featuring makeup based on a specific color scheme of a work of
5903 art.<a href="#ftn.idm1913" class="footnote" name="idm1913"><sup class="footnote">[147]</sup></a> The Rijksmuseum has been thrilled
5904 with the results.  Entries range from the fun to the weird to the
5905 inspirational.  The third international edition of the Rijksstudio Award
5906 started in September 2016.
5907       </p><p>
5908         For the next iteration of the Rijksstudio, the Rijksmuseum is considering an
5909 upload tool, for people to upload their own works of art, and enhanced
5910 social elements so users can interact with each other more.
5911       </p><p>
5912         Going with a more open business model generated lots of publicity for the
5913 Rijksmuseum. They were one of the first museums to open up their collection
5914 (that is, give free access)  with high-quality images. This strategy, along
5915 with the many improvements to the Rijksmuseum’s website, dramatically
5916 increased visits to their website from thirty-five thousand visits per month
5917 to three hundred thousand.
5918       </p><p>
5919         The Rijksmuseum has been experimenting with other ways to invite the public
5920 to look at and interact with their collection. On an international day
5921 celebrating animals, they ran a successful bird-themed event. The museum put
5922 together a showing of two thousand works that featured birds and invited
5923 bird-watchers to identify the birds depicted. Lizzy notes that while museum
5924 curators know a lot about the works in their collections, they may not know
5925 about certain details in the paintings such as bird species. Over eight
5926 hundred different birds were identified, including a specific species of
5927 crane bird that was unknown to the scientific community at the time of the
5928 painting.
5929       </p><p>
5930         For the Rijksmuseum, adopting an open business model was scary.  They came
5931 up with many worst-case scenarios, imagining all kinds of awful things
5932 people might do with the museum’s works. But Lizzy says those fears did not
5933 come true because <span class="quote">“<span class="quote">ninety-nine percent of people have respect for
5934 great art.</span>”</span> Many museums think they can make a lot of money by
5935 selling things related to their collection. But in Lizzy’s experience,
5936 museums are usually bad at selling things, and sometimes efforts to generate
5937 a small amount of money block something much bigger—the real value that the
5938 collection has.  For Lizzy, clinging to small amounts of revenue is being
5939 penny-wise but pound-foolish. For the Rijksmuseum, a key lesson has been to
5940 never lose sight of its vision for the collection.  Allowing access to and
5941 use of their collection has generated great promotional value—far more than
5942 the previous practice of charging fees for access and use. Lizzy sums up
5943 their experience: <span class="quote">“<span class="quote">Give away; get something in return.  Generosity
5944 makes people happy to join you and help out.</span>”</span>
5945       </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1884" class="footnote"><p><a href="#idm1884" 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.idm1896" class="footnote"><p><a href="#idm1896" 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.idm1904" class="footnote"><p><a href="#idm1904" 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.idm1908" class="footnote"><p><a href="#idm1908" 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
5946 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2014" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2014</a>;
5947 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.idm1913" class="footnote"><p><a href="#idm1913" 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>Capítulo 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>
5948           Shareable is an online magazine about sharing. Founded in 2009 in the U.S.
5949         </p><p>
5950           <a class="ulink" href="http://www.shareable.net" target="_top">http://www.shareable.net</a>
5951         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding,
5952 crowdfunding (project-based), donations, sponsorships
5953         </p><p><span class="strong"><strong>Interview date</strong></span>: February 24, 2016
5954         </p><p><span class="strong"><strong>Interviewee</strong></span>: Neal Gorenflo, cofounder and
5955 executive editor
5956         </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}
5957     \textit{
5958           Profile written by Sarah Hinchliff Pearson
5959         }
5960     \end{flushright}</td></tr></table></div><p>
5961         In 2013, Shareable faced an impasse. The nonprofit online publication had
5962 helped start a sharing movement four years prior, but over time, they
5963 watched one part of the movement stray from its ideals. As giants like Uber
5964 and Airbnb gained ground, attention began to center on the <span class="quote">“<span class="quote">sharing
5965 economy</span>”</span> we know now—profit-driven, transactional, and loaded with
5966 venture-capital money. Leaders of corporate start-ups in this domain invited
5967 Shareable to advocate for them.  The magazine faced a choice: ride the wave
5968 or stand on principle.
5969       </p><p>
5970         As an organization, Shareable decided to draw a line in the sand. In 2013,
5971 the cofounder and executive editor Neal Gorenflo wrote an opinion piece in
5972 the PandoDaily that charted Shareable’s new critical stance on the Silicon
5973 Valley version of the sharing economy, while contrasting it with aspects of
5974 the real sharing economy like open-source software, participatory budgeting
5975 (where citizens decide how a public budget is spent), cooperatives, and
5976 more. He wrote, <span class="quote">“<span class="quote">It’s not so much that collaborative consumption is
5977 dead, it’s more that it risks dying as it gets absorbed by the
5978 <span class="quote">‘<span class="quote">Borg.</span>’</span></span>”</span>
5979       </p><p>
5980         Neal said their public critique of the corporate sharing economy defined
5981 what Shareable was and is. He does not think the magazine would still be
5982 around had they chosen differently.  <span class="quote">“<span class="quote">We would have gotten another
5983 type of audience, but it would have spelled the end of us,</span>”</span> he
5984 said. <span class="quote">“<span class="quote">We are a small, mission-driven organization. We would never
5985 have been able to weather the criticism that Airbnb and Uber are getting
5986 now.</span>”</span>
5987       </p><p>
5988         Interestingly, impassioned supporters are only a small sliver of Shareable’s
5989 total audience. Most are casual readers who come across a Shareable story
5990 because it happens to align with a project or interest they have. But
5991 choosing principles over the possibility of riding the coattails of the
5992 major corporate players in the sharing space saved Shareable’s credibility.
5993 Although they became detached from the corporate sharing economy, the online
5994 magazine became the voice of the <span class="quote">“<span class="quote">real sharing economy</span>”</span> and
5995 continued to grow their audience.
5996       </p><p>
5997         Shareable is a magazine, but the content they publish is a means to
5998 furthering their role as a leader and catalyst of a movement.  Shareable
5999 became a leader in the movement in 2009. <span class="quote">“<span class="quote">At that time, there was a
6000 sharing movement bubbling beneath the surface, but no one was connecting the
6001 dots,</span>”</span> Neal said.  <span class="quote">“<span class="quote">We decided to step into that space and take
6002 on that role.</span>”</span> The small team behind the nonprofit publication truly
6003 believed sharing could be central to solving some of the major problems
6004 human beings face—resource inequality, social isolation, and global warming.
6005       </p><p>
6006         They have worked hard to find ways to tell stories that show different
6007 metrics for success. <span class="quote">“<span class="quote">We wanted to change the notion of what
6008 constitutes the good life,</span>”</span> Neal said.  While they started out with a
6009 very broad focus on sharing generally, today they emphasize stories about
6010 the physical commons like <span class="quote">“<span class="quote">sharing cities</span>”</span> (i.e., urban areas
6011 managed in a sustainable, cooperative way), as well as digital platforms
6012 that are run democratically. They particularly focus on how-to content that
6013 help their readers make changes in their own lives and communities.
6014       </p><p>
6015         More than half of Shareable’s stories are written by paid journalists that
6016 are contracted by the magazine.  <span class="quote">“<span class="quote">Particularly in content areas that
6017 are a priority for us, we really want to go deep and control the
6018 quality,</span>”</span> Neal said. The rest of the content is either contributed by
6019 guest writers, often for free, or written by other publications from their
6020 network of content publishers. Shareable is a member of the Post Growth
6021 Alliance, which facilitates the sharing of content and audiences among a
6022 large and growing group of mostly nonprofits. Each organization gets a
6023 chance to present stories to the group, and the organizations can use and
6024 promote each other’s stories. Much of the content created by the network is
6025 licensed with Creative Commons.
6026       </p><p>
6027         All of Shareable’s original content is published under the Attribution
6028 license (CC BY), meaning it can be used for any purpose as long as credit is
6029 given to Shareable. Creative Commons licensing is aligned with Shareable’s
6030 vision, mission, and identity. That alone explains the organization’s
6031 embrace of the licenses for their content, but Neal also believes CC
6032 licensing helps them increase their reach. <span class="quote">“<span class="quote">By using CC
6033 licensing,</span>”</span> he said, <span class="quote">“<span class="quote">we realized we could reach far more
6034 people through a formal and informal network of republishers or
6035 affiliates. That has definitely been the case.  It’s hard for us to measure
6036 the reach of other media properties, but most of the outlets who republish
6037 our work have much bigger audiences than we do.</span>”</span>
6038       </p><p>
6039         In addition to their regular news and commentary online, Shareable has also
6040 experimented with book publishing. In 2012, they worked with a traditional
6041 publisher to release Share or Die: Voices of the Get Lost Generation in an
6042 Age of Crisis. The CC-licensed book was available in print form for purchase
6043 or online for free. To this day, the book—along with their CC-licensed guide
6044 Policies for Shareable Cities—are two of the biggest generators of traffic
6045 on their website.
6046       </p><p>
6047         In 2016, Shareable self-published a book of curated Shareable stories called
6048 How to: Share, Save Money and Have Fun. The book was available for sale, but
6049 a PDF version of the book was available for free. Shareable plans to offer
6050 the book in upcoming fund-raising campaigns.
6051       </p><p>
6052         This recent book is one of many fund-raising experiments Shareable has
6053 conducted in recent years. Currently, Shareable is primarily funded by
6054 grants from foundations, but they are actively moving toward a more
6055 diversified model. They have organizational sponsors and are working to
6056 expand their base of individual donors. Ideally, they will eventually be a
6057 hundred percent funded by their audience. Neal believes being fully
6058 community-supported will better represent their vision of the world.
6059       </p><p>
6060         For Shareable, success is very much about their impact on the world. This is
6061 true for Neal, but also for everyone who works for Shareable. <span class="quote">“<span class="quote">We
6062 attract passionate people,</span>”</span> Neal said. At times, that means employees
6063 work so hard they burn out.  Neal tries to stress to the Shareable team that
6064 another part of success is having fun and taking care of yourself while you
6065 do something you love. <span class="quote">“<span class="quote">A central part of human beings is that we long
6066 to be on a great adventure with people we love,</span>”</span> he said. <span class="quote">“<span class="quote">We
6067 are a species who look over the horizon and imagine and create new worlds,
6068 but we also seek the comfort of hearth and home.</span>”</span>
6069       </p><p>
6070         In 2013, Shareable ran its first crowdfunding campaign to launch their
6071 Sharing Cities Network. Neal said at first they were on pace to fail
6072 spectacularly. They called in their advisers in a panic and asked for
6073 help. The advice they received was simple—<span class="quote">“<span class="quote">Sit your ass in a chair and
6074 start making calls.</span>”</span> That’s exactly what they did, and they ended up
6075 reaching their $50,000 goal. Neal said the campaign helped them reach new
6076 people, but the vast majority of backers were people in their existing base.
6077       </p><p>
6078         For Neal, this symbolized how so much of success comes down to
6079 relationships. Over time, Shareable has invested time and energy into the
6080 relationships they have forged with their readers and supporters. They have
6081 also invested resources into building relationships between their readers
6082 and supporters.
6083       </p><p>
6084         Shareable began hosting events in 2010. These events were designed to bring
6085 the sharing community together. But over time they realized they could reach
6086 far more people if they helped their readers to host their own
6087 events. <span class="quote">“<span class="quote">If we wanted to go big on a conference, there was a huge risk
6088 and huge staffing needs, plus only a fraction of our community could travel
6089 to the event,</span>”</span> Neal said. Enabling others to create their own events
6090 around the globe allowed them to scale up their work more effectively and
6091 reach far more people. Shareable has catalyzed three hundred different
6092 events reaching over twenty thousand people since implementing this strategy
6093 three years ago. Going forward, Shareable is focusing the network on
6094 creating and distributing content meant to spur local action. For instance,
6095 Shareable will publish a new CC-licensed book in 2017 filled with ideas for
6096 their network to implement.
6097       </p><p>
6098         Neal says Shareable stumbled upon this strategy, but it seems to perfectly
6099 encapsulate just how the commons is supposed to work.  Rather than a
6100 one-size-fits-all approach, Shareable puts the tools out there for people
6101 take the ideas and adapt them to their own communities.
6102       </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Capítulo 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>
6103           Siyavula is a for-profit educational-technology company that creates
6104 textbooks and integrated learning experiences. Founded in 2012 in South
6105 Africa.
6106         </p><p>
6107           <a class="ulink" href="http://www.siyavula.com" target="_top">http://www.siyavula.com</a>
6108         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
6109 services, sponsorships
6110         </p><p><span class="strong"><strong>Interview date</strong></span>: April 5, 2016
6111         </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Horner, CEO
6112         </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}
6113     \textit{
6114           Profile written by Paul Stacey
6115         }
6116     \end{flushright}</td></tr></table></div><p>
6117         Openness is a key principle for Siyavula. They believe that every learner
6118 and teacher should have access to high-quality educational resources, as
6119 this forms the basis for long-term growth and development. Siyavula has been
6120 a pioneer in creating high-quality open textbooks on mathematics and science
6121 subjects for grades 4 to 12 in South Africa.
6122       </p><p>
6123         In terms of creating an open business model that involves Creative Commons,
6124 Siyavula—and its founder, Mark Horner—have been around the block a few
6125 times. Siyavula has significantly shifted directions and strategies to
6126 survive and prosper. Mark says it’s been very organic.
