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   1 <html><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8"><title>Gemacht mit Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets V1.79.1"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="de" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Gemacht mit 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     Dieses Buch erscheint unter einer CC-BY-SA-Lizenz. Das bedeutet, Sie können
   3 es für jeden, einschließlich komerziellen Zweck kopieren, weiterverbreiten,
   4 neuzusammensetzen, verwandeln und auf dem Werk aufbauen, solange Sie
   5 entsprechend den Urheber nennen, einen Link zur Lizenz zur Verfügung stellen
   6 und angeben, ob Änderungen vorgenommen wurden. Wenn Sie das Werk
   7 neuzusammensetzten, verwandeln, oder auf ihm aufbauen, müssen Sie Ihre
   8 Beiträge unter der gleichen Lizenz wie die des Originals
   9 verbreiten. Lizenzdetails: <a class="ulink" href="http://creativecommons.org/licenses/by-sa/4.0/" target="_top">http://creativecommons.org/licenses/by-sa/4.0/</a>
  10   </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>I don’t know a whole lot about nonfiction journalism. . . The way that I
  11 think about these things, and in terms of what I can do is. . . essays like
  12 this are occasions to watch somebody reasonably bright but also reasonably
  13 average pay far closer attention and think at far more length about all
  14 sorts of different stuff than most of us have a chance to in our daily
  15 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}
  16     \textit{  David Foster Wallace }
  17     \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Inhaltsverzeichnis</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Vorwort</a></span></dt><dt><span class="preface"><a href="#introduction">Introduction</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. The Big Picture</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. Wie man mit Creative Commons hergestellt wird</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. Creative Commons Lizenz</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>Abbildungsverzeichnis</b></p><dl><dt>1.1. <a href="#fig-1">Enterprise engagement with commons, state and market.</a></dt><dt>1.2. <a href="#fig-2">Four aspects of resource management</a></dt><dt>1.3. <a href="#fig-3">How the market, commons and state concieve of resources.</a></dt><dt>1.4. <a href="#fig-4">In preindustrialized society.</a></dt><dt>1.5. <a href="#fig-5">The commons is gradually superseded by the state.</a></dt><dt>1.6. <a href="#fig-6">How the market, the state and the commons look today.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Vorwort</h1></div></div></div><p>
  18     Three years ago, just after I was hired as CEO of Creative Commons, I met
  19 with Cory Doctorow in the hotel bar of Toronto’s Gladstone Hotel. As one of
  20 CC’s most well-known proponents—one who has also had a successful career as
  21 a writer who shares his work using CC—I told him I thought CC had a role in
  22 defining and advancing open business models. He kindly disagreed, and called
  23 the pursuit of viable business models through CC <span class="quote">„<span class="quote">a red
  24 herring.</span>“</span>
  25   </p><p>
  26     He was, in a way, completely correct—those who make things with Creative
  27 Commons have ulterior motives, as Paul Stacey explains in this book:
  28 <span class="quote">„<span class="quote">Regardless of legal status, they all have a social mission. Their
  29 primary reason for being is to make the world a better place, not to
  30 profit. Money is a means to a social end, not the end itself.</span>“</span>
  31   </p><p>
  32     In the case study about Cory Doctorow, Sarah Hinchliff Pearson cites Cory’s
  33 words from his book Information Doesn’t Want to Be Free: <span class="quote">„<span class="quote">Entering the
  34 arts because you want to get rich is like buying lottery tickets because you
  35 want to get rich. It might work, but it almost certainly won’t. Though, of
  36 course, someone always wins the lottery.</span>“</span>
  37   </p><p>
  38     Today, copyright is like a lottery ticket—everyone has one, and almost
  39 nobody wins. What they don’t tell you is that if you choose to share your
  40 work, the returns can be significant and long-lasting.  This book is filled
  41 with stories of those who take much greater risks than the two dollars we
  42 pay for a lottery ticket, and instead reap the rewards that come from
  43 pursuing their passions and living their values.
  44   </p><p>
  45     So it’s not about the money. Also: it is. Finding the means to continue to
  46 create and share often requires some amount of income.  Max Temkin of Cards
  47 Against Humanity says it best in their case study: <span class="quote">„<span class="quote">We don’t make
  48 jokes and games to make money—we make money so we can make more jokes and
  49 games.</span>“</span>
  50   </p><p>
  51     Creative Commons’ focus is on building a vibrant, usable commons, powered by
  52 collaboration and gratitude. Enabling communities of collaboration is at the
  53 heart of our strategy. With that in mind, Creative Commons began this book
  54 project. Led by Paul and Sarah, the project set out to define and advance
  55 the best open business models.  Paul and Sarah were the ideal authors to
  56 write Made with Creative Commons.
  57   </p><p>
  58     Paul dreams of a future where new models of creativity and innovation
  59 overpower the inequality and scarcity that today define the worst parts of
  60 capitalism. He is driven by the power of human connections between
  61 communities of creators. He takes a longer view than most, and it’s made him
  62 a better educator, an insightful researcher, and also a skilled gardener. He
  63 has a calm, cool voice that conveys a passion that inspires his colleagues
  64 and community.
  65   </p><p>
  66     Sarah is the best kind of lawyer—a true advocate who believes in the good of
  67 people, and the power of collective acts to change the world. Over the past
  68 year I’ve seen Sarah struggle with the heartbreak that comes from investing
  69 so much into a political campaign that didn’t end as she’d hoped. Today,
  70 she’s more determined than ever to live with her values right out on her
  71 sleeve. I can always count on Sarah to push Creative Commons to focus on our
  72 impact—to make the main thing the main thing. She’s practical,
  73 detail-oriented, and clever. There’s no one on my team that I enjoy debating
  74 more.
  75   </p><p>
  76     As coauthors, Paul and Sarah complement each other perfectly. They
  77 researched, analyzed, argued, and worked as a team, sometimes together and
  78 sometimes independently. They dove into the research and writing with
  79 passion and curiosity, and a deep respect for what goes into building the
  80 commons and sharing with the world. They remained open to new ideas,
  81 including the possibility that their initial theories would need refinement
  82 or might be completely wrong.  That’s courageous, and it has made for a
  83 better book that is insightful, honest, and useful.
  84   </p><p>
  85     From the beginning, CC wanted to develop this project with the principles
  86 and values of open collaboration. The book was funded, developed,
  87 researched, and written in the open. It is being shared openly under a CC
  88 BY-SA license for anyone to use, remix, or adapt with attribution. It is, in
  89 itself, an example of an open business model.
  90   </p><p>
  91     For 31 days in August of 2015, Sarah took point to organize and execute a
  92 Kickstarter campaign to generate the core funding for the book. The
  93 remainder was provided by CC’s generous donors and supporters. In the end,
  94 it became one of the most successful book projects on Kickstarter, smashing
  95 through two stretch goals and engaging over 1,600 donors—the majority of
  96 them new supporters of Creative Commons.
  97   </p><p>
  98     Paul and Sarah worked openly throughout the project, publishing the plans,
  99 drafts, case studies, and analysis, early and often, and they engaged
 100 communities all over the world to help write this book. As their opinions
 101 diverged and their interests came into focus, they divided their voices and
 102 decided to keep them separate in the final product. Working in this way
 103 requires both humility and self-confidence, and without question it has made
 104 Made with Creative Commons a better project.
 105   </p><p>
 106     Those who work and share in the commons are not typical creators.  They are
 107 part of something greater than themselves, and what they offer us all is a
 108 profound gift. What they receive in return is gratitude and a community.
 109   </p><p>
 110     Jonathan Mann, who is profiled in this book, writes a song a day.  When I
 111 reached out to ask him to write a song for our Kickstarter (and to offer
 112 himself up as a Kickstarter benefit), he agreed immediately. Why would he
 113 agree to do that? Because the commons has collaboration at its core, and
 114 community as a key value, and because the CC licenses have helped so many to
 115 share in the ways that they choose with a global audience.
 116   </p><p>
 117     Sarah writes, <span class="quote">„<span class="quote">Endeavors that are Made with Creative Commons thrive
 118 when community is built around what they do. This may mean a community
 119 collaborating together to create something new, or it may simply be a
 120 collection of like-minded people who get to know each other and rally around
 121 common interests or beliefs. To a certain extent, simply being Made with
 122 Creative Commons automatically brings with it some element of community, by
 123 helping connect you to like-minded others who recognize and are drawn to the
 124 values symbolized by using CC.</span>“</span> Amanda Palmer, the other musician
 125 profiled in the book, would surely add this from her case study:
 126 <span class="quote">„<span class="quote">There is no more satisfying end goal than having someone tell you
 127 that what you do is genuinely of value to them.</span>“</span>
 128   </p><p>
 129     This is not a typical business book. For those looking for a recipe or a
 130 roadmap, you might be disappointed. But for those looking to pursue a social
 131 end, to build something great through collaboration, or to join a powerful
 132 and growing global community, they’re sure to be satisfied. Made with
 133 Creative Commons offers a world-changing set of clearly articulated values
 134 and principles, some essential tools for exploring your own business
 135 opportunities, and two dozen doses of pure inspiration.
 136   </p><p>
 137     In a 1996 Stanford Law Review article <span class="quote">„<span class="quote">The Zones of
 138 Cyberspace</span>“</span>, CC founder Lawrence Lessig wrote, <span class="quote">„<span class="quote">Cyberspace is a
 139 place. People live there. They experience all the sorts of things that they
 140 experience in real space, there. For some, they experience more. They
 141 experience this not as isolated individuals, playing some high tech computer
 142 game; they experience it in groups, in communities, among strangers, among
 143 people they come to know, and sometimes like.</span>“</span>
 144   </p><p>
 145     I’m incredibly proud that Creative Commons is able to publish this book for
 146 the many communities that we have come to know and like.  I’m grateful to
 147 Paul and Sarah for their creativity and insights, and to the global
 148 communities that have helped us bring it to you.  As CC board member
 149 Johnathan Nightingale often says, <span class="quote">„<span class="quote">It’s all made of people.</span>“</span>
 150   </p><p>
 151     That’s the true value of things that are Made with Creative Commons.
 152   </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}
 153     \textit{ Ryan Merkley, CEO, Creative Commons}
 154     \end{flushright}</td></tr></table></div></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="introduction"></a>Introduction</h1></div></div></div><p>
 155     This book shows the world how sharing can be good for business—but with a
 156 twist.
 157   </p><p>
 158     We began the project intending to explore how creators, organizations, and
 159 businesses make money to sustain what they do when they share their work
 160 using Creative Commons licenses. Our goal was not to identify a formula for
 161 business models that use Creative Commons but instead gather fresh ideas and
 162 dynamic examples that spark new, innovative models and help others follow
 163 suit by building on what already works. At the onset, we framed our
 164 investigation in familiar business terms. We created a blank <span class="quote">„<span class="quote">open
 165 business model canvas,</span>“</span> an interactive online tool that would help
 166 people design and analyze their business model.
 167   </p><p>
 168     Through the generous funding of Kickstarter backers, we set about this
 169 project first by identifying and selecting a diverse group of creators,
 170 organizations, and businesses who use Creative Commons in an integral
 171 way—what we call being Made with Creative Commons. We interviewed them and
 172 wrote up their stories. We analyzed what we heard and dug deep into the
 173 literature.
 174   </p><p>
 175     But as we did our research, something interesting happened. Our initial way
 176 of framing the work did not match the stories we were hearing.
 177   </p><p>
 178     Those we interviewed were not typical businesses selling to consumers and
 179 seeking to maximize profits and the bottom line.  Instead, they were sharing
 180 to make the world a better place, creating relationships and community
 181 around the works being shared, and generating revenue not for unlimited
 182 growth but to sustain the operation.
 183   </p><p>
 184     They often didn’t like hearing what they do described as an open business
 185 model. Their endeavor was something more than that.  Something
 186 different. Something that generates not just economic value but social and
 187 cultural value. Something that involves human connection. Being Made with
 188 Creative Commons is not <span class="quote">„<span class="quote">business as usual.</span>“</span>
 189   </p><p>
 190     We had to rethink the way we conceived of this project. And it didn’t happen
 191 overnight. From the fall of 2015 through 2016, we documented our thoughts in
 192 blog posts on Medium and with regular updates to our Kickstarter backers. We
 193 shared drafts of case studies and analysis with our Kickstarter cocreators,
 194 who provided invaluable edits, feedback, and advice. Our thinking changed
 195 dramatically over the course of a year and a half.
 196   </p><p>
 197     Throughout the process, the two of us have often had very different ways of
 198 understanding and describing what we were learning. Learning from each other
 199 has been one of the great joys of this work, and, we hope, something that
 200 has made the final product much richer than it ever could have been if
 201 either of us undertook this project alone.  We have preserved our voices
 202 throughout, and you’ll be able to sense our different but complementary
 203 approaches as you read through our different sections.
 204   </p><p>
 205     While we recommend that you read the book from start to finish, each section
 206 reads more or less independently. The book is structured into two main
 207 parts.
 208   </p><p>
 209     Part one, the overview, begins with a big-picture framework written by
 210 Paul. He provides some historical context for the digital commons,
 211 describing the three ways society has managed resources and shared
 212 wealth—the commons, the market, and the state. He advocates for thinking
 213 beyond business and market terms and eloquently makes the case for sharing
 214 and enlarging the digital commons.
 215   </p><p>
 216     The overview continues with Sarah’s chapter, as she considers what it means
 217 to be successfully Made with Creative Commons. While making money is one
 218 piece of the pie, there is also a set of public-minded values and the kind
 219 of human connections that make sharing truly meaningful. This section
 220 outlines the ways the creators, organizations, and businesses we interviewed
 221 bring in revenue, how they further the public interest and live out their
 222 values, and how they foster connections with the people with whom they
 223 share.
 224   </p><p>
 225     And to end part one, we have a short section that explains the different
 226 Creative Commons licenses. We talk about the misconception that the more
 227 restrictive licenses—the ones that are closest to the all-rights-reserved
 228 model of traditional copyright—are the only ways to make money.
 229   </p><p>
 230     Part two of the book is made up of the twenty-four stories of the creators,
 231 businesses, and organizations we interviewed. While both of us participated
 232 in the interviews, we divided up the writing of these profiles.
 233   </p><p>
 234     Of course, we are pleased to make the book available using a Creative
 235 Commons Attribution-ShareAlike license. Please copy, distribute, translate,
 236 localize, and build upon this work.
 237   </p><p>
 238     Writing this book has transformed and inspired us. The way we now look at
 239 and think about what it means to be Made with Creative Commons has
 240 irrevocably changed. We hope this book inspires you and your enterprise to
 241 use Creative Commons and in so doing contribute to the transformation of our
 242 economy and world for the better.
 243   </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}
 244     \textit{ Paul and Sarah }
 245     \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Teil I. The Big Picture</h1></div></div></div><div class="toc"><p><b>Inhaltsverzeichnis</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. Wie man mit Creative Commons hergestellt wird</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. Creative Commons Lizenz</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>Kapitel 1. The New World of Digital Commons</h2></div></div></div><div class="toc"><p><b>Inhaltsverzeichnis</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">The Commons, the Market, and the State</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">The Four Aspects of a Resource</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">A Short History of the Commons</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">The Digital Revolution</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">Die Anfang von Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">The Changing Market</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefits of the Digital Commons</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Our Case Studies</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
 246     \textit{ Paul Stacey}
 247     \end{flushright}</td></tr></table></div><p>
 248       Jonathan Rowe eloquently describes the commons as <span class="quote">„<span class="quote">the air and oceans,
 249 the web of species, wilderness and flowing water—all are parts of the
 250 commons. So are language and knowledge, sidewalks and public squares, the
 251 stories of childhood and the processes of democracy. Some parts of the
 252 commons are gifts of nature, others the product of human endeavor. Some are
 253 new, such as the Internet; others are as ancient as soil and
 254 calligraphy.</span>“</span><a href="#ftn.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
 255     </p><p>
 256       In Made with Creative Commons, we focus on our current era of digital
 257 commons, a commons of human-produced works. This commons cuts across a broad
 258 range of areas including cultural heritage, education, research, technology,
 259 art, design, literature, entertainment, business, and data. Human-produced
 260 works in all these areas are increasingly digital. The Internet is a kind of
 261 global, digital commons. The individuals, organizations, and businesses we
 262 profile in our case studies use Creative Commons to share their resources
 263 online over the Internet.
 264     </p><p>
 265       The commons is not just about shared resources, however. It’s also about the
 266 social practices and values that manage them. A resource is a noun, but to
 267 common—to put the resource into the commons—is a verb.<a href="#ftn.idm115" class="footnote" name="idm115"><sup class="footnote">[2]</sup></a> The creators, organizations, and businesses we
 268 profile are all engaged with commoning. Their use of Creative Commons
 269 involves them in the social practice of commoning, managing resources in a
 270 collective manner with a community of users.<a href="#ftn.idm117" class="footnote" name="idm117"><sup class="footnote">[3]</sup></a> Commoning is guided by a set of values and norms that balance the
 271 costs and benefits of the enterprise with those of the community. Special
 272 regard is given to equitable access, use, and sustainability.
 273     </p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-commons-the-market-and-the-state"></a>The Commons, the Market, and the State</h2></div></div></div><p>
 274         Historically, there have been three ways to manage resources and share
 275 wealth: the commons (managed collectively), the state (i.e., the
 276 government), and the market—with the last two being the dominant forms
 277 today.<a href="#ftn.idm122" class="footnote" name="idm122"><sup class="footnote">[4]</sup></a>
 278       </p><p>
 279         The organizations and businesses in our case studies are unique in the way
 280 they participate in the commons while still engaging with the market and/or
 281 state. The extent of engagement with market or state varies. Some operate
 282 primarily as a commons with minimal or no reliance on the market or
 283 state.<a href="#ftn.idm125" class="footnote" name="idm125"><sup class="footnote">[5]</sup></a> Others are very much a part of
 284 the market or state, depending on them for financial sustainability. All
 285 operate as hybrids, blending the norms of the commons with those of the
 286 market or state.
 287       </p><p>
 288         Fig. <a class="xref" href="#fig-1" title="Abbildung 1.1. Enterprise engagement with commons, state and market.">1.1</a> is a depiction of how
 289 an enterprise can have varying levels of engagement with commons, state, and
 290 market.
 291       </p><p>
 292         Some of our case studies are simply commons and market enterprises with
 293 little or no engagement with the state. A depiction of those case studies
 294 would show the state sphere as tiny or even absent. Other case studies are
 295 primarily market-based with only a small engagement with the commons. A
 296 depiction of those case studies would show the market sphere as large and
 297 the commons sphere as small. The extent to which an enterprise sees itself
 298 as being primarily of one type or another affects the balance of norms by
 299 which they operate.
 300       </p><p>
 301         All our case studies generate money as a means of livelihood and
 302 sustainability. Money is primarily of the market. Finding ways to generate
 303 revenue while holding true to the core values of the commons (usually
 304 expressed in mission statements) is challenging. To manage interaction and
 305 engagement between the commons and the market requires a deft touch, a
 306 strong sense of values, and the ability to blend the best of both.
 307       </p><p>
 308         The state has an important role to play in fostering the use and adoption of
 309 the commons. State programs and funding can deliberately contribute to and
 310 build the commons. Beyond money, laws and regulations regarding property,
 311 copyright, business, and finance can all be designed to foster the commons.
 312       </p><div class="figure"><a name="fig-1"></a><p class="title"><b>Abbildung 1.1. Enterprise engagement with commons, state and market.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000008000000045C30360249076453E6.png" width="100%" alt="Enterprise engagement with commons, state and market."></td></tr></table></div></div></div><br class="figure-break"><p>
 313         It’s helpful to understand how the commons, market, and state manage
 314 resources differently, and not just for those who consider themselves
 315 primarily as a commons. For businesses or governmental organizations who
 316 want to engage in and use the commons, knowing how the commons operates will
 317 help them understand how best to do so. Participating in and using the
 318 commons the same way you do the market or state is not a strategy for
 319 success.
 320       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-four-aspects-of-a-resource"></a>The Four Aspects of a Resource</h2></div></div></div><p>
 321         As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework
 322 for analyzing how natural resources are managed in a commons.<a href="#ftn.idm143" class="footnote" name="idm143"><sup class="footnote">[6]</sup></a> Her framework considered things like the
 323 biophysical characteristics of common resources, the community’s actors and
 324 the interactions that take place between them, rules-in-use, and
 325 outcomes. That framework has been simplified and generalized to apply to the
 326 commons, the market, and the state for this chapter.
 327       </p><p>
 328         To compare and contrast the ways in which the commons, market, and state
 329 work, let’s consider four aspects of resource management: resource
 330 characteristics, the people involved and the process they use, the norms and
 331 rules they develop to govern use, and finally actual resource use along with
 332 outcomes of that use (see Fig. <a class="xref" href="#fig-2" title="Abbildung 1.2. Four aspects of resource management">1.2</a>).
 333       </p><div class="figure"><a name="fig-2"></a><p class="title"><b>Abbildung 1.2. Four aspects of resource management</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png" width="100%" alt="Four aspects of resource management"></td></tr></table></div></div></div><br class="figure-break"><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="characteristics"></a>Characteristics</h3></div></div></div><p>
 334           Resources have particular characteristics or attributes that affect the way
 335 they can be used. Some resources are natural; others are human
 336 produced. And—significantly for today’s commons—resources can be physical or
 337 digital, which affects a resource’s inherent potential.
 338         </p><p>
 339           Physical resources exist in limited supply. If I have a physical resource
 340 and give it to you, I no longer have it.  When a resource is removed and
 341 used, the supply becomes scarce or depleted. Scarcity can result in
 342 competing rivalry for the resource. Made with Creative Commons enterprises
 343 are usually digitally based but some of our case studies also produce
 344 resources in physical form. The costs of producing and distributing a
 345 physical good usually require them to engage with the market.
 346         </p><p>
 347           Physical resources are depletable, exclusive, and rivalrous.  Digital
 348 resources, on the other hand, are nondepletable, nonexclusive, and
 349 nonrivalrous. If I share a digital resource with you, we both have the
 350 resource. Giving it to you does not mean I no longer have it. Digital
 351 resources can be infinitely stored, copied, and distributed without becoming
 352 depleted, and at close to zero cost. Abundance rather than scarcity is an
 353 inherent characteristic of digital resources.
 354         </p><p>
 355           The nondepletable, nonexclusive, and nonrivalrous nature of digital
 356 resources means the rules and norms for managing them can (and ought to) be
 357 different from how physical resources are managed. However, this is not
 358 always the case. Digital resources are frequently made artificially
 359 scarce. Placing digital resources in the commons makes them free and
 360 abundant.
 361         </p><p>
 362           Our case studies frequently manage hybrid resources, which start out as
 363 digital with the possibility of being made into a physical resource. The
 364 digital file of a book can be printed on paper and made into a physical
 365 book. A computer-rendered design for furniture can be physically
 366 manufactured in wood.  This conversion from digital to physical invariably
 367 has costs.  Often the digital resources are managed in a free and open way,
 368 but money is charged to convert a digital resource into a physical one.
 369         </p><p>
 370           Beyond this idea of physical versus digital, the commons, market, and state
 371 conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="Abbildung 1.3. How the market, commons and state concieve of resources.">1.3</a>). The market sees resources as private goods—commodities
 372 for sale—from which value is extracted. The state sees resources as public
 373 goods that provide value to state citizens. The commons sees resources as
 374 common goods, providing a common wealth extending beyond state boundaries,
 375 to be passed on in undiminished or enhanced form to future generations.
 376         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="people-and-processes"></a>People and processes</h3></div></div></div><p>
 377           In the commons, the market, and the state, different people and processes
 378 are used to manage resources. The processes used define both who has a say
 379 and how a resource is managed.
 380         </p><p>
 381           In the state, a government of elected officials is responsible for managing
 382 resources on behalf of the public. The citizens who produce and use those
 383 resources are not directly involved; instead, that responsibility is given
 384 over to the government.  State ministries and departments staffed with
 385 public servants set budgets, implement programs, and manage resources based
 386 on government priorities and procedures.
 387         </p><p>
 388           In the market, the people involved are producers, buyers, sellers, and
 389 consumers. Businesses act as intermediaries between those who produce
 390 resources and those who consume or use them. Market processes seek to
 391 extract as much monetary value from resources as possible. In the market,
 392 resources are managed as commodities, frequently mass-produced, and sold to
 393 consumers on the basis of a cash transaction.
 394         </p><p>
 395           In contrast to the state and market, resources in a commons are managed more
 396 directly by the people involved.<a href="#ftn.idm170" class="footnote" name="idm170"><sup class="footnote">[7]</sup></a>
 397 Creators of human produced resources can put them in the commons by personal
 398 choice. No permission from state or market is required. Anyone can
 399 participate in the commons and determine for themselves the extent to which
 400 they want to be involved—as a contributor, user, or manager. The people
 401 involved include not only those who create and use resources but those
 402 affected by outcome of use. Who you are affects your say, actions you can
 403 take, and extent of decision making. In the commons, the community as a
 404 whole manages the resources.  Resources put into the commons using Creative
 405 Commons require users to give the original creator credit. Knowing the
 406 person behind a resource makes the commons less anonymous and more personal.
 407         </p><div class="figure"><a name="fig-3"></a><p class="title"><b>Abbildung 1.3. How the market, commons and state concieve of resources.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png" width="100%" alt="How the market, commons and state concieve of resources."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="norms-and-rules"></a>Norms and rules</h3></div></div></div><p>
 408           The social interactions between people, and the processes used by the state,
 409 market, and commons, evolve social norms and rules. These norms and rules
 410 define permissions, allocate entitlements, and resolve disputes.
 411         </p><p>
 412           State authority is governed by national constitutions. Norms related to
 413 priorities and decision making are defined by elected officials and
 414 parliamentary procedures. State rules are expressed through policies,
 415 regulations, and laws. The state influences the norms and rules of the
 416 market and commons through the rules it passes.
 417         </p><p>
 418           Market norms are influenced by economics and competition for scarce
 419 resources. Market rules follow property, business, and financial laws
 420 defined by the state.
 421         </p><p>
 422           As with the market, a commons can be influenced by state policies,
 423 regulations, and laws. But the norms and rules of a commons are largely
 424 defined by the community. They weigh individual costs and benefits against
 425 the costs and benefits to the whole community. Consideration is given not
 426 just to economic efficiency but also to equity and
 427 sustainability.<a href="#ftn.idm185" class="footnote" name="idm185"><sup class="footnote">[8]</sup></a>
 428         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="goals"></a>Goals</h3></div></div></div><p>
 429           The combination of the aspects we’ve discussed so far—the resource’s
 430 inherent characteristics, people and processes, and norms and rules—shape
 431 how resources are used. Use is also influenced by the different goals the
 432 state, market, and commons have.
 433         </p><p>
 434           In the market, the focus is on maximizing the utility of a resource. What we
 435 pay for the goods we consume is seen as an objective measure of the utility
 436 they provide. The goal then becomes maximizing total monetary value in the
 437 economy.<a href="#ftn.idm191" class="footnote" name="idm191"><sup class="footnote">[9]</sup></a> Units consumed translates to
 438 sales, revenue, profit, and growth, and these are all ways to measure goals
 439 of the market.
 440         </p><p>
 441           The state aims to use and manage resources in a way that balances the
 442 economy with the social and cultural needs of its citizens. Health care,
 443 education, jobs, the environment, transportation, security, heritage, and
 444 justice are all facets of a healthy society, and the state applies its
 445 resources toward these aims. State goals are reflected in quality of life
 446 measures.
 447         </p><p>
 448           In the commons, the goal is maximizing access, equity, distribution,
 449 participation, innovation, and sustainability.  You can measure success by
 450 looking at how many people access and use a resource; how users are
 451 distributed across gender, income, and location; if a community to extend
 452 and enhance the resources is being formed; and if the resources are being
 453 used in innovative ways for personal and social good.
 454         </p><p>
 455           As hybrid combinations of the commons with the market or state, the success
 456 and sustainability of all our case study enterprises depends on their
 457 ability to strategically utilize and balance these different aspects of
 458 managing resources.
 459         </p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="a-short-history-of-the-commons"></a>A Short History of the Commons</h2></div></div></div><p>
 460         Using the commons to manage resources is part of a long historical
 461 continuum. However, in contemporary society, the market and the state
 462 dominate the discourse on how resources are best managed. Rarely is the
 463 commons even considered as an option. The commons has largely disappeared
 464 from consciousness and consideration. There are no news reports or speeches
 465 about the commons.
 466       </p><p>
 467         But the more than 1.1 billion resources licensed with Creative Commons
 468 around the world are indications of a grassroots move toward the
 469 commons. The commons is making a resurgence. To understand the resilience of
 470 the commons and its current renewal, it’s helpful to know something of its
 471 history.
 472       </p><p>
 473         For centuries, indigenous people and preindustrialized societies managed
 474 resources, including water, food, firewood, irrigation, fish, wild game, and
 475 many other things collectively as a commons.<a href="#ftn.idm202" class="footnote" name="idm202"><sup class="footnote">[10]</sup></a> There was no market, no global economy. The state in the form of
 476 rulers influenced the commons but by no means controlled it. Direct social
 477 participation in a commons was the primary way in which resources were
 478 managed and needs met. (Fig. <a class="xref" href="#fig-4" title="Abbildung 1.4. In preindustrialized society.">1.4</a>
 479 illustrates the commons in relation to the state and the market.)
 480       </p><div class="figure"><a name="fig-4"></a><p class="title"><b>Abbildung 1.4. In preindustrialized society.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005153EACBD62F00F6BA9.png" width="100%" alt="In preindustrialized society."></td></tr></table></div></div></div><br class="figure-break"><p>
 481         This is followed by a long history of the state (a monarchy or ruler) taking
 482 over the commons for their own purposes. This is called enclosure of the
 483 commons.<a href="#ftn.idm213" class="footnote" name="idm213"><sup class="footnote">[11]</sup></a> In olden days,
 484 <span class="quote">„<span class="quote">commoners</span>“</span> were evicted from the land, fences and hedges
 485 erected, laws passed, and security set up to forbid access.<a href="#ftn.idm216" class="footnote" name="idm216"><sup class="footnote">[12]</sup></a> Gradually, resources became the property of the
 486 state and the state became the primary means by which resources were
 487 managed. (See Fig. <a class="xref" href="#fig-5" title="Abbildung 1.5. The commons is gradually superseded by the state.">1.5</a>).
 488       </p><p>
 489         Holdings of land, water, and game were distributed to ruling family and
 490 political appointees. Commoners displaced from the land migrated to
 491 cities. With the emergence of the industrial revolution, land and resources
 492 became commodities sold to businesses to support production. Monarchies
 493 evolved into elected parliaments. Commoners became labourers earning money
 494 operating the machinery of industry. Financial, business, and property laws
 495 were revised by governments to support markets, growth, and
 496 productivity. Over time ready access to market produced goods resulted in a
 497 rising standard of living, improved health, and education. Fig. <a class="xref" href="#fig-6" title="Abbildung 1.6. How the market, the state and the commons look today.">1.6</a> shows how today the market is the
 498 primary means by which resources are managed.
 499       </p><div class="figure"><a name="fig-5"></a><p class="title"><b>Abbildung 1.5. The commons is gradually superseded by the state.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005150F069409C1CC12F0.png" width="100%" alt="The commons is gradually superseded by the state."></td></tr></table></div></div></div><br class="figure-break"><p>
 500         However, the world today is going through turbulent times. The benefits of
 501 the market have been offset by unequal distribution and overexploitation.
 502       </p><p>
 503         Overexploitation was the topic of Garrett Hardin’s influential essay
 504 <span class="quote">„<span class="quote">The Tragedy of the Commons,</span>“</span> published in Science in
 505 1968. Hardin argues that everyone in a commons seeks to maximize personal
 506 gain and will continue to do so even when the limits of the commons are
 507 reached. The commons is then tragically depleted to the point where it can
 508 no longer support anyone. Hardin’s essay became widely accepted as an
 509 economic truism and a justification for private property and free markets.
 510       </p><p>
 511         However, there is one serious flaw with Hardin’s <span class="quote">„<span class="quote">The Tragedy of the
 512 Commons</span>“</span>—it’s fiction. Hardin did not actually study how real commons
 513 work. Elinor Ostrom won the 2009 Nobel Prize in economics for her work
 514 studying different commons all around the world. Ostrom’s work shows that
 515 natural resource commons can be successfully managed by local communities
 516 without any regulation by central authorities or without privatization.
 517 Government and privatization are not the only two choices. There is a third
 518 way: management by the people, where those that are directly impacted are
 519 directly involved. With natural resources, there is a regional locality. The
 520 people in the region are the most familiar with the natural resource, have
 521 the most direct relationship and history with it, and are therefore best
 522 situated to manage it. Ostrom’s approach to the governance of natural
 523 resources broke with convention; she recognized the importance of the
 524 commons as an alternative to the market or state for solving problems of
 525 collective action.<a href="#ftn.idm233" class="footnote" name="idm233"><sup class="footnote">[13]</sup></a>
 526       </p><p>
 527         Hardin failed to consider the actual social dynamic of the commons. His
 528 model assumed that people in the commons act autonomously, out of pure
 529 self-interest, without interaction or consideration of others. But as Ostrom
 530 found, in reality, managing common resources together forms a community and
 531 encourages discourse. This naturally generates norms and rules that help
 532 people work collectively and ensure a sustainable commons. Paradoxically,
 533 while Hardin’s essay is called The Tragedy of the Commons it might more
 534 accurately be titled The Tragedy of the Market.
 535       </p><p>
 536         Hardin’s story is based on the premise of depletable resources.  Economists
 537 have focused almost exclusively on scarcity-based markets. Very little is
 538 known about how abundance works.<a href="#ftn.idm238" class="footnote" name="idm238"><sup class="footnote">[14]</sup></a> The
 539 emergence of information technology and the Internet has led to an explosion
 540 in digital resources and new means of sharing and distribution. Digital
 541 resources can never be depleted. An absence of a theory or model for how
 542 abundance works, however, has led the market to make digital resources
 543 artificially scarce and makes it possible for the usual market norms and
 544 rules to be applied.
 545       </p><p>
 546         When it comes to use of state funds to create digital goods, however, there
 547 is really no justification for artificial scarcity. The norm for state
 548 funded digital works should be that they are freely and openly available to
 549 the public that paid for them.
 550       </p><div class="figure"><a name="fig-6"></a><p class="title"><b>Abbildung 1.6. How the market, the state and the commons look today.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C400000515F1CAA15B223F6BAF.png" width="100%" alt="How the market, the state and the commons look today."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-digital-revolution"></a>The Digital Revolution</h2></div></div></div><p>
 551         In the early days of computing, programmers and developers learned from each
 552 other by sharing software. In the 1980s, the free-software movement codified
 553 this practice of sharing into a set of principles and freedoms:
 554       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
 555             The freedom to run a software program as you wish, for any purpose.
 556           </p></li><li class="listitem"><p>
 557             The freedom to study how a software program works (because access to the
 558 source code has been freely given), and change it so it does your computing
 559 as you wish.
 560           </p></li><li class="listitem"><p>
 561             The freedom to redistribute copies.
 562           </p></li><li class="listitem"><p>
 563             The freedom to distribute copies of your modified versions to
 564 others.<a href="#ftn.idm261" class="footnote" name="idm261"><sup class="footnote">[15]</sup></a>
 565           </p></li></ul></div><p>
 566         These principles and freedoms constitute a set of norms and rules that
 567 typify a digital commons.
 568       </p><p>
 569         In the late 1990s, to make the sharing of source code and collaboration more
 570 appealing to companies, the open-source-software initiative converted these
 571 principles into licenses and standards for managing access to and
 572 distribution of software. The benefits of open source—such as reliability,
 573 scalability, and quality verified by independent peer review—became widely
 574 recognized and accepted. Customers liked the way open source gave them
 575 control without being locked into a closed, proprietary technology. Free and
 576 open-source software also generated a network effect where the value of a
 577 product or service increases with the number of people using it.<a href="#ftn.idm267" class="footnote" name="idm267"><sup class="footnote">[16]</sup></a> The dramatic growth of the Internet itself owes
 578 much to the fact that nobody has a proprietary lock on core Internet
 579 protocols.
 580       </p><p>
 581         While open-source software functions as a commons, many businesses and
 582 markets did build up around it. Business models based on the licenses and
 583 standards of open-source software evolved alongside organizations that
 584 managed software code on principles of abundance rather than scarcity. Eric
 585 Raymond’s essay <span class="quote">„<span class="quote">The Magic Cauldron</span>“</span> does a great job of
 586 analyzing the economics and business models associated with open-source
 587 software.<a href="#ftn.idm272" class="footnote" name="idm272"><sup class="footnote">[17]</sup></a> These models can provide
 588 examples of sustainable approaches for those Made with Creative Commons.
 589       </p><p>
 590         It isn’t just about an abundant availability of digital assets but also
 591 about abundance of participation. The growth of personal computing,
 592 information technology, and the Internet made it possible for mass
 593 participation in producing creative works and distributing them. Photos,
 594 books, music, and many other forms of digital content could now be readily
 595 created and distributed by almost anyone. Despite this potential for
 596 abundance, by default these digital works are governed by copyright
 597 laws. Under copyright, a digital work is the property of the creator, and by
 598 law others are excluded from accessing and using it without the creator’s
 599 permission.
 600       </p><p>
 601         But people like to share. One of the ways we define ourselves is by sharing
 602 valuable and entertaining content. Doing so grows and nourishes
 603 relationships, seeks to change opinions, encourages action, and informs
 604 others about who we are and what we care about. Sharing lets us feel more
 605 involved with the world.<a href="#ftn.idm278" class="footnote" name="idm278"><sup class="footnote">[18]</sup></a>
 606       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-birth-of-creative-commons"></a>Die Anfang von Creative Commons</h2></div></div></div><p>
 607         In 2001, Creative Commons was created as a nonprofit to support all those
 608 who wanted to share digital content. A suite of Creative Commons licenses
 609 was modeled on those of open-source software but for use with digital
 610 content rather than software code. The licenses give everyone from
 611 individual creators to large companies and institutions a simple,
 612 standardized way to grant copyright permissions to their creative work.
 613       </p><p>
 614         Creative Commons licenses have a three-layer design. The norms and rules of
 615 each license are first expressed in full legal language as used by
 616 lawyers. This layer is called the legal code. But since most creators and
 617 users are not lawyers, the licenses also have a commons deed, expressing the
 618 permissions in plain language, which regular people can read and quickly
 619 understand. It acts as a user-friendly interface to the legal-code layer
 620 beneath. The third layer is the machine-readable one, making it easy for the
 621 Web to know a work is Creative Commons–licensed by expressing permissions in
 622 a way that software systems, search engines, and other kinds of technology
 623 can understand.<a href="#ftn.idm285" class="footnote" name="idm285"><sup class="footnote">[19]</sup></a> Taken together, these
 624 three layers ensure creators, users, and even the Web itself understand the
 625 norms and rules associated with digital content in a commons.
 626       </p><p>
 627         In 2015, there were over one billion Creative Commons licensed works in a
 628 global commons. These works were viewed online 136 billion times. People are
 629 using Creative Commons licenses all around the world, in thirty-four
 630 languages. These resources include photos, artwork, research articles in
 631 journals, educational resources, music and other audio tracks, and videos.
 632       </p><p>
 633         Individual artists, photographers, musicians, and filmmakers use Creative
 634 Commons, but so do museums, governments, creative industries, manufacturers,
 635 and publishers. Millions of websites use CC licenses, including major
 636 platforms like Wikipedia and Flickr and smaller ones like blogs.<a href="#ftn.idm291" class="footnote" name="idm291"><sup class="footnote">[20]</sup></a> Users of Creative Commons are diverse and cut
 637 across many different sectors. (Our case studies were chosen to reflect that
 638 diversity.)
 639       </p><p>
 640         Some see Creative Commons as a way to share a gift with others, a way of
 641 getting known, or a way to provide social benefit.  Others are simply
 642 committed to the norms associated with a commons. And for some,
 643 participation has been spurred by the free-culture movement, a social
 644 movement that promotes the freedom to distribute and modify creative
 645 works. The free-culture movement sees a commons as providing significant
 646 benefits compared to restrictive copyright laws. This ethos of free exchange
 647 in a commons aligns the free-culture movement with the free and open-source
 648 software movement.
 649       </p><p>
 650         Over time, Creative Commons has spawned a range of open movements, including
 651 open educational resources, open access, open science, and open data. The
 652 goal in every case has been to democratize participation and share digital
 653 resources at no cost, with legal permissions for anyone to freely access,
 654 use, and modify.
 655       </p><p>
 656         The state is increasingly involved in supporting open movements.  The Open
 657 Government Partnership was launched in 2011 to provide an international
 658 platform for governments to become more open, accountable, and responsive to
 659 citizens. Since then, it has grown from eight participating countries to
 660 seventy.<a href="#ftn.idm297" class="footnote" name="idm297"><sup class="footnote">[21]</sup></a> In all these countries,
 661 government and civil society are working together to develop and implement
 662 ambitious open-government reforms. Governments are increasingly adopting
 663 Creative Commons to ensure works funded with taxpayer dollars are open and
 664 free to the public that paid for them.
 665       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-changing-market"></a>The Changing Market</h2></div></div></div><p>
 666         Today’s market is largely driven by global capitalism. Law and financial
 667 systems are structured to support extraction, privatization, and corporate
 668 growth. A perception that the market is more efficient than the state has
 669 led to continual privatization of many public natural resources, utilities,
 670 services, and infrastructures.<a href="#ftn.idm304" class="footnote" name="idm304"><sup class="footnote">[22]</sup></a> While
 671 this system has been highly efficient at generating consumerism and the
 672 growth of gross domestic product, the impact on human well-being has been
 673 mixed. Offsetting rising living standards and improvements to health and
 674 education are ever-increasing wealth inequality, social inequality, poverty,
 675 deterioration of our natural environment, and breakdowns of
 676 democracy.<a href="#ftn.idm306" class="footnote" name="idm306"><sup class="footnote">[23]</sup></a>
 677       </p><p>
 678         In light of these challenges there is a growing recognition that GDP growth
 679 should not be an end in itself, that development needs to be socially and
 680 economically inclusive, that environmental sustainability is a requirement
 681 not an option, and that we need to better balance the market, state and
 682 community.<a href="#ftn.idm309" class="footnote" name="idm309"><sup class="footnote">[24]</sup></a>
 683       </p><p>
 684         These realizations have led to a resurgence of interest in the commons as a
 685 means of enabling that balance. City governments like Bologna, Italy, are
 686 collaborating with their citizens to put in place regulations for the care
 687 and regeneration of urban commons.<a href="#ftn.idm314" class="footnote" name="idm314"><sup class="footnote">[25]</sup></a>
 688 Seoul and Amsterdam call themselves <span class="quote">„<span class="quote">sharing cities,</span>“</span> looking
 689 to make sustainable and more efficient use of scarce resources. They see
 690 sharing as a way to improve the use of public spaces, mobility, social
 691 cohesion, and safety.<a href="#ftn.idm318" class="footnote" name="idm318"><sup class="footnote">[26]</sup></a>
 692       </p><p>
 693         The market itself has taken an interest in the sharing economy, with
 694 businesses like Airbnb providing a peer-to-peer marketplace for short-term
 695 lodging and Uber providing a platform for ride sharing. However, Airbnb and
 696 Uber are still largely operating under the usual norms and rules of the
 697 market, making them less like a commons and more like a traditional business
 698 seeking financial gain. Much of the sharing economy is not about the commons
 699 or building an alternative to a corporate-driven market economy; it’s about
 700 extending the deregulated free market into new areas of our
 701 lives.<a href="#ftn.idm323" class="footnote" name="idm323"><sup class="footnote">[27]</sup></a> While none of the people we
 702 interviewed for our case studies would describe themselves as part of the
 703 sharing economy, there are in fact some significant parallels. Both the
 704 sharing economy and the commons make better use of asset capacity. The
 705 sharing economy sees personal residents and cars as having latent spare
 706 capacity with rental value. The equitable access of the commons broadens and
 707 diversifies the number of people who can use and derive value from an asset.
 708       </p><p>
 709         One way Made with Creative Commons case studies differ from those of the
 710 sharing economy is their focus on digital resources. Digital resources
 711 function under different economic rules than physical ones. In a world where
 712 prices always seem to go up, information technology is an
 713 anomaly. Computer-processing power, storage, and bandwidth are all rapidly
 714 increasing, but rather than costs going up, costs are coming down. Digital
 715 technologies are getting faster, better, and cheaper. The cost of anything
 716 built on these technologies will always go down until it is close to
 717 zero.<a href="#ftn.idm326" class="footnote" name="idm326"><sup class="footnote">[28]</sup></a>
 718       </p><p>
 719         Those that are Made with Creative Commons are looking to leverage the unique
 720 inherent characteristics of digital resources, including lowering costs. The
 721 use of digital-rights-management technologies in the form of locks,
 722 passwords, and controls to prevent digital goods from being accessed,
 723 changed, replicated, and distributed is minimal or nonexistent. Instead,
 724 Creative Commons licenses are used to put digital content out in the
 725 commons, taking advantage of the unique economics associated with being
 726 digital. The aim is to see digital resources used as widely and by as many
 727 people as possible. Maximizing access and participation is a common goal.
 728 They aim for abundance over scarcity.
 729       </p><p>
 730         The incremental cost of storing, copying, and distributing digital goods is
 731 next to zero, making abundance possible. But imagining a market based on
 732 abundance rather than scarcity is so alien to the way we conceive of
 733 economic theory and practice that we struggle to do so.<a href="#ftn.idm330" class="footnote" name="idm330"><sup class="footnote">[29]</sup></a> Those that are Made with Creative Commons are each
 734 pioneering in this new landscape, devising their own economic models and
 735 practice.
 736       </p><p>
 737         Some are looking to minimize their interactions with the market and operate
 738 as autonomously as possible. Others are operating largely as a business
 739 within the existing rules and norms of the market. And still others are
 740 looking to change the norms and rules by which the market operates.
 741       </p><p>
 742         For an ordinary corporation, making social benefit a part of its operations
 743 is difficult, as it’s legally required to make decisions that financially
 744 benefit stockholders. But new forms of business are emerging. There are
 745 benefit corporations and social enterprises, which broaden their business
 746 goals from making a profit to making a positive impact on society, workers,
 747 the community, and the environment.<a href="#ftn.idm334" class="footnote" name="idm334"><sup class="footnote">[30]</sup></a>
 748 Community-owned businesses, worker-owned businesses, cooperatives, guilds,
 749 and other organizational forms offer alternatives to the traditional
 750 corporation. Collectively, these alternative market entities are changing
 751 the rules and norms of the market.<a href="#ftn.idm336" class="footnote" name="idm336"><sup class="footnote">[31]</sup></a>
 752       </p><p><span class="quote">„<span class="quote">A book on open business models</span>“</span> is how we described it in this
 753 book’s Kickstarter campaign. We used a handbook called Business Model
 754 Generation as our reference for defining just what a business model
 755 is. Developed over nine years using an <span class="quote">„<span class="quote">open process</span>“</span> involving
 756 470 coauthors from forty-five countries, it is useful as a framework for
 757 talking about business models.<a href="#ftn.idm341" class="footnote" name="idm341"><sup class="footnote">[32]</sup></a>
 758       </p><p>
 759         It contains a <span class="quote">„<span class="quote">business model canvas,</span>“</span> which conceives of a
 760 business model as having nine building blocks.<a href="#ftn.idm346" class="footnote" name="idm346"><sup class="footnote">[33]</sup></a> This blank canvas can serve as a tool for anyone to design their
 761 own business model. We remixed this business model canvas into an open
 762 business model canvas, adding three more building blocks relevant to hybrid
 763 market, commons enterprises: social good, Creative Commons license, and
 764 <span class="quote">„<span class="quote">type of open environment that the business fits
 765 in.</span>“</span><a href="#ftn.idm350" class="footnote" name="idm350"><sup class="footnote">[34]</sup></a> This enhanced canvas proved
 766 useful when we analyzed businesses and helped start-ups plan their economic
 767 model.
 768       </p><p>
 769         In our case study interviews, many expressed discomfort over describing
 770 themselves as an open business model—the term business model suggested
 771 primarily being situated in the market.  Where you sit on the
 772 commons-to-market spectrum affects the extent to which you see yourself as a
 773 business in the market.  The more central to the mission shared resources
 774 and commons values are, the less comfort there is in describing yourself, or
 775 depicting what you do, as a business. Not all who have endeavors Made with
 776 Creative Commons use business speak; for some the process has been
 777 experimental, emergent, and organic rather than carefully planned using a
 778 predefined model.
 779       </p><p>
 780         The creators, businesses, and organizations we profile all engage with the
 781 market to generate revenue in some way. The ways in which this is done vary
 782 widely. Donations, pay what you can, memberships, <span class="quote">„<span class="quote">digital for free
 783 but physical for a fee,</span>“</span> crowdfunding, matchmaking, value-add
 784 services, patrons . . . the list goes on and on. (Initial description of how
 785 to earn revenue available through reference note. For latest thinking see
 786 How to Bring In Money in the next section.)<a href="#ftn.idm358" class="footnote" name="idm358"><sup class="footnote">[35]</sup></a> There is no single magic bullet, and each endeavor has devised ways
 787 that work for them. Most make use of more than one way. Diversifying revenue
 788 streams lowers risk and provides multiple paths to sustainability.
 789       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="benefits-of-the-digital-commons"></a>Benefits of the Digital Commons</h2></div></div></div><p>
 790         While it may be clear why commons-based organizations want to interact and
 791 engage with the market (they need money to survive), it may be less obvious
 792 why the market would engage with the commons. The digital commons offers
 793 many benefits.
 794       </p><p>
 795         The commons speeds dissemination. The free flow of resources in the commons
 796 offers tremendous economies of scale. Distribution is decentralized, with
 797 all those in the commons empowered to share the resources they have access
 798 to. Those that are Made with Creative Commons have a reduced need for sales
 799 or marketing. Decentralized distribution amplifies supply and know-how.
 800       </p><p>
 801         The commons ensures access to all. The market has traditionally operated by
 802 putting resources behind a paywall requiring payment first before
 803 access. The commons puts resources in the open, providing access up front
 804 without payment. Those that are Made with Creative Commons make little or no
 805 use of digital rights management (DRM) to manage resources. Not using DRM
 806 frees them of the costs of acquiring DRM technology and staff resources to
 807 engage in the punitive practices associated with restricting access. The way
 808 the commons provides access to everyone levels the playing field and
 809 promotes inclusiveness, equity, and fairness.
 810       </p><p>
 811         The commons maximizes participation. Resources in the commons can be used
 812 and contributed to by everyone. Using the resources of others, contributing
 813 your own, and mixing yours with others to create new works are all dynamic
 814 forms of participation made possible by the commons. Being Made with
 815 Creative Commons means you’re engaging as many users with your resources as
 816 possible.  Users are also authoring, editing, remixing, curating,
 817 localizing, translating, and distributing. The commons makes it possible for
 818 people to directly participate in culture, knowledge building, and even
 819 democracy, and many other socially beneficial practices.
 820       </p><p>
 821         The commons spurs innovation. Resources in the hands of more people who can
 822 use them leads to new ideas. The way commons resources can be modified,
 823 customized, and improved results in derivative works never imagined by the
 824 original creator. Some endeavors that are Made with Creative Commons
 825 deliberately encourage users to take the resources being shared and innovate
 826 them. Doing so moves research and development (R&amp;D) from being solely
 827 inside the organization to being in the community.<a href="#ftn.idm369" class="footnote" name="idm369"><sup class="footnote">[36]</sup></a> Community-based innovation will keep an
 828 organization or business on its toes. It must continue to contribute new
 829 ideas, absorb and build on top of the innovations of others, and steward the
 830 resources and the relationship with the community.
 831       </p><p>
 832         The commons boosts reach and impact. The digital commons is
 833 global. Resources may be created for a local or regional need, but they go
 834 far and wide generating a global impact. In the digital world, there are no
 835 borders between countries. When you are Made with Creative Commons, you are
 836 often local and global at the same time: Digital designs being globally
 837 distributed but made and manufactured locally. Digital books or music being
 838 globally distributed but readings and concerts performed locally. The
 839 digital commons magnifies impact by connecting creators to those who use and
 840 build on their work both locally and globally.
 841       </p><p>
 842         The commons is generative. Instead of extracting value, the commons adds
 843 value. Digitized resources persist without becoming depleted, and through
 844 use are improved, personalized, and localized. Each use adds value. The
 845 market focuses on generating value for the business and the customer. The
 846 commons generates value for a broader range of beneficiaries including the
 847 business, the customer, the creator, the public, and the commons itself. The
 848 generative nature of the commons means that it is more cost-effective and
 849 produces a greater return on investment.  Value is not just measured in
 850 financial terms. Each new resource added to the commons provides value to
 851 the public and contributes to the overall value of the commons.
 852       </p><p>
 853         The commons brings people together for a common cause. The commons vests
 854 people directly with the responsibility to manage the resources for the
 855 common good. The costs and benefits for the individual are balanced with the
 856 costs and benefits for the community and for future generations. Resources
 857 are not anonymous or mass produced. Their provenance is known and
 858 acknowledged through attribution and other means. Those that are Made with
 859 Creative Commons generate awareness and reputation based on their
 860 contributions to the commons. The reach, impact, and sustainability of those
 861 contributions rest largely on their ability to forge relationships and
 862 connections with those who use and improve them. By functioning on the basis
 863 of social engagement, not monetary exchange, the commons unifies people.
 864       </p><p>
 865         The benefits of the commons are many. When these benefits align with the
 866 goals of individuals, communities, businesses in the market, or state
 867 enterprises, choosing to manage resources as a commons ought to be the
 868 option of choice.
 869       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="our-case-studies"></a>Our Case Studies</h2></div></div></div><p>
 870         The creators, organizations, and businesses in our case studies operate as
 871 nonprofits, for-profits, and social enterprises.  Regardless of legal
 872 status, they all have a social mission.  Their primary reason for being is
 873 to make the world a better place, not to profit. Money is a means to a
 874 social end, not the end itself. They factor public interest into decisions,
 875 behavior, and practices. Transparency and trust are really important. Impact
 876 and success are measured against social aims expressed in mission
 877 statements, and are not just about the financial bottom line.
 878       </p><p>
 879         The case studies are based on the narratives told to us by founders and key
 880 staff. Instead of solely using financials as the measure of success and
 881 sustainability, they emphasized their mission, practices, and means by which
 882 they measure success.  Metrics of success are a blend of how social goals
 883 are being met and how sustainable the enterprise is.
 884       </p><p>
 885         Our case studies are diverse, ranging from publishing to education and
 886 manufacturing. All of the organizations, businesses, and creators in the
 887 case studies produce digital resources. Those resources exist in many forms
 888 including books, designs, songs, research, data, cultural works, education
 889 materials, graphic icons, and video. Some are digital representations of
 890 physical resources. Others are born digital but can be made into physical
 891 resources.
 892       </p><p>
 893         They are creating new resources, or using the resources of others, or mixing
 894 existing resources together to make something new. They, and their audience,
 895 all play a direct, participatory role in managing those resources, including
 896 their preservation, curation, distribution, and enhancement. Access and
 897 participation is open to all regardless of monetary means.
 898       </p><p>
 899         And as users of Creative Commons licenses, they are automatically part of a
 900 global community. The new digital commons is global. Those we profiled come
 901 from nearly every continent in the world. To build and interact within this
 902 global community is conducive to success.
 903       </p><p>
 904         Creative Commons licenses may express legal rules around the use of
 905 resources in a commons, but success in the commons requires more than
 906 following the letter of the law and acquiring financial means. Over and over
 907 we heard in our interviews how success and sustainability are tied to a set
 908 of beliefs, values, and principles that underlie their actions: Give more
 909 than you take. Be open and inclusive. Add value. Make visible what you are
 910 using from the commons, what you are adding, and what you are
 911 monetizing. Maximize abundance. Give attribution. Express gratitude. Develop
 912 trust; don’t exploit. Build relationship and community. Be
 913 transparent. Defend the commons.
 914       </p><p>
 915         The new digital commons is here to stay. Made With Creative Commons case
 916 studies show how it’s possible to be part of this commons while still
 917 functioning within market and state systems.  The commons generates benefits
 918 neither the market nor state can achieve on their own. Rather than the
 919 market or state dominating as primary means of resource management, a more
 920 balanced alternative is possible.
 921       </p><p>
 922         Enterprise use of Creative Commons has only just begun. The case studies in
 923 this book are merely starting points. Each is changing and evolving over
 924 time. Many more are joining and inventing new models. This overview aims to
 925 provide a framework and language for thinking and talking about the new
 926 digital commons. The remaining sections go deeper providing further guidance
 927 and insights on how it works.
 928       </p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm111" class="footnote"><p><a href="#idm111" class="para"><sup class="para">[1] </sup></a>
 929           Jonathan Rowe, Our Common Wealth (San Francisco: Berrett-Koehler, 2013), 14.
 930         </p></div><div id="ftn.idm115" class="footnote"><p><a href="#idm115" class="para"><sup class="para">[2] </sup></a>
 931           David Bollier, Think Like a Commoner: A Short Introduction to the Life of
 932 the Commons (Gabriola Island, BC: New Society, 2014), 176.
 933         </p></div><div id="ftn.idm117" class="footnote"><p><a href="#idm117" class="para"><sup class="para">[3] </sup></a>
 934           Ibid., 15.
 935         </p></div><div id="ftn.idm122" class="footnote"><p><a href="#idm122" class="para"><sup class="para">[4] </sup></a>
 936             Ibid., 145.
 937           </p></div><div id="ftn.idm125" class="footnote"><p><a href="#idm125" class="para"><sup class="para">[5] </sup></a>
 938             Ibid., 175.
 939           </p></div><div id="ftn.idm143" class="footnote"><p><a href="#idm143" class="para"><sup class="para">[6] </sup></a>
 940             Daniel H. Cole, <span class="quote">„<span class="quote">Learning from Lin: Lessons and Cautions from the
 941 Natural Commons for the Knowledge Commons,</span>“</span> in Governing Knowledge
 942 Commons, eds. Brett M. Frischmann, Michael J. Madison, and Katherine J.
 943 Strandburg (New York: Oxford University Press, 2014), 53.
 944           </p></div><div id="ftn.idm170" class="footnote"><p><a href="#idm170" class="para"><sup class="para">[7] </sup></a>
 945               Max Haiven, Crises of Imagination, Crises of Power: Capitalism, Creativity
 946 and the Commons (New York: Zed Books, 2014), 93.
 947             </p></div><div id="ftn.idm185" class="footnote"><p><a href="#idm185" class="para"><sup class="para">[8] </sup></a>
 948               Bollier, Think Like a Commoner, 175.
 949             </p></div><div id="ftn.idm191" class="footnote"><p><a href="#idm191" class="para"><sup class="para">[9] </sup></a>
 950               Joshua Farley and Ida Kubiszewski, <span class="quote">„<span class="quote">The Economics of Information in a
 951 Post-Carbon Economy,</span>“</span> in Free Knowledge: Confronting the
 952 Commodification of Human Discovery, eds. Patricia W. Elliott and Daryl
 953 H. Hepting (Regina, SK: University of Regina Press, 2015), 201–4.
 954             </p></div><div id="ftn.idm202" class="footnote"><p><a href="#idm202" class="para"><sup class="para">[10] </sup></a>
 955             Rowe, Our Common Wealth, 19; and Heather Menzies, Reclaiming the Commons for
 956 the Common Good: A Memoir and Manifesto (Gabriola Island, BC: New Society,
 957 2014), 42–43.
 958           </p></div><div id="ftn.idm213" class="footnote"><p><a href="#idm213" class="para"><sup class="para">[11] </sup></a>
 959             Bollier, Think Like a Commoner, 55–78.
 960           </p></div><div id="ftn.idm216" class="footnote"><p><a href="#idm216" class="para"><sup class="para">[12] </sup></a>
 961             Fritjof Capra and Ugo Mattei, The Ecology of Law: Toward a Legal System in
 962 Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57;
 963 and Bollier, Think Like a Commoner, 88.
 964           </p></div><div id="ftn.idm233" class="footnote"><p><a href="#idm233" class="para"><sup class="para">[13] </sup></a>
 965             Brett M. Frischmann, Michael J. Madison, and Katherine J.  Strandburg,
 966 <span class="quote">„<span class="quote">Governing Knowledge Commons,</span>“</span> in Frischmann, Madison, and
 967 Strandburg Governing Knowledge Commons, 12.
 968           </p></div><div id="ftn.idm238" class="footnote"><p><a href="#idm238" class="para"><sup class="para">[14] </sup></a>
 969             Farley and Kubiszewski, <span class="quote">„<span class="quote">Economics of Information,</span>“</span> in Elliott
 970 and Hepting, Free Knowledge, 203.
 971           </p></div><div id="ftn.idm261" class="footnote"><p><a href="#idm261" class="para"><sup class="para">[15] </sup></a><span class="quote">„<span class="quote">What Is Free Software?</span>“</span> GNU Operating System, the Free
 972 Software Foundation’s Licensing and Compliance Lab, accessed December 30,
 973 2016, <a class="ulink" href="http://www.gnu.org/philosophy/free-sw" target="_top">http://www.gnu.org/philosophy/free-sw</a>.
 974               </p></div><div id="ftn.idm267" class="footnote"><p><a href="#idm267" class="para"><sup class="para">[16] </sup></a>
 975             Wikipedia, s.v. <span class="quote">„<span class="quote">Open-source software,</span>“</span> last modified November
 976 22, 2016.
 977           </p></div><div id="ftn.idm272" class="footnote"><p><a href="#idm272" class="para"><sup class="para">[17] </sup></a>
 978             Eric S. Raymond, <span class="quote">„<span class="quote">The Magic Cauldron,</span>“</span> in The Cathedral and the
 979 Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary,
 980 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>.
 981           </p></div><div id="ftn.idm278" class="footnote"><p><a href="#idm278" class="para"><sup class="para">[18] </sup></a>
 982             New York Times Customer Insight Group, The Psychology of Sharing: Why Do
 983 People Share Online? (New York: New York Times Customer Insight Group,
 984 2011), <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
 985           </p></div><div id="ftn.idm285" class="footnote"><p><a href="#idm285" class="para"><sup class="para">[19] </sup></a><span class="quote">„<span class="quote">Licensing Considerations,</span>“</span> Creative Commons, accessed December
 986 30, 2016, <a class="ulink" href="http://creativecommons.org/share-your-work/licensing-considerations/" target="_top">http://creativecommons.org/share-your-work/licensing-considerations/</a>.
 987           </p></div><div id="ftn.idm291" class="footnote"><p><a href="#idm291" class="para"><sup class="para">[20] </sup></a>
 988             Creative Commons, 2015 State of the Commons (Mountain View, CA: Creative
 989 Commons, 2015), <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
 990           </p></div><div id="ftn.idm297" class="footnote"><p><a href="#idm297" class="para"><sup class="para">[21] </sup></a>
 991             Wikipedia, s.v. <span class="quote">„<span class="quote">Open Government Partnership,</span>“</span> last modified
 992 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>.
 993           </p></div><div id="ftn.idm304" class="footnote"><p><a href="#idm304" class="para"><sup class="para">[22] </sup></a>
 994             Capra and Mattei, Ecology of Law, 114.
 995           </p></div><div id="ftn.idm306" class="footnote"><p><a href="#idm306" class="para"><sup class="para">[23] </sup></a>
 996             Ibid., 116.
 997           </p></div><div id="ftn.idm309" class="footnote"><p><a href="#idm309" class="para"><sup class="para">[24] </sup></a>
 998             The Swedish International Development Cooperation Agency, <span class="quote">„<span class="quote">Stockholm
 999 Statement</span>“</span> accessed February 15, 2017, <a class="ulink" href="http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf" target="_top">http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf</a>
1000           </p></div><div id="ftn.idm314" class="footnote"><p><a href="#idm314" class="para"><sup class="para">[25] </sup></a>
1001             City of Bologna, Regulation on Collaboration between Citizens and the City
1002 for the Care and Regeneration of Urban Commons, trans. LabGov (LABoratory
1003 for the GOVernance of Commons) (Bologna, Italy: City of Bologna, 2014),
1004 <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>.
1005           </p></div><div id="ftn.idm318" class="footnote"><p><a href="#idm318" class="para"><sup class="para">[26] </sup></a>
1006             The Seoul Sharing City website is <a class="ulink" href="http://english.sharehub.kr" target="_top">http://english.sharehub.kr</a>;
1007 for Amsterdam Sharing City, go to <a class="ulink" href="http://www.sharenl.nl/amsterdam-sharing-city/" target="_top">http://www.sharenl.nl/amsterdam-sharing-city/</a>.
1008           </p></div><div id="ftn.idm323" class="footnote"><p><a href="#idm323" class="para"><sup class="para">[27] </sup></a>
1009             Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
1010 Books, 2015), 42.
1011           </p></div><div id="ftn.idm326" class="footnote"><p><a href="#idm326" class="para"><sup class="para">[28] </sup></a>
1012             Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
1013 Something for Nothing, Reprint with new preface.  (New York: Hyperion,
1014 2010), 78.
1015           </p></div><div id="ftn.idm330" class="footnote"><p><a href="#idm330" class="para"><sup class="para">[29] </sup></a>
1016             Jeremy Rifkin, The Zero Marginal Cost Society: The Internet of Things, the
1017 Collaborative Commons, and the Eclipse of Capitalism (New York: Palgrave
1018 Macmillan, 2014), 273.
1019           </p></div><div id="ftn.idm334" class="footnote"><p><a href="#idm334" class="para"><sup class="para">[30] </sup></a>
1020             Gar Alperovitz, What Then Must We Do? Straight Talk about the Next American
1021 Revolution: Democratizing Wealth and Building a Community-Sustaining Economy
1022 from the Ground Up (White River Junction, VT: Chelsea Green, 2013), 39.
1023           </p></div><div id="ftn.idm336" class="footnote"><p><a href="#idm336" class="para"><sup class="para">[31] </sup></a>
1024             Marjorie Kelly, Owning Our Future: The Emerging Ownership Revolution;
1025 Journeys to a Generative Economy (San Francisco: Berrett-Koehler, 2012),
1026 8–9.
1027           </p></div><div id="ftn.idm341" class="footnote"><p><a href="#idm341" class="para"><sup class="para">[32] </sup></a>
1028             Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
1029 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>.
1030           </p></div><div id="ftn.idm346" class="footnote"><p><a href="#idm346" class="para"><sup class="para">[33] </sup></a>
1031             This business model canvas is available to download at <a class="ulink" href="http://strategyzer.com/canvas/business-model-canvas" target="_top">http://strategyzer.com/canvas/business-model-canvas</a>.
1032           </p></div><div id="ftn.idm350" class="footnote"><p><a href="#idm350" class="para"><sup class="para">[34] </sup></a>
1033             We’ve made the <span class="quote">„<span class="quote">Open Business Model Canvas,</span>“</span> designed by the
1034 coauthor Paul Stacey, available online at <a class="ulink" href="http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit" target="_top">http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit</a>.
1035 You can also find the accompanying Open Business Model Canvas Questions at
1036 <a class="ulink" href="http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit" target="_top">http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit</a>.
1037           </p></div><div id="ftn.idm358" class="footnote"><p><a href="#idm358" class="para"><sup class="para">[35] </sup></a>
1038             A more comprehensive list of revenue streams is available in this post I
1039 wrote on Medium on March 6, 2016. <span class="quote">„<span class="quote">What Is an Open Business Model and
1040 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>.