6127       </p><p>
6128         It all started in 2002, when Mark and several other colleagues at the
6129 University of Cape Town in South Africa founded the Free High School Science
6130 Texts project. Most students in South Africa high schools didn’t have access
6131 to high-quality, comprehensive science and math textbooks, so Mark and his
6132 colleagues set out to write them and make them freely available.
6133       </p><p>
6134         As physicists, Mark and his colleagues were advocates of open-source
6135 software. To make the books open and free, they adopted the Free Software
6136 Foundation’s GNU Free Documentation License.<a href="#ftn.idm1986" class="footnote" name="idm1986"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
6137 documents, to author the books. Over a period of five years, the Free High
6138 School Science Texts project produced math and physical-science textbooks
6139 for grades 10 to 12.
6140       </p><p>
6141         In 2007, the Shuttleworth Foundation offered funding support to make the
6142 textbooks available for trial use at more schools.  Surveys before and after
6143 the textbooks were adopted showed there were no substantial criticisms of
6144 the textbooks’ pedagogical content. This pleased both the authors and
6145 Shuttleworth; Mark remains incredibly proud of this accomplishment.
6146       </p><p>
6147         But the development of new textbooks froze at this stage. Mark shifted his
6148 focus to rural schools, which didn’t have textbooks at all, and looked into
6149 the printing and distribution options. A few sponsors came on board but not
6150 enough to meet the need.
6151       </p><p>
6152         In 2007, Shuttleworth and the Open Society Institute convened a group of
6153 open-education activists for a small but lively meeting in Cape Town. One
6154 result was the Cape Town Open Education Declaration, a statement of
6155 principles, strategies, and commitment to help the open-education movement
6156 grow.<a href="#ftn.idm1992" class="footnote" name="idm1992"><sup class="footnote">[149]</sup></a> Shuttleworth also invited Mark to
6157 run a project writing open content for all subjects for K–12 in
6158 English. That project became Siyavula.
6159       </p><p>
6160         They wrote six original textbooks. A small publishing company offered
6161 Shuttleworth the option to buy out the publisher’s existing K–9 content for
6162 every subject in South African schools in both English and Afrikaans. A deal
6163 was struck, and all the acquired content was licensed with Creative Commons,
6164 significantly expanding the collection beyond the six original books.
6165       </p><p>
6166         Mark wanted to build out the remaining curricula collaboratively through
6167 communities of practice—that is, with fellow educators and writers. Although
6168 sharing is fundamental to teaching, there can be a few challenges when you
6169 create educational resources collectively. One concern is legal. It is
6170 standard practice in education to copy diagrams and snippets of text, but of
6171 course this doesn’t always comply with copyright law. Another concern is
6172 transparency. Sharing what you’ve authored means everyone can see it and
6173 opens you up to criticism. To alleviate these concerns, Mark adopted a
6174 team-based approach to authoring and insisted the curricula be based
6175 entirely on resources with Creative Commons licenses, thereby ensuring they
6176 were safe to share and free from legal repercussions.
6177       </p><p>
6178         Not only did Mark want the resources to be shareable, he wanted all teachers
6179 to be able to remix and edit the content. Mark and his team had to come up
6180 with an open editable format and provide tools for editing. They ended up
6181 putting all the books they’d acquired and authored on a platform called
6182 Connexions.<a href="#ftn.idm1998" class="footnote" name="idm1998"><sup class="footnote">[150]</sup></a> Siyavula trained many
6183 teachers to use Connexions, but it proved to be too complex and the
6184 textbooks were rarely edited.
6185       </p><p>
6186         Then the Shuttleworth Foundation decided to completely restructure its work
6187 as a foundation into a fellowship model (for reasons completely unrelated to
6188 Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
6189 an independent entity and took ownership over it as a Shuttleworth fellow.
6190       </p><p>
6191         Mark and his team experimented with several different strategies. They tried
6192 creating an authoring and hosting platform called Full Marks so that
6193 teachers could share assessment items. They tried creating a service called
6194 Open Press, where teachers could ask for open educational resources to be
6195 aggregated into a package and printed for them. These services never really
6196 panned out.
6197       </p><p>
6198         Then the South African government approached Siyavula with an interest in
6199 printing out the original six Free High School Science Texts (math and
6200 physical-science textbooks for grades 10 to 12) for all high school students
6201 in South Africa. Although at this point Siyavula was a bit discouraged by
6202 open educational resources, they saw this as a big opportunity.
6203       </p><p>
6204         They began to conceive of the six books as having massive marketing
6205 potential for Siyavula. Printing Siyavula books for every kid in South
6206 Africa would give their brand huge exposure and could drive vast amounts of
6207 traffic to their website. In addition to print books, Siyavula could also
6208 make the books available on their website, making it possible for learners
6209 to access them using any device—computer, tablet, or mobile phone.
6210       </p><p>
6211         Mark and his team began imagining what they could develop beyond what was in
6212 the textbooks as a service they charge for. One key thing you can’t do well
6213 in a printed textbook is demonstrate solutions. Typically, a one-line answer
6214 is given at the end of the book but nothing on the process for arriving at
6215 that solution. Mark and his team developed practice items and detailed
6216 solutions, giving learners plenty of opportunity to test out what they’ve
6217 learned. Furthermore, an algorithm could adapt these practice items to the
6218 individual needs of each learner. They called this service Intelligent
6219 Practice and embedded links to it in the open textbooks.
6220       </p><p>
6221         The costs for using Intelligent Practice were set very low, making it
6222 accessible even to those with limited financial means.  Siyavula was going
6223 for large volumes and wide-scale use rather than an expensive product
6224 targeting only the high end of the market.
6225       </p><p>
6226         The government distributed the books to 1.5 million students, but there was
6227 an unexpected wrinkle: the books were delivered late. Rather than wait,
6228 schools who could afford it provided students with a different textbook. The
6229 Siyavula books were eventually distributed, but with well-off schools mainly
6230 using a different book, the primary market for Siyavula’s Intelligent
6231 Practice service inadvertently became low-income learners.
6232       </p><p>
6233         Siyavula’s site did see a dramatic increase in traffic. They got five
6234 hundred thousand visitors per month to their math site and the same number
6235 to their science site. Two-fifths of the traffic was reading on a
6236 <span class="quote">“<span class="quote">feature phone</span>”</span> (a nonsmartphone with no apps). People on basic
6237 phones were reading math and science on a two-inch screen at all hours of
6238 the day. To Mark, it was quite amazing and spoke to a need they were
6239 servicing.
6240       </p><p>
6241         At first, the Intelligent Practice services could only be paid using a
6242 credit card. This proved problematic, especially for those in the low-income
6243 demographic, as credit cards were not prevalent. Mark says Siyavula got a
6244 harsh business-model lesson early on. As he describes it, it’s not just
6245 about product, but how you sell it, who the market is, what the price is,
6246 and what the barriers to entry are.
6247       </p><p>
6248         Mark describes this as the first version of Siyavula’s business model: open
6249 textbooks serving as marketing material and driving traffic to your site,
6250 where you can offer a related service and convert some people into a paid
6251 customer.
6252       </p><p>
6253         For Mark a key decision for Siyavula’s business was to focus on how they can
6254 add value on top of their basic service. They’ll charge only if they are
6255 adding unique value. The actual content of the textbook isn’t unique at all,
6256 so Siyavula sees no value in locking it down and charging for it. Mark
6257 contrasts this with traditional publishers who charge over and over again
6258 for the same content without adding value.
6259       </p><p>
6260         Version two of Siyavula’s business model was a big, ambitious idea—scale
6261 up. They also decided to sell the Intelligent Practice service to schools
6262 directly. Schools can subscribe on a per-student, per-subject basis. A
6263 single subscription gives a learner access to a single subject, including
6264 practice content from every grade available for that subject. Lower
6265 subscription rates are provided when there are over two hundred students,
6266 and big schools have a price cap. A 40 percent discount is offered to
6267 schools where both the science and math departments subscribe.
6268       </p><p>
6269         Teachers get a dashboard that allows them to monitor the progress of an
6270 entire class or view an individual learner’s results. They can see the
6271 questions that learners are working on, identify areas of difficulty, and be
6272 more strategic in their teaching. Students also have their own personalized
6273 dashboard, where they can view the sections they’ve practiced, how many
6274 points they’ve earned, and how their performance is improving.
6275       </p><p>
6276         Based on the success of this effort, Siyavula decided to substantially
6277 increase the production of open educational resources so they could provide
6278 the Intelligent Practice service for a wider range of books. Grades 10 to 12
6279 math and science books were reworked each year, and new books created for
6280 grades 4 to 6 and later grades 7 to 9.
6281       </p><p>
6282         In partnership with, and sponsored by, the Sasol Inzalo Foundation, Siyavula
6283 produced a series of natural sciences and technology workbooks for grades 4
6284 to 6 called Thunderbolt Kids that uses a fun comic-book style.<a href="#ftn.idm2017" class="footnote" name="idm2017"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
6285 teacher’s guides and other resources.
6286       </p><p>
6287         Through this experience, Siyavula learned they could get sponsors to help
6288 fund openly licensed textbooks. It helped that Siyavula had by this time
6289 nailed the production model. It cost roughly $150,000 to produce a book in
6290 two languages. Sponsors liked the social-benefit aspect of textbooks
6291 unlocked via a Creative Commons license. They also liked the exposure their
6292 brand got. For roughly $150,000, their logo would be visible on books
6293 distributed to over one million students.
6294       </p><p>
6295         The Siyavula books that are reviewed, approved, and branded by the
6296 government are freely and openly available on Siyavula’s website under an
6297 Attribution-NoDerivs license (CC BY-ND)  —NoDerivs means that these books
6298 cannot be modified.  Non-government-branded books are available under an
6299 Attribution license (CC BY), allowing others to modify and redistribute the
6300 books.
6301       </p><p>
6302         Although the South African government paid to print and distribute hard
6303 copies of the books to schoolkids, Siyavula itself received no funding from
6304 the government. Siyavula initially tried to convince the government to
6305 provide them with five rand per book (about US35¢). With those funds, Mark
6306 says that Siyavula could have run its entire operation, built a
6307 community-based model for producing more books, and provide Intelligent
6308 Practice for free to every child in the country. But after a lengthy
6309 negotiation, the government said no.
6310       </p><p>
6311         Using Siyavula books generated huge savings for the government.  Providing
6312 students with a traditionally published grade 12 science or math textbook
6313 costs around 250 rand per book (about US$18). Providing the Siyavula version
6314 cost around 36 rand (about $2.60), a savings of over 200 rand per book. But
6315 none of those savings were passed on to Siyavula. In retrospect, Mark thinks
6316 this may have turned out in their favor as it allowed them to remain
6317 independent from the government.
6318       </p><p>
6319         Just as Siyavula was planning to scale up the production of open textbooks
6320 even more, the South African government changed its textbook policy. To save
6321 costs, the government declared there would be only one authorized textbook
6322 for each grade and each subject. There was no guarantee that Siyavula’s
6323 would be chosen.  This scared away potential sponsors.
6324       </p><p>
6325         Rather than producing more textbooks, Siyavula focused on improving its
6326 Intelligent Practice technology for its existing books. Mark calls this
6327 version three of Siyavula’s business model—focusing on the technology that
6328 provides the revenue-generating service and generating more users of this
6329 service. Version three got a significant boost in 2014 with an investment by
6330 the Omidyar Network (the philanthropic venture started by eBay founder
6331 Pierre Omidyar and his spouse), and continues to be the model Siyavula uses
6332 today.
6333       </p><p>
6334         Mark says sales are way up, and they are really nailing Intelligent
6335 Practice. Schools continue to use their open textbooks. The
6336 government-announced policy that there would be only one textbook per
6337 subject turned out to be highly contentious and is in limbo.
6338       </p><p>
6339         Siyavula is exploring a range of enhancements to their business model. These
6340 include charging a small amount for assessment services provided over the
6341 phone, diversifying their market to all English-speaking countries in
6342 Africa, and setting up a consortium that makes Intelligent Practice free to
6343 all kids by selling the nonpersonal data Intelligent Practice collects.
6344       </p><p>
6345         Siyavula is a for-profit business but one with a social mission.  Their
6346 shareholders’ agreement lists lots of requirements around openness for
6347 Siyavula, including stipulations that content always be put under an open
6348 license and that they can’t charge for something that people volunteered to
6349 do for them. They believe each individual should have access to the
6350 resources and support they need to achieve the education they
6351 deserve. Having educational resources openly licensed with Creative Commons
6352 means they can fulfill their social mission, on top of which they can build
6353 revenue-generating services to sustain the ongoing operation of Siyavula. In
6354 terms of open business models, Mark and Siyavula may have been around the
6355 block a few times, but both he and the company are stronger for it.
6356       </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1986" class="footnote"><p><a href="#idm1986" 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.idm1992" class="footnote"><p><a href="#idm1992" 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.idm1998" class="footnote"><p><a href="#idm1998" 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.idm2017" class="footnote"><p><a href="#idm2017" 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>Capítulo 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>
6357           SparkFun is an online electronics retailer specializing in open
6358 hardware. Founded in 2003 in the U.S.
6359         </p><p>
6360           <a class="ulink" href="http://www.sparkfun.com" target="_top">http://www.sparkfun.com</a>
6361         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
6362 copies (electronics sales)
6363         </p><p><span class="strong"><strong>Interview date</strong></span>: February 29, 2016
6364         </p><p><span class="strong"><strong>Interviewee</strong></span>: Nathan Seidle, founder
6365         </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}
6366     \textit{
6367           Profile written by Sarah Hinchliff Pearson
6368         }
6369     \end{flushright}</td></tr></table></div><p>
6370         SparkFun founder and former CEO Nathan Seidle has a picture of himself
6371 holding up a clone of a SparkFun product in an electronics market in China,
6372 with a huge grin on his face. He was traveling in China when he came across
6373 their LilyPad wearable technology being made by someone else. His reaction
6374 was glee.
6375       </p><p><span class="quote">“<span class="quote">Being copied is the greatest earmark of flattery and success,</span>”</span>
6376 Nathan said. <span class="quote">“<span class="quote">I thought it was so cool that they were selling to a
6377 market we were never going to get access to otherwise. It was evidence of
6378 our impact on the world.</span>”</span>
6379       </p><p>
6380         This worldview runs through everything SparkFun does. SparkFun is an
6381 electronics manufacturer. The company sells its products directly to the
6382 public online, and it bundles them with educational tools to sell to schools
6383 and teachers. SparkFun applies Creative Commons licenses to all of its
6384 schematics, images, tutorial content, and curricula, so anyone can make
6385 their products on their own. Being copied is part of the design.
6386       </p><p>
6387         Nathan believes open licensing is good for the world. <span class="quote">“<span class="quote">It touches on
6388 our natural human instinct to share,</span>”</span> he said.  But he also strongly
6389 believes it makes SparkFun better at what they do. They encourage copying,
6390 and their products are copied at a very fast rate, often within ten to
6391 twelve weeks of release. This forces the company to compete on something
6392 other than product design, or what most commonly consider their intellectual
6393 property.
6394       </p><p><span class="quote">“<span class="quote">We compete on business principles,</span>”</span> Nathan said.
6395 <span class="quote">“<span class="quote">Claiming your territory with intellectual property allows you to get
6396 comfy and rest on your laurels. It gives you a safety net. We took away that
6397 safety net.</span>”</span>
6398       </p><p>
6399         The result is an intense company-wide focus on product development and
6400 improvement. <span class="quote">“<span class="quote">Our products are so much better than they were five
6401 years ago,</span>”</span> Nathan said.  <span class="quote">“<span class="quote">We used to just sell products. Now
6402 it’s a product plus a video, a seventeen-page hookup guide, and example
6403 firmware on three different platforms to get you up and running faster. We
6404 have gotten better because we had to in order to compete. As painful as it
6405 is for us, it’s better for the customers.</span>”</span>
6406       </p><p>
6407         SparkFun parts are available on eBay for lower prices. But people come
6408 directly to SparkFun because SparkFun makes their lives easier. The example
6409 code works; there is a service number to call; they ship replacement parts
6410 the day they get a service call. They invest heavily in service and
6411 support. <span class="quote">“<span class="quote">I don’t believe businesses should be competing with IP
6412 [intellectual property] barriers,</span>”</span> Nathan said. <span class="quote">“<span class="quote">This is the
6413 stuff they should be competing on.</span>”</span>
6414       </p><p>
6415         SparkFun’s company history began in Nathan’s college dorm room.  He spent a
6416 lot of time experimenting with and building electronics, and he realized
6417 there was a void in the market.  <span class="quote">“<span class="quote">If you wanted to place an order for
6418 something,</span>”</span> he said, <span class="quote">“<span class="quote">you first had to search far and wide to
6419 find it, and then you had to call or fax someone.</span>”</span> In 2003, during
6420 his third year of college, he registered <a class="ulink" href="http://sparkfun.com" target="_top">http://sparkfun.com</a>
6421 and started reselling products out of his bedroom. After he graduated, he
6422 started making and selling his own products.
6423       </p><p>
6424         Once he started designing his own products, he began putting the software
6425 and schematics online to help with technical support.  After doing some
6426 research on licensing options, he chose Creative Commons licenses because he
6427 was drawn to the <span class="quote">“<span class="quote">human-readable deeds</span>”</span> that explain the
6428 licensing terms in simple terms. SparkFun still uses CC licenses for all of
6429 the schematics and firmware for the products they create.
6430       </p><p>
6431         The company has grown from a solo project to a corporation with 140
6432 employees. In 2015, SparkFun earned $33 million in revenue.  Selling
6433 components and widgets to hobbyists, professionals, and artists remains a
6434 major part of SparkFun’s business. They sell their own products, but they
6435 also partner with Arduino (also profiled in this book) by manufacturing
6436 boards for resale using Arduino’s brand.
6437       </p><p>
6438         SparkFun also has an educational department dedicated to creating a hands-on
6439 curriculum to teach students about electronics using prototyping
6440 parts. Because SparkFun has always been dedicated to enabling others to
6441 re-create and fix their products on their own, the more recent focus on
6442 introducing young people to technology is a natural extension of their core
6443 business.
6444       </p><p><span class="quote">“<span class="quote">We have the burden and opportunity to educate the next generation of
6445 technical citizens,</span>”</span> Nathan said.  <span class="quote">“<span class="quote">Our goal is to affect the
6446 lives of three hundred and fifty thousand high school students by
6447 2020.</span>”</span>
6448       </p><p>
6449         The Creative Commons license underlying all of SparkFun’s products is
6450 central to this mission. The license not only signals a willingness to
6451 share, but it also expresses a desire for others to get in and tinker with
6452 their products, both to learn and to make their products better. SparkFun
6453 uses the Attribution-ShareAlike license (CC BY-SA), which is a
6454 <span class="quote">“<span class="quote">copyleft</span>”</span> license that allows people to do anything with the
6455 content as long as they provide credit and make any adaptations available
6456 under the same licensing terms.
6457       </p><p>
6458         From the beginning, Nathan has tried to create a work environment at
6459 SparkFun that he himself would want to work in.  The result is what appears
6460 to be a pretty fun workplace. The U.S. company is based in Boulder,
6461 Colorado. They have an eighty-thousand-square-foot facility (approximately
6462 seventy-four-hundred square meters), where they design and manufacture their
6463 products. They offer public tours of the space several times a week, and
6464 they open their doors to the public for a competition once a year.
6465       </p><p>
6466         The public event, called the Autonomous Vehicle Competition, brings in a
6467 thousand to two thousand customers and other technology enthusiasts from
6468 around the area to race their own self-created bots against each other,
6469 participate in training workshops, and socialize. From a business
6470 perspective, Nathan says it’s a terrible idea. But they don’t hold the event
6471 for business reasons. <span class="quote">“<span class="quote">The reason we do it is because I get to travel
6472 and have interactions with our customers all the time, but most of our
6473 employees don’t,</span>”</span> he said. <span class="quote">“<span class="quote">This event gives our employees the
6474 opportunity to get face-to-face contact with our customers.</span>”</span> The
6475 event infuses their work with a human element, which makes it more
6476 meaningful.
6477       </p><p>
6478         Nathan has worked hard to imbue a deeper meaning into the work SparkFun
6479 does. The company is, of course, focused on being fiscally responsible, but
6480 they are ultimately driven by something other than money. <span class="quote">“<span class="quote">Profit is
6481 not the goal; it is the outcome of a well-executed plan,</span>”</span> Nathan
6482 said.  <span class="quote">“<span class="quote">We focus on having a bigger impact on the world.</span>”</span>
6483 Nathan believes they get some of the brightest and most amazing employees
6484 because they aren’t singularly focused on the bottom line.
6485       </p><p>
6486         The company is committed to transparency and shares all of its financials
6487 with its employees. They also generally strive to avoid being another
6488 soulless corporation. They actively try to reveal the humans behind the
6489 company, and they work to ensure people coming to their site don’t find only
6490 unchanging content.
6491       </p><p>
6492         SparkFun’s customer base is largely made up of industrious electronics
6493 enthusiasts. They have customers who are regularly involved in the company’s
6494 customer support, independently responding to questions in forums and
6495 product-comment sections.  Customers also bring product ideas to the
6496 company. SparkFun regularly sifts through suggestions from customers and
6497 tries to build on them where they can. <span class="quote">“<span class="quote">From the beginning, we have
6498 been listening to the community,</span>”</span> Nathan said.  <span class="quote">“<span class="quote">Customers
6499 would identify a pain point, and we would design something to address
6500 it.</span>”</span>
6501       </p><p>
6502         However, this sort of customer engagement does not always translate to
6503 people actively contributing to SparkFun’s projects. The company has a
6504 public repository of software code for each of its devices online. On a
6505 particularly active project, there will only be about two dozen people
6506 contributing significant improvements. The vast majority of projects are
6507 relatively untouched by the public. <span class="quote">“<span class="quote">There is a theory that if you
6508 open-source it, they will come,</span>”</span> Nathan said.  <span class="quote">“<span class="quote">That’s not
6509 really true.</span>”</span>
6510       </p><p>
6511         Rather than focusing on cocreation with their customers, SparkFun instead
6512 focuses on enabling people to copy, tinker, and improve products on their
6513 own. They heavily invest in tutorials and other material designed to help
6514 people understand how the products work so they can fix and improve things
6515 independently.  <span class="quote">“<span class="quote">What gives me joy is when people take open-source
6516 layouts and then build their own circuit boards from our designs,</span>”</span>
6517 Nathan said.
6518       </p><p>
6519         Obviously, opening up the design of their products is a necessary step if
6520 their goal is to empower the public. Nathan also firmly believes it makes
6521 them more money because it requires them to focus on how to provide maximum
6522 value. Rather than designing a new product and protecting it in order to
6523 extract as much money as possible from it, they release the keys necessary
6524 for others to build it themselves and then spend company time and resources
6525 on innovation and service. From a short-term perspective, SparkFun may lose
6526 a few dollars when others copy their products. But in the long run, it makes
6527 them a more nimble, innovative business. In other words, it makes them the
6528 kind of company they set out to be.
6529       </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Capítulo 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>
6530           TeachAIDS is a nonprofit that creates educational materials designed to
6531 teach people around the world about HIV and AIDS.  Founded in 2005 in the
6532 U.S.
6533         </p><p>
6534           <a class="ulink" href="http://teachaids.org" target="_top">http://teachaids.org</a>
6535         </p><p><span class="strong"><strong>Revenue model</strong></span>: sponsorships
6536         </p><p><span class="strong"><strong>Interview date</strong></span>: March 24, 2016
6537         </p><p><span class="strong"><strong>Interviewees</strong></span>: Piya Sorcar, the CEO, and
6538 Shuman Ghosemajumder, the chair
6539         </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}
6540     \textit{
6541           Profile written by Sarah Hinchliff Pearson
6542         }
6543     \end{flushright}</td></tr></table></div><p>
6544         TeachAIDS is an unconventional media company with a conventional revenue
6545 model. Like most media companies, they are subsidized by
6546 advertising. Corporations pay to have their logos appear on the educational
6547 materials TeachAIDS distributes.
6548       </p><p>
6549         But unlike most media companies, Teach-AIDS is a nonprofit organization with
6550 a purely social mission. TeachAIDS is dedicated to educating the global
6551 population about HIV and AIDS, particularly in parts of the world where
6552 education efforts have been historically unsuccessful. Their educational
6553 content is conveyed through interactive software, using methods based on the
6554 latest research about how people learn. TeachAIDS serves content in more
6555 than eighty countries around the world. In each instance, the content is
6556 translated to the local language and adjusted to conform to local norms and
6557 customs. All content is free and made available under a Creative Commons
6558 license.
6559       </p><p>
6560         TeachAIDS is a labor of love for founder and CEO Piya Sorcar, who earns a
6561 salary of one dollar per year from the nonprofit.  The project grew out of
6562 research she was doing while pursuing her doctorate at Stanford
6563 University. She was reading reports about India, noting it would be the next
6564 hot zone of people living with HIV. Despite international and national
6565 entities pouring in hundreds of millions of dollars on HIV-prevention
6566 efforts, the reports showed knowledge levels were still low.  People were
6567 unaware of whether the virus could be transmitted through coughing and
6568 sneezing, for instance. Supported by an interdisciplinary team of experts at
6569 Stanford, Piya conducted similar studies, which corroborated the previous
6570 research. They found that the primary cause of the limited understanding was
6571 that HIV, and issues relating to it, were often considered too taboo to
6572 discuss comprehensively. The other major problem was that most of the
6573 education on this topic was being taught through television advertising,
6574 billboards, and other mass-media campaigns, which meant people were only
6575 receiving bits and pieces of information.
6576       </p><p>
6577         In late 2005, Piya and her team used research-based design to create new
6578 educational materials and worked with local partners in India to help
6579 distribute them. As soon as the animated software was posted online, Piya’s
6580 team started receiving requests from individuals and governments who were
6581 interested in bringing this model to more countries. <span class="quote">“<span class="quote">We realized
6582 fairly quickly that educating large populations about a topic that was
6583 considered taboo would be challenging. We began by identifying optimal local
6584 partners and worked toward creating an effective, culturally appropriate
6585 education,</span>”</span> Piya said.
6586       </p><p>
6587         Very shortly after the initial release, Piya’s team decided to spin the
6588 endeavor into an independent nonprofit out of Stanford University. They also
6589 decided to use Creative Commons licenses on the materials.