1041           </p></div><div id="ftn.idm369" class="footnote"><p><a href="#idm369" class="para"><sup class="para">[36] </sup></a>
1042             Henry Chesbrough, Open Innovation: The New Imperative for Creating and
1043 Profiting from Technology (Boston: Harvard Business Review Press, 2006),
1044 31–44.
1045           </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>Kapitel 2. Wie man mit Creative Commons hergestellt wird</h2></div></div></div><div class="toc"><p><b>Inhaltsverzeichnis</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Zero: Getting Discovered</a></span></dt><dt><span class="sect1"><a href="#making-money">Making Money</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Making Human Connections</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
1046     \textit{ Sarah Hinchliff Pearson}
1047     \end{flushright}</td></tr></table></div><p>
1048       When we began this project in August 2015, we set out to write a book about
1049 business models that involve Creative Commons licenses in some significant
1050 way—what we call being Made with Creative Commons. With the help of our
1051 Kickstarter backers, we chose twenty-four endeavors from all around the
1052 world that are Made with Creative Commons. The mix is diverse, from an
1053 individual musician to a university-textbook publisher to an electronics
1054 manufacturer.  Some make their own content and share under Creative Commons
1055 licensing. Others are platforms for CC-licensed creative work made by
1056 others. Many sit somewhere in between, both using and contributing creative
1057 work that’s shared with the public. Like all who use the licenses, these
1058 endeavors share their work—whether it’s open data or furniture designs—in a
1059 way that enables the public not only to access it but also to make use of
1060 it.
1061     </p><p>
1062       We analyzed the revenue models, customer segments, and value propositions of
1063 each endeavor. We searched for ways that putting their content under
1064 Creative Commons licenses helped boost sales or increase reach. Using
1065 traditional measures of economic success, we tried to map these business
1066 models in a way that meaningfully incorporated the impact of Creative
1067 Commons. In our interviews, we dug into the motivations, the role of CC
1068 licenses, modes of revenue generation, definitions of success.
1069     </p><p>
1070       In fairly short order, we realized the book we set out to write was quite
1071 different from the one that was revealing itself in our interviews and
1072 research.
1073     </p><p>
1074       It isn’t that we were wrong to think you can make money while using Creative
1075 Commons licenses. In many instances, CC can help make you more money. Nor
1076 were we wrong that there are business models out there that others who want
1077 to use CC licensing as part of their livelihood or business could
1078 replicate. What we didn’t realize was just how misguided it would be to
1079 write a book about being Made with Creative Commons using only a business
1080 lens.
1081     </p><p>
1082       According to the seminal handbook Business Model Generation, a business
1083 model <span class="quote">„<span class="quote">describes the rationale of how an organization creates,
1084 delivers, and captures value.</span>“</span><a href="#ftn.idm396" class="footnote" name="idm396"><sup class="footnote">[37]</sup></a>
1085 Thinking about sharing in terms of creating and capturing value always felt
1086 inappropriately transactional and out of place, something we heard time and
1087 time again in our interviews. And as Cory Doctorow told us in our interview
1088 with him, <span class="quote">„<span class="quote">Business model can mean anything you want it to
1089 mean.</span>“</span>
1090     </p><p>
1091       Eventually, we got it. Being Made with Creative Commons is more than a
1092 business model. While we will talk about specific revenue models as one
1093 piece of our analysis (and in more detail in the case studies), we scrapped
1094 that as our guiding rubric for the book.
1095     </p><p>
1096       Admittedly, it took me a long time to get there. When Paul and I divided up
1097 our writing after finishing the research, my charge was to distill
1098 everything we learned from the case studies and write up the practical
1099 lessons and takeaways. I spent months trying to jam what we learned into the
1100 business-model box, convinced there must be some formula for the way things
1101 interacted. But there is no formula. You’ll probably have to discard that
1102 way of thinking before you read any further.
1103     </p><p>
1104       In every interview, we started from the same simple questions.  Amid all the
1105 diversity among the creators, organizations, and businesses we profiled,
1106 there was one constant. Being Made with Creative Commons may be good for
1107 business, but that is not why they do it. Sharing work with Creative Commons
1108 is, at its core, a moral decision. The commercial and other self-interested
1109 benefits are secondary. Most decided to use CC licenses first and found a
1110 revenue model later. This was our first hint that writing a book solely
1111 about the impact of sharing on business might be a little off track.
1112     </p><p>
1113       But we also started to realize something about what it means to be Made with
1114 Creative Commons. When people talked to us about how and why they used CC,
1115 it was clear that it meant something more than using a copyright license. It
1116 also represented a set of values.  There is symbolism behind using CC, and
1117 that symbolism has many layers.
1118     </p><p>
1119       At one level, being Made with Creative Commons expresses an affinity for the
1120 value of Creative Commons. While there are many different flavors of CC
1121 licenses and nearly infinite ways to be Made with Creative Commons, the
1122 basic value system is rooted in a fundamental belief that knowledge and
1123 creativity are building blocks of our culture rather than just commodities
1124 from which to extract market value. These values reflect a belief that the
1125 common good should always be part of the equation when we determine how to
1126 regulate our cultural outputs. They reflect a belief that everyone has
1127 something to contribute, and that no one can own our shared culture. They
1128 reflect a belief in the promise of sharing.
1129     </p><p>
1130       Whether the public makes use of the opportunity to copy and adapt your work,
1131 sharing with a Creative Commons license is a symbol of how you want to
1132 interact with the people who consume your work.  Whenever you create
1133 something, <span class="quote">„<span class="quote">all rights reserved</span>“</span> under copyright is automatic,
1134 so the copyright symbol (©) on the work does not necessarily come across as
1135 a marker of distrust or excessive protectionism. But using a CC license can
1136 be a symbol of the opposite—of wanting a real human relationship, rather
1137 than an impersonal market transaction. It leaves open the possibility of
1138 connection.
1139     </p><p>
1140       Being Made with Creative Commons not only demonstrates values connected to
1141 CC and sharing. It also demonstrates that something other than profit drives
1142 what you do. In our interviews, we always asked what success looked like for
1143 them. It was stunning how rarely money was mentioned. Most have a deeper
1144 purpose and a different vision of success.
1145     </p><p>
1146       The driving motivation varies depending on the type of endeavor.  For
1147 individual creators, it is most often about personal inspiration. In some
1148 ways, this is nothing new. As Doctorow has written, <span class="quote">„<span class="quote">Creators usually
1149 start doing what they do for love.</span>“</span><a href="#ftn.idm410" class="footnote" name="idm410"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC license, that
1150 dynamic is even more pronounced. Similarly, for technological innovators, it
1151 is often less about creating a specific new thing that will make you rich
1152 and more about solving a specific problem you have. The creators of Arduino
1153 told us that the key question when creating something is <span class="quote">„<span class="quote">Do you as
1154 the creator want to use it? It has to have personal use and meaning.</span>“</span>
1155     </p><p>
1156       Many that are Made with Creative Commons have an express social mission that
1157 underpins everything they do. In many cases, sharing with Creative Commons
1158 expressly advances that social mission, and using the licenses can be the
1159 difference between legitimacy and hypocrisy. Noun Project co-founder Edward
1160 Boatman told us they could not have stated their social mission of sharing
1161 with a straight face if they weren’t willing to show the world that it was
1162 OK to share their content using a Creative Commons license.
1163     </p><p>
1164       This dynamic is probably one reason why there are so many nonprofit examples
1165 of being Made with Creative Commons. The content is the result of a labor of
1166 love or a tool to drive social change, and money is like gas in the car,
1167 something that you need to keep going but not an end in itself. Being Made
1168 with Creative Commons is a different vision of a business or livelihood,
1169 where profit is not paramount, and producing social good and human
1170 connection are integral to success.
1171     </p><p>
1172       Even if profit isn’t the end goal, you have to bring in money to be
1173 successfully Made with Creative Commons. At a bare minimum, you have to make
1174 enough money to keep the lights on.
1175     </p><p>
1176       The costs of doing business vary widely for those made with CC, but there is
1177 generally a much lower threshold for sustainability than there used to be
1178 for any creative endeavor. Digital technology has made it easier than ever
1179 to create, and easier than ever to distribute. As Doctorow put it in his
1180 book Information Doesn’t Want to Be Free, <span class="quote">„<span class="quote">If analog dollars have
1181 turned into digital dimes (as the critics of ad-supported media have it),
1182 there is the fact that it’s possible to run a business that gets the same
1183 amount of advertising as its forebears at a fraction of the price.</span>“</span>
1184     </p><p>
1185       Some creation costs are the same as they always were. It takes the same
1186 amount of time and money to write a peer-reviewed journal article or paint a
1187 painting. Technology can’t change that. But other costs are dramatically
1188 reduced by technology, particularly in production-heavy domains like
1189 filmmaking.<a href="#ftn.idm419" class="footnote" name="idm419"><sup class="footnote">[39]</sup></a> CC-licensed content and
1190 content in the public domain, as well as the work of volunteer
1191 collaborators, can also dramatically reduce costs if they’re being used as
1192 resources to create something new. And, of course, there is the reality that
1193 some content would be created whether or not the creator is paid because it
1194 is a labor of love.
1195     </p><p>
1196       Distributing content is almost universally cheaper than ever. Once content
1197 is created, the costs to distribute copies digitally are essentially
1198 zero.<a href="#ftn.idm422" class="footnote" name="idm422"><sup class="footnote">[40]</sup></a> The costs to distribute physical
1199 copies are still significant, but lower than they have been
1200 historically. And it is now much easier to print and distribute physical
1201 copies on-demand, which also reduces costs. Depending on the endeavor, there
1202 can be a whole host of other possible expenses like marketing and promotion,
1203 and even expenses associated with the various ways money is being made, like
1204 touring or custom training.
1205     </p><p>
1206       It’s important to recognize that the biggest impact of technology on
1207 creative endeavors is that creators can now foot the costs of creation and
1208 distribution themselves. People now often have a direct route to their
1209 potential public without necessarily needing intermediaries like record
1210 labels and book publishers. Doctorow wrote, <span class="quote">„<span class="quote">If you’re a creator who
1211 never got the time of day from one of the great imperial powers, this is
1212 your time. Where once you had no means of reaching an audience without the
1213 assistance of the industry-dominating megacompanies, now you have hundreds
1214 of ways to do it without them.</span>“</span><a href="#ftn.idm426" class="footnote" name="idm426"><sup class="footnote">[41]</sup></a>
1215 Previously, distribution of creative work involved the costs associated with
1216 sustaining a monolithic entity, now creators can do the work
1217 themselves. That means the financial needs of creative endeavors can be a
1218 lot more modest.
1219     </p><p>
1220       Whether for an individual creator or a larger endeavor, it usually isn’t
1221 enough to break even if you want to make what you’re doing a livelihood. You
1222 need to build in some support for the general operation. This extra bit
1223 looks different for everyone, but importantly, in nearly all cases for those
1224 Made with Creative Commons, the definition of <span class="quote">„<span class="quote">enough money</span>“</span>
1225 looks a lot different than it does in the world of venture capital and stock
1226 options. It is more about sustainability and less about unlimited growth and
1227 profit. SparkFun founder Nathan Seidle told us, <span class="quote">„<span class="quote">Business model is a
1228 really grandiose word for it. It is really just about keeping the operation
1229 going day to day.</span>“</span>
1230     </p><p>
1231       This book is a testament to the notion that it is possible to make money
1232 while using CC licenses and CC-licensed content, but we are still very much
1233 at an experimental stage. The creators, organizations, and businesses we
1234 profile in this book are blazing the trail and adapting in real time as they
1235 pursue this new way of operating.
1236     </p><p>
1237       There are, however, plenty of ways in which CC licensing can be good for
1238 business in fairly predictable ways. The first is how it helps solve
1239 <span class="quote">„<span class="quote">problem zero.</span>“</span>
1240     </p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="problem-zero-getting-discovered"></a>Problem Zero: Getting Discovered</h2></div></div></div><p>
1241         Once you create or collect your content, the next step is finding users,
1242 customers, fans—in other words, your people. As Amanda Palmer wrote,
1243 <span class="quote">„<span class="quote">It has to start with the art. The songs had to touch people
1244 initially, and mean something, for anything to work at
1245 all.</span>“</span><a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[42]</sup></a> There isn’t any magic to
1246 finding your people, and there is certainly no formula. Your work has to
1247 connect with people and offer them some artistic and/or utilitarian
1248 value. In some ways, this is easier than ever. Online we are not limited by
1249 shelf space, so there is room for every obscure interest, taste, and need
1250 imaginable. This is what Chris Anderson dubbed the Long Tail, where
1251 consumption becomes less about mainstream mass <span class="quote">„<span class="quote">hits</span>“</span> and more
1252 about micromarkets for every particular niche. As Anderson wrote, <span class="quote">„<span class="quote">We
1253 are all different, with different wants and needs, and the Internet now has
1254 a place for all of them in the way that physical markets did
1255 not.</span>“</span><a href="#ftn.idm442" class="footnote" name="idm442"><sup class="footnote">[43]</sup></a> We are no longer limited
1256 to what appeals to the masses.
1257       </p><p>
1258         While finding <span class="quote">„<span class="quote">your people</span>“</span> online is theoretically easier than
1259 in the analog world, as a practical matter it can still be difficult to
1260 actually get noticed. The Internet is a firehose of content, one that only
1261 grows larger by the minute.  As a content creator, not only are you
1262 competing for attention against more content creators than ever before, you
1263 are competing against creativity generated outside the market as
1264 well.<a href="#ftn.idm446" class="footnote" name="idm446"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">„<span class="quote">The
1265 greatest change of the past decade has been the shift in time people spend
1266 consuming amateur content instead of professional
1267 content.</span>“</span><a href="#ftn.idm449" class="footnote" name="idm449"><sup class="footnote">[45]</sup></a> To top it all off, you
1268 have to compete against the rest of their lives, too—<span class="quote">„<span class="quote">friends, family,
1269 music playlists, soccer games, and nights on the town.</span>“</span><a href="#ftn.idm452" class="footnote" name="idm452"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
1270 right people.
1271       </p><p>
1272         When you come to the Internet armed with an all-rights-reserved mentality
1273 from the start, you are often restricting access to your work before there
1274 is even any demand for it. In many cases, requiring payment for your work is
1275 part of the traditional copyright system. Even a tiny cost has a big effect
1276 on demand.  It’s called the penny gap—the large difference in demand between
1277 something that is available at the price of one cent versus the price of
1278 zero.<a href="#ftn.idm455" class="footnote" name="idm455"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
1279 charge money for your content. It simply means you need to recognize the
1280 effect that doing so will have on demand. The same principle applies to
1281 restricting access to copy the work. If your problem is how to get
1282 discovered and find <span class="quote">„<span class="quote">your people,</span>“</span> prohibiting people from
1283 copying your work and sharing it with others is counterproductive.
1284       </p><p>
1285         Of course, it’s not that being discovered by people who like your work will
1286 make you rich—far from it. But as Cory Doctorow says, <span class="quote">„<span class="quote">Recognition is
1287 one of many necessary preconditions for artistic
1288 success.</span>“</span><a href="#ftn.idm460" class="footnote" name="idm460"><sup class="footnote">[48]</sup></a>
1289       </p><p>
1290         Choosing not to spend time and energy restricting access to your work and
1291 policing infringement also builds goodwill. Lumen Learning, a for-profit
1292 company that publishes online educational materials, made an early decision
1293 not to prevent students from accessing their content, even in the form of a
1294 tiny paywall, because it would negatively impact student success in a way
1295 that would undermine the social mission behind what they do. They believe
1296 this decision has generated an immense amount of goodwill within the
1297 community.
1298       </p><p>
1299         It is not just that restricting access to your work may undermine your
1300 social mission. It also may alienate the people who most value your creative
1301 work. If people like your work, their natural instinct will be to share it
1302 with others. But as David Bollier wrote, <span class="quote">„<span class="quote">Our natural human impulses
1303 to imitate and share—the essence of culture—have been
1304 criminalized.</span>“</span><a href="#ftn.idm465" class="footnote" name="idm465"><sup class="footnote">[49]</sup></a>
1305       </p><p>
1306         The fact that copying can carry criminal penalties undoubtedly deters
1307 copying it, but copying with the click of a button is too easy and
1308 convenient to ever fully stop it. Try as the copyright industry might to
1309 persuade us otherwise, copying a copyrighted work just doesn’t feel like
1310 stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
1311 creative work has no impact on anyone else’s ability to make use of it.
1312       </p><p>
1313         If you take some amount of copying and sharing your work as a given, you can
1314 invest your time and resources elsewhere, rather than wasting them on
1315 playing a cat and mouse game with people who want to copy and share your
1316 work. Lizzy Jongma from the Rijksmuseum said, <span class="quote">„<span class="quote">We could spend a lot of
1317 money trying to protect works, but people are going to do it anyway. And
1318 they will use bad-quality versions.</span>“</span> Instead, they started releasing
1319 high-resolution digital copies of their collection into the public domain
1320 and making them available for free on their website. For them, sharing was a
1321 form of quality control over the copies that were inevitably being shared
1322 online. Doing this meant forgoing the revenue they previously got from
1323 selling digital images. But Lizzy says that was a small price to pay for all
1324 of the opportunities that sharing unlocked for them.
1325       </p><p>
1326         Being Made with Creative Commons means you stop thinking about ways to
1327 artificially make your content scarce, and instead leverage it as the
1328 potentially abundant resource it is.<a href="#ftn.idm471" class="footnote" name="idm471"><sup class="footnote">[50]</sup></a>
1329 When you see information abundance as a feature, not a bug, you start
1330 thinking about the ways to use the idling capacity of your content to your
1331 advantage. As my friend and colleague Eric Steuer once said, <span class="quote">„<span class="quote">Using CC
1332 licenses shows you get the Internet.</span>“</span>
1333       </p><p>
1334         Cory Doctorow says it costs him nothing when other people make copies of his
1335 work, and it opens the possibility that he might get something in
1336 return.<a href="#ftn.idm475" class="footnote" name="idm475"><sup class="footnote">[51]</sup></a> Similarly, the makers of the
1337 Arduino boards knew it was impossible to stop people from copying their
1338 hardware, so they decided not to even try and instead look for the benefits
1339 of being open. For them, the result is one of the most ubiquitous pieces of
1340 hardware in the world, with a thriving online community of tinkerers and
1341 innovators that have done things with their work they never could have done
1342 otherwise.
1343       </p><p>
1344         There are all kinds of way to leverage the power of sharing and remix to
1345 your benefit. Here are a few.
1346       </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-grow-a-larger-audience"></a>Use CC to grow a larger audience</h3></div></div></div><p>
1347           Putting a Creative Commons license on your content won’t make it
1348 automatically go viral, but eliminating legal barriers to copying the work
1349 certainly can’t hurt the chances that your work will be shared. The CC
1350 license symbolizes that sharing is welcome. It can act as a little tap on
1351 the shoulder to those who come across the work—a nudge to copy the work if
1352 they have any inkling of doing so. All things being equal, if one piece of
1353 content has a sign that says Share and the other says Don’t Share (which is
1354 what <span class="quote">„<span class="quote">©</span>“</span> means), which do you think people are more likely to
1355 share?
1356         </p><p>
1357           The Conversation is an online news site with in-depth articles written by
1358 academics who are experts on particular topics. All of the articles are
1359 CC-licensed, and they are copied and reshared on other sites by design. This
1360 proliferating effect, which they track, is a central part of the value to
1361 their academic authors who want to reach as many readers as possible.
1362         </p><p>
1363           The idea that more eyeballs equates with more success is a form of the max
1364 strategy, adopted by Google and other technology companies. According to
1365 Google’s Eric Schmidt, the idea is simple: <span class="quote">„<span class="quote">Take whatever it is you
1366 are doing and do it at the max in terms of distribution. The other way of
1367 saying this is that since marginal cost of distribution is free, you might
1368 as well put things everywhere.</span>“</span><a href="#ftn.idm485" class="footnote" name="idm485"><sup class="footnote">[52]</sup></a>
1369 This strategy is what often motivates companies to make their products and
1370 services free (i.e., no cost), but the same logic applies to making content
1371 freely shareable. Because CC-licensed content is free (as in cost) and can
1372 be freely copied, CC licensing makes it even more accessible and likely to
1373 spread.
1374         </p><p>
1375           If you are successful in reaching more users, readers, listeners, or other
1376 consumers of your work, you can start to benefit from the bandwagon
1377 effect. The simple fact that there are other people consuming or following
1378 your work spurs others to want to do the same.<a href="#ftn.idm488" class="footnote" name="idm488"><sup class="footnote">[53]</sup></a> This is, in part, because we simply have a tendency to engage in
1379 herd behavior, but it is also because a large following is at least a
1380 partial indicator of quality or usefulness.<a href="#ftn.idm490" class="footnote" name="idm490"><sup class="footnote">[54]</sup></a>
1381         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-get-attribution-and-name-recognition"></a>Use CC to get attribution and name recognition</h3></div></div></div><p>
1382           Every Creative Commons license requires that credit be given to the author,
1383 and that reusers supply a link back to the original source of the
1384 material. CC0, not a license but a tool used to put work in the public
1385 domain, does not make attribution a legal requirement, but many communities
1386 still give credit as a matter of best practices and social norms. In fact,
1387 it is social norms, rather than the threat of legal enforcement, that most
1388 often motivate people to provide attribution and otherwise comply with the
1389 CC license terms anyway. This is the mark of any well-functioning community,
1390 within both the marketplace and the society at large.<a href="#ftn.idm495" class="footnote" name="idm495"><sup class="footnote">[55]</sup></a> CC licenses reflect a set of wishes on the part of
1391 creators, and in the vast majority of circumstances, people are naturally
1392 inclined to follow those wishes. This is particularly the case for something
1393 as straightforward and consistent with basic notions of fairness as
1394 providing credit.
1395         </p><p>
1396           The fact that the name of the creator follows a CC-licensed work makes the
1397 licenses an important means to develop a reputation or, in corporate speak,
1398 a brand. The drive to associate your name with your work is not just based
1399 on commercial motivations, it is fundamental to authorship.  Knowledge
1400 Unlatched is a nonprofit that helps to subsidize the print production of
1401 CC-licensed academic texts by pooling contributions from libraries around
1402 the United States. The CEO, Frances Pinter, says that the Creative Commons
1403 license on the works has a huge value to authors because reputation is the
1404 most important currency for academics. Sharing with CC is a way of having
1405 the most people see and cite your work.
1406         </p><p>
1407           Attribution can be about more than just receiving credit. It can also be
1408 about establishing provenance. People naturally want to know where content
1409 came from—the source of a work is sometimes just as interesting as the work
1410 itself. Opendesk is a platform for furniture designers to share their
1411 designs.  Consumers who like those designs can then get matched with local
1412 makers who turn the designs into real-life furniture.  The fact that I,
1413 sitting in the middle of the United States, can pick out a design created by
1414 a designer in Tokyo and then use a maker within my own community to
1415 transform the design into something tangible is part of the power of their
1416 platform. The provenance of the design is a special part of the product.
1417         </p><p>
1418           Knowing the source of a work is also critical to ensuring its
1419 credibility. Just as a trademark is designed to give consumers a way to
1420 identify the source and quality of a particular good and service, knowing
1421 the author of a work gives the public a way to assess its credibility. In a
1422 time when online discourse is plagued with misinformation, being a trusted
1423 information source is more valuable than ever.
1424         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-licensed-content-as-a-marketing-tool"></a>Use CC-licensed content as a marketing tool</h3></div></div></div><p>
1425           As we will cover in more detail later, many endeavors that are Made with
1426 Creative Commons make money by providing a product or service other than the
1427 CC-licensed work. Sometimes that other product or service is completely
1428 unrelated to the CC content. Other times it’s a physical copy or live
1429 performance of the CC content. In all cases, the CC content can attract
1430 people to your other product or service.
1431         </p><p>
1432           Knowledge Unlatched’s Pinter told us she has seen time and again how
1433 offering CC-licensed content—that is, digitally for free—actually increases
1434 sales of the printed goods because it functions as a marketing tool. We see
1435 this phenomenon regularly with famous artwork. The Mona Lisa is likely the
1436 most recognizable painting on the planet. Its ubiquity has the effect of
1437 catalyzing interest in seeing the painting in person, and in owning physical
1438 goods with the image. Abundant copies of the content often entice more
1439 demand, not blunt it.  Another example came with the advent of the
1440 radio. Although the music industry did not see it coming (and fought it!),
1441 free music on the radio functioned as advertising for the paid version
1442 people bought in music stores.<a href="#ftn.idm505" class="footnote" name="idm505"><sup class="footnote">[56]</sup></a> Free can
1443 be a form of promotion.
1444         </p><p>
1445           In some cases, endeavors that are Made with Creative Commons do not even
1446 need dedicated marketing teams or marketing budgets. Cards Against Humanity
1447 is a CC-licensed card game available as a free download. And because of this
1448 (thanks to the CC license on the game), the creators say it is one of the
1449 best-marketed games in the world, and they have never spent a dime on
1450 marketing. The textbook publisher OpenStax has also avoided hiring a
1451 marketing team. Their products are free, or cheaper to buy in the case of
1452 physical copies, which makes them much more attractive to students who then
1453 demand them from their universities. They also partner with service
1454 providers who build atop the CC-licensed content and, in turn, spend money
1455 and resources marketing those services (and by extension, the OpenStax
1456 textbooks).
1457         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-enable-hands-on-engagement-with-your-work"></a>Use CC to enable hands-on engagement with your work</h3></div></div></div><p>
1458           The great promise of Creative Commons licensing is that it signifies an
1459 embrace of remix culture. Indeed, this is the great promise of digital
1460 technology. The Internet opened up a whole new world of possibilities for
1461 public participation in creative work.
1462         </p><p>
1463           Four of the six CC licenses enable reusers to take apart, build upon, or
1464 otherwise adapt the work. Depending on the context, adaptation can mean
1465 wildly different things—translating, updating, localizing, improving,
1466 transforming. It enables a work to be customized for particular needs, uses,
1467 people, and communities, which is another distinct value to offer the
1468 public.<a href="#ftn.idm512" class="footnote" name="idm512"><sup class="footnote">[57]</sup></a> Adaptation is more game
1469 changing in some contexts than others. With educational materials, the
1470 ability to customize and update the content is critically important for its
1471 usefulness. For photography, the ability to adapt a photo is less important.
1472         </p><p>
1473           This is a way to counteract a potential downside of the abundance of free
1474 and open content described above. As Anderson wrote in Free, <span class="quote">„<span class="quote">People
1475 often don’t care as much about things they don’t pay for, and as a result
1476 they don’t think as much about how they consume them.</span>“</span><a href="#ftn.idm516" class="footnote" name="idm516"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
1477 penny for something changes our perception of that thing, then surely the
1478 act of remixing it enhances our perception exponentially.<a href="#ftn.idm518" class="footnote" name="idm518"><sup class="footnote">[59]</sup></a> We know that people will pay more for products they
1479 had a part in creating.<a href="#ftn.idm520" class="footnote" name="idm520"><sup class="footnote">[60]</sup></a> And we know
1480 that creating something, no matter what quality, brings with it a type of
1481 creative satisfaction that can never be replaced by consuming something
1482 created by someone else.<a href="#ftn.idm522" class="footnote" name="idm522"><sup class="footnote">[61]</sup></a>
1483         </p><p>
1484           Actively engaging with the content helps us avoid the type of aimless
1485 consumption that anyone who has absentmindedly scrolled through their
1486 social-media feeds for an hour knows all too well. In his book, Cognitive
1487 Surplus, Clay Shirky says, <span class="quote">„<span class="quote">To participate is to act as if your
1488 presence matters, as if, when you see something or hear something, your
1489 response is part of the event.</span>“</span><a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[62]</sup></a>
1490 Opening the door to your content can get people more deeply tied to your
1491 work.
1492         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-differentiate-yourself"></a>Use CC to differentiate yourself</h3></div></div></div><p>
1493           Operating under a traditional copyright regime usually means operating under
1494 the rules of establishment players in the media. Business strategies that
1495 are embedded in the traditional copyright system, like using digital rights
1496 management (DRM) and signing exclusivity contracts, can tie the hands of
1497 creators, often at the expense of the creator’s best interest.<a href="#ftn.idm531" class="footnote" name="idm531"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
1498 function without those barriers and, in many cases, use the increased
1499 openness as a competitive advantage. David Harris from OpenStax said they
1500 specifically pursue strategies they know that traditional publishers
1501 cannot. <span class="quote">„<span class="quote">Don’t go into a market and play by the incumbent
1502 rules,</span>“</span> David said.  <span class="quote">„<span class="quote">Change the rules of engagement.</span>“</span>
1503         </p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-money"></a>Making Money</h2></div></div></div><p>
1504         Like any moneymaking endeavor, those that are Made with Creative Commons
1505 have to generate some type of value for their audience or
1506 customers. Sometimes that value is subsidized by funders who are not
1507 actually beneficiaries of that value. Funders, whether philanthropic
1508 institutions, governments, or concerned individuals, provide money to the
1509 organization out of a sense of pure altruism. This is the way traditional
1510 nonprofit funding operates.<a href="#ftn.idm538" class="footnote" name="idm538"><sup class="footnote">[64]</sup></a> But in many
1511 cases, the revenue streams used by endeavors that are Made with Creative
1512 Commons are directly tied to the value they generate, where the recipient is
1513 paying for the value they receive like any standard market transaction. In
1514 still other cases, rather than the quid pro quo exchange of money for value
1515 that typically drives market transactions, the recipient gives money out of
1516 a sense of reciprocity.
1517       </p><p>
1518         Most who are Made with Creative Commons use a variety of methods to bring in
1519 revenue, some market-based and some not. One common strategy is using grant
1520 funding for content creation when research-and-development costs are
1521 particularly high, and then finding a different revenue stream (or streams)
1522 for ongoing expenses. As Shirky wrote, <span class="quote">„<span class="quote">The trick is in knowing when
1523 markets are an optimal way of organizing interactions and when they are
1524 not.</span>“</span><a href="#ftn.idm544" class="footnote" name="idm544"><sup class="footnote">[65]</sup></a>
1525       </p><p>
1526         Our case studies explore in more detail the various revenue-generating
1527 mechanisms used by the creators, organizations, and businesses we
1528 interviewed. There is nuance hidden within the specific ways each of them
1529 makes money, so it is a bit dangerous to generalize too much about what we
1530 learned.  Nonetheless, zooming out and viewing things from a higher level of
1531 abstraction can be instructive.
1532       </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="market-based-revenue-streams"></a>Market-based revenue streams</h3></div></div></div><p>
1533           In the market, the central question when determining how to bring in revenue
1534 is what value people are willing to pay for.<a href="#ftn.idm550" class="footnote" name="idm550"><sup class="footnote">[66]</sup></a> By definition, if you are Made with Creative Commons, the content
1535 you provide is available for free and not a market commodity. Like the
1536 ubiquitous freemium business model, any possible market transaction with a
1537 consumer of your content has to be based on some added value you
1538 provide.<a href="#ftn.idm552" class="footnote" name="idm552"><sup class="footnote">[67]</sup></a>
1539         </p><p>
1540           In many ways, this is the way of the future for all content-driven
1541 endeavors. In the market, value lives in things that are scarce. Because the
1542 Internet makes a universe of content available to all of us for free, it is
1543 difficult to get people to pay for content online. The struggling newspaper
1544 industry is a testament to this fact. This is compounded by the fact that at
1545 least some amount of copying is probably inevitable. That means you may end
1546 up competing with free versions of your own content, whether you condone it
1547 or not.<a href="#ftn.idm555" class="footnote" name="idm555"><sup class="footnote">[68]</sup></a> If people can easily find your
1548 content for free, getting people to buy it will be difficult, particularly
1549 in a context where access to content is more important than owning it. In
1550 Free, Anderson wrote, <span class="quote">„<span class="quote">Copyright protection schemes, whether coded
1551 into either law or software, are simply holding up a price against the force
1552 of gravity.</span>“</span>
1553         </p><p>
1554           Of course, this doesn’t mean that content-driven endeavors have no future in
1555 the traditional marketplace. In Free, Anderson explains how when one product
1556 or service becomes free, as information and content largely have in the
1557 digital age, other things become more valuable. <span class="quote">„<span class="quote">Every abundance
1558 creates a new scarcity,</span>“</span> he wrote. You just have to find some way
1559 other than the content to provide value to your audience or customers. As
1560 Anderson says, <span class="quote">„<span class="quote">It’s easy to compete with Free: simply offer something
1561 better or at least different from the free version.</span>“</span><a href="#ftn.idm561" class="footnote" name="idm561"><sup class="footnote">[69]</sup></a>
1562         </p><p>
1563           In light of this reality, in some ways endeavors that are Made with Creative
1564 Commons are at a level playing field with all content-based endeavors in the
1565 digital age. In fact, they may even have an advantage because they can use
1566 the abundance of content to derive revenue from something scarce. They can
1567 also benefit from the goodwill that stems from the values behind being Made
1568 with Creative Commons.
1569         </p><p>
1570           For content creators and distributors, there are nearly infinite ways to
1571 provide value to the consumers of your work, above and beyond the value that
1572 lives within your free digital content. Often, the CC-licensed content
1573 functions as a marketing tool for the paid product or service.
1574         </p><p>
1575           Here are the most common high-level categories.
1576         </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
1577 <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1578           In this age of information abundance, we don’t lack for content. The trick
1579 is finding content that matches our needs and wants, so customized services
1580 are particularly valuable.  As Anderson wrote, <span class="quote">„<span class="quote">Commodity information
1581 (everybody gets the same version) wants to be free. Customized information
1582 (you get something unique and meaningful to you)  wants to be
1583 expensive.</span>“</span><a href="#ftn.idm571" class="footnote" name="idm571"><sup class="footnote">[70]</sup></a> This can be anything
1584 from the artistic and cultural consulting services provided by Ártica to the
1585 custom-song business of Jonathan <span class="quote">„<span class="quote">Song-A-Day</span>“</span> Mann.
1586         </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>
1587           In his book about maker culture, Anderson characterizes this model as giving
1588 away the bits and selling the atoms (where bits refers to digital content
1589 and atoms refer to a physical object).<a href="#ftn.idm578" class="footnote" name="idm578"><sup class="footnote">[71]</sup></a>
1590 This is particularly successful in domains where the digital version of the
1591 content isn’t as valuable as the analog version, like book publishing where
1592 a significant subset of people still prefer reading something they can hold
1593 in their hands. Or in domains where the content isn’t useful until it is in
1594 physical form, like furniture designs. In those situations, a significant
1595 portion of consumers will pay for the convenience of having someone else put
1596 the physical version together for them. Some endeavors squeeze even more out
1597 of this revenue stream by using a Creative Commons license that only allows
1598 noncommercial uses, which means no one else can sell physical copies of
1599 their work in competition with them. This strategy of reserving commercial
1600 rights can be particularly important for items like books, where every
1601 printed copy of the same work is likely to be the same quality, so it is
1602 harder to differentiate one publishing service from another. On the other
1603 hand, for items like furniture or electronics, the provider of the physical
1604 goods can compete with other providers of the same works based on quality,
1605 service, or other traditional business principles.
1606         </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>
1607           As anyone who has ever gone to a concert will tell you, experiencing
1608 creativity in person is a completely different experience from consuming a
1609 digital copy on your own. Far from acting as a substitute for face-to-face
1610 interaction, CC-licensed content can actually create demand for the
1611 in-person version of experience. You can see this effect when people go view
1612 original art in person or pay to attend a talk or training course.
1613         </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>
1614           In many cases, people who like your work will pay for products demonstrating
1615 a connection to your work. As a child of the 1980s, I can personally attest
1616 to the power of a good concert T-shirt. This can also be an important
1617 revenue stream for museums and galleries.
1618         </p><p>
1619           Sometimes the way to find a market-based revenue stream is by providing
1620 value to people other than those who consume your CC-licensed content. In
1621 these revenue streams, the free content is being subsidized by an entirely
1622 different category of people or businesses. Often, those people or
1623 businesses are paying to access your main audience. The fact that the
1624 content is free increases the size of the audience, which in turn makes the
1625 offer more valuable to the paying customers. This is a variation of a
1626 traditional business model built on free called multi-sided
1627 platforms.<a href="#ftn.idm589" class="footnote" name="idm589"><sup class="footnote">[72]</sup></a> Access to your audience
1628 isn’t the only thing people are willing to pay for—there are other services
1629 you can provide as well.
1630         </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>
1631           The traditional model of subsidizing free content is advertising. In this
1632 version of multi-sided platforms, advertisers pay for the opportunity to
1633 reach the set of eyeballs the content creators provide in the form of their
1634 audience.<a href="#ftn.idm595" class="footnote" name="idm595"><sup class="footnote">[73]</sup></a> The Internet has made this
1635 model more difficult because the number of potential channels available to
1636 reach those eyeballs has become essentially infinite.<a href="#ftn.idm597" class="footnote" name="idm597"><sup class="footnote">[74]</sup></a> Nonetheless, it remains a viable revenue stream for
1637 many content creators, including those who are Made with Creative
1638 Commons. Often, instead of paying to display advertising, the advertiser
1639 pays to be an official sponsor of particular content or projects, or of the
1640 overall endeavor.
1641         </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>
1642           Another type of multisided platform is where the content creators themselves
1643 pay to be featured on the platform.  Obviously, this revenue stream is only
1644 available to those who rely on work created, at least in part, by
1645 others. The most well-known version of this model is the
1646 <span class="quote">„<span class="quote">author-processing charge</span>“</span> of open-access journals like those
1647 published by the Public Library of Science, but there are other
1648 variations. The Conversation is primarily funded by a university-membership
1649 model, where universities pay to have their faculties participate as writers
1650 of the content on the Conversation website.
1651         </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>
1652           This is a version of a traditional business model based on brokering
1653 transactions between parties.<a href="#ftn.idm608" class="footnote" name="idm608"><sup class="footnote">[75]</sup></a> Curation
1654 is an important element of this model.  Platforms like the Noun Project add
1655 value by wading through CC-licensed content to curate a high-quality set and
1656 then derive revenue when creators of that content make transactions with
1657 customers. Other platforms make money when service providers transact with
1658 their customers; for example, Opendesk makes money every time someone on
1659 their site pays a maker to make furniture based on one of the designs on the
1660 platform.
1661         </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>
1662           As mentioned above, endeavors can make money by providing customized
1663 services to their users. Platforms can undertake a variation of this service
1664 model directed at the creators that provide the content they feature. The
1665 data platforms Figure.NZ and Figshare both capitalize on this model by
1666 providing paid tools to help their users make the data they contribute to
1667 the platform more discoverable and reusable.
1668         </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>
1669           Finally, some that are Made with Creative Commons make money by selling use
1670 of their trademarks. Well known brands that consumers associate with
1671 quality, credibility, or even an ethos can license that trademark to
1672 companies that want to take advantage of that goodwill. By definition,
1673 trademarks are scarce because they represent a particular source of a good
1674 or service. Charging for the ability to use that trademark is a way of
1675 deriving revenue from something scarce while taking advantage of the
1676 abundance of CC content.
1677         </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>
1678           Even if we set aside grant funding, we found that the traditional economic
1679 framework of understanding the market failed to fully capture the ways the
1680 endeavors we analyzed were making money. It was not simply about monetizing
1681 scarcity.
1682         </p><p>
1683           Rather than devising a scheme to get people to pay money in exchange for
1684 some direct value provided to them, many of the revenue streams were more
1685 about providing value, building a relationship, and then eventually finding
1686 some money that flows back out of a sense of reciprocity. While some look
1687 like traditional nonprofit funding models, they aren’t charity. The endeavor
1688 exchange value with people, just not necessarily synchronously or in a way
1689 that requires that those values be equal. As David Bollier wrote in Think
1690 Like a Commoner, <span class="quote">„<span class="quote">There is no self-serving calculation of whether the
1691 value given and received is strictly equal.</span>“</span>
1692         </p><p>
1693           This should be a familiar dynamic—it is the way you deal with your friends
1694 and family. We give without regard for what and when we will get back. David
1695 Bollier wrote, <span class="quote">„<span class="quote">Reciprocal social exchange lies at the heart of human
1696 identity, community and culture. It is a vital brain function that helps the
1697 human species survive and evolve.</span>“</span>
1698         </p><p>
1699           What is rare is to incorporate this sort of relationship into an endeavor
1700 that also engages with the market.<a href="#ftn.idm626" class="footnote" name="idm626"><sup class="footnote">[76]</sup></a> We
1701 almost can’t help but think of relationships in the market as being centered
1702 on an even-steven exchange of value.<a href="#ftn.idm628" class="footnote" name="idm628"><sup class="footnote">[77]</sup></a>
1703         </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
1704 <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
1705           While memberships and donations are traditional nonprofit funding models, in
1706 the Made with Creative Commons context, they are directly tied to the
1707 reciprocal relationship that is cultivated with the beneficiaries of their
1708 work. The bigger the pool of those receiving value from the content, the
1709 more likely this strategy will work, given that only a small percentage of
1710 people are likely to contribute. Since using CC licenses can grease the
1711 wheels for content to reach more people, this strategy can be more effective
1712 for endeavors that are Made with Creative Commons. The greater the argument
1713 that the content is a public good or that the entire endeavor is furthering
1714 a social mission, the more likely this strategy is to succeed.
1715         </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>
1716           In the pay-what-you-want model, the beneficiary of Creative Commons content
1717 is invited to give—at any amount they can and feel is appropriate, based on
1718 the public and personal value they feel is generated by the open
1719 content. Critically, these models are not touted as <span class="quote">„<span class="quote">buying</span>“</span>
1720 something free.  They are similar to a tip jar. People make financial
1721 contributions as an act of gratitude. These models capitalize on the fact
1722 that we are naturally inclined to give money for things we value in the
1723 marketplace, even in situations where we could find a way to get it for
1724 free.
1725         </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>
1726           Crowdfunding models are based on recouping the costs of creating and
1727 distributing content before the content is created. If the endeavor is Made
1728 with Creative Commons, anyone who wants the work in question could simply
1729 wait until it’s created and then access it for free. That means, for this
1730 model to work, people have to care about more than just receiving the
1731 work. They have to want you to succeed. Amanda Palmer credits the success of
1732 her crowdfunding on Kickstarter and Patreon to the years she spent building
1733 her community and creating a connection with her fans. She wrote in The Art
1734 of Asking, <span class="quote">„<span class="quote">Good art is made, good art is shared, help is offered,
1735 ears are bent, emotions are exchanged, the compost of real, deep connection
1736 is sprayed all over the fields. Then one day, the artist steps up and asks
1737 for something. And if the ground has been fertilized enough, the audience
1738 says, without hesitation: of course.</span>“</span>
1739         </p><p>
1740           Other types of crowdfunding rely on a sense of responsibility that a
1741 particular community may feel. Knowledge Unlatched pools funds from major
1742 U.S. libraries to subsidize CC-licensed academic work that will be, by
1743 definition, available to everyone for free. Libraries with bigger budgets
1744 tend to give more out of a sense of commitment to the library community and
1745 to the idea of open access generally.
1746         </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>
1747         Regardless of how they made money, in our interviews, we repeatedly heard
1748 language like <span class="quote">„<span class="quote">persuading people to buy</span>“</span> and <span class="quote">„<span class="quote">inviting
1749 people to pay.</span>“</span> We heard it even in connection with revenue streams
1750 that sit squarely within the market. Cory Doctorow told us, <span class="quote">„<span class="quote">I have to
1751 convince my readers that the right thing to do is to pay me.</span>“</span> The
1752 founders of the for-profit company Lumen Learning showed us the letter they
1753 send to those who opt not to pay for the services they provide in connection
1754 with their CC-licensed educational content. It isn’t a cease-and-desist
1755 letter; it’s an invitation to pay because it’s the right thing to do. This
1756 sort of behavior toward what could be considered nonpaying customers is
1757 largely unheard of in the traditional marketplace. But it seems to be part
1758 of the fabric of being Made with Creative Commons.
1759       </p><p>
1760         Nearly every endeavor we profiled relied, at least in part, on people being
1761 invested in what they do. The closer the Creative Commons content is to
1762 being <span class="quote">„<span class="quote">the product,</span>“</span> the more pronounced this dynamic has to
1763 be. Rather than simply selling a product or service, they are making
1764 ideological, personal, and creative connections with the people who value
1765 what they do.
1766       </p><p>
1767         It took me a very long time to see how this avoidance of thinking about what
1768 they do in pure market terms was deeply tied to being Made with Creative
1769 Commons.
1770       </p><p>
1771         I came to the research with preconceived notions about what Creative Commons
1772 is and what it means to be Made with Creative Commons. It turned out I was
1773 wrong on so many counts.
1774       </p><p>
1775         Obviously, being Made with Creative Commons means using Creative Commons
1776 licenses. That much I knew. But in our interviews, people spoke of so much
1777 more than copyright permissions when they explained how sharing fit into
1778 what they do. I was thinking about sharing too narrowly, and as a result, I
1779 was missing vast swaths of the meaning packed within Creative
1780 Commons. Rather than parsing the specific and narrow role of the copyright
1781 license in the equation, it is important not to disaggregate the rest of
1782 what comes with sharing. You have to widen the lens.
1783       </p><p>
1784         Being Made with Creative Commons is not just about the simple act of
1785 licensing a copyrighted work under a set of standardized terms, but also
1786 about community, social good, contributing ideas, expressing a value system,
1787 working together. These components of sharing are hard to cultivate if you
1788 think about what you do in purely market terms. Decent social behavior isn’t
1789 as intuitive when we are doing something that involves monetary exchange. It
1790 takes a conscious effort to foster the context for real sharing, based not
1791 strictly on impersonal market exchange, but on connections with the people
1792 with whom you share—connections with you, with your work, with your values,
1793 with each other.
1794       </p><p>
1795         The rest of this section will explore some of the common strategies that
1796 creators, companies, and organizations use to remind us that there are
1797 humans behind every creative endeavor.  To remind us we have obligations to
1798 each other. To remind us what sharing really looks like.
1799       </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-human"></a>Be human</h3></div></div></div><p>
1800           Humans are social animals, which means we are naturally inclined to treat
1801 each other well.<a href="#ftn.idm661" class="footnote" name="idm661"><sup class="footnote">[78]</sup></a> But the further
1802 removed we are from the person with whom we are interacting, the less caring
1803 our behavior will be. While the Internet has democratized cultural
1804 production, increased access to knowledge, and connected us in extraordinary
1805 ways, it can also make it easy forget we are dealing with another human.
1806         </p><p>
1807           To counteract the anonymous and impersonal tendencies of how we operate
1808 online, individual creators and corporations who use Creative Commons
1809 licenses work to demonstrate their humanity. For some, this means pouring
1810 their lives out on the page. For others, it means showing their creative
1811 process, giving a glimpse into how they do what they do. As writer Austin
1812 Kleon wrote, <span class="quote">„<span class="quote">Our work doesn’t speak for itself.  Human beings want to
1813 know where things came from, how they were made, and who made them. The
1814 stories you tell about the work you do have a huge effect on how people feel
1815 and what they understand about your work, and how people feel and what they
1816 understand about your work affects how they value it.</span>“</span><a href="#ftn.idm665" class="footnote" name="idm665"><sup class="footnote">[79]</sup></a>
1817         </p><p>
1818           A critical component to doing this effectively is not worrying about being a
1819 <span class="quote">„<span class="quote">brand.</span>“</span> That means not being afraid to be vulnerable. Amanda
1820 Palmer says, <span class="quote">„<span class="quote">When you’re afraid of someone’s judgment, you can’t
1821 connect with them. You’re too preoccupied with the task of impressing
1822 them.</span>“</span> Not everyone is suited to live life as an open book like
1823 Palmer, and that’s OK. There are a lot of ways to be human. The trick is
1824 just avoiding pretense and the temptation to artificially craft an
1825 image. People don’t just want the glossy version of you. They can’t relate
1826 to it, at least not in a meaningful way.
1827         </p><p>
1828           This advice is probably even more important for businesses and organizations
1829 because we instinctively conceive of them as nonhuman (though in the United
1830 States, corporations are people!). When corporations and organizations make
1831 the people behind them more apparent, it reminds people that they are
1832 dealing with something other than an anonymous corporate entity. In
1833 business-speak, this is about <span class="quote">„<span class="quote">humanizing your interactions</span>“</span>
1834 with the public.<a href="#ftn.idm672" class="footnote" name="idm672"><sup class="footnote">[80]</sup></a> But it can’t be a
1835 gimmick. You can’t fake being human.
1836         </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>
1837           Transparency helps people understand who you are and why you do what you do,
1838 but it also inspires trust. Max Temkin of Cards Against Humanity told us,
1839 <span class="quote">„<span class="quote">One of the most surprising things you can do in capitalism is just be
1840 honest with people.</span>“</span> That means sharing the good and the bad.  As
1841 Amanda Palmer wrote, <span class="quote">„<span class="quote">You can fix almost anything by authentically
1842 communicating.</span>“</span><a href="#ftn.idm679" class="footnote" name="idm679"><sup class="footnote">[81]</sup></a> It isn’t about
1843 trying to satisfy everyone or trying to sugarcoat mistakes or bad news, but
1844 instead about explaining your rationale and then being prepared to defend it
1845 when people are critical.<a href="#ftn.idm681" class="footnote" name="idm681"><sup class="footnote">[82]</sup></a>
1846         </p><p>
1847           Being accountable does not mean operating on consensus.  According to James
1848 Surowiecki, consensus-driven groups tend to resort to
1849 lowest-common-denominator solutions and avoid the sort of candid exchange of
1850 ideas that cultivates healthy collaboration.<a href="#ftn.idm684" class="footnote" name="idm684"><sup class="footnote">[83]</sup></a> Instead, it can be as simple as asking for input and then giving
1851 context and explanation about decisions you make, even if soliciting
1852 feedback and inviting discourse is time-consuming. If you don’t go through
1853 the effort to actually respond to the input you receive, it can be worse
1854 than not inviting input in the first place.<a href="#ftn.idm686" class="footnote" name="idm686"><sup class="footnote">[84]</sup></a> But when you get it right, it can guarantee the type of diversity
1855 of thought that helps endeavors excel. And it is another way to get people
1856 involved and invested in what you do.
1857         </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>
1858           Traditional economics assumes people make decisions based solely on their
1859 own economic self-interest.<a href="#ftn.idm691" class="footnote" name="idm691"><sup class="footnote">[85]</sup></a> Any
1860 relatively introspective human knows this is a fiction—we are much more
1861 complicated beings with a whole range of needs, emotions, and
1862 motivations. In fact, we are hardwired to work together and ensure
1863 fairness.<a href="#ftn.idm693" class="footnote" name="idm693"><sup class="footnote">[86]</sup></a> Being Made with Creative
1864 Commons requires an assumption that people will largely act on those social
1865 motivations, motivations that would be considered <span class="quote">„<span class="quote">irrational</span>“</span>
1866 in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">„<span class="quote">It is
1867 best to ignore people who try to scare you about free riding. That fear is
1868 based on a very shallow view of what motivates human behavior.</span>“</span> There
1869 will always be people who will act in purely selfish ways, but endeavors
1870 that are Made with Creative Commons design for the good actors.
1871         </p><p>
1872           The assumption that people will largely do the right thing can be a
1873 self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">„<span class="quote">Systems
1874 that assume people will act in ways that create public goods, and that give
1875 them opportunities and rewards for doing so, often let them work together
1876 better than neoclassical economics would predict.</span>“</span><a href="#ftn.idm699" class="footnote" name="idm699"><sup class="footnote">[87]</sup></a> When we acknowledge that people are often motivated
1877 by something other than financial self-interest, we design our endeavors in
1878 ways that encourage and accentuate our social instincts.
1879         </p><p>
1880           Rather than trying to exert control over people’s behavior, this mode of
1881 operating requires a certain level of trust. We might not realize it, but
1882 our daily lives are already built on trust. As Surowiecki wrote in The
1883 Wisdom of Crowds, <span class="quote">„<span class="quote">It’s impossible for a society to rely on law alone
1884 to make sure citizens act honestly and responsibly. And it’s impossible for
1885 any organization to rely on contracts alone to make sure that its managers
1886 and workers live up to their obligation.</span>“</span> Instead, we largely trust
1887 that people—mostly strangers—will do what they are supposed to
1888 do.<a href="#ftn.idm703" class="footnote" name="idm703"><sup class="footnote">[88]</sup></a> And most often, they do.
1889         </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>
1890           For creators, treating people as humans means not treating them like
1891 fans. As Kleon says, <span class="quote">„<span class="quote">If you want fans, you have to be a fan
1892 first.</span>“</span><a href="#ftn.idm709" class="footnote" name="idm709"><sup class="footnote">[89]</sup></a> Even if you happen to be
1893 one of the few to reach celebrity levels of fame, you are better off
1894 remembering that the people who follow your work are human, too. Cory
1895 Doctorow makes a point to answer every single email someone sends him.
1896 Amanda Palmer spends vast quantities of time going online to communicate
1897 with her public, making a point to listen just as much as she
1898 talks.<a href="#ftn.idm711" class="footnote" name="idm711"><sup class="footnote">[90]</sup></a>
1899         </p><p>
1900           The same idea goes for businesses and organizations. Rather than automating
1901 its customer service, the music platform Tribe of Noise makes a point to
1902 ensure its employees have personal, one-on-one interaction with users.
1903         </p><p>
1904           When we treat people like humans, they typically return the gift in
1905 kind. It’s called karma. But social relationships are fragile. It is all too
1906 easy to destroy them if you make the mistake of treating people as anonymous
1907 customers or free labor.<a href="#ftn.idm715" class="footnote" name="idm715"><sup class="footnote">[91]</sup></a> Platforms that
1908 rely on content from contributors are especially at risk of creating an
1909 exploitative dynamic. It is important to find ways to acknowledge and pay
1910 back the value that contributors generate. That does not mean you can solve
1911 this problem by simply paying contributors for their time or
1912 contributions. As soon as we introduce money into a relationship—at least
1913 when it takes a form of paying monetary value in exchange for other value—it
1914 can dramatically change the dynamic.<a href="#ftn.idm717" class="footnote" name="idm717"><sup class="footnote">[92]</sup></a>
1915         </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>
1916           Being Made with Creative Commons makes a statement about who you are and
1917 what you do. The symbolism is powerful. Using Creative Commons licenses
1918 demonstrates adherence to a particular belief system, which generates
1919 goodwill and connects like-minded people to your work. Sometimes people will
1920 be drawn to endeavors that are Made with Creative Commons as a way of
1921 demonstrating their own commitment to the Creative Commons value system,
1922 akin to a political statement. Other times people will identify and feel
1923 connected with an endeavor’s separate social mission. Often both.
1924         </p><p>
1925           The expression of your values doesn’t have to be implicit. In fact, many of
1926 the people we interviewed talked about how important it is to state your
1927 guiding principles up front.  Lumen Learning attributes a lot of their
1928 success to having been outspoken about the fundamental values that guide
1929 what they do. As a for-profit company, they think their expressed commitment
1930 to low-income students and open licensing has been critical to their
1931 credibility in the OER (open educational resources) community in which they
1932 operate.
1933         </p><p>
1934           When your end goal is not about making a profit, people trust that you
1935 aren’t just trying to extract value for your own gain. People notice when
1936 you have a sense of purpose that transcends your own
1937 self-interest.<a href="#ftn.idm724" class="footnote" name="idm724"><sup class="footnote">[93]</sup></a> It attracts committed
1938 employees, motivates contributors, and builds trust.
1939         </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>
1940           Endeavors that are Made with Creative Commons thrive when community is built
1941 around what they do. This may mean a community collaborating together to
1942 create something new, or it may simply be a collection of like-minded people
1943 who get to know each other and rally around common interests or
1944 beliefs.<a href="#ftn.idm729" class="footnote" name="idm729"><sup class="footnote">[94]</sup></a> To a certain extent, simply
1945 being Made with Creative Commons automatically brings with it some element
1946 of community, by helping connect you to like-minded others who recognize and
1947 are drawn to the values symbolized by using CC.
1948         </p><p>
1949           To be sustainable, though, you have to work to nurture community. People
1950 have to care—about you and each other. One critical piece to this is
1951 fostering a sense of belonging. As Jono Bacon writes in The Art of
1952 Community, <span class="quote">„<span class="quote">If there is no belonging, there is no community.</span>“</span>
1953 For Amanda Palmer and her band, that meant creating an accepting and
1954 inclusive environment where people felt a part of their <span class="quote">„<span class="quote">weird little
1955 family.</span>“</span><a href="#ftn.idm734" class="footnote" name="idm734"><sup class="footnote">[95]</sup></a> For organizations like
1956 Red Hat, that means connecting around common beliefs or goals. As the CEO
1957 Jim Whitehurst wrote in The Open Organization, <span class="quote">„<span class="quote">Tapping into passion
1958 is especially important in building the kinds of participative communities
1959 that drive open organizations.</span>“</span><a href="#ftn.idm737" class="footnote" name="idm737"><sup class="footnote">[96]</sup></a>
1960         </p><p>
1961           Communities that collaborate together take deliberate planning. Surowiecki
1962 wrote, <span class="quote">„<span class="quote">It takes a lot of work to put the group together. It’s
1963 difficult to ensure that people are working in the group’s interest and not
1964 in their own. And when there’s a lack of trust between the members of the
1965 group (which isn’t surprising given that they don’t really know each other),
1966 considerable energy is wasted trying to determine each other’s bona
1967 fides.</span>“</span><a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[97]</sup></a> Building true community
1968 requires giving people within the community the power to create or influence
1969 the rules that govern the community.<a href="#ftn.idm743" class="footnote" name="idm743"><sup class="footnote">[98]</sup></a> If
1970 the rules are created and imposed in a top-down manner, people feel like
1971 they don’t have a voice, which in turn leads to disengagement.
1972         </p><p>
1973           Community takes work, but working together, or even simply being connected
1974 around common interests or values, is in many ways what sharing is about.
1975         </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>
1976           Conventional wisdom in the marketplace dictates that people should try to
1977 extract as much money as possible from resources. This is essentially what
1978 defines so much of the so-called sharing economy. In an article on the
1979 Harvard Business Review website called <span class="quote">„<span class="quote">The Sharing Economy Isn’t
1980 about Sharing at All,</span>“</span> authors Giana Eckhardt and Fleura Bardhi
1981 explained how the anonymous market-driven trans-actions in most
1982 sharing-economy businesses are purely about monetizing access.<a href="#ftn.idm750" class="footnote" name="idm750"><sup class="footnote">[99]</sup></a> As Lisa Gansky put it in her book The Mesh, the
1983 primary strategy of the sharing economy is to sell the same product multiple
1984 times, by selling access rather than ownership.<a href="#ftn.idm754" class="footnote" name="idm754"><sup class="footnote">[100]</sup></a> That is not sharing.
1985         </p><p>
1986           Sharing requires adding as much or more value to the ecosystem than you
1987 take. You can’t simply treat open content as a free pool of resources from
1988 which to extract value. Part of giving back to the ecosystem is contributing
1989 content back to the public under CC licenses. But it doesn’t have to just be
1990 about creating content; it can be about adding value in other ways.  The
1991 social blogging platform Medium provides value to its community by
1992 incentivizing good behavior, and the result is an online space with
1993 remarkably high-quality user-generated content and limited
1994 trolling.<a href="#ftn.idm757" class="footnote" name="idm757"><sup class="footnote">[101]</sup></a> Opendesk contributes to its
1995 community by committing to help its designers make money, in part by
1996 actively curating and displaying their work on its platform effectively.
1997         </p><p>
1998           In all cases, it is important to openly acknowledge the amount of value you
1999 add versus that which you draw on that was created by others. Being
2000 transparent about this builds credibility and shows you are a contributing
2001 player in the commons. When your endeavor is making money, that also means
2002 apportioning financial compensation in a way that reflects the value
2003 contributed by others, providing more to contributors when the value they
2004 add outweighs the value provided by you.
2005         </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>
2006           Thanks to the Internet, we can tap into the talents and expertise of people
2007 around the globe. Chris Anderson calls it the Long Tail of
2008 talent.<a href="#ftn.idm765" class="footnote" name="idm765"><sup class="footnote">[102]</sup></a> But to make collaboration work,
2009 the group has to be effective at what it is doing, and the people within the
2010 group have to find satisfaction from being involved.<a href="#ftn.idm767" class="footnote" name="idm767"><sup class="footnote">[103]</sup></a> This is easier to facilitate for some types of
2011 creative work than it is for others. Groups tied together online collaborate
2012 best when people can work independently and asynchronously, and particularly
2013 for larger groups with loose ties, when contributors can make simple
2014 improvements without a particularly heavy time commitment.<a href="#ftn.idm769" class="footnote" name="idm769"><sup class="footnote">[104]</sup></a>
2015         </p><p>
2016           As the success of Wikipedia demonstrates, editing an online encyclopedia is
2017 exactly the sort of activity that is perfect for massive co-creation because
2018 small, incremental edits made by a diverse range of people acting on their
2019 own are immensely valuable in the aggregate. Those same sorts of small
2020 contributions would be less useful for many other types of creative work,
2021 and people are inherently less motivated to contribute when it doesn’t
2022 appear that their efforts will make much of a difference.<a href="#ftn.idm772" class="footnote" name="idm772"><sup class="footnote">[105]</sup></a>
2023         </p><p>
2024           It is easy to romanticize the opportunities for global cocreation made
2025 possible by the Internet, and, indeed, the successful examples of it are
2026 truly incredible and inspiring.  But in a wide range of
2027 circumstances—perhaps more often than not—community cocreation is not part
2028 of the equation, even within endeavors built on CC content. Shirky wrote,
2029 <span class="quote">„<span class="quote">Sometimes the value of professional work trumps the value of amateur
2030 sharing or a feeling of belonging.<a href="#ftn.idm776" class="footnote" name="idm776"><sup class="footnote">[106]</sup></a> The
2031 textbook publisher OpenStax, which distributes all of its material for free
2032 under CC licensing, is an example of this dynamic. Rather than tapping the
2033 community to help cocreate their college textbooks, they invest a
2034 significant amount of time and money to develop professional content. For
2035 individual creators, where the creative work is the basis for what they do,
2036 community cocreation is only rarely a part of the picture. Even musician
2037 Amanda Palmer, who is famous for her openness and involvement with her fans,
2038 said,</span>“</span>The only department where I wasn’t open to input was the
2039 writing, the music itself."<a href="#ftn.idm778" class="footnote" name="idm778"><sup class="footnote">[107]</sup></a>
2040         </p><p>
2041           While we tend to immediately think of cocreation and remixing when we hear
2042 the word collaboration, you can also involve others in your creative process
2043 in more informal ways, by sharing half-baked ideas and early drafts, and
2044 interacting with the public to incubate ideas and get feedback. So-called
2045 <span class="quote">„<span class="quote">making in public</span>“</span> opens the door to letting people feel more
2046 invested in your creative work.<a href="#ftn.idm782" class="footnote" name="idm782"><sup class="footnote">[108]</sup></a> And it
2047 shows a nonterritorial approach to ideas and information. Stephen Covey (of
2048 The 7 Habits of Highly Effective People fame) calls this the abundance
2049 mentality—treating ideas like something plentiful—and it can create an
2050 environment where collaboration flourishes.<a href="#ftn.idm784" class="footnote" name="idm784"><sup class="footnote">[109]</sup></a>
2051         </p><p>
2052           There is no one way to involve people in what you do. They key is finding a
2053 way for people to contribute on their terms, compelled by their own
2054 motivations.<a href="#ftn.idm787" class="footnote" name="idm787"><sup class="footnote">[110]</sup></a> What that looks like
2055 varies wildly depending on the project. Not every endeavor that is Made with
2056 Creative Commons can be Wikipedia, but every endeavor can find ways to
2057 invite the public into what they do. The goal for any form of collaboration
2058 is to move away from thinking of consumers as passive recipients of your
2059 content and transition them into active participants.<a href="#ftn.idm789" class="footnote" name="idm789"><sup class="footnote">[111]</sup></a>
2060         </p></div></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm396" class="footnote"><p><a href="#idm396" class="para"><sup class="para">[37] </sup></a>
2061           Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
2062 John Wiley and Sons, 2010), 14. A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
2063         </p></div><div id="ftn.idm410" class="footnote"><p><a href="#idm410" class="para"><sup class="para">[38] </sup></a>
2064           Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
2065 Age (San Francisco, CA: McSweeney’s, 2014) 68.
2066         </p></div><div id="ftn.idm419" class="footnote"><p><a href="#idm419" class="para"><sup class="para">[39] </sup></a>
2067           Ibid., 55.
2068         </p></div><div id="ftn.idm422" class="footnote"><p><a href="#idm422" class="para"><sup class="para">[40] </sup></a>
2069           Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
2070 Something for Nothing, reprint with new preface (New York: Hyperion, 2010),
2071 224.
2072         </p></div><div id="ftn.idm426" class="footnote"><p><a href="#idm426" class="para"><sup class="para">[41] </sup></a>
2073           Doctorow, Information Doesn’t Want to Be Free, 44.
2074         </p></div><div id="ftn.idm438" class="footnote"><p><a href="#idm438" class="para"><sup class="para">[42] </sup></a>
2075             Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let
2076 People Help (New York: Grand Central, 2014), 121.
2077           </p></div><div id="ftn.idm442" class="footnote"><p><a href="#idm442" class="para"><sup class="para">[43] </sup></a>
2078             Chris Anderson, Makers: The New Industrial Revolution (New York: Signal,
2079 2012), 64.
2080           </p></div><div id="ftn.idm446" class="footnote"><p><a href="#idm446" class="para"><sup class="para">[44] </sup></a>
2081             David Bollier, Think Like a Commoner: A Short Introduction to the Life of
2082 the Commons (Gabriola Island, BC: New Society, 2014), 70.