6590       </p><p>
6591         Given their educational mission, TeachAIDS had an obvious interest in seeing
6592 the materials as widely shared as possible.  But they also needed to
6593 preserve the integrity of the medical information in the content. They chose
6594 the Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND), which
6595 essentially gives the public the right to distribute only verbatim copies of
6596 the content, and for noncommercial purposes.  <span class="quote">“<span class="quote">We wanted attribution
6597 for TeachAIDS, and we couldn’t stand by derivatives without vetting
6598 them,</span>”</span> the cofounder and chair Shuman Ghosemajumder said. <span class="quote">“<span class="quote">It
6599 was almost a no-brainer to go with a CC license because it was a
6600 plug-and-play solution to this exact problem. It has allowed us to scale our
6601 materials safely and quickly worldwide while preserving our content and
6602 protecting us at the same time.</span>”</span>
6603       </p><p>
6604         Choosing a license that does not allow adaptation of the content was an
6605 outgrowth of the careful precision with which TeachAIDS crafts their
6606 content. The organization invests heavily in research and testing to
6607 determine the best method of conveying the information. <span class="quote">“<span class="quote">Creating
6608 high-quality content is what matters most to us,</span>”</span> Piya
6609 said. <span class="quote">“<span class="quote">Research drives everything we do.</span>”</span>
6610       </p><p>
6611         One important finding was that people accept the message best when it comes
6612 from familiar voices they trust and admire. To achieve this, TeachAIDS
6613 researches cultural icons that would best resonate with their target
6614 audiences and recruits them to donate their likenesses and voices for use in
6615 the animated software. The celebrities involved vary for each localized
6616 version of the materials.
6617       </p><p>
6618         Localization is probably the single-most important aspect of the way
6619 TeachAIDS creates its content. While each regional version builds from the
6620 same core scientific materials, they pour a lot of resources into
6621 customizing the content for a particular population. Because they use a CC
6622 license that does not allow the public to adapt the content, TeachAIDS
6623 retains careful control over the localization process. The content is
6624 translated into the local language, but there are also changes in substance
6625 and format to reflect cultural differences. This process results in minor
6626 changes, like choosing different idioms based on the local language, and
6627 significant changes, like creating gendered versions for places where people
6628 are more likely to accept information from someone of the same gender.
6629       </p><p>
6630         The localization process relies heavily on volunteers. Their volunteer base
6631 is deeply committed to the cause, and the organization has had better luck
6632 controlling the quality of the materials when they tap volunteers instead of
6633 using paid translators. For quality control, TeachAIDS has three separate
6634 volunteer teams translate the materials from English to the local language
6635 and customize the content based on local customs and norms. Those three
6636 versions are then analyzed and combined into a single master
6637 translation. TeachAIDS has additional teams of volunteers then translate
6638 that version back into English to see how well it lines up with the original
6639 materials. They repeat this process until they reach a translated version
6640 that meets their standards. For the Tibetan version, they went through this
6641 cycle eleven times.
6642       </p><p>
6643         TeachAIDS employs full-time employees, contractors, and volunteers, all in
6644 different capacities and organizational configurations. They are careful to
6645 use people from diverse backgrounds to create the materials, including
6646 teachers, students, and doctors, as well as individuals experienced in
6647 working in the NGO space. This diversity and breadth of knowledge help
6648 ensure their materials resonate with people from all walks of
6649 life. Additionally, TeachAIDS works closely with film writers and directors
6650 to help keep the concepts entertaining and easy to understand. The
6651 inclusive, but highly controlled, creative process is undertaken entirely by
6652 people who are specifically brought on to help with a particular project,
6653 rather than ongoing staff. The final product they create is designed to
6654 require zero training for people to implement in practice. <span class="quote">“<span class="quote">In our
6655 research, we found we can’t depend on people passing on the information
6656 correctly, even if they have the best of intentions,</span>”</span> Piya
6657 said. <span class="quote">“<span class="quote">We need materials where you can push play and they will
6658 work.</span>”</span>
6659       </p><p>
6660         Piya’s team was able to produce all of these versions over several years
6661 with a head count that never exceeded eight full-time employees. The
6662 organization is able to reduce costs by relying heavily on volunteers and
6663 in-kind donations.  Nevertheless, the nonprofit needed a sustainable revenue
6664 model to subsidize content creation and physical distribution of the
6665 materials. Charging even a low price was simply not an option.
6666 <span class="quote">“<span class="quote">Educators from various nonprofits around the world were just creating
6667 their own materials using whatever they could find for free online,</span>”</span>
6668 Shuman said. <span class="quote">“<span class="quote">The only way to persuade them to use our highly
6669 effective model was to make it completely free.</span>”</span>
6670       </p><p>
6671         Like many content creators offering their work for free, they settled on
6672 advertising as a funding model. But they were extremely careful not to let
6673 the advertising compromise their credibility or undermine the heavy
6674 investment they put into creating quality content. Sponsors of the content
6675 have no ability to influence the substance of the content, and they cannot
6676 even create advertising content. Sponsors only get the right to have their
6677 logo appear before and after the educational content. All of the content
6678 remains branded as TeachAIDS.
6679       </p><p>
6680         TeachAIDS is careful not to seek funding to cover the costs of a specific
6681 project. Instead, sponsorships are structured as unrestricted donations to
6682 the nonprofit. This gives the nonprofit more stability, but even more
6683 importantly, it enables them to subsidize projects being localized for an
6684 area with no sponsors. <span class="quote">“<span class="quote">If we just created versions based on where we
6685 could get sponsorships, we would only have materials for wealthier
6686 countries,</span>”</span> Shuman said.
6687       </p><p>
6688         As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">“<span class="quote">When we go into a new
6689 country, various companies hear about us and reach out to us,</span>”</span> Piya
6690 said. <span class="quote">“<span class="quote">We don’t have to do much to find or attract them.</span>”</span> They
6691 believe the sponsorships are easy to sell because they offer so much value
6692 to sponsors.  TeachAIDS sponsorships give corporations the chance to reach
6693 new eyeballs with their brand, but at a much lower cost than other
6694 advertising channels. The audience for TeachAIDS content also tends to skew
6695 young, which is often a desirable demographic for brands. Unlike traditional
6696 advertising, the content is not time-sensitive, so an investment in a
6697 sponsorship can benefit a brand for many years to come.
6698       </p><p>
6699         Importantly, the value to corporate sponsors goes beyond commercial
6700 considerations. As a nonprofit with a clearly articulated social mission,
6701 corporate sponsorships are donations to a cause. <span class="quote">“<span class="quote">This is something
6702 companies can be proud of internally,</span>”</span> Shuman said. Some companies
6703 have even built publicity campaigns around the fact that they have sponsored
6704 these initiatives.
6705       </p><p>
6706         The core mission of TeachAIDS—ensuring global access to life-saving
6707 education—is at the root of everything the organization does. It underpins
6708 the work; it motivates the funders. The CC license on the materials they
6709 create furthers that mission, allowing them to safely and quickly scale
6710 their materials worldwide. <span class="quote">“<span class="quote">The Creative Commons license has been a
6711 game changer for TeachAIDS,</span>”</span> Piya said.
6712       </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Capítulo 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>
6713           Tribe of Noise is a for-profit online music platform serving the film, TV,
6714 video, gaming, and in-store-media industries.  Founded in 2008 in the
6715 Netherlands.
6716         </p><p>
6717           <a class="ulink" href="http://www.tribeofnoise.com" target="_top">http://www.tribeofnoise.com</a>
6718         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
6719         </p><p><span class="strong"><strong>Interview date</strong></span>: January 26, 2016
6720         </p><p><span class="strong"><strong>Interviewee</strong></span>: Hessel van Oorschot,
6721 cofounder
6722         </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}
6723     \textit{
6724           Profile written by Paul Stacey
6725         }
6726     \end{flushright}</td></tr></table></div><p>
6727         In the early 2000s, Hessel van Oorschot was an entrepreneur running a
6728 business where he coached other midsize entrepreneurs how to create an
6729 online business. He also coauthored a number of workbooks for small- to
6730 medium-size enterprises to use to optimize their business for the
6731 Web. Through this early work, Hessel became familiar with the principles of
6732 open licensing, including the use of open-source software and Creative
6733 Commons.
6734       </p><p>
6735         In 2005, Hessel and Sandra Brandenburg launched a niche video-production
6736 initiative. Almost immediately, they ran into issues around finding and
6737 licensing music tracks. All they could find was standard, cold
6738 stock-music. They thought of looking up websites where you could license
6739 music directly from the musician without going through record labels or
6740 agents. But in 2005, the ability to directly license music from a rights
6741 holder was not readily available.
6742       </p><p>
6743         They hired two lawyers to investigate further, and while they uncovered five
6744 or six examples, Hessel found the business models lacking. The lawyers
6745 expressed interest in being their legal team should they decide to pursue
6746 this as an entrepreneurial opportunity. Hessel says, <span class="quote">“<span class="quote">When lawyers are
6747 interested in a venture like this, you might have something special.</span>”</span>
6748 So after some more research, in early 2008, Hessel and Sandra decided to
6749 build a platform.
6750       </p><p>
6751         Building a platform posed a real chicken-and-egg problem. The platform had
6752 to build an online community of music-rights holders and, at the same time,
6753 provide the community with information and ideas about how the new economy
6754 works. Community willingness to try new music business models requires a
6755 trust relationship.
6756       </p><p>
6757         In July 2008, Tribe of Noise opened its virtual doors with a couple hundred
6758 musicians willing to use the CC BY-SA license (Attribution-ShareAlike) for a
6759 limited part of their repertoire.  The two entrepreneurs wanted to take the
6760 pain away for media makers who wanted to license music and solve the
6761 problems the two had personally experienced finding this music.
6762       </p><p>
6763         As they were growing the community, Hessel got a phone call from a company
6764 that made in-store music playlists asking if they had enough music licensed
6765 with Creative Commons that they could use.  Stores need quality,
6766 good-listening music but not necessarily hits, a bit like a radio show
6767 without the DJ. This opened a new opportunity for Tribe of Noise. They
6768 started their In-store Music Service, using music (licensed with CC BY-SA)
6769 uploaded by the Tribe of Noise community of musicians.<a href="#ftn.idm2152" class="footnote" name="idm2152"><sup class="footnote">[152]</sup></a>
6770       </p><p>
6771         In most countries, artists, authors, and musicians join a collecting society
6772 that manages the licensing and helps collect the royalties. Copyright
6773 collecting societies in the European Union usually hold monopolies in their
6774 respective national markets. In addition, they require their members to
6775 transfer exclusive administration rights to them of all of their works.
6776 This complicates the picture for Tribe of Noise, who wants to represent
6777 artists, or at least a portion of their repertoire.  Hessel and his legal
6778 team reached out to collecting societies, starting with those in the
6779 Netherlands. What would be the best legal way forward that would respect the
6780 wishes of composers and musicians who’d be interested in trying out new
6781 models like the In-store Music Service? Collecting societies at first were
6782 hesitant and said no, but Tribe of Noise persisted arguing that they
6783 primarily work with unknown artists and provide them exposure in parts of
6784 the world where they don’t get airtime normally and a source of revenue—and
6785 this convinced them that it was OK. However, Hessel says, <span class="quote">“<span class="quote">We are
6786 still fighting for a good cause every single day.</span>”</span>
6787       </p><p>
6788         Instead of building a large sales force, Tribe of Noise partnered with big
6789 organizations who have lots of clients and can act as a kind of Tribe of
6790 Noise reseller. The largest telecom network in the Netherlands, for example,
6791 sells Tribe’s In-store Music Service subscriptions to their business
6792 clients, which include fashion retailers and fitness centers. They have a
6793 similar deal with the leading trade association representing hotels and
6794 restaurants in the country. Hessel hopes to <span class="quote">“<span class="quote">copy and paste</span>”</span>
6795 this service into other countries where collecting societies understand what
6796 you can do with Creative Commons. Outside of the Netherlands, early
6797 adoptions have happened in Scandinavia, Belgium, and the U.S.
6798       </p><p>
6799         Tribe of Noise doesn’t pay the musicians up front; they get paid when their
6800 music ends up in Tribe of Noise’s in-store music channels. The musicians’
6801 share is 42.5 percent. It’s not uncommon in a traditional model for the
6802 artist to get only 5 to 10 percent, so a share of over 40 percent is a
6803 significantly better deal. Here’s how they give an example on their website:
6804       </p><p>
6805         A few of your songs [licensed with CC BY-SA], for example five in total, are
6806 selected for a bespoke in-store music channel broadcasting at a large
6807 retailer with 1,000 stores nationwide.  In this case the overall playlist
6808 contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
6809 agreed with this retailer is US$12 per month per play-out. So if 42.5% is
6810 shared with the Tribe musicians in this playlist and your share is 1.43%,
6811 you end up with US$12 * 1000 stores * 0.425 * 0.0143 = US$73 per
6812 month.<a href="#ftn.idm2161" class="footnote" name="idm2161"><sup class="footnote">[153]</sup></a>
6813       </p><p>
6814         Tribe of Noise has another model that does not involve Creative Commons. In
6815 a survey with members, most said they liked the exposure using Creative
6816 Commons gets them and the way it lets them reach out to others to share and
6817 remix. However, they had a bit of a mental struggle with Creative Commons
6818 licenses being perpetual. A lot of musicians have the mind-set that one day
6819 one of their songs may become an overnight hit. If that happened the CC
6820 BY-SA license would preclude them getting rich off the sale of that song.
6821       </p><p>
6822         Hessel’s legal team took this feedback and created a second model and
6823 separate area of the platform called Tribe of Noise Pro. Songs uploaded to
6824 Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
6825 instead created a <span class="quote">“<span class="quote">nonexclusive exploitation</span>”</span> contract, similar
6826 to a Creative Commons license but allowing musicians to opt out whenever
6827 they want. When you opt out, Tribe of Noise agrees to take your music off
6828 the Tribe of Noise platform within one to two months. This lets the musician
6829 reuse their song for a better deal.