2083           </p></div><div id="ftn.idm449" class="footnote"><p><a href="#idm449" class="para"><sup class="para">[45] </sup></a>
2084             Anderson, Makers, 66.
2085           </p></div><div id="ftn.idm452" class="footnote"><p><a href="#idm452" class="para"><sup class="para">[46] </sup></a>
2086             Bryan Kramer, Shareology: How Sharing Is Powering the Human Economy (New
2087 York: Morgan James, 2016), 10.
2088           </p></div><div id="ftn.idm455" class="footnote"><p><a href="#idm455" class="para"><sup class="para">[47] </sup></a>
2089             Anderson, Free, 62.
2090           </p></div><div id="ftn.idm460" class="footnote"><p><a href="#idm460" class="para"><sup class="para">[48] </sup></a>
2091             Doctorow, Information Doesn’t Want to Be Free, 38.
2092           </p></div><div id="ftn.idm465" class="footnote"><p><a href="#idm465" class="para"><sup class="para">[49] </sup></a>
2093             Bollier, Think Like a Commoner, 68.
2094           </p></div><div id="ftn.idm471" class="footnote"><p><a href="#idm471" class="para"><sup class="para">[50] </sup></a>
2095             Anderson, Free, 86.
2096           </p></div><div id="ftn.idm475" class="footnote"><p><a href="#idm475" class="para"><sup class="para">[51] </sup></a>
2097             Doctorow, Information Doesn’t Want to Be Free, 144.
2098           </p></div><div id="ftn.idm485" class="footnote"><p><a href="#idm485" class="para"><sup class="para">[52] </sup></a>
2099               Anderson, Free, 123.
2100             </p></div><div id="ftn.idm488" class="footnote"><p><a href="#idm488" class="para"><sup class="para">[53] </sup></a>
2101               Ibid., 132.
2102             </p></div><div id="ftn.idm490" class="footnote"><p><a href="#idm490" class="para"><sup class="para">[54] </sup></a>
2103               Ibid., 70.
2104             </p></div><div id="ftn.idm495" class="footnote"><p><a href="#idm495" class="para"><sup class="para">[55] </sup></a>
2105               James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005),
2106 124. Surowiecki says, <span class="quote">„<span class="quote">The measure of success of laws and contracts is
2107 how rarely they are invoked.</span>“</span>
2108             </p></div><div id="ftn.idm505" class="footnote"><p><a href="#idm505" class="para"><sup class="para">[56] </sup></a>
2109               Anderson, Free, 44.
2110             </p></div><div id="ftn.idm512" class="footnote"><p><a href="#idm512" class="para"><sup class="para">[57] </sup></a>
2111               Osterwalder and Pigneur, Business Model Generation, 23.
2112             </p></div><div id="ftn.idm516" class="footnote"><p><a href="#idm516" class="para"><sup class="para">[58] </sup></a>
2113               Anderson, Free, 67.
2114             </p></div><div id="ftn.idm518" class="footnote"><p><a href="#idm518" class="para"><sup class="para">[59] </sup></a>
2115               Ibid., 58.
2116             </p></div><div id="ftn.idm520" class="footnote"><p><a href="#idm520" class="para"><sup class="para">[60] </sup></a>
2117               Anderson, Makers, 71.
2118             </p></div><div id="ftn.idm522" class="footnote"><p><a href="#idm522" class="para"><sup class="para">[61] </sup></a>
2119               Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into
2120 Collaborators (London: Penguin Books, 2010), 78.
2121             </p></div><div id="ftn.idm526" class="footnote"><p><a href="#idm526" class="para"><sup class="para">[62] </sup></a>
2122               Ibid., 21.
2123             </p></div><div id="ftn.idm531" class="footnote"><p><a href="#idm531" class="para"><sup class="para">[63] </sup></a>
2124               Doctorow, Information Doesn’t Want to Be Free, 43.
2125             </p></div><div id="ftn.idm538" class="footnote"><p><a href="#idm538" class="para"><sup class="para">[64] </sup></a>
2126             William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">„<span class="quote">Ten
2127 Nonprofit Funding Models,</span>“</span> Stanford Social Innovation Review, Spring
2128 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>.
2129           </p></div><div id="ftn.idm544" class="footnote"><p><a href="#idm544" class="para"><sup class="para">[65] </sup></a>
2130             Shirky, Cognitive Surplus, 111.
2131           </p></div><div id="ftn.idm550" class="footnote"><p><a href="#idm550" class="para"><sup class="para">[66] </sup></a>
2132               Osterwalder and Pigneur, Business Model Generation, 30.
2133             </p></div><div id="ftn.idm552" class="footnote"><p><a href="#idm552" class="para"><sup class="para">[67] </sup></a>
2134               Jim Whitehurst, The Open Organization: Igniting Passion and Performance
2135 (Boston: Harvard Business Review Press, 2015), 202.
2136             </p></div><div id="ftn.idm555" class="footnote"><p><a href="#idm555" class="para"><sup class="para">[68] </sup></a>
2137               Anderson, Free, 71.
2138             </p></div><div id="ftn.idm561" class="footnote"><p><a href="#idm561" class="para"><sup class="para">[69] </sup></a>
2139               Ibid., 231.
2140             </p></div><div id="ftn.idm571" class="footnote"><p><a href="#idm571" class="para"><sup class="para">[70] </sup></a>
2141               Ibid., 97.
2142             </p></div><div id="ftn.idm578" class="footnote"><p><a href="#idm578" class="para"><sup class="para">[71] </sup></a>
2143               Anderson, Makers, 107.
2144             </p></div><div id="ftn.idm589" class="footnote"><p><a href="#idm589" class="para"><sup class="para">[72] </sup></a>
2145               Osterwalder and Pigneur, Business Model Generation, 89.
2146             </p></div><div id="ftn.idm595" class="footnote"><p><a href="#idm595" class="para"><sup class="para">[73] </sup></a>
2147               Ibid., 92.
2148             </p></div><div id="ftn.idm597" class="footnote"><p><a href="#idm597" class="para"><sup class="para">[74] </sup></a>
2149               Anderson, Free, 142.
2150             </p></div><div id="ftn.idm608" class="footnote"><p><a href="#idm608" class="para"><sup class="para">[75] </sup></a>
2151               Osterwalder and Pigneur, Business Model Generation, 32.
2152             </p></div><div id="ftn.idm626" class="footnote"><p><a href="#idm626" class="para"><sup class="para">[76] </sup></a>
2153               Bollier, Think Like a Commoner, 150.
2154             </p></div><div id="ftn.idm628" class="footnote"><p><a href="#idm628" class="para"><sup class="para">[77] </sup></a>
2155               Ibid., 134.
2156             </p></div><div id="ftn.idm661" class="footnote"><p><a href="#idm661" class="para"><sup class="para">[78] </sup></a>
2157               Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our
2158 Decisions, rev. ed. (New York: Harper Perennial, 2010), 109.
2159             </p></div><div id="ftn.idm665" class="footnote"><p><a href="#idm665" class="para"><sup class="para">[79] </sup></a>
2160               Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and Get
2161 Discovered (New York: Workman, 2014), 93.
2162             </p></div><div id="ftn.idm672" class="footnote"><p><a href="#idm672" class="para"><sup class="para">[80] </sup></a>
2163               Kramer, Shareology, 76.
2164             </p></div><div id="ftn.idm679" class="footnote"><p><a href="#idm679" class="para"><sup class="para">[81] </sup></a>
2165               Palmer, Art of Asking, 252.
2166             </p></div><div id="ftn.idm681" class="footnote"><p><a href="#idm681" class="para"><sup class="para">[82] </sup></a>
2167               Whitehurst, Open Organization, 145.
2168             </p></div><div id="ftn.idm684" class="footnote"><p><a href="#idm684" class="para"><sup class="para">[83] </sup></a>
2169               Surowiecki, Wisdom of Crowds, 203.
2170             </p></div><div id="ftn.idm686" class="footnote"><p><a href="#idm686" class="para"><sup class="para">[84] </sup></a>
2171               Whitehurst, Open Organization, 80.
2172             </p></div><div id="ftn.idm691" class="footnote"><p><a href="#idm691" class="para"><sup class="para">[85] </sup></a>
2173               Bollier, Think Like a Commoner, 25.
2174             </p></div><div id="ftn.idm693" class="footnote"><p><a href="#idm693" class="para"><sup class="para">[86] </sup></a>
2175               Ibid., 31.
2176             </p></div><div id="ftn.idm699" class="footnote"><p><a href="#idm699" class="para"><sup class="para">[87] </sup></a>
2177               Shirky, Cognitive Surplus, 112.
2178             </p></div><div id="ftn.idm703" class="footnote"><p><a href="#idm703" class="para"><sup class="para">[88] </sup></a>
2179               Surowiecki, Wisdom of Crowds, 124.
2180             </p></div><div id="ftn.idm709" class="footnote"><p><a href="#idm709" class="para"><sup class="para">[89] </sup></a>
2181               Kleon, Show Your Work, 127.
2182             </p></div><div id="ftn.idm711" class="footnote"><p><a href="#idm711" class="para"><sup class="para">[90] </sup></a>
2183               Palmer, Art of Asking, 121.
2184             </p></div><div id="ftn.idm715" class="footnote"><p><a href="#idm715" class="para"><sup class="para">[91] </sup></a>
2185               Ariely, Predictably Irrational, 87.
2186             </p></div><div id="ftn.idm717" class="footnote"><p><a href="#idm717" class="para"><sup class="para">[92] </sup></a>
2187               Ibid., 105.
2188             </p></div><div id="ftn.idm724" class="footnote"><p><a href="#idm724" class="para"><sup class="para">[93] </sup></a>
2189               Ibid., 36.
2190             </p></div><div id="ftn.idm729" class="footnote"><p><a href="#idm729" class="para"><sup class="para">[94] </sup></a>
2191               Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
2192 2012), 36.
2193             </p></div><div id="ftn.idm734" class="footnote"><p><a href="#idm734" class="para"><sup class="para">[95] </sup></a>
2194               Palmer, Art of Asking, 98.
2195             </p></div><div id="ftn.idm737" class="footnote"><p><a href="#idm737" class="para"><sup class="para">[96] </sup></a>
2196               Whitehurst, Open Organization, 34.
2197             </p></div><div id="ftn.idm741" class="footnote"><p><a href="#idm741" class="para"><sup class="para">[97] </sup></a>
2198               Surowiecki, Wisdom of Crowds, 200.
2199             </p></div><div id="ftn.idm743" class="footnote"><p><a href="#idm743" class="para"><sup class="para">[98] </sup></a>
2200               Bollier, Think Like a Commoner, 29.
2201             </p></div><div id="ftn.idm750" class="footnote"><p><a href="#idm750" class="para"><sup class="para">[99] </sup></a>
2202               Giana Eckhardt and Fleura Bardhi, <span class="quote">„<span class="quote">The Sharing Economy Isn’t about
2203 Sharing at All,</span>“</span> Harvard Business Review (website), January 28, 2015,
2204 <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>.
2205             </p></div><div id="ftn.idm754" class="footnote"><p><a href="#idm754" class="para"><sup class="para">[100] </sup></a>
2206               Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with
2207 new epilogue (New York: Portfolio, 2012).
2208             </p></div><div id="ftn.idm757" class="footnote"><p><a href="#idm757" class="para"><sup class="para">[101] </sup></a>
2209               David Lee, <span class="quote">„<span class="quote">Inside Medium: An Attempt to Bring Civility to the
2210 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>.
2211             </p></div><div id="ftn.idm765" class="footnote"><p><a href="#idm765" class="para"><sup class="para">[102] </sup></a>
2212               Anderson, Makers, 148.
2213             </p></div><div id="ftn.idm767" class="footnote"><p><a href="#idm767" class="para"><sup class="para">[103] </sup></a>
2214               Shirky, Cognitive Surplus, 164.
2215             </p></div><div id="ftn.idm769" class="footnote"><p><a href="#idm769" class="para"><sup class="para">[104] </sup></a>
2216               Whitehurst, foreword to Open Organization.
2217             </p></div><div id="ftn.idm772" class="footnote"><p><a href="#idm772" class="para"><sup class="para">[105] </sup></a>
2218               Shirky, Cognitive Surplus, 144.
2219             </p></div><div id="ftn.idm776" class="footnote"><p><a href="#idm776" class="para"><sup class="para">[106] </sup></a>
2220               Ibid., 154.
2221             </p></div><div id="ftn.idm778" class="footnote"><p><a href="#idm778" class="para"><sup class="para">[107] </sup></a>
2222               Palmer, Art of Asking, 163.
2223             </p></div><div id="ftn.idm782" class="footnote"><p><a href="#idm782" class="para"><sup class="para">[108] </sup></a>
2224               Anderson, Makers, 173.
2225             </p></div><div id="ftn.idm784" class="footnote"><p><a href="#idm784" class="para"><sup class="para">[109] </sup></a>
2226               Tom Kelley and David Kelley, Creative Confidence: Unleashing the Potential
2227 within Us All (New York: Crown, 2013), 82.
2228             </p></div><div id="ftn.idm787" class="footnote"><p><a href="#idm787" class="para"><sup class="para">[110] </sup></a>
2229               Whitehurst, foreword to Open Organization.
2230             </p></div><div id="ftn.idm789" class="footnote"><p><a href="#idm789" class="para"><sup class="para">[111] </sup></a>
2231               Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
2232 Collaborative Consumption (New York: Harper Business, 2010), 188.
2233             </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>Kapitel 3. Creative Commons Lizenz</h2></div></div></div><p>
2234       All of the Creative Commons licenses grant a basic set of permissions. At a
2235 minimum, a CC- licensed work can be copied and shared in its original form
2236 for noncommercial purposes so long as attribution is given to the
2237 creator. There are six licenses in the CC license suite that build on that
2238 basic set of permissions, ranging from the most restrictive (allowing only
2239 those basic permissions to share unmodified copies for noncommercial
2240 purposes)  to the most permissive (reusers can do anything they want with
2241 the work, even for commercial purposes, as long as they give the creator
2242 credit). The licenses are built on copyright and do not cover other types of
2243 rights that creators might have in their works, like patents or trademarks.
2244     </p><p>
2245       Here are the six licenses:
2246     </p><p>
2247         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D83BF99FC0821C489.png" width="40.0%"></span>
2248       </p><p>
2249       The Attribution license (CC BY) lets others distribute, remix, tweak, and
2250 build upon your work, even commercially, as long as they credit you for the
2251 original creation. This is the most accommodating of licenses
2252 offered. Recommended for maximum dissemination and use of licensed
2253 materials.
2254     </p><p>
2255         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DFD3592CB17C4EC38.png" width="40.0%"></span>
2256       </p><p>
2257       The Attribution-Share-Alike license (CC BY-SA) lets others remix, tweak, and
2258 build upon your work, even for commercial purposes, as long as they credit
2259 you and license their new creations under identical terms. This license is
2260 often compared to <span class="quote">„<span class="quote">copyleft</span>“</span> free and open source software
2261 licenses.  All new works based on yours will carry the same license, so any
2262 derivatives will also allow commercial use.
2263     </p><p>
2264         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D254882DE24793FEA.png" width="40.0%"></span>
2265       </p><p>
2266       The Attribution-NoDerivs license (CC BY-ND) allows for redistribution,
2267 commercial and noncommercial, as long as it is passed along unchanged with
2268 credit to you.
2269     </p><p>
2270         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png" width="40.0%"></span>
2271       </p><p>
2272       The Attribution-NonCommercial license (CC BY-NC) lets others remix, tweak,
2273 and build upon your work noncommercially. Although their new works must also
2274 acknowledge you, they don’t have to license their derivative works on the
2275 same terms.
2276     </p><p>
2277         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D16DA603376395620.png" width="40.0%"></span>
2278       </p><p>
2279       The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA)  lets others
2280 remix, tweak, and build upon your work noncommercially, as long as they
2281 credit you and license their new creations under the same terms.
2282     </p><p>
2283         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DC3FEF92B21310965.png" width="40.0%"></span>
2284       </p><p>
2285       The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most
2286 restrictive of our six main licenses, only allowing others to download your
2287 works and share them with others as long as they credit you, but they can’t
2288 change them or use them commercially.
2289     </p><p>
2290       In addition to these six licenses, Creative Commons has two public-domain
2291 tools—one for creators and the other for those who manage collections of
2292 existing works by authors whose terms of copyright have expired:
2293     </p><p>
2294         <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008DBE3414994CD27786.png" width="40.0%"></span>
2295       </p><p>
2296       CC0 enables authors and copyright owners to dedicate their works to the
2297 worldwide public domain (<span class="quote">„<span class="quote">no rights reserved</span>“</span>).
2298     </p><p>
2299         <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008D36DCD649C5B1411F.png" width="40.0%"></span>
2300       </p><p>
2301       The Creative Commons Public Domain Mark facilitates the labeling and
2302 discovery of works that are already free of known copyright restrictions.
2303     </p><p>
2304       In our case studies, some use just one Creative Commons license, others use
2305 several. Attribution (found in thirteen case studies)  and
2306 Attribution-ShareAlike (found in eight studies) were the most common, with
2307 the other licenses coming up in four or so case studies, including the
2308 public-domain tool CC0. Some of the organizations we profiled offer both
2309 digital content and software: by using open-source-software licenses for the
2310 software code and Creative Commons licenses for digital content, they
2311 amplify their involvement with and commitment to sharing.
2312     </p><p>
2313       There is a popular misconception that the three NonCommercial licenses
2314 offered by CC are the only options for those who want to make money off
2315 their work. As we hope this book makes clear, there are many ways to make
2316 endeavors that are Made with Creative Commons sustainable. Reserving
2317 commercial rights is only one of those ways. It is certainly true that a
2318 license that allows others to make commercial use of your work (CC BY, CC
2319 BY-SA, and CC BY-ND) forecloses some traditional revenue streams. If you
2320 apply an Attribution (CC BY) license to your book, you can’t force a film
2321 company to pay you royalties if they turn your book into a feature-length
2322 film, or prevent another company from selling physical copies of your work.
2323     </p><p>
2324       The decision to choose a NonCommercial and/or NoDerivs license comes down to
2325 how much you need to retain control over the creative work. The
2326 NonCommercial and NoDerivs licenses are ways of reserving some significant
2327 portion of the exclusive bundle of rights that copyright grants to
2328 creators. In some cases, reserving those rights is important to how you
2329 bring in revenue. In other cases, creators use a NonCommercial or NoDerivs
2330 license because they can’t give up on the dream of hitting the creative
2331 jackpot.  The music platform Tribe of Noise told us the NonCommercial
2332 licenses were popular among their users because people still held out the
2333 dream of having a major record label discover their work.
2334     </p><p>
2335       Other times the decision to use a more restrictive license is due to a
2336 concern about the integrity of the work. For example, the nonprofit
2337 TeachAIDS uses a NoDerivs license for its educational materials because the
2338 medical subject matter is particularly important to get right.
2339     </p><p>
2340       There is no one right way. The NonCommercial and NoDerivs restrictions
2341 reflect the values and preferences of creators about how their creative work
2342 should be reused, just as the ShareAlike license reflects a different set of
2343 values, one that is less about controlling access to their own work and more
2344 about ensuring that whatever gets created with their work is available to
2345 all on the same terms. Since the beginning of the commons, people have been
2346 setting up structures that helped regulate the way in which shared resources
2347 were used. The CC licenses are an attempt to standardize norms across all
2348 domains.
2349     </p><p>
2350       Note
2351     </p><p>
2352       For more about the licenses including examples and tips on sharing your work
2353 in the digital commons, start with the Creative Commons page called
2354 <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>.
2355     </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Teil II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
2356     The twenty-four case studies in this section were chosen from hundreds of
2357 nominations received from Kickstarter backers, Creative Commons staff, and
2358 the global Creative Commons community. We selected eighty potential
2359 candidates that represented a mix of industries, content types, revenue
2360 streams, and parts of the world.  Twelve of the case studies were selected
2361 from that group based on votes cast by Kickstarter backers, and the other
2362 twelve were selected by us.
2363   </p><p>
2364     We did background research and conducted interviews for each case study,
2365 based on the same set of basic questions about the endeavor.  The idea for
2366 each case study is to tell the story about the endeavor and the role sharing
2367 plays within it, largely the way in which it was told to us by those we
2368 interviewed.
2369   </p><div class="toc"><p><b>Inhaltsverzeichnis</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>Kapitel 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>
2370         Arduino is a for-profit open-source electronics platform and computer
2371 hardware and software company. Founded in 2005 in Italy.
2372       </p><p>
2373           <a class="ulink" href="http://www.arduino.cc" target="_top">http://www.arduino.cc</a>
2374         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
2375 copies (sales of boards, modules, shields, and kits), licensing a trademark
2376 (fees paid by those who want to sell Arduino products using their name)
2377       </p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
2378       </p><p><span class="strong"><strong>Interviewees</strong></span>: David Cuartielles and Tom
2379 Igoe, cofounders
2380       </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}
2381     \textit{
2382         Profile written by Paul Stacey
2383       }
2384     \end{flushright}</td></tr></table></div><p>
2385       In 2005, at the Interaction Design Institute Ivrea in northern Italy,
2386 teachers and students needed an easy way to use electronics and programming
2387 to quickly prototype design ideas. As musicians, artists, and designers,
2388 they needed a platform that didn’t require engineering expertise. A group of
2389 teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe,
2390 Gianluca Martino, and David Mellis, built a platform that combined different
2391 open technologies. They called it Arduino. The platform integrated software,
2392 hardware, microcontrollers, and electronics. All aspects of the platform
2393 were openly licensed: hardware designs and documentation with the
2394 Attribution-Share-Alike license (CC BY-SA), and software with the GNU
2395 General Public License.
2396     </p><p>
2397       Arduino boards are able to read inputs—light on a sensor, a finger on a
2398 button, or a Twitter message—and turn it into outputs—activating a motor,
2399 turning on an LED, publishing something online. You send a set of
2400 instructions to the microcontroller on the board by using the Arduino
2401 programming language and Arduino software (based on a piece of open-source
2402 software called Processing, a programming tool used to make visual art).
2403     </p><p><span class="quote">„<span class="quote">The reasons for making Arduino open source are complicated,</span>“</span>
2404 Tom says. Partly it was about supporting flexibility. The open-source nature
2405 of Arduino empowers users to modify it and create a lot of different
2406 variations, adding on top of what the founders build. David says this
2407 <span class="quote">„<span class="quote">ended up strengthening the platform far beyond what we had even
2408 thought of building.</span>“</span>
2409     </p><p>
2410       For Tom another factor was the impending closure of the Ivrea design
2411 school. He’d seen other organizations close their doors and all their work
2412 and research just disappear. Open-sourcing ensured that Arduino would
2413 outlive the Ivrea closure. Persistence is one thing Tom really likes about
2414 open source. If key people leave, or a company shuts down, an open-source
2415 product lives on. In Tom’s view, <span class="quote">„<span class="quote">Open sourcing makes it easier to
2416 trust a product.</span>“</span>
2417     </p><p>
2418       With the school closing, David and some of the other Arduino founders
2419 started a consulting firm and multidisciplinary design studio they called
2420 Tinker, in London. Tinker designed products and services that bridged the
2421 digital and the physical, and they taught people how to use new technologies
2422 in creative ways.  Revenue from Tinker was invested in sustaining and
2423 enhancing Arduino.
2424     </p><p>
2425       For Tom, part of Arduino’s success is because the founders made themselves
2426 the first customer of their product. They made products they themselves
2427 personally wanted. It was a matter of <span class="quote">„<span class="quote">I need this thing,</span>“</span> not
2428 <span class="quote">„<span class="quote">If we make this, we’ll make a lot of money.</span>“</span> Tom notes that
2429 being your own first customer makes you more confident and convincing at
2430 selling your product.
2431     </p><p>
2432       Arduino’s business model has evolved over time—and Tom says model is a
2433 grandiose term for it. Originally, they just wanted to make a few boards and
2434 get them out into the world. They started out with two hundred boards, sold
2435 them, and made a little profit. They used that to make another thousand,
2436 which generated enough revenue to make five thousand. In the early days,
2437 they simply tried to generate enough funding to keep the venture going day
2438 to day. When they hit the ten thousand mark, they started to think about
2439 Arduino as a company. By then it was clear you can open-source the design
2440 but still manufacture the physical product. As long as it’s a quality
2441 product and sold at a reasonable price, people will buy it.
2442     </p><p>
2443       Arduino now has a worldwide community of makers—students, hobbyists,
2444 artists, programmers, and professionals. Arduino provides a wiki called
2445 Playground (a wiki is where all users can edit and add pages, contributing
2446 to and benefiting from collective research). People share code, circuit
2447 diagrams, tutorials, DIY instructions, and tips and tricks, and show off
2448 their projects. In addition, there’s a multilanguage discussion forum where
2449 users can get help using Arduino, discuss topics like robotics, and make
2450 suggestions for new Arduino product designs. As of January 2017, 324,928
2451 members had made 2,989,489 posts on 379,044 topics. The worldwide community
2452 of makers has contributed an incredible amount of accessible knowledge
2453 helpful to novices and experts alike.
2454     </p><p>
2455       Transitioning Arduino from a project to a company was a big step.  Other
2456 businesses who made boards were charging a lot of money for them. Arduino
2457 wanted to make theirs available at a low price to people across a wide range
2458 of industries. As with any business, pricing was key. They wanted prices
2459 that would get lots of customers but were also high enough to sustain the
2460 business.
2461     </p><p>
2462       For a business, getting to the end of the year and not being in the red is a
2463 success. Arduino may have an open-licensing strategy, but they are still a
2464 business, and all the things needed to successfully run one still
2465 apply. David says, <span class="quote">„<span class="quote">If you do those other things well, sharing things
2466 in an open-source way can only help you.</span>“</span>
2467     </p><p>
2468       While openly licensing the designs, documentation, and software ensures
2469 longevity, it does have risks. There’s a possibility that others will create
2470 knockoffs, clones, and copies. The CC BY-SA license means anyone can produce
2471 copies of their boards, redesign them, and even sell boards that copy the
2472 design. They don’t have to pay a license fee to Arduino or even ask
2473 permission. However, if they republish the design of the board, they have to
2474 give attribution to Arduino. If they change the design, they must release
2475 the new design using the same Creative Commons license to ensure that the
2476 new version is equally free and open.
2477     </p><p>
2478       Tom and David say that a lot of people have built companies off of Arduino,
2479 with dozens of Arduino derivatives out there. But in contrast to closed
2480 business models that can wring money out of the system over many years
2481 because there is no competition, Arduino founders saw competition as keeping
2482 them honest, and aimed for an environment of collaboration. A benefit of
2483 open over closed is the many new ideas and designs others have contributed
2484 back to the Arduino ecosystem, ideas and designs that Arduino and the
2485 Arduino community use and incorporate into new products.
2486     </p><p>
2487       Over time, the range of Arduino products has diversified, changing and
2488 adapting to new needs and challenges. In addition to simple entry level
2489 boards, new products have been added ranging from enhanced boards that
2490 provide advanced functionality and faster performance, to boards for
2491 creating Internet of Things applications, wearables, and 3-D printing. The
2492 full range of official Arduino products includes boards, modules (a smaller
2493 form-factor of classic boards), shields (elements that can be plugged onto a
2494 board to give it extra features), and kits.<a href="#ftn.idm884" class="footnote" name="idm884"><sup class="footnote">[112]</sup></a>
2495     </p><p>
2496       Arduino’s focus is on high-quality boards, well-designed support materials,
2497 and the building of community; this focus is one of the keys to their
2498 success. And being open lets you build a real community. David says
2499 Arduino’s community is a big strength and something that really does
2500 matter—in his words, <span class="quote">„<span class="quote">It’s good business.</span>“</span> When they started,
2501 the Arduino team had almost entirely no idea how to build a community. They
2502 started by conducting numerous workshops, working directly with people using
2503 the platform to make sure the hardware and software worked the way it was
2504 meant to work and solved people’s problems. The community grew organically
2505 from there.
2506     </p><p>
2507       A key decision for Arduino was trademarking the name. The founders needed a
2508 way to guarantee to people that they were buying a quality product from a
2509 company committed to open-source values and knowledge sharing. Trademarking
2510 the Arduino name and logo expresses that guarantee and helps customers
2511 easily identify their products, and the products sanctioned by them. If
2512 others want to sell boards using the Arduino name and logo, they have to pay
2513 a small fee to Arduino. This allows Arduino to scale up manufacturing and
2514 distribution while at the same time ensuring the Arduino brand isn’t hurt by
2515 low-quality copies.
2516     </p><p>
2517       Current official manufacturers are Smart Projects in Italy, SparkFun in the
2518 United States, and Dog Hunter in Taiwan/China.  These are the only
2519 manufacturers that are allowed to use the Arduino logo on their
2520 boards. Trademarking their brand provided the founders with a way to protect
2521 Arduino, build it out further, and fund software and tutorial
2522 development. The trademark-licensing fee for the brand became Arduino’s
2523 revenue-generating model.
2524     </p><p>
2525       How far to open things up wasn’t always something the founders perfectly
2526 agreed on. David, who was always one to advocate for opening things up more,
2527 had some fears about protecting the Arduino name, thinking people would be
2528 mad if they policed their brand. There was some early backlash with a
2529 project called Freeduino, but overall, trademarking and branding has been a
2530 critical tool for Arduino.
2531     </p><p>
2532       David encourages people and businesses to start by sharing everything as a
2533 default strategy, and then think about whether there is anything that really
2534 needs to be protected and why. There are lots of good reasons to not open up
2535 certain elements. This strategy of sharing everything is certainly the
2536 complete opposite of how today’s world operates, where nothing is
2537 shared. Tom suggests a business formalize which elements are based on open
2538 sharing and which are closed. An Arduino blog post from 2013 entitled
2539 <span class="quote">„<span class="quote">Send In the Clones,</span>“</span> by one of the founders Massimo Banzi,
2540 does a great job of explaining the full complexities of how trademarking
2541 their brand has played out, distinguishing between official boards and those
2542 that are clones, derivatives, compatibles, and counterfeits.<a href="#ftn.idm894" class="footnote" name="idm894"><sup class="footnote">[113]</sup></a>
2543     </p><p>
2544       For David, an exciting aspect of Arduino is the way lots of people can use
2545 it to adapt technology in many different ways. Technology is always making
2546 more things possible but doesn’t always focus on making it easy to use and
2547 adapt. This is where Arduino steps in.  Arduino’s goal is <span class="quote">„<span class="quote">making
2548 things that help other people make things.</span>“</span>
2549     </p><p>
2550       Arduino has been hugely successful in making technology and electronics
2551 reach a larger audience. For Tom, Arduino has been about <span class="quote">„<span class="quote">the
2552 democratization of technology.</span>“</span> Tom sees Arduino’s open-source
2553 strategy as helping the world get over the idea that technology has to be
2554 protected. Tom says, <span class="quote">„<span class="quote">Technology is a literacy everyone should
2555 learn.</span>“</span>
2556     </p><p>
2557       Ultimately, for Arduino, going open has been good business—good for product
2558 development, good for distribution, good for pricing, and good for
2559 manufacturing.
2560     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm884" class="footnote"><p><a href="#idm884" class="para"><sup class="para">[112] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm894" class="footnote"><p><a href="#idm894" class="para"><sup class="para">[113] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>Kapitel 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>
2561         Ártica provides online courses and consulting services focused on how to use
2562 digital technology to share knowledge and enable collaboration in arts and
2563 culture. Founded in 2011 in Uruguay.
2564       </p><p>
2565           <a class="ulink" href="http://www.articaonline.com" target="_top">http://www.articaonline.com</a>
2566         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
2567 services
2568       </p><p><span class="strong"><strong>Interview date</strong></span>: March 9, 2016
2569       </p><p><span class="strong"><strong>Interviewees</strong></span>: Mariana Fossatti and Jorge
2570 Gemetto, cofounders
2571       </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}
2572     \textit{
2573         Profile written by Sarah Hinchliff Pearson
2574       }
2575     \end{flushright}</td></tr></table></div><p>
2576       The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
2577 ultimate example of DIY. Not only are they successful entrepreneurs, the
2578 niche in which their small business operates is essentially one they built
2579 themselves.
2580     </p><p>
2581       Their dream jobs didn’t exist, so they created them.
2582     </p><p>
2583       In 2011, Mariana was a sociologist working for an international organization
2584 to develop research and online education about rural-development
2585 issues. Jorge was a psychologist, also working in online education. Both
2586 were bloggers and heavy users of social media, and both had a passion for
2587 arts and culture. They decided to take their skills in digital technology
2588 and online learning and apply them to a topic area they loved. They launched
2589 Ártica, an online business that provides education and consulting for people
2590 and institutions creating artistic and cultural projects on the Internet.
2591     </p><p>
2592       Ártica feels like a uniquely twenty-first century business. The small
2593 company has a global online presence with no physical offices. Jorge and
2594 Mariana live in Uruguay, and the other two full-time employees, who Jorge
2595 and Mariana have never actually met in person, live in Spain. They started
2596 by creating a MOOC (massive open online course) about remix culture and
2597 collaboration in the arts, which gave them a direct way to reach an
2598 international audience, attracting students from across Latin America and
2599 Spain.  In other words, it is the classic Internet story of being able to
2600 directly tap into an audience without relying upon gatekeepers or
2601 intermediaries.
2602     </p><p>
2603       Ártica offers personalized education and consulting services, and helps
2604 clients implement projects. All of these services are customized. They call
2605 it an <span class="quote">„<span class="quote">artisan</span>“</span> process because of the time and effort it takes
2606 to adapt their work for the particular needs of students and
2607 clients. <span class="quote">„<span class="quote">Each student or client is paying for a specific solution to
2608 his or her problems and questions,</span>“</span> Mariana said. Rather than sell
2609 access to their content, they provide it for free and charge for the
2610 personalized services.
2611     </p><p>
2612       When they started, they offered a smaller number of courses designed to
2613 attract large audiences. <span class="quote">„<span class="quote">Over the years, we realized that online
2614 communities are more specific than we thought,</span>“</span> Mariana said. Ártica
2615 now provides more options for classes and has lower enrollment in each
2616 course. This means they can provide more attention to individual students
2617 and offer classes on more specialized topics.
2618     </p><p>
2619       Online courses are their biggest revenue stream, but they also do more than
2620 a dozen consulting projects each year, ranging from digitization to event
2621 planning to marketing campaigns. Some are significant in scope, particularly
2622 when they work with cultural institutions, and some are smaller projects
2623 commissioned by individual artists.
2624     </p><p>
2625       Ártica also seeks out public and private funding for specific
2626 projects. Sometimes, even if they are unsuccessful in subsidizing a project
2627 like a new course or e-book, they will go ahead because they believe in
2628 it. They take the stance that every new project leads them to something new,
2629 every new resource they create opens new doors.
2630     </p><p>
2631       Ártica relies heavily on their free Creative Commons–licensed content to
2632 attract new students and clients. Everything they create—online education,
2633 blog posts, videos—is published under an Attribution-ShareAlike license (CC
2634 BY-SA). <span class="quote">„<span class="quote">We use a ShareAlike license because we want to give the
2635 greatest freedom to our students and readers, and we also want that freedom
2636 to be viral,</span>“</span> Jorge said. For them, giving others the right to reuse
2637 and remix their content is a fundamental value. <span class="quote">„<span class="quote">How can you offer an
2638 online educational service without giving permission to download, make and
2639 keep copies, or print the educational resources?</span>“</span> Jorge
2640 said. <span class="quote">„<span class="quote">If we want to do the best for our students—those who trust in
2641 us to the point that they are willing to pay online without face-to-face
2642 contact—we have to offer them a fair and ethical agreement.</span>“</span>
2643     </p><p>
2644       They also believe sharing their ideas and expertise openly helps them build
2645 their reputation and visibility. People often share and cite their work. A
2646 few years ago, a publisher even picked up one of their e-books and
2647 distributed printed copies. Ártica views reuse of their work as a way to
2648 open up new opportunities for their business.
2649     </p><p>
2650       This belief that openness creates new opportunities reflects another
2651 belief—in serendipity. When describing their process for creating content,
2652 they spoke of all of the spontaneous and organic ways they find
2653 inspiration. <span class="quote">„<span class="quote">Sometimes, the collaborative process starts with a
2654 conversation between us, or with friends from other projects,</span>“</span> Jorge
2655 said. <span class="quote">„<span class="quote">That can be the first step for a new blog post or another
2656 simple piece of content, which can evolve to a more complex product in the
2657 future, like a course or a book.</span>“</span>
2658     </p><p>
2659       Rather than planning their work in advance, they let their creative process
2660 be dynamic. <span class="quote">„<span class="quote">This doesn’t mean that we don’t need to work hard in
2661 order to get good professional results, but the design process is more
2662 flexible,</span>“</span> Jorge said. They share early and often, and they adjust
2663 based on what they learn, always exploring and testing new ideas and ways of
2664 operating. In many ways, for them, the process is just as important as the
2665 final product.
2666     </p><p>
2667       People and relationships are also just as important, sometimes
2668 more. <span class="quote">„<span class="quote">In the educational and cultural business, it is more important
2669 to pay attention to people and process, rather than content or specific
2670 formats or materials,</span>“</span> Mariana said.  <span class="quote">„<span class="quote">Materials and content
2671 are fluid. The important thing is the relationships.</span>“</span>
2672     </p><p>
2673       Ártica believes in the power of the network. They seek to make connections
2674 with people and institutions across the globe so they can learn from them
2675 and share their knowledge.
2676     </p><p>
2677       At the core of everything Ártica does is a set of values.  <span class="quote">„<span class="quote">Good
2678 content is not enough,</span>“</span> Jorge said. <span class="quote">„<span class="quote">We also think that it is
2679 very important to take a stand for some things in the cultural
2680 sector.</span>“</span> Mariana and Jorge are activists. They defend free culture
2681 (the movement promoting the freedom to modify and distribute creative work)
2682 and work to demonstrate the intersection between free culture and other
2683 social-justice movements. Their efforts to involve people in their work and
2684 enable artists and cultural institutions to better use technology are all
2685 tied closely to their belief system.  Ultimately, what drives their work is
2686 a mission to democratize art and culture.
2687     </p><p>
2688       Of course, Ártica also has to make enough money to cover its expenses. Human
2689 resources are, by far, their biggest expense. They tap a network of
2690 collaborators on a case-by-case basis and hire contractors for specific
2691 projects. Whenever possible, they draw from artistic and cultural resources
2692 in the commons, and they rely on free software. Their operation is small,
2693 efficient, and sustainable, and because of that, it is a success.
2694     </p><p><span class="quote">„<span class="quote">There are lots of people offering online courses,</span>“</span> Jorge
2695 said. <span class="quote">„<span class="quote">But it is easy to differentiate us. We have an approach that is
2696 very specific and personal.</span>“</span> Ártica’s model is rooted in the personal
2697 at every level. For Mariana and Jorge, success means doing what brings them
2698 personal meaning and purpose, and doing it sustainably and collaboratively.
2699     </p><p>
2700       In their work with younger artists, Mariana and Jorge try to emphasize that
2701 this model of success is just as valuable as the picture of success we get
2702 from the media. <span class="quote">„<span class="quote">If they seek only the traditional type of success,
2703 they will get frustrated,</span>“</span> Mariana said. <span class="quote">„<span class="quote">We try to show them
2704 another image of what it looks like.</span>“</span>
2705     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Kapitel 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>
2706         The Blender Institute is an animation studio that creates 3-D films using
2707 Blender software. Founded in 2006 in the Netherlands.
2708       </p><p>
2709           <a class="ulink" href="http://www.blender.org" target="_top">http://www.blender.org</a>
2710         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
2711 (subscription-based), charging for physical copies, selling merchandise
2712       </p><p><span class="strong"><strong>Interview date</strong></span>: March 8, 2016
2713       </p><p><span class="strong"><strong>Interviewee</strong></span>: Francesco Siddi, production
2714 coordinator
2715       </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}
2716     \textit{
2717         Profile written by Sarah Hinchliff Pearson
2718       }
2719     \end{flushright}</td></tr></table></div><p>
2720       For Ton Roosendaal, the creator of Blender software and its related
2721 entities, sharing is practical. Making their 3-D content creation software
2722 available under a free software license has been integral to its development
2723 and popularity. Using that software to make movies that were licensed with
2724 Creative Commons pushed that development even further. Sharing enables
2725 people to participate and to interact with and build upon the technology and
2726 content they create in a way that benefits Blender and its community in
2727 concrete ways.
2728     </p><p>
2729       Each open-movie project Blender runs produces a host of openly licensed
2730 outputs, not just the final film itself but all of the source material as
2731 well. The creative process also enhances the development of the Blender
2732 software because the technical team responds directly to the needs of the
2733 film production team, creating tools and features that make their lives
2734 easier. And, of course, each project involves a long, rewarding process for
2735 the creative and technical community working together.
2736     </p><p>
2737       Rather than just talking about the theoretical benefits of sharing and free
2738 culture, Ton is very much about doing and making free culture. Blender’s
2739 production coordinator Francesco Siddi told us, <span class="quote">„<span class="quote">Ton believes if you
2740 don’t make content using your tools, then you’re not doing anything.</span>“</span>
2741     </p><p>
2742       Blender’s history begins in the late 1990s, when Ton created the Blender
2743 software. Originally, the software was an in-house resource for his
2744 animation studio based in the Netherlands.  Investors became interested in
2745 the software, so he began marketing the software to the public, offering a
2746 free version in addition to a paid version. Sales were disappointing, and
2747 his investors gave up on the endeavor in the early 2000s. He made a deal
2748 with investors—if he could raise enough money, he could then make the
2749 Blender software available under the GNU General Public License.
2750     </p><p>
2751       This was long before Kickstarter and other online crowdfunding sites
2752 existed, but Ton ran his own version of a crowdfunding campaign and quickly
2753 raised the money he needed. The Blender software became freely available for
2754 anyone to use. Simply applying the General Public License to the software,
2755 however, was not enough to create a thriving community around it. Francesco
2756 told us, <span class="quote">„<span class="quote">Software of this complexity relies on people and their
2757 vision of how people work together. Ton is a fantastic community builder and
2758 manager, and he put a lot of work into fostering a community of developers
2759 so that the project could live.</span>“</span>
2760     </p><p>
2761       Like any successful free and open-source software project, Blender developed
2762 quickly because the community could make fixes and
2763 improvements. <span class="quote">„<span class="quote">Software should be free and open to hack,</span>“</span>
2764 Francesco said. <span class="quote">„<span class="quote">Otherwise, everyone is doing the same thing in the
2765 dark for ten years.</span>“</span> Ton set up the Blender Foundation to oversee and
2766 steward the software development and maintenance.
2767     </p><p>
2768       After a few years, Ton began looking for new ways to push development of the
2769 software. He came up with the idea of creating CC-licensed films using the
2770 Blender software. Ton put a call online for all interested and skilled
2771 artists. Francesco said the idea was to get the best artists available, put
2772 them in a building together with the best developers, and have them work
2773 together.  They would not only produce high-quality openly licensed content,
2774 they would improve the Blender software in the process.
2775     </p><p>
2776       They turned to crowdfunding to subsidize the costs of the project.  They had
2777 about twenty people working full-time for six to ten months, so the costs
2778 were significant. Francesco said that when their crowdfunding campaign
2779 succeeded, people were astounded.  <span class="quote">„<span class="quote">The idea that making money was
2780 possible by producing CC-licensed material was mind-blowing to
2781 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
2782 believe it.</span>‘</span></span>“</span>
2783     </p><p>
2784       The first film, which was released in 2006, was an experiment. It was so
2785 successful that Ton decided to set up the Blender Institute, an entity
2786 dedicated to hosting open-movie projects. The Blender Institute’s next
2787 project was an even bigger success. The film, Big Buck Bunny, went viral,
2788 and its animated characters were picked up by marketers.
2789     </p><p>
2790       Francesco said that, over time, the Blender Institute projects have gotten
2791 bigger and more prominent. That means the filmmaking process has become more
2792 complex, combining technical experts and artists who focus on
2793 storytelling. Francesco says the process is almost on an industrial scale
2794 because of the number of moving parts. This requires a lot of specialized
2795 assistance, but the Blender Institute has no problem finding the talent it
2796 needs to help on projects. <span class="quote">„<span class="quote">Blender hardly does any recruiting for
2797 film projects because the talent emerges naturally,</span>“</span> Francesco
2798 said. <span class="quote">„<span class="quote">So many people want to work with us, and we can’t always hire
2799 them because of budget constraints.</span>“</span>
2800     </p><p>
2801       Blender has had a lot of success raising money from its community over the
2802 years. In many ways, the pitch has gotten easier to make.  Not only is
2803 crowdfunding simply more familiar to the public, but people know and trust
2804 Blender to deliver, and Ton has developed a reputation as an effective
2805 community leader and visionary for their work. <span class="quote">„<span class="quote">There is a whole
2806 community who sees and understands the benefit of these projects,</span>“</span>
2807 Francesco said.
2808     </p><p>
2809       While these benefits of each open-movie project make a compelling pitch for
2810 crowdfunding campaigns, Francesco told us the Blender Institute has found
2811 some limitations in the standard crowdfunding model where you propose a
2812 specific project and ask for funding.  <span class="quote">„<span class="quote">Once a project is over,
2813 everyone goes home,</span>“</span> he said. <span class="quote">„<span class="quote">It is great fun, but then it
2814 ends. That is a problem.</span>“</span>
2815     </p><p>
2816       To make their work more sustainable, they needed a way to receive ongoing
2817 support rather than on a project-by-project basis. Their solution is Blender
2818 Cloud, a subscription-style crowdfunding model akin to the online
2819 crowdfunding platform, Patreon. For about ten euros each month, subscribers
2820 get access to download everything the Blender Institute produces—software,
2821 art, training, and more.  All of the assets are available under an
2822 Attribution license (CC BY) or placed in the public domain (CC0), but they
2823 are initially made available only to subscribers. Blender Cloud enables
2824 subscribers to follow Blender’s movie projects as they develop, sharing
2825 detailed information and content used in the creative process. Blender Cloud
2826 also has extensive training materials and libraries of characters and other
2827 assets used in various projects.
2828     </p><p>
2829       The continuous financial support provided by Blender Cloud subsidizes five
2830 to six full-time employees at the Blender Institute. Francesco says their
2831 goal is to grow their subscriber base. <span class="quote">„<span class="quote">This is our freedom,</span>“</span>
2832 he told us, <span class="quote">„<span class="quote">and for artists, freedom is everything.</span>“</span>
2833     </p><p>
2834       Blender Cloud is the primary revenue stream of the Blender Institute. The
2835 Blender Foundation is funded primarily by donations, and that money goes
2836 toward software development and maintenance. The revenue streams of the
2837 Institute and Foundation are deliberately kept separate. Blender also has
2838 other revenue streams, such as the Blender Store, where people can purchase
2839 DVDs, T-shirts, and other Blender products.
2840     </p><p>
2841       Ton has worked on projects relating to his Blender software for nearly
2842 twenty years. Throughout most of that time, he has been committed to making
2843 the software and the content produced with the software free and
2844 open. Selling a license has never been part of the business model.
2845     </p><p>
2846       Since 2006, he has been making films available along with all of their
2847 source material. He says he has hardly ever seen people stepping into
2848 Blender’s shoes and trying to make money off of their content. Ton believes
2849 this is because the true value of what they do is in the creative and
2850 production process. <span class="quote">„<span class="quote">Even when you share everything, all your original
2851 sources, it still takes a lot of talent, skills, time, and budget to
2852 reproduce what you did,</span>“</span> Ton said.
2853     </p><p>
2854       For Ton and Blender, it all comes back to doing.
2855     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Kapitel 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>
2856         Cards Against Humanity is a private, for-profit company that makes a popular
2857 party game by the same name. Founded in 2011 in the U.S.
2858       </p><p>
2859           <a class="ulink" href="http://www.cardsagainsthumanity.com" target="_top">http://www.cardsagainsthumanity.com</a>
2860         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
2861 copies
2862       </p><p><span class="strong"><strong>Interview date</strong></span>: February 3, 2016
2863       </p><p><span class="strong"><strong>Interviewee</strong></span>: Max Temkin, cofounder
2864       </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}
2865     \textit{
2866         Profile written by Sarah Hinchliff Pearson
2867       }
2868     \end{flushright}</td></tr></table></div><p>
2869       If you ask cofounder Max Temkin, there is nothing particularly interesting
2870 about the Cards Against Humanity business model.  <span class="quote">„<span class="quote">We make a
2871 product. We sell it for money. Then we spend less money than we
2872 make,</span>“</span> Max said.
2873     </p><p>
2874       He is right. Cards Against Humanity is a simple party game, modeled after
2875 the game Apples to Apples. To play, one player asks a question or
2876 fill-in-the-blank statement from a black card, and the other players submit
2877 their funniest white card in response.  The catch is that all of the cards
2878 are filled with crude, gruesome, and otherwise awful things. For the right
2879 kind of people (<span class="quote">„<span class="quote">horrible people,</span>“</span> according to Cards Against
2880 Humanity advertising), this makes for a hilarious and fun game.
2881     </p><p>
2882       The revenue model is simple. Physical copies of the game are sold for a
2883 profit. And it works. At the time of this writing, Cards Against Humanity is
2884 the number-one best-selling item out of all toys and games on Amazon. There
2885 are official expansion packs available, and several official themed packs
2886 and international editions as well.
2887     </p><p>
2888       But Cards Against Humanity is also available for free. Anyone can download a
2889 digital version of the game on the Cards Against Humanity website. More than
2890 one million people have downloaded the game since the company began tracking
2891 the numbers.
2892     </p><p>
2893       The game is available under an Attribution-NonCommercial-ShareAlike license
2894 (CC BY-NC-SA). That means, in addition to copying the game, anyone can
2895 create new versions of the game as long as they make it available under the
2896 same noncommercial terms. The ability to adapt the game is like an entire
2897 new game unto itself.
2898     </p><p>
2899       All together, these factors—the crass tone of the game and company, the free
2900 download, the openness to fans remixing the game—give the game a massive
2901 cult following.
2902     </p><p>
2903       Their success is not the result of a grand plan. Instead, Cards Against
2904 Humanity was the last in a long line of games and comedy projects that Max
2905 Temkin and his friends put together for their own amusement. As Max tells
2906 the story, they made the game so they could play it themselves on New Year’s
2907 Eve because they were too nerdy to be invited to other parties. The game was
2908 a hit, so they decided to put it up online as a free PDF. People started
2909 asking if they could pay to have the game printed for them, and eventually
2910 they decided to run a Kickstarter to fund the printing.  They set their
2911 Kickstarter goal at $4,000—and raised $15,000. The game was officially
2912 released in May 2011.
2913     </p><p>
2914       The game caught on quickly, and it has only grown more popular over
2915 time. Max says the eight founders never had a meeting where they decided to
2916 make it an ongoing business. <span class="quote">„<span class="quote">It kind of just happened,</span>“</span> he
2917 said.
2918     </p><p>
2919       But this tale of a <span class="quote">„<span class="quote">happy accident</span>“</span> belies marketing
2920 genius. Just like the game, the Cards Against Humanity brand is irreverent
2921 and memorable. It is hard to forget a company that calls the FAQ on their
2922 website <span class="quote">„<span class="quote">Your dumb questions.</span>“</span>
2923     </p><p>
2924       Like most quality satire, however, there is more to the joke than vulgarity
2925 and shock value. The company’s marketing efforts around Black Friday
2926 illustrate this particularly well. For those outside the United States,
2927 Black Friday is the term for the day after the Thanksgiving holiday, the
2928 biggest shopping day of the year. It is an incredibly important day for
2929 Cards Against Humanity, like it is for all U.S. retailers. Max said they
2930 struggled with what to do on Black Friday because they didn’t want to
2931 support what he called the <span class="quote">„<span class="quote">orgy of consumerism</span>“</span> the day has
2932 become, particularly since it follows a day that is about being grateful for
2933 what you have. In 2013, after deliberating, they decided to have an
2934 Everything Costs $5 More sale.
2935     </p><p><span class="quote">„<span class="quote">We sweated it out the night before Black Friday, wondering if our
2936 fans were going to hate us for it,</span>“</span> he said.  <span class="quote">„<span class="quote">But it made us
2937 laugh so we went with it. People totally caught the joke.</span>“</span>
2938     </p><p>
2939       This sort of bold transparency delights the media, but more importantly, it
2940 engages their fans. <span class="quote">„<span class="quote">One of the most surprising things you can do in
2941 capitalism is just be honest with people,</span>“</span> Max said. <span class="quote">„<span class="quote">It shocks
2942 people that there is transparency about what you are doing.</span>“</span>
2943     </p><p>
2944       Max also likened it to a grand improv scene. <span class="quote">„<span class="quote">If we do something a
2945 little subversive and unexpected, the public wants to be a part of the
2946 joke.</span>“</span> One year they did a Give Cards Against Humanity $5 event,
2947 where people literally paid them five dollars for no reason. Their fans
2948 wanted to make the joke funnier by making it successful. They made $70,000
2949 in a single day.
2950     </p><p>
2951       This remarkable trust they have in their customers is what inspired their
2952 decision to apply a Creative Commons license to the game. Trusting your
2953 customers to reuse and remix your work requires a leap of faith. Cards
2954 Against Humanity obviously isn’t afraid of doing the unexpected, but there
2955 are lines even they do not want to cross. Before applying the license, Max
2956 said they worried that some fans would adapt the game to include all of the
2957 jokes they intentionally never made because they crossed that
2958 line. <span class="quote">„<span class="quote">It happened, and the world didn’t end,</span>“</span> Max
2959 said. <span class="quote">„<span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
2960 times over because there are so many benefits.</span>“</span>
2961     </p><p>
2962       Any successful product inspires its biggest fans to create remixes of it,
2963 but unsanctioned adaptations are more likely to fly under the radar. The
2964 Creative Commons license gives fans of Cards Against Humanity the freedom to
2965 run with the game and copy, adapt, and promote their creations openly. Today
2966 there are thousands of fan expansions of the game.
2967     </p><p>
2968       Max said, <span class="quote">„<span class="quote">CC was a no-brainer for us because it gets the most people
2969 involved. Making the game free and available under a CC license led to the
2970 unbelievable situation where we are one of the best-marketed games in the
2971 world, and we have never spent a dime on marketing.</span>“</span>
2972     </p><p>
2973       Of course, there are limits to what the company allows its customers to do
2974 with the game. They chose the Attribution-NonCommercial-ShareAlike license
2975 because it restricts people from using the game to make money. It also
2976 requires that adaptations of the game be made available under the same
2977 licensing terms if they are shared publicly. Cards Against Humanity also
2978 polices its brand. <span class="quote">„<span class="quote">We feel like we’re the only ones who can use our
2979 brand and our game and make money off of it,</span>“</span> Max said. About 99.9
2980 percent of the time, they just send an email to those making commercial use
2981 of the game, and that is the end of it. There have only been a handful of
2982 instances where they had to get a lawyer involved.
2983     </p><p>
2984       Just as there is more than meets the eye to the Cards Against Humanity
2985 business model, the same can be said of the game itself.  To be playable,
2986 every white card has to work syntactically with enough black cards. The
2987 eight creators invest an incredible amount of work into creating new cards
2988 for the game. <span class="quote">„<span class="quote">We have daylong arguments about commas,</span>“</span> Max
2989 said. <span class="quote">„<span class="quote">The slacker tone of the cards gives people the impression that
2990 it is easy to write them, but it is actually a lot of work and
2991 quibbling.</span>“</span>
2992     </p><p>
2993       That means cocreation with their fans really doesn’t work. The company has a
2994 submission mechanism on their website, and they get thousands of
2995 suggestions, but it is very rare that a submitted card is adopted. Instead,
2996 the eight initial creators remain the primary authors of expansion decks and
2997 other new products released by the company. Interestingly, the creativity of
2998 their customer base is really only an asset to the company once their
2999 original work is created and published when people make their own
3000 adaptations of the game.
3001     </p><p>
3002       For all of their success, the creators of Cards Against Humanity are only
3003 partially motivated by money. Max says they have always been interested in
3004 the Walt Disney philosophy of financial success. <span class="quote">„<span class="quote">We don’t make jokes
3005 and games to make money—we make money so we can make more jokes and
3006 games,</span>“</span> he said.
3007     </p><p>
3008       In fact, the company has given more than $4 million to various charities and
3009 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
3010 have other interests and hobbies. We are passionate about other things going
3011 on in our lives. A lot of the activism we have done comes out of us taking
3012 things from the rest of our lives and channeling some of the excitement from
3013 the game into it.</span>“</span>
3014     </p><p>
3015       Seeing money as fuel rather than the ultimate goal is what has enabled them
3016 to embrace Creative Commons licensing without reservation. CC licensing
3017 ended up being a savvy marketing move for the company, but nonetheless,
3018 giving up exclusive control of your work necessarily means giving up some
3019 opportunities to extract more money from customers.
3020     </p><p><span class="quote">„<span class="quote">It’s not right for everyone to release everything under CC
3021 licensing,</span>“</span> Max said. <span class="quote">„<span class="quote">If your only goal is to make a lot of
3022 money, then CC is not best strategy. This kind of business model, though,
3023 speaks to your values, and who you are and why you’re making things.</span>“</span>
3024     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Kapitel 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>
3025         The Conversation is an independent source of news, sourced from the academic
3026 and research community and delivered direct to the public over the
3027 Internet. Founded in 2011 in Australia.
3028       </p><p>
3029           <a class="ulink" href="http://theconversation.com" target="_top">http://theconversation.com</a>
3030         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
3031 (universities pay membership fees to have their faculties serve as writers),
3032 grant funding
3033       </p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
3034       </p><p><span class="strong"><strong>Interviewee</strong></span>: Andrew Jaspan, founder
3035       </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}
3036     \textit{
3037         Profile written by Paul Stacey
3038       }
3039     \end{flushright}</td></tr></table></div><p>
3040       Andrew Jaspan spent years as an editor of major newspapers including the
3041 Observer in London, the Sunday Herald in Glasgow, and the Age in Melbourne,
3042 Australia. He experienced firsthand the decline of newspapers, including the
3043 collapse of revenues, layoffs, and the constant pressure to reduce
3044 costs. After he left the Age in 2005, his concern for the future journalism
3045 didn’t go away. Andrew made a commitment to come up with an alternative
3046 model.
3047     </p><p>
3048       Around the time he left his job as editor of the Melbourne Age, Andrew
3049 wondered where citizens would get news grounded in fact and evidence rather
3050 than opinion or ideology. He believed there was still an appetite for
3051 journalism with depth and substance but was concerned about the increasing
3052 focus on the sensational and sexy.
3053     </p><p>
3054       While at the Age, he’d become friends with a vice-chancellor of a university
3055 in Melbourne who encouraged him to talk to smart people across campus—an
3056 astrophysicist, a Nobel laureate, earth scientists, economists . . . These
3057 were the kind of smart people he wished were more involved in informing the
3058 world about what is going on and correcting the errors that appear in
3059 media. However, they were reluctant to engage with mass media. Often,
3060 journalists didn’t understand what they said, or unilaterally chose what
3061 aspect of a story to tell, putting out a version that these people felt was
3062 wrong or mischaracterized. Newspapers want to attract a mass
3063 audience. Scholars want to communicate serious news, findings, and
3064 insights. It’s not a perfect match. Universities are massive repositories of
3065 knowledge, research, wisdom, and expertise. But a lot of that stays behind a
3066 wall of their own making—there are the walled garden and ivory tower
3067 metaphors, and in more literal terms, the paywall. Broadly speaking,
3068 universities are part of society but disconnected from it. They are an
3069 enormous public resource but not that good at presenting their expertise to
3070 the wider public.
3071     </p><p>
3072       Andrew believed he could to help connect academics back into the public
3073 arena, and maybe help society find solutions to big problems. He thought
3074 about pairing professional editors with university and research experts,
3075 working one-on-one to refine everything from story structure to headline,
3076 captions, and quotes.  The editors could help turn something that is
3077 academic into something understandable and readable. And this would be a key
3078 difference from traditional journalism—the subject matter expert would get a
3079 chance to check the article and give final approval before it is
3080 published. Compare this with reporters just picking and choosing the quotes
3081 and writing whatever they want.
3082     </p><p>
3083       The people he spoke to liked this idea, and Andrew embarked on raising money
3084 and support with the help of the Commonwealth Scientific and Industrial
3085 Research Organisation (CSIRO), the University of Melbourne, Monash
3086 University, the University of Technology Sydney, and the University of
3087 Western Australia. These founding partners saw the value of an independent
3088 information channel that would also showcase the talent and knowledge of the
3089 university and research sector. With their help, in 2011, the Conversation,
3090 was launched as an independent news site in Australia. Everything published
3091 in the Conversation is openly licensed with Creative Commons.
3092     </p><p>
3093       The Conversation is founded on the belief that underpinning a functioning
3094 democracy is access to independent, high-quality, informative
3095 journalism. The Conversation’s aim is for people to have a better
3096 understanding of current affairs and complex issues—and hopefully a better
3097 quality of public discourse. The Conversation sees itself as a source of
3098 trusted information dedicated to the public good. Their core mission is
3099 simple: to provide readers with a reliable source of evidence-based
3100 information.
3101     </p><p>
3102       Andrew worked hard to reinvent a methodology for creating reliable, credible
3103 content. He introduced strict new working practices, a charter, and codes of
3104 conduct.<a href="#ftn.idm1075" class="footnote" name="idm1075"><sup class="footnote">[114]</sup></a> These include fully disclosing
3105 who every author is (with their relevant expertise); who is funding their
3106 research; and if there are any potential or real conflicts of interest. Also
3107 important is where the content originates, and even though it comes from the
3108 university and research community, it still needs to be fully disclosed. The
3109 Conversation does not sit behind a paywall. Andrew believes access to
3110 information is an issue of equality—everyone should have access, like access
3111 to clean water.  The Conversation is committed to an open and free
3112 Internet.  Everyone should have free access to their content, and be able to
3113 share it or republish it.
3114     </p><p>
3115       Creative Commons help with these goals; articles are published with the
3116 Attribution- NoDerivs license (CC BY-ND). They’re freely available for
3117 others to republish elsewhere as long as attribution is given and the
3118 content is not edited. Over five years, more than twenty-two thousand sites
3119 have republished their content. The Conversation website gets about 2.9
3120 million unique views per month, but through republication they have
3121 thirty-five million readers. This couldn’t have been done without the
3122 Creative Commons license, and in Andrew’s view, Creative Commons is central
3123 to everything the Conversation does.
3124     </p><p>
3125       When readers come across the Conversation, they seem to like what they find
3126 and recommend it to their friends, peers, and networks.  Readership has
3127 grown primarily through word of mouth. While they don’t have sales and
3128 marketing, they do promote their work through social media (including
3129 Twitter and Facebook), and by being an accredited supplier to Google News.
3130     </p><p>
3131       It’s usual for the founders of any company to ask themselves what kind of
3132 company it should be. It quickly became clear to the founders of the
3133 Conversation that they wanted to create a public good rather than make money
3134 off of information. Most media companies are working to aggregate as many
3135 eyeballs as possible and sell ads. The Conversation founders didn’t want
3136 this model. It takes no advertising and is a not-for-profit venture.
3137     </p><p>
3138       There are now different editions of the Conversation for Africa, the United
3139 Kingdom, France, and the United States, in addition to the one for
3140 Australia. All five editions have their own editorial mastheads, advisory
3141 boards, and content. The Conversation’s global virtual newsroom has roughly
3142 ninety staff working with thirty-five thousand academics from over sixteen
3143 hundred universities around the world. The Conversation would like to be
3144 working with university scholars from even more parts of the world.
3145     </p><p>
3146       Additionally, each edition has its own set of founding partners, strategic
3147 partners, and funders. They’ve received funding from foundations,
3148 corporates, institutions, and individual donations, but the Conversation is
3149 shifting toward paid memberships by universities and research institutions
3150 to sustain operations. This would safeguard the current service and help
3151 improve coverage and features.
3152     </p><p>
3153       When professors from member universities write an article, there is some
3154 branding of the university associated with the article. On the Conversation
3155 website, paying university members are listed as <span class="quote">„<span class="quote">members and
3156 funders.</span>“</span> Early participants may be designated as <span class="quote">„<span class="quote">founding
3157 members,</span>“</span> with seats on the editorial advisory board.
3158     </p><p>
3159       Academics are not paid for their contributions, but they get free editing
3160 from a professional (four to five hours per piece, on average). They also
3161 get access to a large audience. Every author and member university has
3162 access to a special analytics dashboard where they can check the reach of an
3163 article. The metrics include what people are tweeting, the comments,
3164 countries the readership represents, where the article is being republished,
3165 and the number of readers per article.
3166     </p><p>
3167       The Conversation plans to expand the dashboard to show not just reach but
3168 impact. This tracks activities, behaviors, and events that occurred as a
3169 result of publication, including things like a scholar being asked to go on
3170 a show to discuss their piece, give a talk at a conference, collaborate,
3171 submit a journal paper, and consult a company on a topic.
3172     </p><p>
3173       These reach and impact metrics show the benefits of membership.  With the
3174 Conversation, universities can engage with the public and show why they’re
3175 of value.
3176     </p><p>
3177       With its tagline, <span class="quote">„<span class="quote">Academic Rigor, Journalistic Flair,</span>“</span> the
3178 Conversation represents a new form of journalism that contributes to a more
3179 informed citizenry and improved democracy around the world. Its open
3180 business model and use of Creative Commons show how it’s possible to
3181 generate both a public good and operational revenue at the same time.
3182     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1075" class="footnote"><p><a href="#idm1075" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>Kapitel 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>
3183         Cory Doctorow is a science fiction writer, activist, blogger, and
3184 journalist. Based in the U.S.
3185       </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>
3186       </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
3187 copies (book sales), pay-what-you-want, selling translation rights to books
3188       </p><p><span class="strong"><strong>Interview date</strong></span>: January 12, 2016
3189       </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}
3190     \textit{
3191         Profile written by Sarah Hinchliff Pearson
3192       }
3193     \end{flushright}</td></tr></table></div><p>
3194       Cory Doctorow hates the term <span class="quote">„<span class="quote">business model,</span>“</span> and he is
3195 adamant that he is not a brand. <span class="quote">„<span class="quote">To me, branding is the idea that you
3196 can take a thing that has certain qualities, remove the qualities, and go on
3197 selling it,</span>“</span> he said. <span class="quote">„<span class="quote">I’m not out there trying to figure out
3198 how to be a brand. I’m doing this thing that animates me to work crazy
3199 insane hours because it’s the most important thing I know how to do.</span>“</span>
3200     </p><p>
3201       Cory calls himself an entrepreneur. He likes to say his success came from
3202 making stuff people happened to like and then getting out of the way of them
3203 sharing it.
3204     </p><p>
3205       He is a science fiction writer, activist, blogger, and journalist.
3206 Beginning with his first novel, Down and Out in the Magic Kingdom, in 2003,
3207 his work has been published under a Creative Commons license. Cory is
3208 coeditor of the popular CC-licensed site Boing Boing, where he writes about
3209 technology, politics, and intellectual property. He has also written several
3210 nonfiction books, including the most recent Information Doesn’t Want to Be
3211 Free, about the ways in which creators can make a living in the Internet
3212 age.
3213     </p><p>
3214       Cory primarily makes money by selling physical books, but he also takes on
3215 paid speaking gigs and is experimenting with pay-what-you-want models for
3216 his work.
3217     </p><p>
3218       While Cory’s extensive body of fiction work has a large following, he is
3219 just as well known for his activism. He is an outspoken opponent of
3220 restrictive copyright and digital-rights-management (DRM) technology used to
3221 lock up content because he thinks both undermine creators and the public
3222 interest. He is currently a special adviser at the Electronic Frontier
3223 Foundation, where he is involved in a lawsuit challenging the U.S. law that
3224 protects DRM.  Cory says his political work doesn’t directly make him money,
3225 but if he gave it up, he thinks he would lose credibility and, more
3226 importantly, lose the drive that propels him to create. <span class="quote">„<span class="quote">My political
3227 work is a different expression of the same artistic-political urge,</span>“</span>
3228 he said. <span class="quote">„<span class="quote">I have this suspicion that if I gave up the things that
3229 didn’t make me money, the genuineness would leach out of what I do, and the
3230 quality that causes people to like what I do would be gone.</span>“</span>
3231     </p><p>
3232       Cory has been financially successful, but money is not his primary
3233 motivation. At the start of his book Information Doesn’t Want to Be Free, he
3234 stresses how important it is not to become an artist if your goal is to get
3235 rich. <span class="quote">„<span class="quote">Entering the arts because you want to get rich is like buying
3236 lottery tickets because you want to get rich,</span>“</span> he wrote. <span class="quote">„<span class="quote">It
3237 might work, but it almost certainly won’t. Though, of course, someone always
3238 wins the lottery.</span>“</span> He acknowledges that he is one of the lucky few to
3239 <span class="quote">„<span class="quote">make it,</span>“</span> but he says he would be writing no matter
3240 what. <span class="quote">„<span class="quote">I am compelled to write,</span>“</span> he wrote.  <span class="quote">„<span class="quote">Long before
3241 I wrote to keep myself fed and sheltered, I was writing to keep myself
3242 sane.</span>“</span>
3243     </p><p>
3244       Just as money is not his primary motivation to create, money is not his
3245 primary motivation to share. For Cory, sharing his work with Creative
3246 Commons is a moral imperative. <span class="quote">„<span class="quote">It felt morally right,</span>“</span> he said
3247 of his decision to adopt Creative Commons licenses. <span class="quote">„<span class="quote">I felt like I
3248 wasn’t contributing to the culture of surveillance and censorship that has
3249 been created to try to stop copying.</span>“</span> In other words, using CC
3250 licenses symbolizes his worldview.