6830       </p><p>
6831         Tribe of Noise Pro is primarily geared toward media makers who are looking
6832 for music. If they buy a license from this catalog, they don’t have to state
6833 the name of the creator; they just license the song for a specific
6834 amount. This is a big plus for media makers. And musicians can pull their
6835 repertoire at any time. Hessel sees this as a more direct and clean deal.
6836       </p><p>
6837         Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and
6838 the community area of Tribe of Noises. There aren’t that many artists who
6839 upload only to Tribe of Noise Pro, which has a smaller repertoire of music
6840 than the community area.
6841       </p><p>
6842         Hessel sees the two as complementary. Both are needed for the model to
6843 work. With a whole generation of musicians interested in the sharing
6844 economy, the community area of Tribe of Noise is where they can build trust,
6845 create exposure, and generate money.  And after that, musicians may become
6846 more interested in exploring other models like Tribe of Noise Pro.
6847       </p><p>
6848         Every musician who joins Tribe of Noise gets their own home page and free
6849 unlimited Web space to upload as much of their own music as they like. Tribe
6850 of Noise is also a social network; fellow musicians and professionals can
6851 vote for, comment on, and like your music. Community managers interact with
6852 and support members, and music supervisors pick and choose from the uploaded
6853 songs for in-store play or to promote them to media producers.  Members
6854 really like having people working for the platform who truly engage with
6855 them.
6856       </p><p>
6857         Another way Tribe of Noise creates community and interest is with contests,
6858 which are organized in partnership with Tribe of Noise clients. The client
6859 specifies what they want, and any member can submit a song. Contests usually
6860 involve prizes, exposure, and money. In addition to building member
6861 engagement, contests help members learn how to work with clients: listening
6862 to them, understanding what they want, and creating a song to meet that
6863 need.
6864       </p><p>
6865         Tribe of Noise now has twenty-seven thousand members from 192 countries, and
6866 many are exploring do-it-yourself models for generating revenue. Some came
6867 from music labels and publishers, having gone through the traditional way of
6868 music licensing and now seeing if this new model makes sense for
6869 them. Others are young musicians, who grew up with a DIY mentality and see
6870 little reason to sign with a third party or hand over some of the
6871 control. Still a small but growing group of Tribe members are pursuing a
6872 hybrid model by licensing some of their songs under CC BY-SA and opting in
6873 others with collecting societies like ASCAP or BMI.
6874       </p><p>
6875         It’s not uncommon for performance-rights organizations, record labels, or
6876 music publishers to sign contracts with musicians based on exclusivity. Such
6877 an arrangement prevents those musicians from uploading their music to Tribe
6878 of Noise. In the United States, you can have a collecting society handle
6879 only some of your tracks, whereas in many countries in Europe, a collecting
6880 society prefers to represent your entire repertoire (although the European
6881 Commission is making some changes). Tribe of Noise deals with this issue all
6882 the time and gives you a warning whenever you upload a song. If collecting
6883 societies are willing to be open and flexible and do the most they can for
6884 their members, then they can consider organizations like Tribe of Noise as a
6885 nice add-on, generating more exposure and revenue for the musicians they
6886 represent. So far, Tribe of Noise has been able to make all this work
6887 without litigation.
6888       </p><p>
6889         For Hessel the key to Tribe of Noise’s success is trust. The fact that
6890 Creative Commons licenses work the same way all over the world and have been
6891 translated into all languages really helps build that trust. Tribe of Noise
6892 believes in creating a model where they work together with musicians. They
6893 can only do that if they have a live and kicking community, with people who
6894 think that the Tribe of Noise team has their best interests in
6895 mind. Creative Commons makes it possible to create a new business model for
6896 music, a model that’s based on trust.
6897       </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2152" class="footnote"><p><a href="#idm2152" 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.idm2161" class="footnote"><p><a href="#idm2161" 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>Capítulo 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>
6898           The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia
6899 and its sister projects. Founded in 2003 in the U.S.
6900         </p><p>
6901           <a class="ulink" href="http://wikimediafoundation.org" target="_top">http://wikimediafoundation.org</a>
6902         </p><p><span class="strong"><strong>Revenue model</strong></span>: donations
6903         </p><p><span class="strong"><strong>Interview date</strong></span>: December 18, 2015
6904         </p><p><span class="strong"><strong>Interviewees</strong></span>: Luis Villa, former Chief
6905 Officer of Community Engagement, and Stephen LaPorte, legal counsel
6906         </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}
6907     \textit{
6908           Profile written by Sarah Hinchliff Pearson
6909         }
6910     \end{flushright}</td></tr></table></div><p>
6911         Nearly every person with an online presence knows Wikipedia.
6912       </p><p>
6913         In many ways, it is the preeminent open project: The online encyclopedia is
6914 created entirely by volunteers. Anyone in the world can edit the
6915 articles. All of the content is available for free to anyone online. All of
6916 the content is released under a Creative Commons license that enables people
6917 to reuse and adapt it for any purpose.
6918       </p><p>
6919         As of December 2016, there were more than forty-two million articles in the
6920 295 language editions of the online encyclopedia, according to—what
6921 else?—the Wikipedia article about Wikipedia.
6922       </p><p>
6923         The Wikimedia Foundation is a U.S.-based nonprofit organization that owns
6924 the Wikipedia domain name and hosts the site, along with many other related
6925 sites like Wikidata and Wikimedia Commons. The foundation employs about two
6926 hundred and eighty people, who all work to support the projects it
6927 hosts. But the true heart of Wikipedia and its sister projects is its
6928 community. The numbers of people in the community are variable, but about
6929 seventy-five thousand volunteers edit and improve Wikipedia articles every
6930 month. Volunteers are organized in a variety of ways across the globe,
6931 including formal Wikimedia chapters (mostly national), groups focused on a
6932 particular theme, user groups, and many thousands who are not connected to a
6933 particular organization.
6934       </p><p>
6935         As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">“<span class="quote">There is a common
6936 saying that Wikipedia works in practice but not in theory.</span>”</span> While it
6937 undoubtedly has its challenges and flaws, Wikipedia and its sister projects
6938 are a striking testament to the power of human collaboration.
6939       </p><p>
6940         Because of its extraordinary breadth and scope, it does feel a bit like a
6941 unicorn. Indeed, there is nothing else like Wikipedia. Still, much of what
6942 makes the projects successful—community, transparency, a strong mission,
6943 trust—are consistent with what it takes to be successfully Made with
6944 Creative Commons more generally. With Wikipedia, everything just happens at
6945 an unprecedented scale.
6946       </p><p>
6947         The story of Wikipedia has been told many times. For our purposes, it is
6948 enough to know the experiment started in 2001 at a small scale, inspired by
6949 the crazy notion that perhaps a truly open, collaborative project could
6950 create something meaningful.  At this point, Wikipedia is so ubiquitous and
6951 ingrained in our digital lives that the fact of its existence seems less
6952 remarkable. But outside of software, Wikipedia is perhaps the single most
6953 stunning example of successful community cocreation.  Every day, seven
6954 thousand new articles are created on Wikipedia, and nearly fifteen thousand
6955 edits are made every hour.
6956       </p><p>
6957         The nature of the content the community creates is ideal for asynchronous
6958 cocreation. <span class="quote">“<span class="quote">An encyclopedia is something where incremental community
6959 improvement really works,</span>”</span> Luis Villa, former Chief Officer of
6960 Community Engagement, told us. The rules and processes that govern
6961 cocreation on Wikipedia and its sister projects are all community-driven and
6962 vary by language edition. There are entire books written on the intricacies
6963 of their systems, but generally speaking, there are very few exceptions to
6964 the rule that anyone can edit any article, even without an account on their
6965 system. The extensive peer-review process includes elaborate systems to
6966 resolve disputes, methods for managing particularly controversial subject
6967 areas, talk pages explaining decisions, and much, much more. The Wikimedia
6968 Foundation’s decision to leave governance of the projects to the community
6969 is very deliberate. <span class="quote">“<span class="quote">We look at the things that the community can do
6970 well, and we want to let them do those things,</span>”</span> Stephen told
6971 us. Instead, the foundation focuses its time and resources on what the
6972 community cannot do as effectively, like the software engineering that
6973 supports the technical infrastructure of the sites. In 2015-16, about half
6974 of the foundation’s budget went to direct support for the Wikimedia sites.
6975       </p><p>
6976         Some of that is directed at servers and general IT support, but the
6977 foundation also invests a significant amount on architecture designed to
6978 help the site function as effectively as possible.  <span class="quote">“<span class="quote">There is a
6979 constantly evolving system to keep the balance in place to avoid Wikipedia
6980 becoming the world’s biggest graffiti wall,</span>”</span> Luis said. Depending on
6981 how you measure it, somewhere between 90 to 98 percent of edits to Wikipedia
6982 are positive. Some portion of that success is attributable to the tools
6983 Wikimedia has in place to try to incentivize good actors.  <span class="quote">“<span class="quote">The secret
6984 to having any healthy community is bringing back the right people,</span>”</span>
6985 Luis said. <span class="quote">“<span class="quote">Vandals tend to get bored and go away. That is partially
6986 our model working, and partially just human nature.</span>”</span> Most of the
6987 time, people want to do the right thing.
6988       </p><p>
6989         Wikipedia not only relies on good behavior within its community and on its
6990 sites, but also by everyone else once the content leaves Wikipedia. All of
6991 the text of Wikipedia is available under an Attribution-ShareAlike license
6992 (CC BY-SA), which means it can be used for any purpose and modified so long
6993 as credit is given and anything new is shared back with the public under the
6994 same license. In theory, that means anyone can copy the content and start a
6995 new Wikipedia. But as Stephen explained, <span class="quote">“<span class="quote">Being open has only made
6996 Wikipedia bigger and stronger.  The desire to protect is not always what is
6997 best for everyone.</span>”</span>
6998       </p><p>
6999         Of course, the primary reason no one has successfully co-opted Wikipedia is
7000 that copycat efforts do not have the Wikipedia community to sustain what
7001 they do. Wikipedia is not simply a source of up-to-the-minute content on
7002 every given topic—it is also a global patchwork of humans working together
7003 in a million different ways, in a million different capacities, for a
7004 million different reasons. While many have tried to guess what makes
7005 Wikipedia work as well it does, the fact is there is no single
7006 explanation. <span class="quote">“<span class="quote">In a movement as large as ours, there is an incredible
7007 diversity of motivations,</span>”</span> Stephen said. For example, there is one
7008 editor of the English Wikipedia edition who has corrected a single
7009 grammatical error in articles more than forty-eight thousand
7010 times.<a href="#ftn.idm2207" class="footnote" name="idm2207"><sup class="footnote">[154]</sup></a> Only a fraction of Wikipedia
7011 users are also editors.  But editing is not the only way to contribute to
7012 Wikipedia.  <span class="quote">“<span class="quote">Some donate text, some donate images, some donate
7013 financially,</span>”</span> Stephen told us. <span class="quote">“<span class="quote">They are all
7014 contributors.</span>”</span>
7015       </p><p>
7016         But the vast majority of us who use Wikipedia are not contributors; we are
7017 passive readers. The Wikimedia Foundation survives primarily on individual
7018 donations, with about $15 as the average. Because Wikipedia is one of the
7019 ten most popular websites in terms of total page views, donations from a
7020 small portion of that audience can translate into a lot of money. In the
7021 2015-16 fiscal year, they received more than $77 million from more than five
7022 million donors.
7023       </p><p>
7024         The foundation has a fund-raising team that works year-round to raise money,
7025 but the bulk of their revenue comes in during the December campaign in
7026 Australia, Canada, Ireland, New Zealand, the United Kingdom, and the United
7027 States. They engage in extensive user testing and research to maximize the
7028 reach of their fund-raising campaigns. Their basic fund-raising message is
7029 simple: We provide our readers and the world immense value, so give
7030 back. Every little bit helps. With enough eyeballs, they are right.
7031       </p><p>
7032         The vision of the Wikimedia Foundation is a world in which every single
7033 human being can freely share in the sum of all knowledge.  They work to
7034 realize this vision by empowering people around the globe to create
7035 educational content made freely available under an open license or in the
7036 public domain. Stephen and Luis said the mission, which is rooted in the
7037 same philosophy behind Creative Commons, drives everything the foundation
7038 does.
7039       </p><p>
7040         The philosophy behind the endeavor also enables the foundation to be
7041 financially sustainable. It instills trust in their readership, which is
7042 critical for a revenue strategy that relies on reader donations. It also
7043 instills trust in their community.
7044       </p><p>
7045         Any given edit on Wikipedia could be motivated by nearly an infinite number
7046 of reasons. But the social mission of the project is what binds the global
7047 community together.  <span class="quote">“<span class="quote">Wikipedia is an example of how a mission can
7048 motivate an entire movement,</span>”</span> Stephen told us.
7049       </p><p>
7050         Of course, what results from that movement is one of the Internet’s great
7051 public resources. <span class="quote">“<span class="quote">The Internet has a lot of businesses and stores,
7052 but it is missing the digital equivalent of parks and open public
7053 spaces,</span>”</span> Stephen said. <span class="quote">“<span class="quote">Wikipedia has found a way to be that
7054 open public space.</span>”</span>
7055       </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2207" class="footnote"><p><a href="#idm2207" 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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7164 and the Commons. New York: Zed Books, 2014.