3251     </p><p>
3252       He also feels like there is a solid commercial basis for licensing his work
3253 with Creative Commons. While he acknowledges he hasn’t been able to do a
3254 controlled experiment to compare the commercial benefits of licensing with
3255 CC against reserving all rights, he thinks he has sold more books using a CC
3256 license than he would have without it. Cory says his goal is to convince
3257 people they should pay him for his work. <span class="quote">„<span class="quote">I started by not calling
3258 them thieves,</span>“</span> he said.
3259     </p><p>
3260       Cory started using CC licenses soon after they were first created.  At the
3261 time his first novel came out, he says the science fiction genre was overrun
3262 with people scanning and downloading books without permission. When he and
3263 his publisher took a closer look at who was doing that sort of thing online,
3264 they realized it looked a lot like book promotion. <span class="quote">„<span class="quote">I knew there was a
3265 relationship between having enthusiastic readers and having a successful
3266 career as a writer,</span>“</span> he said. <span class="quote">„<span class="quote">At the time, it took eighty
3267 hours to OCR a book, which is a big effort. I decided to spare them the time
3268 and energy, and give them the book for free in a format destined to
3269 spread.</span>“</span>
3270     </p><p>
3271       Cory admits the stakes were pretty low for him when he first adopted
3272 Creative Commons licenses. He only had to sell two thousand copies of his
3273 book to break even. People often said he was only able to use CC licenses
3274 successfully at that time because he was just starting out. Now they say he
3275 can only do it because he is an established author.
3276     </p><p>
3277       The bottom line, Cory says, is that no one has found a way to prevent people
3278 from copying the stuff they like. Rather than fighting the tide, Cory makes
3279 his work intrinsically shareable.  <span class="quote">„<span class="quote">Getting the hell out of the way
3280 for people who want to share their love of you with other people sounds
3281 obvious, but it’s remarkable how many people don’t do it,</span>“</span> he said.
3282     </p><p>
3283       Making his work available under Creative Commons licenses enables him to
3284 view his biggest fans as his ambassadors. <span class="quote">„<span class="quote">Being open to fan activity
3285 makes you part of the conversation about what fans do with your work and how
3286 they interact with it,</span>“</span> he said.  Cory’s own website routinely
3287 highlights cool things his audience has done with his work. Unlike
3288 corporations like Disney that tend to have a hands-off relationship with
3289 their fan activity, he has a symbiotic relationship with his
3290 audience. <span class="quote">„<span class="quote">Engaging with your audience can’t guarantee you
3291 success,</span>“</span> he said.  <span class="quote">„<span class="quote">And Disney is an example of being able to
3292 remain aloof and still being the most successful company in the creative
3293 industry in history. But I figure my likelihood of being Disney is pretty
3294 slim, so I should take all the help I can get.</span>“</span>
3295     </p><p>
3296       His first book was published under the most restrictive Creative Commons
3297 license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND).  It allows only
3298 verbatim copying for noncommercial purposes. His later work is published
3299 under the Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA), which
3300 gives people the right to adapt his work for noncommercial purposes but only
3301 if they share it back under the same license terms. Before releasing his
3302 work under a CC license that allows adaptations, he always sells the right
3303 to translate the book to other languages to a commercial publisher first. He
3304 wants to reach new potential buyers in other parts of the world, and he
3305 thinks it is more difficult to get people to pay for translations if there
3306 are fan translations already available for free.
3307     </p><p>
3308       In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
3309 to thinking like a dandelion. Dandelions produce thousands of seeds each
3310 spring, and they are blown into the air going in every direction. The
3311 strategy is to maximize the number of blind chances the dandelion has for
3312 continuing its genetic line. Similarly, he says there are lots of people out
3313 there who may want to buy creative work or compensate authors for it in some
3314 other way. <span class="quote">„<span class="quote">The more places your work can find itself, the greater the
3315 likelihood that it will find one of those would-be customers in some
3316 unsuspected crack in the metaphorical pavement,</span>“</span> he wrote. <span class="quote">„<span class="quote">The
3317 copies that others make of my work cost me nothing, and present the
3318 possibility that I’ll get something.</span>“</span>
3319     </p><p>
3320       Applying a CC license to his work increases the chances it will be shared
3321 more widely around the Web. He avoids DRM—and openly opposes the
3322 practice—for similar reasons. DRM has the effect of tying a work to a
3323 particular platform. This digital lock, in turn, strips the authors of
3324 control over their own work and hands that control over to the platform. He
3325 calls it Cory’s First Law: <span class="quote">„<span class="quote">Anytime someone puts a lock on something
3326 that belongs to you and won’t give you the key, that lock isn’t there for
3327 your benefit.</span>“</span>
3328     </p><p>
3329       Cory operates under the premise that artists benefit when there are more,
3330 rather than fewer, places where people can access their work. The Internet
3331 has opened up those avenues, but DRM is designed to limit them. <span class="quote">„<span class="quote">On
3332 the one hand, we can credibly make our work available to a widely dispersed
3333 audience,</span>“</span> he said. <span class="quote">„<span class="quote">On the other hand, the intermediaries we
3334 historically sold to are making it harder to go around them.</span>“</span> Cory
3335 continually looks for ways to reach his audience without relying upon major
3336 platforms that will try to take control over his work.
3337     </p><p>
3338       Cory says his e-book sales have been lower than those of his competitors,
3339 and he attributes some of that to the CC license making the work available
3340 for free. But he believes people are willing to pay for content they like,
3341 even when it is available for free, as long as it is easy to do. He was
3342 extremely successful using Humble Bundle, a platform that allows people to
3343 pay what they want for DRM-free versions of a bundle of a particular
3344 creator’s work. He is planning to try his own pay-what-you-want experiment
3345 soon.
3346     </p><p>
3347       Fans are particularly willing to pay when they feel personally connected to
3348 the artist. Cory works hard to create that personal connection. One way he
3349 does this is by personally answering every single email he gets. <span class="quote">„<span class="quote">If
3350 you look at the history of artists, most die in penury,</span>“</span> he
3351 said. <span class="quote">„<span class="quote">That reality means that for artists, we have to find ways to
3352 support ourselves when public tastes shift, when copyright stops producing.
3353 Future-proofing your artistic career in many ways means figuring out how to
3354 stay connected to those people who have been touched by your work.</span>“</span>
3355     </p><p>
3356       Cory’s realism about the difficulty of making a living in the arts does not
3357 reflect pessimism about the Internet age. Instead, he says the fact that it
3358 is hard to make a living as an artist is nothing new. What is new, he writes
3359 in his book, <span class="quote">„<span class="quote">is how many ways there are to make things, and to get
3360 them into other people’s hands and minds.</span>“</span>
3361     </p><p>
3362       It has never been easier to think like a dandelion.
3363     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Kapitel 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>
3364         Figshare is a for-profit company offering an online repository where
3365 researchers can preserve and share the output of their research, including
3366 figures, data sets, images, and videos.  Founded in 2011 in the UK.
3367       </p><p>
3368           <a class="ulink" href="http://figshare.com" target="_top">http://figshare.com</a>
3369         </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
3370 services to creators
3371       </p><p><span class="strong"><strong>Interview date</strong></span>: January 28, 2016
3372       </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Hahnel, founder
3373       </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}
3374     \textit{
3375         Profile written by Paul Stacey
3376       }
3377     \end{flushright}</td></tr></table></div><p>
3378       Figshare’s mission is to change the face of academic publishing through
3379 improved dissemination, discoverability, and reusability of scholarly
3380 research. Figshare is a repository where users can make all the output of
3381 their research available—from posters and presentations to data sets and
3382 code—in a way that’s easy to discover, cite, and share. Users can upload any
3383 file format, which can then be previewed in a Web browser. Research output
3384 is disseminated in a way that the current scholarly-publishing model does
3385 not allow.
3386     </p><p>
3387       Figshare founder Mark Hahnel often gets asked: How do you make money? How do
3388 we know you’ll be here in five years? Can you, as a for-profit venture, be
3389 trusted? Answers have evolved over time.
3390     </p><p>
3391       Mark traces the origins of Figshare back to when he was a graduate student
3392 getting his PhD in stem cell biology. His research involved working with
3393 videos of stem cells in motion. However, when he went to publish his
3394 research, there was no way for him to also publish the videos, figures,
3395 graphs, and data sets. This was frustrating. Mark believed publishing his
3396 complete research would lead to more citations and be better for his career.
3397     </p><p>
3398       Mark does not consider himself an advanced software programmer.
3399 Fortunately, things like cloud-based computing and wikis had become
3400 mainstream, and he believed it ought to be possible to put all his research
3401 online and share it with anyone. So he began working on a solution.
3402     </p><p>
3403       There were two key needs: licenses to make the data citable, and persistent
3404 identifiers— URL links that always point back to the original object
3405 ensuring the research is citable for the long term.
3406     </p><p>
3407       Mark chose Digital Object Identifiers (DOIs) to meet the need for a
3408 persistent identifier. In the DOI system, an object’s metadata is stored as
3409 a series of numbers in the DOI name. Referring to an object by its DOI is
3410 more stable than referring to it by its URL, because the location of an
3411 object (the web page or URL) can often change. Mark partnered with DataCite
3412 for the provision of DOIs for research data.
3413     </p><p>
3414       As for licenses, Mark chose Creative Commons. The open-access and
3415 open-science communities were already using and recommending Creative
3416 Commons. Based on what was happening in those communities and Mark’s
3417 dialogue with peers, he went with CC0 (in the public domain) for data sets
3418 and CC BY (Attribution) for figures, videos, and data sets.
3419     </p><p>
3420       So Mark began using DOIs and Creative Commons for his own research work. He
3421 had a science blog where he wrote about it and made all his data
3422 open. People started commenting on his blog that they wanted to do the
3423 same. So he opened it up for them to use, too.
3424     </p><p>
3425       People liked the interface and simple upload process. People started asking
3426 if they could also share theses, grant proposals, and code. Inclusion of
3427 code raised new licensing issues, as Creative Commons licenses are not used
3428 for software. To allow the sharing of software code, Mark chose the MIT
3429 license, but GNU and Apache licenses can also be used.
3430     </p><p>
3431       Mark sought investment to make this into a scalable product. After a few
3432 unsuccessful funding pitches, UK-based Digital Science expressed interest
3433 but insisted on a more viable business model.  They made an initial
3434 investment, and together they came up with a freemium-like business model.
3435     </p><p>
3436       Under the freemium model, academics upload their research to Figshare for
3437 storage and sharing for free. Each research object is licensed with Creative
3438 Commons and receives a DOI link. The premium option charges researchers a
3439 fee for gigabytes of private storage space, and for private online space
3440 designed for a set number of research collaborators, which is ideal for
3441 larger teams and geographically dispersed research groups. Figshare sums up
3442 its value proposition to researchers as <span class="quote">„<span class="quote">You retain ownership.  You
3443 license it. You get credit. We just make sure it persists.</span>“</span>
3444     </p><p>
3445       In January 2012, Figshare was launched. (The fig in Figshare stands for
3446 figures.) Using investment funds, Mark made significant improvements to
3447 Figshare. For example, researchers could quickly preview their research
3448 files within a browser without having to download them first or require
3449 third-party software. Journals who were still largely publishing articles as
3450 static noninteractive PDFs became interested in having Figshare provide that
3451 functionality for them.
3452     </p><p>
3453       Figshare diversified its business model to include services for
3454 journals. Figshare began hosting large amounts of data for the journals’
3455 online articles. This additional data improved the quality of the
3456 articles. Outsourcing this service to Figshare freed publishers from having
3457 to develop this functionality as part of their own
3458 infrastructure. Figshare-hosted data also provides a link back to the
3459 article, generating additional click-through and readership—a benefit to
3460 both journal publishers and researchers.  Figshare now provides
3461 research-data infrastructure for a wide variety of publishers including
3462 Wiley, Springer Nature, PLOS, and Taylor and Francis, to name a few, and has
3463 convinced them to use Creative Commons licenses for the data.
3464     </p><p>
3465       Governments allocate significant public funds to research. In parallel with
3466 the launch of Figshare, governments around the world began requesting the
3467 research they fund be open and accessible.  They mandated that researchers
3468 and academic institutions better manage and disseminate their research
3469 outputs. Institutions looking to comply with this new mandate became
3470 interested in Figshare. Figshare once again diversified its business model,
3471 adding services for institutions.
3472     </p><p>
3473       Figshare now offers a range of fee-based services to institutions, including
3474 their own minibranded Figshare space (called Figshare for Institutions) that
3475 securely hosts research data of institutions in the cloud. Services include
3476 not just hosting but data metrics, data dissemination, and user-group
3477 administration.  Figshare’s workflow, and the services they offer for
3478 institutions, take into account the needs of librarians and administrators,
3479 as well as of the researchers.
3480     </p><p>
3481       As with researchers and publishers, Fig-share encouraged institutions to
3482 share their research with CC BY (Attribution) and their data with CC0 (into
3483 the public domain). Funders who require researchers and institutions to use
3484 open licensing believe in the social responsibilities and benefits of making
3485 research accessible to all. Publishing research in this open way has come to
3486 be called open access. But not all funders specify CC BY; some institutions
3487 want to offer their researchers a choice, including less permissive licenses
3488 like CC BY-NC (Attribution-NonCommercial), CC BY-SA
3489 (Attribution-ShareAlike), or CC BY-ND (Attribution-NoDerivs).
3490     </p><p>
3491       For Mark this created a conflict. On the one hand, the principles and
3492 benefits of open science are at the heart of Figshare, and Mark believes CC
3493 BY is the best license for this. On the other hand, institutions were saying
3494 they wouldn’t use Figshare unless it offered a choice in licenses. He
3495 initially refused to offer anything beyond CC0 and CC BY, but after seeing
3496 an open-source CERN project offer all Creative Commons licenses without any
3497 negative repercussions, he decided to follow suit.
3498     </p><p>
3499       Mark is thinking of doing a Figshare study that tracks research
3500 dissemination according to Creative Commons license, and gathering metrics
3501 on views, citations, and downloads. You could see which license generates
3502 the biggest impact. If the data showed that CC BY is more impactful, Mark
3503 believes more and more researchers and institutions will make it their
3504 license of choice.
3505     </p><p>
3506       Figshare has an Application Programming Interface (API) that makes it
3507 possible for data to be pulled from Figshare and used in other
3508 applications. As an example, Mark shared a Figshare data set showing the
3509 journal subscriptions that higher-education institutions in the United
3510 Kingdom paid to ten major publishers.<a href="#ftn.idm1183" class="footnote" name="idm1183"><sup class="footnote">[115]</sup></a>
3511 Figshare’s API enables that data to be pulled into an app developed by a
3512 completely different researcher that converts the data into a visually
3513 interesting graph, which any viewer can alter by changing any of the
3514 variables.<a href="#ftn.idm1186" class="footnote" name="idm1186"><sup class="footnote">[116]</sup></a>
3515     </p><p>
3516       The free version of Figshare has built a community of academics, who through
3517 word of mouth and presentations have promoted and spread awareness of
3518 Figshare. To amplify and reward the community, Figshare established an
3519 Advisor program, providing those who promoted Figshare with hoodies and
3520 T-shirts, early access to new features, and travel expenses when they gave
3521 presentations outside of their area. These Advisors also helped Mark on what
3522 license to use for software code and whether to offer universities an option
3523 of using Creative Commons licenses.
3524     </p><p>
3525       Mark says his success is partly about being in the right place at the right
3526 time. He also believes that the diversification of Figshare’s model over
3527 time has been key to success. Figshare now offers a comprehensive set of
3528 services to researchers, publishers, and institutions.<a href="#ftn.idm1191" class="footnote" name="idm1191"><sup class="footnote">[117]</sup></a> If he had relied solely on revenue from premium
3529 subscriptions, he believes Figshare would have struggled. In Figshare’s
3530 early days, their primary users were early-career and late-career
3531 academics. It has only been because funders mandated open licensing that
3532 Figshare is now being used by the mainstream.
3533     </p><p>
3534       Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
3535 800,000–plus user uploads, 2 million–plus articles, 500,000-plus
3536 collections, and 5,000–plus projects. Sixty percent of their traffic comes
3537 from Google. A sister company called Altmetric tracks the use of Figshare by
3538 others, including Wikipedia and news sources.
3539     </p><p>
3540       Figshare uses the revenue it generates from the premium subscribers, journal
3541 publishers, and institutions to fund and expand what it can offer to
3542 researchers for free. Figshare has publicly stuck to its principles—keeping
3543 the free service free and requiring the use of CC BY and CC0 from the
3544 start—and from Mark’s perspective, this is why people trust Figshare. Mark
3545 sees new competitors coming forward who are just in it for money. If
3546 Figshare was only in it for the money, they wouldn’t care about offering a
3547 free version. Figshare’s principles and advocacy for openness are a key
3548 differentiator. Going forward, Mark sees Figshare not only as supporting
3549 open access to research but also enabling people to collaborate and make new
3550 discoveries.
3551     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1183" class="footnote"><p><a href="#idm1183" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1186" class="footnote"><p><a href="#idm1186" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&amp;inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&amp;inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1191" class="footnote"><p><a href="#idm1191" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>Kapitel 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>
3552         Figure.NZ is a nonprofit charity that makes an online data platform designed
3553 to make data reusable and easy to understand.  Founded in 2012 in New
3554 Zealand.
3555       </p><p>
3556           <a class="ulink" href="http://figure.nz" target="_top">http://figure.nz</a>
3557         </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
3558 services to creators, donations, sponsorships
3559       </p><p><span class="strong"><strong>Interview date</strong></span>: May 3, 2016
3560       </p><p><span class="strong"><strong>Interviewee</strong></span>: Lillian Grace, founder
3561       </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}
3562     \textit{
3563         Profile written by Paul Stacey
3564       }
3565     \end{flushright}</td></tr></table></div><p>
3566       In the paper Harnessing the Economic and Social Power of Data presented at
3567 the New Zealand Data Futures Forum in 2014,<a href="#ftn.idm1210" class="footnote" name="idm1210"><sup class="footnote">[118]</sup></a> Figure.NZ founder Lillian Grace said there are thousands of
3568 valuable and relevant data sets freely available to us right now, but most
3569 people don’t use them. She used to think this meant people didn’t care about
3570 being informed, but she’s come to see that she was wrong. Almost everyone
3571 wants to be informed about issues that matter—not only to them, but also to
3572 their families, their communities, their businesses, and their country.  But
3573 there’s a big difference between availability and accessibility of
3574 information. Data is spread across thousands of sites and is held within
3575 databases and spreadsheets that require both time and skill to engage
3576 with. To use data when making a decision, you have to know what specific
3577 question to ask, identify a source that has collected the data, and
3578 manipulate complex tools to extract and visualize the information within the
3579 data set.  Lillian established Figure.NZ to make data truly accessible to
3580 all, with a specific focus on New Zealand.
3581     </p><p>
3582       Lillian had the idea for Figure.NZ in February 2012 while working for the
3583 New Zealand Institute, a think tank concerned with improving economic
3584 prosperity, social well-being, environmental quality, and environmental
3585 productivity for New Zealand and New Zealanders. While giving talks to
3586 community and business groups, Lillian realized <span class="quote">„<span class="quote">every single issue we
3587 addressed would have been easier to deal with if more people understood the
3588 basic facts.</span>“</span> But understanding the basic facts sometimes requires
3589 data and research that you often have to pay for.
3590     </p><p>
3591       Lillian began to imagine a website that lifted data up to a visual form that
3592 could be easily understood and freely accessed.  Initially launched as Wiki
3593 New Zealand, the original idea was that people could contribute their data
3594 and visuals via a wiki.  However, few people had graphs that could be used
3595 and shared, and there were no standards or consistency around the data and
3596 the visuals. Realizing the wiki model wasn’t working, Lillian brought the
3597 process of data aggregation, curation, and visual presentation in-house, and
3598 invested in the technology to help automate some of it. Wiki New Zealand
3599 became Figure.NZ, and efforts were reoriented toward providing services to
3600 those wanting to open their data and present it visually.
3601     </p><p>
3602       Here’s how it works. Figure.NZ sources data from other organizations,
3603 including corporations, public repositories, government departments, and
3604 academics. Figure.NZ imports and extracts that data, and then validates and
3605 standardizes it—all with a strong eye on what will be best for users. They
3606 then make the data available in a series of standardized forms, both human-
3607 and machine-readable, with rich metadata about the sources, the licenses,
3608 and data types. Figure.NZ has a chart-designing tool that makes simple bar,
3609 line, and area graphs from any data source.  The graphs are posted to the
3610 Figure.NZ website, and they can also be exported in a variety of formats for
3611 print or online use.  Figure.NZ makes its data and graphs available using
3612 the Attribution (CC BY) license. This allows others to reuse, revise, remix,
3613 and redistribute Figure.NZ data and graphs as long as they give attribution
3614 to the original source and to Figure.NZ.
3615     </p><p>
3616       Lillian characterizes the initial decision to use Creative Commons as
3617 naively fortunate. It was first recommended to her by a colleague. Lillian
3618 spent time looking at what Creative Commons offered and thought it looked
3619 good, was clear, and made common sense. It was easy to use and easy for
3620 others to understand. Over time, she’s come to realize just how fortunate
3621 and important that decision turned out to be. New Zealand’s government has
3622 an open-access and licensing framework called NZGOAL, which provides
3623 guidance for agencies when they release copyrighted and noncopyrighted work
3624 and material.<a href="#ftn.idm1218" class="footnote" name="idm1218"><sup class="footnote">[119]</sup></a> It aims to standardize
3625 the licensing of works with government copyright and how they can be reused,
3626 and it does this with Creative Commons licenses. As a result, 98 percent of
3627 all government-agency data is Creative Commons licensed, fitting in nicely
3628 with Figure.NZ’s decision.
3629     </p><p>
3630       Lillian thinks current ideas of what a business is are relatively new, only
3631 a hundred years old or so. She’s convinced that twenty years from now, we
3632 will see new and different models for business.  Figure.NZ is set up as a
3633 nonprofit charity. It is purpose-driven but also strives to pay people well
3634 and thinks like a business.  Lillian sees the charity-nonprofit status as an
3635 essential element for the mission and purpose of Figure.NZ. She believes
3636 Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
3637 nonprofit status assures people who have data and people who want to use it
3638 that they can rely on Figure.NZ’s motives. People see them as a trusted
3639 wrangler and source.
3640     </p><p>
3641       Although Figure.NZ is a social enterprise that openly licenses their data
3642 and graphs for everyone to use for free, they have taken care not to be
3643 perceived as a free service all around the table. Lillian believes hundreds
3644 of millions of dollars are spent by the government and organizations to
3645 collect data. However, very little money is spent on taking that data and
3646 making it accessible, understandable, and useful for decision making.
3647 Government uses some of the data for policy, but Lillian believes that it is
3648 underutilized and the potential value is much larger.  Figure.NZ is focused
3649 on solving that problem. They believe a portion of money allocated to
3650 collecting data should go into making sure that data is useful and generates
3651 value. If the government wants citizens to understand why certain decisions
3652 are being made and to be more aware about what the government is doing, why
3653 not transform the data it collects into easily understood visuals? It could
3654 even become a way for a government or any organization to differentiate,
3655 market, and brand itself.
3656     </p><p>
3657       Figure.NZ spends a lot of time seeking to understand the motivations of data
3658 collectors and to identify the channels where it can provide value. Every
3659 part of their business model has been focused on who is going to get value
3660 from the data and visuals.
3661     </p><p>
3662       Figure.NZ has multiple lines of business. They provide commercial services
3663 to organizations that want their data publicly available and want to use
3664 Figure.NZ as their publishing platform. People who want to publish open data
3665 appreciate Figure.NZ’s ability to do it faster, more easily, and better than
3666 they can. Customers are encouraged to help their users find, use, and make
3667 things from the data they make available on Figure.NZ’s website. Customers
3668 control what is released and the license terms (although Figure.NZ
3669 encourages Creative Commons licensing). Figure.NZ also serves customers who
3670 want a specific collection of charts created—for example, for their website
3671 or annual report. Charging the organizations that want to make their data
3672 available enables Figure.NZ to provide their site free to all users, to
3673 truly democratize data.
3674     </p><p>
3675       Lillian notes that the current state of most data is terrible and often not
3676 well understood by the people who have it. This sometimes makes it difficult
3677 for customers and Figure.NZ to figure out what it would cost to import,
3678 standardize, and display that data in a useful way. To deal with this,
3679 Figure.NZ uses <span class="quote">„<span class="quote">high-trust contracts,</span>“</span> where customers allocate
3680 a certain budget to the task that Figure.NZ is then free to draw from, as
3681 long as Figure.NZ frequently reports on what they’ve produced so the
3682 customer can determine the value for money. This strategy has helped build
3683 trust and transparency about the level of effort associated with doing work
3684 that has never been done before.
3685     </p><p>
3686       A second line of business is what Figure.NZ calls partners. ASB Bank and
3687 Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
3688 example, with their support Figure.NZ has been able to create Business
3689 Figures, a special way for businesses to find useful data without having to
3690 know what questions to ask.<a href="#ftn.idm1228" class="footnote" name="idm1228"><sup class="footnote">[120]</sup></a>
3691     </p><p>
3692       Figure.NZ also has patrons.<a href="#ftn.idm1232" class="footnote" name="idm1232"><sup class="footnote">[121]</sup></a> Patrons
3693 donate to topic areas they care about, directly enabling Figure.NZ to get
3694 data together to flesh out those areas. Patrons do not direct what data is
3695 included or excluded.
3696     </p><p>
3697       Figure.NZ also accepts philanthropic donations, which are used to provide
3698 more content, extend technology, and improve services, or are targeted to
3699 fund a specific effort or provide in-kind support.  As a charity, donations
3700 are tax deductible.
3701     </p><p>
3702       Figure.NZ has morphed and grown over time. With data aggregation, curation,
3703 and visualizing services all in-house, Figure.NZ has developed a deep
3704 expertise in taking random styles of data, standardizing it, and making it
3705 useful. Lillian realized that Figure.NZ could easily become a warehouse of
3706 seventy people doing data. But for Lillian, growth isn’t always good. In her
3707 view, bigger often means less effective. Lillian set artificial constraints
3708 on growth, forcing the organization to think differently and be more
3709 efficient. Rather than in-house growth, they are growing and building
3710 external relationships.
3711     </p><p>
3712       Figure.NZ’s website displays visuals and data associated with a wide range
3713 of categories including crime, economy, education, employment, energy,
3714 environment, health, information and communications technology, industry,
3715 tourism, and many others. A search function helps users find tables and
3716 graphs. Figure.NZ does not provide analysis or interpretation of the data or
3717 visuals.  Their goal is to teach people how to think, not think for them.
3718 Figure.NZ wants to create intuitive experiences, not user manuals.
3719     </p><p>
3720       Figure.NZ believes data and visuals should be useful. They provide their
3721 customers with a data collection template and teach them why it’s important
3722 and how to use it. They’ve begun putting more emphasis on tracking what
3723 users of their website want. They also get requests from social media and
3724 through email for them to share data for a specific topic—for example, can
3725 you share data for water quality? If they have the data, they respond
3726 quickly; if they don’t, they try and identify the organizations that would
3727 have that data and forge a relationship so they can be included on
3728 Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
3729 people to be curious about, access, and interpret data on topics they are
3730 interested in.
3731     </p><p>
3732       Lillian has a deep and profound vision for Figure.NZ that goes well beyond
3733 simply providing open-data services. She says things are different now. "We
3734 used to live in a world where it was really hard to share information
3735 widely. And in that world, the best future was created by having a few great
3736 leaders who essentially had access to the information and made decisions on
3737 behalf of others, whether it was on behalf of a country or companies.
3738     </p><p>
3739       "But now we live in a world where it’s really easy to share information
3740 widely and also to communicate widely. In the world we live in now, the best
3741 future is the one where everyone can make well-informed decisions.
3742     </p><p>
3743       "The use of numbers and data as a way of making well-informed decisions is
3744 one of the areas where there is the biggest gaps. We don’t really use
3745 numbers as a part of our thinking and part of our understanding yet.
3746     </p><p>
3747       "Part of the reason is the way data is spread across hundreds of sites. In
3748 addition, for the most part, deep thinking based on data is constrained to
3749 experts because most people don’t have data literacy. There once was a time
3750 when many citizens in society couldn’t read or write. However, as a society,
3751 we’ve now come to believe that reading and writing skills should be
3752 something all citizens have. We haven’t yet adopted a similar belief around
3753 numbers and data literacy. We largely still believe that only a few
3754 specially trained people can analyze and think with numbers.
3755     </p><p>
3756       "Figure.NZ may be the first organization to assert that everyone can use
3757 numbers in their thinking, and it’s built a technological platform along
3758 with trust and a network of relationships to make that possible. What you
3759 can see on Figure.NZ are tens of thousands of graphs, maps, and data.
3760     </p><p>
3761         <span class="quote">„<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
3762 analyze what they see around them. A way to be thoughtful and informed about
3763 society. A means of engaging in conversation and shaping decision making
3764 that transcends personal experience.  The long-term value and impact is
3765 almost impossible to measure, but the goal is to help citizens gain
3766 understanding and work together in more informed ways to shape the
3767 future.</span>“</span>
3768       </p><p>
3769       Lillian sees Figure.NZ’s model as having global potential. But for now,
3770 their focus is completely on making Figure.NZ work in New Zealand and to get
3771 the <span class="quote">„<span class="quote">network effect</span>“</span>— users dramatically increasing value for
3772 themselves and for others through use of their service. Creative Commons is
3773 core to making the network effect possible.
3774     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1210" class="footnote"><p><a href="#idm1210" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1218" class="footnote"><p><a href="#idm1218" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1228" class="footnote"><p><a href="#idm1228" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1232" class="footnote"><p><a href="#idm1232" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>Kapitel 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>
3775         Knowledge Unlatched is a not-for-profit community interest company that
3776 brings libraries together to pool funds to publish open-access
3777 books. Founded in 2012 in the UK.
3778       </p><p>
3779           <a class="ulink" href="http://knowledgeunlatched.org" target="_top">http://knowledgeunlatched.org</a>
3780         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding (specialized)
3781       </p><p><span class="strong"><strong>Interview date</strong></span>: February 26, 2016
3782       </p><p><span class="strong"><strong>Interviewee</strong></span>: Frances Pinter, founder
3783       </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}
3784     \textit{
3785         Profile written by Paul Stacey
3786       }
3787     \end{flushright}</td></tr></table></div><p>
3788       The serial entrepreneur Dr. Frances Pinter has been at the forefront of
3789 innovation in the publishing industry for nearly forty years. She founded
3790 the UK-based Knowledge Unlatched with a mission to enable open access to
3791 scholarly books. For Frances, the current scholarly- book-publishing system
3792 is not working for anyone, and especially not for monographs in the
3793 humanities and social sciences. Knowledge Unlatched is committed to changing
3794 this and has been working with libraries to create a sustainable alternative
3795 model for publishing scholarly books, sharing the cost of making monographs
3796 (released under a Creative Commons license)  and savings costs over the long
3797 term. Since its launch, Knowledge Unlatched has received several awards,
3798 including the IFLA/Brill Open Access award in 2014 and a Curtin University
3799 Commercial Innovation Award for Innovation in Education in 2015.
3800     </p><p>
3801       Dr. Pinter has been in academic publishing most of her career.  About ten
3802 years ago, she became acquainted with the Creative Commons founder Lawrence
3803 Lessig and got interested in Creative Commons as a tool for both protecting
3804 content online and distributing it free to users.
3805     </p><p>
3806       Not long after, she ran a project in Africa convincing publishers in Uganda
3807 and South Africa to put some of their content online for free using a
3808 Creative Commons license and to see what happened to print sales. Sales went
3809 up, not down.
3810     </p><p>
3811       In 2008, Bloomsbury Academic, a new imprint of Bloomsbury Publishing in the
3812 United Kingdom, appointed her its founding publisher in London. As part of
3813 the launch, Frances convinced Bloomsbury to differentiate themselves by
3814 putting out monographs for free online under a Creative Commons license
3815 (BY-NC or BY-NC-ND, i.e., Attribution-NonCommercial or
3816 Attribution-NonCommercial-NoDerivs). This was seen as risky, as the biggest
3817 cost for publishers is getting a book to the stage where it can be
3818 printed. If everyone read the online book for free, there would be no
3819 print-book sales at all, and the costs associated with getting the book to
3820 print would be lost.  Surprisingly, Bloomsbury found that sales of the print
3821 versions of these books were 10 to 20 percent higher than normal. Frances
3822 found it intriguing that the Creative Commons–licensed free online book acts
3823 as a marketing vehicle for the print format.
3824     </p><p>
3825       Frances began to look at customer interest in the three forms of the book:
3826 1) the Creative Commons–licensed free online book in PDF form, 2) the
3827 printed book, and 3) a digital version of the book on an aggregator platform
3828 with enhanced features. She thought of this as the <span class="quote">„<span class="quote">ice cream
3829 model</span>“</span>: the free PDF was vanilla ice cream, the printed book was an
3830 ice cream cone, and the enhanced e-book was an ice cream sundae.
3831     </p><p>
3832       After a while, Frances had an epiphany—what if there was a way to get
3833 libraries to underwrite the costs of making these books up until they’re
3834 ready be printed, in other words, cover the fixed costs of getting to the
3835 first digital copy? Then you could either bring down the cost of the printed
3836 book, or do a whole bunch of interesting things with the printed book and
3837 e-book—the ice cream cone or sundae part of the model.