7165     </p><p>
7166       Harris, Malcom, ed. Share or Die: Voices of the Get Lost Generation in the
7167 Age of Crisis. With Neal Gorenflo. Gabriola Island, BC: New Society, 2012.
7168     </p><p>
7169       Hermida, Alfred. Tell Everyone: Why We Share and Why It Matters.  Toronto:
7170 Doubleday Canada, 2014.
7171     </p><p>
7172       Hyde, Lewis. Common as Air: Revolution, Art, and Ownership. New York:
7173 Farrar, Straus and Giroux, 2010.
7174     </p><p>
7175       ———. The Gift: Creativity and the Artist in the Modern World. 2nd Vintage
7176 Books edition. New York: Vintage Books, 2007.
7177     </p><p>
7178       Kelley, Tom, and David Kelley. Creative Confidence: Unleashing the Potential
7179 within Us All. New York: Crown, 2013.
7180     </p><p>
7181       Kelly, Marjorie. Owning Our Future: The Emerging Ownership Revolution;
7182 Journeys to a Generative Economy. San Francisco: Berrett-Koehler, 2012.
7183     </p><p>
7184       Kleon, Austin. Show Your Work: 10 Ways to Share Your Creativity and Get
7185 Discovered. New York: Workman, 2014.
7186     </p><p>
7187       ———. Steal Like an Artist: 10 Things Nobody Told You about Being
7188 Creative. New York: Workman, 2012.
7189     </p><p>
7190       Kramer, Bryan. Shareology: How Sharing Is Powering the Human Economy. New
7191 York: Morgan James, 2016.
7192     </p><p>
7193       Lee, David. <span class="quote">“<span class="quote">Inside Medium: An Attempt to Bring Civility to the
7194 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>
7195     </p><p>
7196       Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid
7197 Economy. New York: Penguin Press, 2008.
7198     </p><p>
7199       Menzies, Heather. Reclaiming the Commons for the Common Good: A Memoir and
7200 Manifesto. Gabriola Island, BC: New Society, 2014.
7201     </p><p>
7202       Mason, Paul. Postcapitalism: A Guide to Our Future. New York: Farrar, Straus
7203 and Giroux, 2015.
7204     </p><p>
7205       New York Times Customer Insight Group. The Psychology of Sharing: Why Do
7206 People Share Online? New York: New York Times Customer Insight Group, 2011.
7207 <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
7208     </p><p>
7209       Osterwalder, Alex, and Yves Pigneur. Business Model Generation.  Hoboken,
7210 NJ: John Wiley and Sons, 2010. A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
7211     </p><p>
7212       Osterwalder, Alex, Yves Pigneur, Greg Bernarda, and Adam Smith.  Value
7213 Proposition Design. Hoboken, NJ: John Wiley and Sons, 2014.  A preview of
7214 the book is available at <a class="ulink" href="http://strategyzer.com/books/value-proposition-design" target="_top">http://strategyzer.com/books/value-proposition-design</a>.
7215     </p><p>
7216       Palmer, Amanda. The Art of Asking: Or How I Learned to Stop Worrying and Let
7217 People Help. New York: Grand Central, 2014.
7218     </p><p>
7219       Pekel, Joris. Democratising the Rijksmuseum: Why Did the Rijksmuseum Make
7220 Available Their Highest Quality Material without Restrictions, and What Are
7221 the Results? The Hague, Netherlands: Europeana Foundation, 2014.  <a class="ulink" href="http://pro.europeana.eu/publication/democratising-the-rijksmuseum" target="_top">http://pro.europeana.eu/publication/democratising-the-rijksmuseum</a>
7222 (licensed under CC BY-SA).
7223     </p><p>
7224       Ramos, José Maria, ed. The City as Commons: A Policy Reader.  Melbourne,
7225 Australia: Commons Transition Coalition, 2016.  <a class="ulink" href="http://www.academia.edu/27143172/The_City_as_Commons_a_Policy_Reader" target="_top">http://www.academia.edu/27143172/The_City_as_Commons_a_Policy_Reader</a>
7226 (licensed under CC BY-NC-ND).
7227     </p><p>
7228       Raymond, Eric S. The Cathedral and the Bazaar: Musings on Linux and Open
7229 Source by an Accidental Revolutionary.  Rev. ed. Sebastopol, CA: O’Reilly
7230 Media, 2001. See esp. <span class="quote">“<span class="quote">The Magic Cauldron.</span>”</span> <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
7231     </p><p>
7232       Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous
7233 Innovation to Create Radically Successful Businesses.  New York: Crown
7234 Business, 2011.
7235     </p><p>
7236       Rifkin, Jeremy. The Zero Marginal Cost Society: The Internet of Things, the
7237 Collaborative Commons, and the Eclipse of Capitalism.  New York: Palgrave
7238 Macmillan, 2014.
7239     </p><p>
7240       Rowe, Jonathan. Our Common Wealth. San Francisco: Berrett-Koehler, 2013.
7241     </p><p>
7242       Rushkoff, Douglas. Throwing Rocks at the Google Bus: How Growth Became the
7243 Enemy of Prosperity. New York: Portfolio, 2016.
7244     </p><p>
7245       Sandel, Michael J. What Money Can’t Buy: The Moral Limits of Markets. New
7246 York: Farrar, Straus and Giroux, 2012.
7247     </p><p>
7248       Shirky, Clay. Cognitive Surplus: How Technology Makes Consumers into
7249 Collaborators. London, England: Penguin Books, 2010.
7250     </p><p>
7251       Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New York: OR
7252 Books, 2015.
7253     </p><p>
7254       Stephany, Alex. The Business of Sharing: Making in the New Sharing
7255 Economy. New York: Palgrave Macmillan, 2015.
7256     </p><p>
7257       Stepper, John. Working Out Loud: For a Better Career and Life. New York:
7258 Ikigai Press, 2015.
7259     </p><p>
7260       Sull, Donald, and Kathleen M. Eisenhardt. Simple Rules: How to Thrive in a
7261 Complex World. Boston: Houghton Mifflin Harcourt, 2015.
7262     </p><p>
7263       Sundararajan, Arun. The Sharing Economy: The End of Employment and the Rise
7264 of Crowd-Based Capitalism. Cambridge, MA: MIT Press, 2016.
7265     </p><p>
7266       Surowiecki, James. The Wisdom of Crowds. New York: Anchor Books, 2005.
7267     </p><p>
7268       Tapscott, Don, and Alex Tapscott. Blockchain Revolution: How the Technology
7269 Behind Bitcoin Is Changing Money, Business, and the World. Toronto:
7270 Portfolio, 2016.
7271     </p><p>
7272       Tharp, Twyla. The Creative Habit: Learn It and Use It for Life.  With Mark
7273 Reiter. New York: Simon and Schuster, 2006.
7274     </p><p>
7275       Tkacz, Nathaniel. Wikipedia and the Politics of Openness. Chicago:
7276 University of Chicago Press, 2015.
7277     </p><p>
7278       Van Abel, Bass, Lucas Evers, Roel Klaassen, and Peter Troxler, eds. Open
7279 Design Now: Why Design Cannot Remain Exclusive.  Amsterdam: BIS Publishers,
7280 with Creative Commons Netherlands; Premsela, the Netherlands Institute for
7281 Design and Fashion; and the Waag Society, 2011.  <a class="ulink" href="http://opendesignnow.org" target="_top">http://opendesignnow.org</a> (licensed under CC BY-NC-SA).
7282     </p><p>
7283       Van den Hoff, Ronald. Mastering the Global Transition on Our Way to Society
7284 3.0. Utrecht, the Netherlands: Society 3.0 Foundation, 2014. <a class="ulink" href="http://society30.com/get-the-book/" target="_top">http://society30.com/get-the-book/</a> (licensed under CC BY-NC-ND).
7285     </p><p>
7286       Von Hippel, Eric. Democratizing Innovation. London: MIT Press, 2005.  <a class="ulink" href="http://web.mit.edu/evhippel/www/democ1.htm" target="_top">http://web.mit.edu/evhippel/www/democ1.htm</a> (licensed under CC
7287 BY-NC-ND).
7288     </p><p>
7289       Whitehurst, Jim. The Open Organization: Igniting Passion and
7290 Performance. Boston: Harvard Business Review Press, 2015.
7291     </p>\chapter*{<title>Acknowledgments</title>}\addcontentsline{toc}{chapter}{<title>Acknowledgments</title>}<p>
7292       We extend special thanks to Creative Commons CEO Ryan Merkley, the Creative
7293 Commons Board, and all of our Creative Commons colleagues for
7294 enthusiastically supporting our work. Special gratitude to the William and
7295 Flora Hewlett Foundation for the initial seed funding that got us started on
7296 this project.
7297     </p><p>
7298       Huge appreciation to all the Made with Creative Commons interviewees for
7299 sharing their stories with us. You make the commons come alive. Thanks for
7300 the inspiration.
7301     </p><p>
7302       We interviewed more than the twenty-four organizations profiled in this
7303 book. We extend special thanks to Gooru, OERu, Sage Bionetworks, and Medium
7304 for sharing their stories with us. While not featured as case studies in
7305 this book, you all are equally interesting, and we encourage our readers to
7306 visit your sites and explore your work.
7307     </p><p>
7308       This book was made possible by the generous support of 1,687 Kickstarter
7309 backers listed below. We especially acknowledge our many Kickstarter
7310 co-editors who read early drafts of our work and provided invaluable
7311 feedback. Heartfelt thanks to all of you.
7312     </p><p>
7313       Co-editor Kickstarter backers (alphabetically by first name): Abraham
7314 Taherivand, Alan Graham, Alfredo Louro, Anatoly Volynets, Aurora Thornton,
7315 Austin Tolentino, Ben Sheridan, Benedikt Foit, Benjamin Costantini, Bernd
7316 Nurnberger, Bernhard Seefeld, Bethanye Blount, Bradford Benn, Bryan Mock,
7317 Carmen Garcia Wiedenhoeft, Carolyn Hinchliff, Casey Milford, Cat Cooper,
7318 Chip McIntosh, Chris Thorne, Chris Weber, Chutika Udomsinn, Claire Wardle,
7319 Claudia Cristiani, Cody Allard, Colleen Cressman, Craig Thomler, Creative
7320 Commons Uruguay, Curt McNamara, Dan Parson, Daniel Dominguez, Daniel Morado,
7321 Darius Irvin, Dave Taillefer, David Lewis, David Mikula, David Varnes, David
7322 Wiley, Deborah Nas, Diderik van Wingerden, Dirk Kiefer, Dom Lane, Domi
7323 Enders, Douglas Van Houweling, Dylan Field, Einar Joergensen, Elad Wieder,
7324 Elie Calhoun, Erika Reid, Evtim Papushev, Fauxton Software, Felix
7325 Maximiliano Obes, Ferdies Food Lab, Gatien de Broucker, Gaurav Kapil, Gavin
7326 Romig-Koch, George Baier IV, George De Bruin, Gianpaolo Rando, Glenn Otis
7327 Brown, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Hamish MacEwan,
7328 Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James Cloos, Jamie
7329 Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo, Jay M
7330 Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme
7331 Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
7332 Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
7333 Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos
7334 Belair, Justin Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie
7335 Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova, Kristoffer Steen,
7336 Kyle Simpson, Laurie Racine, Leonardo Bueno Postacchini, Leticia Britos
7337 Cavagnaro, Livia Leskovec, Louis-David Benyayer, Maik Schmalstich, Mairi
7338 Thomson, Marcia Hofmann, Maria Liberman, Marino Hernandez, Mario R. Hemsley,
7339 MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black,
7340 Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
7341 Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha Batic, Mike
7342 Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall
7343 McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman,
7344 Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
7345 Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny
7346 Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv
7347 Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones,
7348 Robert Thompson, Ronald van den Hoff, Rusi Popov, Ryan Merkley, S Searle,
7349 Salomon Riedo, Samuel A. Rebelsky, Samuel Tait, Sarah McGovern, Scott
7350 Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio,
7351 Simon Law, Solomon Simon, Stefano Guidotti, Subhendu Ghosh, Susan Chun,
7352 Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent,
7353 Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
7354 Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh,
7355 William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque,
7356 Yancey Strickler
7357     </p><p>
7358       All other Kickstarter backers (alphabetically by first name): A.  Lee, Aaron
7359 C. Rathbun, Aaron Stubbs, Aaron Suggs, Abdul Razak Manaf, Abraham
7360 Taherivand, Adam Croom, Adam Finer, Adam Hansen, Adam Morris, Adam Procter,
7361 Adam Quirk, Adam Rory Porter, Adam Simmons, Adam Tinworth, Adam Zimmerman,
7362 Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al Sweigart, Alain
7363 Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert
7364 O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
7365 Blood, Alex C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown,
7366 Alexander Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar,
7367 Alexander Neumann, Alexander Plaum, Alexander Wendland, Alexandre
7368 Rafalovitch, Alexey Volkow, Alexi Wheeler, Alexis Sevault, Alfredo Louro,
7369 Ali Sternburg, Alicia Gibb  Lunchbox Electronics, Alison Link, Alison
7370 Pentecost, Alistair Boettiger, Alistair Walder, Alix Bernier, Allan
7371 Callaghan, Allen Riddell, Allison Breland Crotwell, Allison Jane Smith,
7372 Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
7373 Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
7374 Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen,
7375 Andre Wallace, Andrea Bagnacani, Andrea Pepe, Andrea Pigato, Andreas
7376 Jagelund, Andres Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew
7377 Hearse, Andrew Matangi, Andrew R McHugh, Andrew Tam, Andrew Turvey, Andrew
7378 Walsh, Andrew Wilson, Andrey Novoseltsev, Andy McGhee, Andy Reeve, Andy
7379 Woods, Angela Brett, Angeliki Kapoglou, Angus Keenan, Anne-Marie Scott,
7380 Antero Garcia, Antoine Authier, Antoine Michard, Anton Kurkin, Anton
7381 Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
7382 publishing, April Johnson, Aria F.  Chernik, Ariane Allan, Ariel Katz,
7383 Arithmomaniac, Arnaud Tessier, Arnim Sommer, Ashima Bawa, Ashley Elsdon,
7384 Athanassios Diacakis, Aurora Thornton, Aurore Chavet Henry, Austin
7385 Hartzheim, Austin Tolentino, Avner Shanan, Axel Pettersson, Axel
7386 Stieglbauer, Ay Okpokam, Barb Bartkowiak, Barbara Lindsey, Barry Dayton,
7387 Bastian Hougaard, Ben Chad, Ben Doherty, Ben Hansen, Ben Nuttall, Ben
7388 Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin Costantini,
7389 Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
7390 Bernardo Miguel Antunes, Bernd Nurnberger, Bernhard Seefeld, Beth Gis, Beth
7391 Tillinghast, Bethanye Blount, Bill Bonwitt, Bill Browne, Bill Keaggy, Bill
7392 Maiden, Bill Rafferty, Bill Scanlon, Bill Shields, Bill Slankard, BJ Becker,
7393 Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
7394 Sprotte Kofod, Bob Doran, Bob Recny, Bob Stuart, Bonnie Chiu, Boris Mindzak,
7395 Boriss Lariushin, Borjan Tchakaloff, Brad Kik, Braden Hassett, Bradford
7396 Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka
7397 Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel,
7398 Brett Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian
7399 S. Weis, Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke
7400 Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno Girin, Bryan
7401 Mock, Bryant Durrell, Bryce Barbato, Buzz Technology Limited, Byung-Geun
7402 Jeon, C. Glen Williams, C. L. Couch, Cable Green, Callum Gare, Cameron
7403 Callahan, Cameron Colby Thomson, Cameron Mulder, Camille Bissuel / Nylnook,
7404 Candace Robertson, Carl Morris, Carl Perry, Carl Rigney, Carles Mateu,
7405 Carlos Correa Loyola, Carlos Solis, Carmen Garcia Wiedenhoeft, Carol Long,
7406 Carol marquardsen, Caroline Calomme, Caroline Mailloux, Carolyn Hinchliff,
7407 Carolyn Rude, Carrie Cousins, Carrie Watkins, Casey Hunt, Casey Milford,
7408 Casey Powell Shorthouse, Cat Cooper, Cecilie Maria, Cedric Howe, Cefn Hoile,
7409 @ShrimpingIt, Celia Muller, Ces Keller, Chad Anderson, Charles Butler,
7410 Charles Carstensen, Charles Chi Thoi Le, Charles Kobbe, Charles S. Tritt,
7411 Charles Stanhope, Charlotte Ong-Wisener, Chealsye Bowley, Chelle Destefano,
7412 Chenpang Chou, Cheryl Corte, Cheryl Todd, Chip Dickerson, Chip McIntosh,
7413 Chris Bannister, Chris Betcher, Chris Coleman, Chris Conway, Chris Foote
7414 (Spike), Chris Hurst, Chris Mitchell, Chris Muscat Azzopardi, Chris
7415 Niewiarowski, Chris Opperwall, Chris Stieha, Chris Thorne, Chris Weber,
7416 Chris Woolfrey, Chris Zabriskie, Christi Reid, Christian Holzberger,
7417 Christian Schubert, Christian Sheehy, Christian Thibault, Christian Villum,
7418 Christian Wachter, Christina Bennett, Christine Henry, Christine Rico,
7419 Christopher Burrows, Christopher Chan, Christopher Clay, Christopher Harris,
7420 Christopher Opiah, Christopher Swenson, Christos Keramitsis, Chuck Roslof,
7421 Chutika Udomsinn, Claire Wardle, Clare Forrest, Claudia Cristiani, Claudio
7422 Gallo, Claudio Ruiz, Clayton Dewey, Clement Delort, Cliff Church, Clint
7423 Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
7424 Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie
7425 Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
7426 Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney,
7427 Craig Thomler, Creative Commons Uruguay, Crina Kienle, Cristiano Gozzini,
7428 Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei,
7429 Dagmar M. Meyer, Dan Mcalister, Dan Mohr, Dan Parson, Dana Freeman, Dana
7430 Ospina, Dani Leviss, Daniel Bustamante, Daniel Demmel, Daniel Dominguez,
7431 Daniel Dultz, Daniel Gallant, Daniel Kossmann, Daniel Kruse, Daniel Morado,
7432 Daniel Morgan, Daniel Pimley, Daniel Sabo, Daniel Sobey, Daniel Stein,
7433 Daniel Wildt, Daniele Prati, Danielle Moss, Danny Mendoza, Dario
7434 Taraborelli, Darius Irvin, Darius Whelan, Darla Anderson, Dasha Brezinova,
7435 Dave Ainscough, Dave Bull, Dave Crosby, Dave Eagle, Dave Moskovitz, Dave
7436 Neeteson, Dave Taillefer, Dave Witzel, David Bailey, David Cheung, David
7437 Eriksson, David Gallagher, David H. Bronke, David Hartley, David Hellam,
7438 David Hood, David Hunter, David jlaietta, David Lewis, David Mason, David
7439 Mcconville, David Mikula, David Nelson, David Orban, David Parry, David
7440 Spira, David T. Kindler, David Varnes, David Wiley, David Wormley, Deborah
7441 Nas, Denis Jean, dennis straub, Dennis Whittle, Denver Gingerich, Derek
7442 Slater, Devon Cooke, Diana Pasek-Atkinson, Diane Johnston Graves, Diane K.
7443 Kovacs, Diane Trout, Diderik van Wingerden, Diego Cuevas, Diego De La Cruz,
7444 Dimitrie Grigorescu, Dina Marie Rodriguez, Dinah Fabela, Dirk Haun, Dirk
7445 Kiefer, Dirk Loop, DJ Fusion - FuseBox Radio Broadcast, Dom jurkewitz, Dom
7446 Lane, Domi Enders, Domingo Gallardo, Dominic de Haas, Dominique Karadjian,
7447 Dongpo Deng, Donnovan Knight, Door de Flines, Doug Fitzpatrick, Doug Hoover,
7448 Douglas Craver, Douglas Van Camp, Douglas Van Houweling, Dr. Braddlee, Drew
7449 Spencer, Duncan Sample, Durand D’souza, Dylan Field, E C Humphries, Eamon
7450 Caddigan, Earleen Smith, Eden Sarid, Eden Spodek, Eduardo Belinchon, Eduardo
7451 Castro, Edwin Vandam, Einar Joergensen, Ejnar Brendsdal, Elad Wieder, Elar
7452 Haljas, Elena Valhalla, Eli Doran, Elias Bouchi, Elie Calhoun, Elizabeth
7453 Holloway, Ellen Buecher, Ellen Kaye- Cheveldayoff, Elli Verhulst, Elroy
7454 Fernandes, Emery Hurst Mikel, Emily Catedral, Enrique Mandujano R., Eric
7455 Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric Hellman, Eric
7456 Steuer, Erica Fletcher, Erik Hedman, Erik Lindholm Bundgaard, Erika Reid,
7457 Erin Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan Bousse, Erwin
7458 Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan Tangman, Evonne
7459 Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton Software, Felix
7460 Deierlein, Felix Gebauer, Felix Maximiliano Obes, Felix Schmidt, Felix
7461 Zephyr Hsiao, Ferdies Food Lab, Fernand Deschambault, Filipe Rodrigues,
7462 Filippo Toso, Fiona MacAlister, fiona.mac.uk, Floor Scheffer, Florent
7463 Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot Games,
7464 Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois Grey,
7465 François Gros, François Pelletier, Fred Benenson, Frédéric Abella, Frédéric
7466 Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel Staples,
7467 Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath, Gary
7468 Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de
7469 Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George
7470 Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman,
7471 Geronimo de la Lama, Gianpaolo Rando, Gil Stendig, Gino Cingolani Trucco,
7472 Giovanna Sala, Glen Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives
7473 Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman,
7474 Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg
7475 Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
7476 Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho
7477 Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
7478 Sønderland, Hamid Larbi, Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de
7479 Raad, Hans Vd Horst, Harold van Ingen, Harold Watson, Harry Chapman, Harry
7480 Kaczka, Harry Torque, Hayden Glass, Hayley Rosenblum, Heather Leson, Helen
7481 Crisp, Helen Michaud, Helen Qubain, Helle Rekdal Schønemann, Henrique Flach
7482 Latorre Moreno, Henry Finn, Henry Kaiser, Henry Lahore, Henry Steingieser,
7483 Hermann Paar, Hillary Miller, Hironori Kuriaki, Holly Dykes, Holly Lyne,
7484 Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
7485 Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider,
7486 Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah
7487 Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek
7488 Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
7489 Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach,
7490 James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James
7491 Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol,
7492 Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park,
7493 Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason E.
7494 Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy Bear
7495 Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne, Jean-Philippe
7496 Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff De Cagna, Jeff
7497 Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff Rasalla, Jeff Ski
7498 Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen Garcia, Jens Erat,
7499 Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell, Jeremy Sabo, Jeremy
7500 Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret, Jessica Dickinson
7501 Goodman, Jessica Litman, Jessica Mackay, Jessy Kate Schingler, Jesús Longás
7502 Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim O’Flaherty, Jim Pellegrini,
7503 Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo Allum, Joachim Brandon LeBlanc,
7504 Joachim Pileborg, Joachim von Goetz, Joakim Bang Larsen, Joan Rieu, Joanna
7505 Penn, João Almeida, Jochen Muetsch, Jodi Sandfort, Joe Cardillo, Joe
7506 Carpita, Joe Moross, Joerg Fricke, Johan Adda, Johan Meeusen, Johannes
7507 Förstner, Johannes Visintini, John Benfield, John Bevan, John C Patterson,
7508 John Crumrine, John Dimatos, John Feyler, John Huntsman, John Manoogian III,
7509 John Muller, John Ober, John Paul Blodgett, John Pearce, John Shale, John
7510 Sharp, John Simpson, John Sumser, John Weeks, John Wilbanks, John Worland,
7511 Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon Andersen, Jon Cohrs, Jon
7512 Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith, Jonas Öberg, Jonas
7513 Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan Holst, Jonathan Lin,
7514 Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg Schwarz, Jose Antonio
7515 Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph Sullivan, Joseph
7516 Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP Rangaswami, Juan Carlos
7517 Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo Marin Diaz, Judith
7518 Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter, Julia Devonshire,
7519 Julian Fietkau, Julie Harboe, Julien Brossoit, Julien Leroy, Juliet Chen,
7520 Julio Terra, Julius Mikkelä, Justin Christian, Justin Grimes, Justin Jones,
7521 Justin Szlasa, Justin Walsh, JustinChung.com, K. J. Przybylski, Kaloyan
7522 Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant, Kara Monroe, Karen Pe,
7523 Karl Jahn, Karl Jonsson, Karl Nelson, Kasia Zygmuntowicz, Kat Lim, Kate
7524 Chapman, Kate Stewart, Kathleen Beck, Kathleen Hanrahan, Kathryn Abuzzahab,
7525 Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie Lynn Daniels, Katie Meek,
7526 Katie Teague, Katrina Hennessy, Katriona Main, Kavan Antani, Keith Adams,
7527 Keith Berndtson, MD, Keith Luebke, Kellie Higginbottom, Ken Friis Larsen,
7528 Ken Haase, Ken Torbeck, Kendel Ratley, Kendra Byrne, Kerry Hicks, Kevin
7529 Brown, Kevin Coates, Kevin Flynn, Kevin Rumon, Kevin Shannon, Kevin Taylor,
7530 Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane l’Azin, Kianosh Pourian, Kiran
7531 Kadekoppa, Kit Walsh, Klaus Mickus, Konrad Rennert, Kris Kasianovitz,
7532 Kristian Lundquist, Kristin Buxton, Kristina Popova, Kristofer Bratt,
7533 Kristoffer Steen, Kumar McMillan, Kurt Whittemore, Kyle Pinches, Kyle
7534 Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry Garfield, Larry Singer,
7535 Lars Josephsen, Lars Klaeboe, Laura Anne Brown, Laura Billings, Laura
7536 Ferejohn, Lauren Pedersen, Laurence Gonsalves, Laurent Muchacho, Laurie
7537 Racine, Laurie Reynolds, Lawrence M. Schoen, Leandro Pangilinan, Leigh
7538 Verlandson, Lenka Gondolova, Leonardo Bueno Postacchini, leonardo menegola,
7539 Lesley Mitchell, Leslie Krumholz, Leticia Britos Cavagnaro, Levi Bostian,
7540 Leyla Acaroglu, Liisa Ummelas, Lilly Kashmir Marques, Lior Mazliah, Lisa
7541 Bjerke, Lisa Brewster, Lisa Canning, Lisa Cronin, Lisa Di Valentino,
7542 Lisandro Gaertner, Livia Leskovec, Liynn Worldlaw, Liz Berg, Liz White,
7543 Logan Cox, Loki Carbis, Lora Lynn, Lorna Prescott, Lou Yufan, Louie
7544 Amphlett, Louis-David Benyayer, Louise Denman, Luca Corsato, Luca Lesinigo,
7545 Luca Palli, Luca Pianigiani, Luca S.G. de Marinis, Lucas Lopez, Lukas
7546 Mathis, Luke Chamberlin, Luke Chesser, Luke Woodbury, Lulu Tang, Lydia
7547 Pintscher, M Alexander Jurkat, Maarten Sander, Macie J Klosowski, Magnus
7548 Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh, Maik Schmalstich, Maiken
7549 Håvarstein, Maira Sutton, Mairi Thomson, Mandy Wultsch, Manickkavasakam
7550 Rajasekar, Marc Bogonovich, Marc Harpster, Marc Martí, Marc Olivier Bastien,
7551 Marc Stober, Marc-André Martin, Marcel de Leeuwe, Marcel Hill, Marcia
7552 Hofmann, Marcin Olender, Marco Massarotto, Marco Montanari, Marco Morales,
7553 Marcos Medionegro, Marcus Bitzl, Marcus Norrgren, Margaret Gary, Mari
7554 Moreshead, Maria Liberman, Marielle Hsu, Marino Hernandez, Mario Lurig,
7555 Mario R. Hemsley, MD, Marissa Demers, Mark Chandler, Mark Cohen, Mark De
7556 Solla Price, Mark Gabby, Mark Gray, Mark Koudritsky, Mark Kupfer, Mark
7557 Lednor, Mark McGuire, Mark Moleda, Mark Mullen, Mark Murphy, Mark Perot,
7558 Mark Reeder, Mark Spickett, Mark Vincent Adams, Mark Waks, Mark Zuccarell
7559 II, Markus Deimann, Markus Jaritz, Markus Luethi, Marshal Miller, Marshall
7560 Warner, Martijn Arets, Martin Beaudoin, Martin Decky, Martin DeMello, Martin
7561 Humpolec, Martin Mayr, Martin Peck, Martin Sanchez, Martino Loco, Martti
7562 Remmelgas, Martyn Eggleton, Martyn Lewis, Mary Ellen Davis, Mary Heacock,
7563 Mary Hess, Mary Mi, Masahiro Takagi, Mason Du, Massimo V.A. Manzari, Mathias
7564 Bavay, Mathias Nicolajsen Kjærgaard, Matias Kruk, Matija Nalis, Matt Alcock,
7565 Matt Black, Matt Broach, Matt Hall, Matt Haughey, Matt Lee, Matt Plec, Matt
7566 Skoss, Matt Thompson, Matt Vance, Matt Wagstaff, Matteo Cocco, Matthew
7567 Bendert, Matthew Bergholt, Matthew Darlison, Matthew Epler, Matthew Hawken,
7568 Matthew Heimbecker, Matthew Orstad, Matthew Peterworth, Matthew Sheehy,
7569 Matthew Tucker, Adaptive Handy Apps, LLC, Mattias Axell, Max Green, Max
7570 Kossatz, Max lupo, Max Temkin, Max van Balgooy, Médéric Droz-dit-Busset,
7571 Megan Ingle, Megan Wacha, Meghan Finlayson, Melissa Aho, Melissa Sterry,
7572 Melle Funambuline, Menachem Goldstein, Micah Bridges, Michael Ailberto,
7573 Michael Anderson, Michael Andersson Skane, Michael C. Stewart, Michael
7574 Carroll, Michael Cavette, Michael Crees, Michael David Johas Teener, Michael
7575 Dennis Moore, Michael Freundt Karlsen, Michael Harries, Michael Hawel,
7576 Michael Lewis, Michael May, Michael Murphy, Michael Murvine, Michael
7577 Perkins, Michael Sauers, Michael St.Onge, Michael Stanford, Michael Stanley,
7578 Michael Underwood, Michael Weiss, Michael Wright, Michael-Andreas Kuttner,
7579 Michaela Voigt, Michal Rosenn, Michał Szymański, Michel Gallez, Michell
7580 Zappa, Michelle Heeyeon You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike
7581 Chelen, Mike Habicher, Mike Maloney, Mike Masnick, Mike McDaniel, Mike
7582 Pouraryan, Mike Sheldon, Mike Stop Continues, Mike Stringer, Mike
7583 Wittenstein, Mikkel Ovesen, Mikołaj Podlaszewski, Millie Gonzalez, Mindi
7584 Lovell, Mindy Lin, Mirko <span class="quote">“<span class="quote">Macro</span>”</span> Fichtner, Mitch Featherston,
7585 Mitchell Adams, Molika Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan
7586 Loomis, Moritz Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik,
7587 MD, Myk Pilgrim, Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC,
7588 Nah Wee Yang, Natalie Brown, Natalie Freed, Nathan D Howell, Nathan Massey,
7589 Nathan Miller, Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson,
7590 Nele Wollert, Neuchee Chang, Niall McDonagh, Niall Twohig, Nic McPhee,
7591 Nicholas Bentley, Nicholas Koran, Nicholas Norfolk, Nicholas Potter, Nick
7592 Bell, Nick Coghlan, Nick Isaacs, Nick M. Daly, Nick Vance, Nickolay
7593 Vedernikov, Nicky Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole
7594 Hickman, Niek Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie,
7595 Nikola Chernev, Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah
7596 Kardos-Fein, Noah Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer,
7597 O.P. Gobée, Ohad Mayblum, Olivia Wilson, Olivier De Doncker, Olivier
7598 Schulbaum, Olle Ahnve, Omar Kaminski, Omar Willey, OpenBuilds, Ove Ødegård,
7599 Øystein Kjærnet, Pablo López Soriano, Pablo Vasquez, Pacific Design, Paige
7600 Mackay, Papp István Péter, Paris Marx, Parker Higgins, Pasquale Borriello,
7601 Pat Allan, Pat Hawks, Pat Ludwig, Pat Sticks, Patricia Brennan, Patricia
7602 Rosnel, Patricia Wolf, Patrick Berry, Patrick Beseda, Patrick Hurley,
7603 Patrick M. Lozeau, Patrick McCabe, Patrick Nafarrete, Patrick Tanguay,
7604 Patrick von Hauff, Patrik Kernstock, Patti J Ryan, Paul A Golder, Paul and
7605 Iris Brest, Paul Bailey, Paul Bryan, Paul Bunkham, Paul Elosegui, Paul
7606 Hibbitts, Paul Jacobson, Paul Keller, Paul Rowe, Paul Timpson, Paul Walker,
7607 Pavel Dostál, Peeter Sällström Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny
7608 Pearson, Per Åström, Perry Jetter, Péter Fankhauser, Peter Hirtle, Peter
7609 Humphries, Peter Jenkins, Peter Langmar, Peter le Roux, Peter Marinari,
7610 Peter Mengelers, Peter O’Brien, Peter Pinch, Peter S.  Crosby, Peter Wells,
7611 Petr Fristedt, Petr Viktorin, Petronella Jeurissen, Phil Flickinger, Philip
7612 Chung, Philip Pangrac, Philip R. Skaggs Jr., Philip Young, Philippa Lorne
7613 Channer, Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan
7614 Pauwels, Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy
7615 Kirill, Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel
7616 Mercer, Rafael Scapin, Rafaela Kunz, Rain Doggerel, Raine Lourie, Rajiv
7617 Jhangiani, Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre,
7618 Raphaël Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca
7619 Godar, Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero,
7620 Rich McCue, Richard <span class="quote">“<span class="quote">TalkToMeGuy</span>”</span> Olson, Richard Best, Richard
7621 Blumberg, Richard Fannon, Richard Heying, Richard Karnesky, Richard Kelly,
7622 Richard Littauer, Richard Sobey, Richard White, Richard Winchell, Rik
7623 ToeWater, Rita Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley,
7624 Rob Bertholf, Rob Emanuele, Rob McAuliffe, Rob McKaughan, Rob Tillie, Rob
7625 Utter, Rob Vincent, Robert Gaffney, Robert Jones, Robert Kelly, Robert
7626 Lawlis, Robert McDonald, Robert Orzanna, Robert Paterson Hunter, Robert
7627 R. Daniel Jr., Robert Ryan-Silva, Robert Thompson, Robert Wagoner, Roberto
7628 Selvaggio, Robin DeRosa, Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon,
7629 Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
7630 Mari von Walthausen, Rolf Egstad, Rolf Schaller, Ron Zuijlen, Ronald
7631 Bissell, Ronald van den Hoff, Ronda Snow, Rory Landon Aronson, Ross Findlay,
7632 Ross Pruden, Ross Williams, Rowan Skewes, Roy Ivy III, Ruben Flores, Rupert
7633 Hitzenberger, Rusi Popov, Russ Antonucci, Russ Spollin, Russell Brand, Rute
7634 Correia, Ruth Ann Carpenter, Ruth White, Ryan Mentock, Ryan Merkley, Ryan
7635 Price, Ryan Sasaki, Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin
7636 Kenaid, Salomon Riedo, Sam Hokin, Sam Twidale, Samantha Levin,
7637 Samantha-Jayne Chapman, Samarth Agarwal, Sami Al-AbdRabbuh, Samuel
7638 A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
7639 Cersosimo, Samuel Tait, Sandra Fauconnier, Sandra Markus, Sandy Bjar, Sandy
7640 ONeil, Sang-Phil Ju, Sanjay Basu, Santiago Garcia, Sara Armstrong, Sara
7641 Lucca, Sara Rodriguez Marin, Sarah Brand, Sarah Cove, Sarah Curran, Sarah
7642 Gold, Sarah McGovern, Sarah Smith, Sarinee Achavanuntakul, Sasha Moss, Sasha
7643 VanHoven, Saul Gasca, Scott Abbott, Scott Akerman, Scott Beattie, Scott
7644 Bruinooge, Scott Conroy, Scott Gillespie, Scott Williams, Sean Anderson,
7645 Sean Johnson, Sean Lim, Sean Wickett, Seb Schmoller, Sebastiaan Bekker,
7646 Sebastiaan ter Burg, Sebastian Makowiecki, Sebastian Meyer, Sebastian
7647 Schweizer, Sebastian Sigloch, Sebastien Huchet, Seokwon Yang, Sergey
7648 Chernyshev, Sergey Storchay, Sergio Cardoso, Seth Drebitko, Seth Gover, Seth
7649 Lepore, Shannon Turner, Sharon Clapp, Shauna Redmond, Shawn Gaston, Shawn
7650 Martin, Shay Knohl, Shelby Hatfield, Sheldon (Vila) Widuch, Sheona Thomson,
7651 Si Jie, Sicco van Sas, Siena Oristaglio, Simon Glover, Simon John King,
7652 Simon Klose, Simon Law, Simon Linder, Simon Moffitt, Solomon Kahn, Solomon
7653 Simon, Soujanna Sarkar, Stanislav Trifonov, Stefan Dumont, Stefan Jansson,
7654 Stefan Langer, Stefan Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan
7655 Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
7656 Stephen Pearce, Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson,
7657 Steve Battle, Steve Fisches, Steve Fitzhugh, Steve Guen-gerich, Steve
7658 Ingram, Steve Kroy, Steve Midgley, Steve Rhine, Steven Kasprzyk, Steven
7659 Knudsen, Steven Melvin, Stig-Jørund B. Ö. Arnesen, Stuart Drewer, Stuart
7660 Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
7661 Susan R Grossman, Suzie Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle,
7662 Sylvain Chery, Sylvia Green, Sylvia van Bruggen, Szabolcs Berecz,
7663 T. L. Mason, Tanbir Baeg, Tanya Hart, Tara Tiger Brown, Tara Westover, Tarmo
7664 Toikkanen, Tasha Turner Lennhoff, Tathagat Varma, Ted Timmons, Tej Dhawan,
7665 Teresa Gonczy, Terry Hook, Theis Madsen, Theo M. Scholl, Theresa Bernardo,
7666 Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
7667 Chang, Thomas Hartman, Thomas Kent, Thomas Morgan, Thomas Philipp-Edmonds,
7668 Thomas Thrush, Thomas Werkmeister, Tieg Zaharia, Tieu Thuy Nguyen, Tim
7669 Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
7670 Timothy Arfsten, Timothy Hinchliff, Timothy Vollmer, Tina Coffman, Tisza
7671 Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
7672 Bamford, Tom Caswell, Tom Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom
7673 Merkli, Tom Merritt, Tom Myers, Tom Olijhoek, Tom Rubin, Tommaso De Benetti,
7674 Tommy Dahlen, Tony Ciak, Tony Nwachukwu, Torsten Skomp, Tracey Depellegrin,
7675 Tracey Henton, Tracey James, Traci Long DeForge, Trent Yarwood, Trevor
7676 Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
7677 Tyler Occhiogrosso, Udo Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum,
7678 Vaughan jenkins, Veethika Mishra, Vic King, Vickie Goode, Victor DePina,
7679 Victor Grigas, Victoria Klassen, Victorien Elvinger, VIGA Manufacture, Vikas
7680 Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
7681 Gentilini, Virginia Kopelman, Vitor Menezes, Vivian Marthell, Wayne
7682 Mackintosh, Wendy Keenan, Werner Wiethege, Wesley Derbyshire, Widar Hellwig,
7683 Willa Köerner, William Bettridge-Radford, William Jefferson, William
7684 Marshall, William Peter Nash, William Ray, William Robins, Willow Rosenberg,
7685 Winie Evers, Wolfgang Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier
7686 Moisant, Xueqi Li, Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian
7687 Sun, Yves Deruisseau, Zach Chandler, Zak Zebrowski, Zane Amiralis and Joshua
7688 de Haan, ZeMarmot Open Movie
7689     </p></div></body></html>