3838     </p><p>
3839       This idea is similar to the article-processing charge some open-access
3840 journals charge researchers to cover publishing costs.  Frances began to
3841 imagine a coalition of libraries paying for the prepress costs—a
3842 <span class="quote">„<span class="quote">book-processing charge</span>“</span>—and providing everyone in the world
3843 with an open-access version of the books released under a Creative Commons
3844 license.
3845     </p><p>
3846       This idea really took hold in her mind. She didn’t really have a name for it
3847 but began talking about it and making presentations to see if there was
3848 interest. The more she talked about it, the more people agreed it had
3849 appeal. She offered a bottle of champagne to anyone who could come up with a
3850 good name for the idea. Her husband came up with Knowledge Unlatched, and
3851 after two years of generating interest, she decided to move forward and
3852 launch a community interest company (a UK term for not-for-profit social
3853 enterprises) in 2012.
3854     </p><p>
3855       She describes the business model in a paper called Knowledge Unlatched:
3856 Toward an Open and Networked Future for Academic Publishing:
3857     </p><div class="orderedlist"><ol class="orderedlist compact" type="1"><li class="listitem"><p>
3858           Publishers offer titles for sale reflecting origination costs only via
3859 Knowledge Unlatched.
3860         </p></li><li class="listitem"><p>
3861           Individual libraries select titles either as individual titles or as
3862 collections (as they do from library suppliers now).
3863         </p></li><li class="listitem"><p>
3864           Their selections are sent to Knowledge Unlatched specifying the titles to be
3865 purchased at the stated price(s).
3866         </p></li><li class="listitem"><p>
3867           The price, called a Title Fee (set by publishers and negotiated by Knowledge
3868 Unlatched), is paid to publishers to cover the fixed costs of publishing
3869 each of the titles that were selected by a minimum number of libraries to
3870 cover the Title Fee.
3871         </p></li><li class="listitem"><p>
3872           Publishers make the selected titles available Open Access (on a Creative
3873 Commons or similar open license) and are then paid the Title Fee which is
3874 the total collected from the libraries.
3875         </p></li><li class="listitem"><p>
3876           Publishers make print copies, e-Pub, and other digital versions of selected
3877 titles available to member libraries at a discount that reflects their
3878 contribution to the Title Fee and incentivizes membership.<a href="#ftn.idm1285" class="footnote" name="idm1285"><sup class="footnote">[122]</sup></a>
3879         </p></li></ol></div><p>
3880       The first round of this model resulted in a collection of twenty-eight
3881 current titles from thirteen recognized scholarly publishers being
3882 unlatched. The target was to have two hundred libraries participate. The
3883 cost of the package per library was capped at $1,680, which was an average
3884 price of sixty dollars per book, but in the end they had nearly three
3885 hundred libraries sharing the costs, and the price per book came in at just
3886 under forty-three dollars.
3887     </p><p>
3888       The open-access, Creative Commons versions of these twenty-eight books are
3889 still available online.<a href="#ftn.idm1290" class="footnote" name="idm1290"><sup class="footnote">[123]</sup></a> Most books have
3890 been licensed with CC BY-NC or CC BY-NC-ND. Authors are the copyright
3891 holder, not the publisher, and negotiate choice of license as part of the
3892 publishing agreement.  Frances has found that most authors want to retain
3893 control over the commercial and remix use of their work. Publishers list the
3894 book in their catalogs, and the noncommercial restriction in the Creative
3895 Commons license ensures authors continue to get royalties on sales of
3896 physical copies.
3897     </p><p>
3898       There are three cost variables to consider for each round: the overall cost
3899 incurred by the publishers, total cost for each library to acquire all the
3900 books, and the individual price per book. The fee publishers charge for each
3901 title is a fixed charge, and Knowledge Unlatched calculates the total amount
3902 for all the books being unlatched at a time. The cost of an order for each
3903 library is capped at a maximum based on a minimum number of libraries
3904 participating. If the number of participating libraries exceeds the minimum,
3905 then the cost of the order and the price per book go down for each library.
3906     </p><p>
3907       The second round, recently completed, unlatched seventy-eight books from
3908 twenty-six publishers. For this round, Frances was experimenting with the
3909 size and shape of the offerings. Books were being bundled into eight small
3910 packages separated by subject (including Anthropology, History, Literature,
3911 Media and Communications, and Politics), of around ten books per package.
3912 Three hundred libraries around the world have to commit to at least six of
3913 the eight packages to enable unlatching. The average cost per book was just
3914 under fifty dollars. The unlatching process took roughly ten months. It
3915 started with a call to publishers for titles, followed by having a library
3916 task force select the titles, getting authors’ permissions, getting the
3917 libraries to pledge, billing the libraries, and finally, unlatching.
3918     </p><p>
3919       The longest part of the whole process is getting libraries to pledge and
3920 commit funds. It takes about five months, as library buy-in has to fit
3921 within acquisition cycles, budget cycles, and library-committee meetings.
3922     </p><p>
3923       Knowledge Unlatched informs and recruits libraries through social media,
3924 mailing lists, listservs, and library associations. Of the three hundred
3925 libraries that participated in the first round, 80 percent are also
3926 participating in the second round, and there are an additional eighty new
3927 libraries taking part. Knowledge Unlatched is also working not just with
3928 individual libraries but also library consortia, which has been getting even
3929 more libraries involved.
3930     </p><p>
3931       Knowledge Unlatched is scaling up, offering 150 new titles in the second
3932 half of 2016. It will also offer backlist titles, and in 2017 will start to
3933 make journals open access too.
3934     </p><p>
3935       Knowledge Unlatched deliberately chose monographs as the initial type of
3936 book to unlatch. Monographs are foundational and important, but also
3937 problematic to keep going in the standard closed publishing model.
3938     </p><p>
3939       The cost for the publisher to get to a first digital copy of a monograph is
3940 $5,000 to $50,000. A good one costs in the $10,000 to $15,000
3941 range. Monographs typically don’t sell a lot of copies. A publisher who in
3942 the past sold three thousand copies now typically sells only three
3943 hundred. That makes unlatching monographs a low risk for publishers. For the
3944 first round, it took five months to get thirteen publishers. For the second
3945 round, it took one month to get twenty-six.
3946     </p><p>
3947       Authors don’t generally make a lot of royalties from monographs.  Royalties
3948 range from zero dollars to 5 to 10 percent of receipts.  The value to the
3949 author is the awareness it brings to them; when their book is being read, it
3950 increases their reputation. Open access through unlatching generates many
3951 more downloads and therefore awareness. (On the Knowledge Unlatched website,
3952 you can find interviews with the twenty-eight round-one authors describing
3953 their experience and the benefits of taking part.)<a href="#ftn.idm1301" class="footnote" name="idm1301"><sup class="footnote">[124]</sup></a>
3954     </p><p>
3955       Library budgets are constantly being squeezed, partly due to the inflation
3956 of journal subscriptions. But even without budget constraints, academic
3957 libraries are moving away from buying physical copies. An academic library
3958 catalog entry is typically a URL to wherever the book is hosted. Or if they
3959 have enough electronic storage space, they may download the digital file
3960 into their digital repository. Only secondarily do they consider getting a
3961 print book, and if they do, they buy it separately from the digital version.
3962     </p><p>
3963       Knowledge Unlatched offers libraries a compelling economic argument. Many of
3964 the participating libraries would have bought a copy of the monograph
3965 anyway, but instead of paying $95 for a print copy or $150 for a digital
3966 multiple-use copy, they pay $50 to unlatch. It costs them less, and it opens
3967 the book to not just the participating libraries, but to the world.
3968     </p><p>
3969       Not only do the economics make sense, but there is very strong alignment
3970 with library mandates. The participating libraries pay less than they would
3971 have in the closed model, and the open-access book is available to all
3972 libraries. While this means nonparticipating libraries could be seen as free
3973 riders, in the library world, wealthy libraries are used to paying more than
3974 poor libraries and accept that part of their money should be spent to
3975 support open access. <span class="quote">„<span class="quote">Free ride</span>“</span> is more like community
3976 responsibility. By the end of March 2016, the round-one books had been
3977 downloaded nearly eighty thousand times in 175 countries.
3978     </p><p>
3979       For publishers, authors, and librarians, the Knowledge Unlatched model for
3980 monographs is a win-win-win.
3981     </p><p>
3982       In the first round, Knowledge Unlatched’s overheads were covered by
3983 grants. In the second round, they aim to demonstrate the model is
3984 sustainable. Libraries and publishers will each pay a 7.5 percent service
3985 charge that will go toward Knowledge Unlatched’s running costs. With plans
3986 to scale up in future rounds, Frances figures they can fully recover costs
3987 when they are unlatching two hundred books at a time. Moving forward,
3988 Knowledge Unlatched is making investments in technology and
3989 processes. Future plans include unlatching journals and older books.
3990     </p><p>
3991       Frances believes that Knowledge Unlatched is tapping into new ways of
3992 valuing academic content. It’s about considering how many people can find,
3993 access, and use your content without pay barriers. Knowledge Unlatched taps
3994 into the new possibilities and behaviors of the digital world. In the
3995 Knowledge Unlatched model, the content-creation process is exactly the same
3996 as it always has been, but the economics are different. For Frances,
3997 Knowledge Unlatched is connected to the past but moving into the future, an
3998 evolution rather than a revolution.
3999     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1285" class="footnote"><p><a href="#idm1285" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1290" class="footnote"><p><a href="#idm1290" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1301" class="footnote"><p><a href="#idm1301" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>Kapitel 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>
4000         Lumen Learning is a for-profit company helping educational institutions use
4001 open educational resources (OER). Founded in 2013 in the U.S.
4002       </p><p>
4003           <a class="ulink" href="http://lumenlearning.com" target="_top">http://lumenlearning.com</a>
4004         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
4005 services, grant funding
4006       </p><p><span class="strong"><strong>Interview date</strong></span>: December 21, 2015
4007       </p><p><span class="strong"><strong>Interviewees</strong></span>: David Wiley and Kim Thanos,
4008 cofounders
4009       </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}
4010     \textit{
4011         Profile written by Paul Stacey
4012       }
4013     \end{flushright}</td></tr></table></div><p>
4014       Cofounded by open education visionary Dr. David Wiley and
4015 education-technology strategist Kim Thanos, Lumen Learning is dedicated to
4016 improving student success, bringing new ideas to pedagogy, and making
4017 education more affordable by facilitating adoption of open educational
4018 resources. In 2012, David and Kim partnered on a grant-funded project called
4019 the Kaleidoscope Open Course Initiative.<a href="#ftn.idm1325" class="footnote" name="idm1325"><sup class="footnote">[125]</sup></a> It involved a set of fully open general-education courses across
4020 eight colleges predominantly serving at-risk students, with goals to
4021 dramatically reduce textbook costs and collaborate to improve the courses to
4022 help students succeed. David and Kim exceeded those goals: the cost of the
4023 required textbooks, replaced with OER, decreased to zero dollars, and
4024 average student-success rates improved by 5 to 10 percent when compared with
4025 previous years. After a second round of funding, a total of more than
4026 twenty-five institutions participated in and benefited from this project. It
4027 was career changing for David and Kim to see the impact this initiative had
4028 on low-income students. David and Kim sought further funding from the Bill
4029 and Melinda Gates Foundation, who asked them to define a plan to scale their
4030 work in a financially sustainable way. That is when they decided to create
4031 Lumen Learning.
4032     </p><p>
4033       David and Kim went back and forth on whether it should be a nonprofit or
4034 for- profit. A nonprofit would make it a more comfortable fit with the
4035 education sector but meant they’d be constantly fund-raising and seeking
4036 grants from philanthropies.  Also, grants usually require money to be used
4037 in certain ways for specific deliverables. If you learn things along the way
4038 that change how you think the grant money should be used, there often isn’t
4039 a lot of flexibility to do so.
4040     </p><p>
4041       But as a for-profit, they’d have to convince educational institutions to pay
4042 for what Lumen had to offer. On the positive side, they’d have more control
4043 over what to do with the revenue and investment money; they could make
4044 decisions to invest the funds or use them differently based on the situation
4045 and shifting opportunities. In the end, they chose the for-profit status,
4046 with its different model for and approach to sustainability.
4047     </p><p>
4048       Right from the start, David and Kim positioned Lumen Learning as a way to
4049 help institutions engage in open educational resources, or OER. OER are
4050 teaching, learning, and research materials, in all different media, that
4051 reside in the public domain or are released under an open license that
4052 permits free use and repurposing by others.
4053     </p><p>
4054       Originally, Lumen did custom contracts for each institution. This was
4055 complicated and challenging to manage. However, through that process
4056 patterns emerged which allowed them to generalize a set of approaches and
4057 offerings. Today they don’t customize as much as they used to, and instead
4058 they tend to work with customers who can use their off-the-shelf
4059 options. Lumen finds that institutions and faculty are generally very good
4060 at seeing the value Lumen brings and are willing to pay for it. Serving
4061 disadvantaged learner populations has led Lumen to be very pragmatic; they
4062 describe what they offer in quantitative terms—with facts and figures—and in
4063 a way that is very student-focused. Lumen Learning helps colleges and
4064 universities—
4065     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4066           replace expensive textbooks in high-enrollment courses with OER;
4067         </p></li><li class="listitem"><p>
4068           provide enrolled students day one access to Lumen’s fully customizable OER
4069 course materials through the institution’s learning-management system;
4070         </p></li><li class="listitem"><p>
4071           measure improvements in student success with metrics like passing rates,
4072 persistence, and course completion; and
4073         </p></li><li class="listitem"><p>
4074           collaborate with faculty to make ongoing improvements to OER based on
4075 student success research.
4076         </p></li></ul></div><p>
4077       Lumen has developed a suite of open, Creative Commons–licensed courseware in
4078 more than sixty-five subjects. All courses are freely and publicly available
4079 right off their website. They can be copied and used by others as long as
4080 they provide attribution to Lumen Learning following the terms of the
4081 Creative Commons license.
4082     </p><p>
4083       Then there are three types of bundled services that cost money.  One option,
4084 which Lumen calls Candela courseware, offers integration with the
4085 institution’s learning-management system, technical and pedagogical support,
4086 and tracking of effectiveness.  Candela courseware costs institutions ten
4087 dollars per enrolled student.
4088     </p><p>
4089       A second option is Waymaker, which offers the services of Candela but adds
4090 personalized learning technologies, such as study plans, automated messages,
4091 and assessments, and helps instructors find and support the students who
4092 need it most. Waymaker courses cost twenty-five dollars per enrolled
4093 student.
4094     </p><p>
4095       The third and emerging line of business for Lumen is providing guidance and
4096 support for institutions and state systems that are pursuing the development
4097 of complete OER degrees. Often called Z-Degrees, these programs eliminate
4098 textbook costs for students in all courses that make up the degree (both
4099 required and elective)  by replacing commercial textbooks and other
4100 expensive resources with OER.
4101     </p><p>
4102       Lumen generates revenue by charging for their value-added tools and services
4103 on top of their free courses, just as solar-power companies provide the
4104 tools and services that help people use a free resource—sunlight. And
4105 Lumen’s business model focuses on getting the institutions to pay, not the
4106 students. With projects they did prior to Lumen, David and Kim learned that
4107 students who have access to all course materials from day one have greater
4108 success. If students had to pay, Lumen would have to restrict access to
4109 those who paid. Right from the start, their stance was that they would not
4110 put their content behind a paywall. Lumen invests zero dollars in
4111 technologies and processes for restricting access—no digital rights
4112 management, no time bombs. While this has been a challenge from a
4113 business-model perspective, from an open-access perspective, it has
4114 generated immense goodwill in the community.
4115     </p><p>
4116       In most cases, development of their courses is funded by the institution
4117 Lumen has a contract with. When creating new courses, Lumen typically works
4118 with the faculty who are teaching the new course. They’re often part of the
4119 institution paying Lumen, but sometimes Lumen has to expand the team and
4120 contract faculty from other institutions. First, the faculty identifies all
4121 of the course’s learning outcomes. Lumen then searches for, aggregates, and
4122 curates the best OER they can find that addresses those learning needs,
4123 which the faculty reviews.
4124     </p><p>
4125       Sometimes faculty like the existing OER but not the way it is presented. The
4126 open licensing of existing OER allows Lumen to pick and choose from images,
4127 videos, and other media to adapt and customize the course. Lumen creates new
4128 content as they discover gaps in existing OER. Test-bank items and feedback
4129 for students on their progress are areas where new content is frequently
4130 needed.  Once a course is created, Lumen puts it on their platform with all
4131 the attributions and links to the original sources intact, and any of
4132 Lumen’s new content is given an Attribution (CC BY) license.
4133     </p><p>
4134       Using only OER made them experience firsthand how complex it could be to mix
4135 differently licensed work together. A common strategy with OER is to place
4136 the Creative Commons license and attribution information in the website’s
4137 footer, which stays the same for all pages. This doesn’t quite work,
4138 however, when mixing different OER together.
4139     </p><p>
4140       Remixing OER often results in multiple attributions on every page of every
4141 course—text from one place, images from another, and videos from yet
4142 another. Some are licensed as Attribution (CC BY), others as
4143 Attribution-ShareAlike (CC BY-SA). If this information is put within the
4144 text of the course, faculty members sometimes try to edit it and students
4145 find it a distraction. Lumen dealt with this challenge by capturing the
4146 license and attribution information as metadata, and getting it to show up
4147 at the end of each page.
4148     </p><p>
4149       Lumen’s commitment to open licensing and helping low-income students has led
4150 to strong relationships with institutions, open-education enthusiasts, and
4151 grant funders. People in their network generously increase the visibility of
4152 Lumen through presentations, word of mouth, and referrals. Sometimes the
4153 number of general inquiries exceed Lumen’s sales capacity.
4154     </p><p>
4155       To manage demand and ensure the success of projects, their strategy is to be
4156 proactive and focus on what’s going on in higher education in different
4157 regions of the United States, watching out for things happening at the
4158 system level in a way that fits with what Lumen offers. A great example is
4159 the Virginia community college system, which is building out
4160 Z-Degrees. David and Kim say there are nine other U.S. states with similar
4161 system-level activity where Lumen is strategically focusing its
4162 efforts. Where there are projects that would require a lot of resources on
4163 Lumen’s part, they prioritize the ones that would impact the largest number
4164 of students.
4165     </p><p>
4166       As a business, Lumen is committed to openness. There are two core
4167 nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
4168 Commons licenses, for all the materials it creates; and day-one access for
4169 students. Having clear nonnegotiables allows them to then engage with the
4170 education community to solve for other challenges and work with institutions
4171 to identify new business models that achieve institution goals, while
4172 keeping Lumen healthy.
4173     </p><p>
4174       Openness also means that Lumen’s OER must necessarily be nonexclusive and
4175 nonrivalrous. This represents several big challenges for the business model:
4176 Why should you invest in creating something that people will be reluctant to
4177 pay for? How do you ensure that the investment the diverse education
4178 community makes in OER is not exploited? Lumen thinks we all need to be
4179 clear about how we are benefiting from and contributing to the open
4180 community.
4181     </p><p>
4182       In the OER sector, there are examples of corporations, and even
4183 institutions, acting as free riders. Some simply take and use open resources
4184 without paying anything or contributing anything back.  Others give back the
4185 minimum amount so they can save face.  Sustainability will require those
4186 using open resources to give back an amount that seems fair or even give
4187 back something that is generous.
4188     </p><p>
4189       Lumen does track institutions accessing and using their free content. They
4190 proactively contact those institutions, with an estimate of how much their
4191 students are saving and encouraging them to switch to a paid model. Lumen
4192 explains the advantages of the paid model: a more interactive relationship
4193 with Lumen; integration with the institution’s learning-management system; a
4194 guarantee of support for faculty and students; and future sustainability
4195 with funding supporting the evolution and improvement of the OER they are
4196 using.
4197     </p><p>
4198       Lumen works hard to be a good corporate citizen in the OER community. For
4199 David and Kim, a good corporate citizen gives more than they take, adds
4200 unique value, and is very transparent about what they are taking from
4201 community, what they are giving back, and what they are monetizing. Lumen
4202 believes these are the building blocks of a sustainable model and strives
4203 for a correct balance of all these factors.
4204     </p><p>
4205       Licensing all the content they produce with CC BY is a key part of giving
4206 more value than they take. They’ve also worked hard at finding the right
4207 structure for their value-add and how to package it in a way that is
4208 understandable and repeatable.
4209     </p><p>
4210       As of the fall 2016 term, Lumen had eighty-six different open courses,
4211 working relationships with ninety-two institutions, and more than
4212 seventy-five thousand student enrollments. Lumen received early start-up
4213 funding from the Bill and Melinda Gates Foundation, the Hewlett Foundation,
4214 and the Shuttleworth Foundation. Since then, Lumen has also attracted
4215 investment funding. Over the last three years, Lumen has been roughly 60
4216 percent grant funded, 20 percent revenue earned, and 20 percent funded with
4217 angel capital. Going forward, their strategy is to replace grant funding
4218 with revenue.
4219     </p><p>
4220       In creating Lumen Learning, David and Kim say they’ve landed on solutions
4221 they never imagined, and there is still a lot of learning taking place. For
4222 them, open business models are an emerging field where we are all learning
4223 through sharing. Their biggest recommendations for others wanting to pursue
4224 the open model are to make your commitment to open resources public, let
4225 people know where you stand, and don’t back away from it. It really is about
4226 trust.
4227     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1325" class="footnote"><p><a href="#idm1325" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>Kapitel 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>
4228         Jonathan Mann is a singer and songwriter who is most well known as the
4229 <span class="quote">„<span class="quote">Song A Day</span>“</span> guy. Based in the U.S.
4230       </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>
4231       </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
4232 services, pay-what-you-want, crowdfunding (subscription-based), charging for
4233 in-person version (speaking engagements and musical performances)
4234       </p><p><span class="strong"><strong>Interview date</strong></span>: February 22, 2016
4235       </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}
4236     \textit{
4237         Profile written by Sarah Hinchliff Pearson
4238       }
4239     \end{flushright}</td></tr></table></div><p>
4240       Jonathan Mann thinks of his business model as
4241 <span class="quote">„<span class="quote">hustling</span>“</span>—seizing nearly every opportunity he sees to make
4242 money. The bulk of his income comes from writing songs under commission for
4243 people and companies, but he has a wide variety of income sources. He has
4244 supporters on the crowdfunding site Patreon. He gets advertising revenue
4245 from YouTube and Bandcamp, where he posts all of his music. He gives paid
4246 speaking engagements about creativity and motivation. He has been hired by
4247 major conferences to write songs summarizing what speakers have said in the
4248 conference sessions.
4249     </p><p>
4250       His entrepreneurial spirit is coupled with a willingness to take action
4251 quickly. A perfect illustration of his ability to act fast happened in 2010,
4252 when he read that Apple was having a conference the following day to address
4253 a snafu related to the iPhone 4. He decided to write and post a song about
4254 the iPhone 4 that day, and the next day he got a call from the public
4255 relations people at Apple wanting to use and promote his video at the Apple
4256 conference. The song then went viral, and the experience landed him in Time
4257 magazine.
4258     </p><p>
4259       Jonathan’s successful <span class="quote">„<span class="quote">hustling</span>“</span> is also about old-fashioned
4260 persistence. He is currently in his eighth straight year of writing one song
4261 each day. He holds the Guinness World Record for consecutive daily
4262 songwriting, and he is widely known as the <span class="quote">„<span class="quote">song-a-day guy.</span>“</span>
4263     </p><p>
4264       He fell into this role by, naturally, seizing a random opportunity a friend
4265 alerted him to seven years ago—an event called Fun-A-Day, where people are
4266 supposed to create a piece of art every day for thirty-one days straight. He
4267 was in need of a new project, so he decided to give it a try by writing and
4268 posting a song each day.  He added a video component to the songs because he
4269 knew people were more likely to watch video online than simply listening to
4270 audio files.
4271     </p><p>
4272       He had a really good time doing the thirty-one-day challenge, so he decided
4273 to see if he could continue it for one year. He never stopped. He has
4274 written and posted a new song literally every day, seven days a week, since
4275 he began the project in 2009. When he isn’t writing songs that he is hired
4276 to write by clients, he writes songs about whatever is on his mind that
4277 day. His songs are catchy and mostly lighthearted, but they often contain at
4278 least an undercurrent of a deeper theme or meaning. Occasionally, they are
4279 extremely personal, like the song he cowrote with his exgirlfriend
4280 announcing their breakup. Rain or shine, in sickness or health, Jonathan
4281 posts and writes a song every day. If he is on a flight or otherwise
4282 incapable of getting Internet access in time to meet the deadline, he will
4283 prepare ahead and have someone else post the song for him.
4284     </p><p>
4285       Over time, the song-a-day gig became the basis of his livelihood.  In the
4286 beginning, he made money one of two ways. The first was by entering a wide
4287 variety of contests and winning a handful. The second was by having the
4288 occasional song and video go some varying degree of viral, which would bring
4289 more eyeballs and mean that there were more people wanting him to write
4290 songs for them. Today he earns most of his money this way.
4291     </p><p>
4292       His website explains his gig as <span class="quote">„<span class="quote">taking any message, from the super
4293 simple to the totally complicated, and conveying that message through a
4294 heartfelt, fun and quirky song.</span>“</span> He charges $500 to create a produced
4295 song and $300 for an acoustic song. He has been hired for product launches,
4296 weddings, conferences, and even Kickstarter campaigns like the one that
4297 funded the production of this book.
4298     </p><p>
4299       Jonathan can’t recall when exactly he first learned about Creative Commons,
4300 but he began applying CC licenses to his songs and videos as soon as he
4301 discovered the option. <span class="quote">„<span class="quote">CC seems like such a no-brainer,</span>“</span>
4302 Jonathan said. <span class="quote">„<span class="quote">I don’t understand how anything else would make
4303 sense. It seems like such an obvious thing that you would want your work to
4304 be able to be shared.</span>“</span>
4305     </p><p>
4306       His songs are essentially marketing for his services, so obviously the
4307 further his songs spread, the better. Using CC licenses helps grease the
4308 wheels, letting people know that Jonathan allows and encourages them to
4309 copy, interact with, and remix his music.  <span class="quote">„<span class="quote">If you let someone cover
4310 your song or remix it or use parts of it, that’s how music is supposed to
4311 work,</span>“</span> Jonathan said. <span class="quote">„<span class="quote">That is how music has worked since the
4312 beginning of time. Our me-me, mine-mine culture has undermined that.</span>“</span>
4313     </p><p>
4314       There are some people who cover his songs fairly regularly, and he would
4315 never shut that down. But he acknowledges there is a lot more he could do to
4316 build community. <span class="quote">„<span class="quote">There is all of this conventional wisdom about how
4317 to build an audience online, and I generally think I don’t do any of
4318 that,</span>“</span> Jonathan said.
4319     </p><p>
4320       He does have a fan community he cultivates on Bandcamp, but it isn’t his
4321 major focus. <span class="quote">„<span class="quote">I do have a core audience that has stuck around for a
4322 really long time, some even longer than I’ve been doing song-a-day,</span>“</span>
4323 he said. <span class="quote">„<span class="quote">There is also a transitional aspect that drop in and get
4324 what they need and then move on.</span>“</span> Focusing less on community building
4325 than other artists makes sense given Jonathan’s primary income source of
4326 writing custom songs for clients.
4327     </p><p>
4328       Jonathan recognizes what comes naturally to him and leverages those
4329 skills. Through the practice of daily songwriting, he realized he has a gift
4330 for distilling complicated subjects into simple concepts and putting them to
4331 music. In his song <span class="quote">„<span class="quote">How to Choose a Master Password,</span>“</span> Jonathan
4332 explained the process of creating a secure password in a silly, simple
4333 song. He was hired to write the song by a client who handed him a long
4334 technical blog post from which to draw the information. Like a good (and
4335 rare) journalist, he translated the technical concepts into something
4336 understandable.
4337     </p><p>
4338       When he is hired by a client to write a song, he first asks them to send a
4339 list of talking points and other information they want to include in the
4340 song. He puts all of that into a text file and starts moving things around,
4341 cutting and pasting until the message starts to come together. The first
4342 thing he tries to do is grok the core message and develop the chorus. Then
4343 he looks for connections or parts he can make rhyme. The entire process
4344 really does resemble good journalism, but of course the final product of his
4345 work is a song rather than news. <span class="quote">„<span class="quote">There is something about being
4346 challenged and forced to take information that doesn’t seem like it should
4347 be sung about or doesn’t seem like it lends itself to a song,</span>“</span> he
4348 said. <span class="quote">„<span class="quote">I find that creative challenge really satisfying. I enjoy
4349 getting lost in that process.</span>“</span>
4350     </p><p>
4351       Jonathan admits that in an ideal world, he would exclusively write the music
4352 he wanted to write, rather than what clients hire him to write. But his
4353 business model is about capitalizing on his strengths as a songwriter, and
4354 he has found a way to keep it interesting for himself.
4355     </p><p>
4356       Jonathan uses nearly every tool possible to make money from his art, but he
4357 does have lines he won’t cross. He won’t write songs about things he
4358 fundamentally does not believe in, and there are times he has turned down
4359 jobs on principle. He also won’t stray too much from his natural
4360 style. <span class="quote">„<span class="quote">My style is silly, so I can’t really accommodate people who
4361 want something super serious,</span>“</span> Jonathan said. <span class="quote">„<span class="quote">I do what I do
4362 very easily, and it’s part of who I am.</span>“</span> Jonathan hasn’t gotten into
4363 writing commercials for the same reasons; he is best at using his own unique
4364 style rather than mimicking others.
4365     </p><p>
4366       Jonathan’s song-a-day commitment exemplifies the power of habit and
4367 grit. Conventional wisdom about creative productivity, including advice in
4368 books like the best-seller The Creative Habit by Twyla Tharp, routinely
4369 emphasizes the importance of ritual and action. No amount of planning can
4370 replace the value of simple practice and just doing. Jonathan Mann’s work is
4371 a living embodiment of these principles.
4372     </p><p>
4373       When he speaks about his work, he talks about how much the song-a-day
4374 process has changed him. Rather than seeing any given piece of work as
4375 precious and getting stuck on trying to make it perfect, he has become
4376 comfortable with just doing. If today’s song is a bust, tomorrow’s song
4377 might be better.
4378     </p><p>
4379       Jonathan seems to have this mentality about his career more generally. He is
4380 constantly experimenting with ways to make a living while sharing his work
4381 as widely as possible, seeing what sticks. While he has major
4382 accomplishments he is proud of, like being in the Guinness World Records or
4383 having his song used by Steve Jobs, he says he never truly feels successful.
4384     </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
4385 extent, a creative person is not ever going to feel completely satisfied
4386 because then so much of what drives you would be gone.</span>“</span>
4387     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Kapitel 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>
4388         The Noun Project is a for-profit company offering an online platform to
4389 display visual icons from a global network of designers. Founded in 2010 in
4390 the U.S.
4391       </p><p>
4392           <a class="ulink" href="http://thenounproject.com" target="_top">http://thenounproject.com</a>
4393         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction
4394 fee, charging for custom services
4395       </p><p><span class="strong"><strong>Interview date</strong></span>: October 6, 2015
4396       </p><p><span class="strong"><strong>Interviewee</strong></span>: Edward Boatman, cofounder
4397       </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}
4398     \textit{
4399         Profile written by Paul Stacey
4400       }
4401     \end{flushright}</td></tr></table></div><p>
4402       The Noun Project creates and shares visual language. There are millions who
4403 use Noun Project symbols to simplify communication across borders,
4404 languages, and cultures.
4405     </p><p>
4406       The original idea for the Noun Project came to cofounder Edward Boatman
4407 while he was a student in architecture design school. He’d always done a lot
4408 of sketches and started to draw what used to fascinate him as a child, like
4409 trains, sequoias, and bulldozers.  He began thinking how great it would be
4410 if he had a simple image or small icon of every single object or concept on
4411 the planet.
4412     </p><p>
4413       When Edward went on to work at an architecture firm, he had to make a lot of
4414 presentation boards for clients. But finding high-quality sources for
4415 symbols and icons was difficult. He couldn’t find any website that could
4416 provide them. Perhaps his idea for creating a library of icons could
4417 actually help people in similar situations.
4418     </p><p>
4419       With his partner, Sofya Polyakov, he began collecting symbols for a website
4420 and writing a business plan. Inspiration came from the book Professor and
4421 the Madman, which chronicles the use of crowdsourcing to create the Oxford
4422 English Dictionary in 1870.  Edward began to imagine crowdsourcing icons and
4423 symbols from volunteer designers around the world.
4424     </p><p>
4425       Then Edward got laid off during the recession, which turned out to be a huge
4426 catalyst. He decided to give his idea a go, and in 2010 Edward and Sofya
4427 launched the Noun Project with a Kickstarter campaign, back when Kickstarter
4428 was in its infancy.<a href="#ftn.idm1428" class="footnote" name="idm1428"><sup class="footnote">[126]</sup></a> They thought it’d
4429 be a good way to introduce the global web community to their idea. Their
4430 goal was to raise $1,500, but in twenty days they got over $14,000. They
4431 realized their idea had the potential to be something much bigger.
4432     </p><p>
4433       They created a platform where symbols and icons could be uploaded, and
4434 Edward began recruiting talented designers to contribute their designs, a
4435 process he describes as a relatively easy sell. Lots of designers have old
4436 drawings just gathering <span class="quote">„<span class="quote">digital dust</span>“</span> on their hard
4437 drives. It’s easy to convince them to finally share them with the world.
4438     </p><p>
4439       The Noun Project currently has about seven thousand designers from around
4440 the world. But not all submissions are accepted. The Noun Project’s
4441 quality-review process means that only the best works become part of its
4442 collection. They make sure to provide encouraging, constructive feedback
4443 whenever they reject a piece of work, which maintains and builds the
4444 relationship they have with their global community of designers.
4445     </p><p>
4446       Creative Commons is an integral part of the Noun Project’s business model;
4447 this decision was inspired by Chris Anderson’s book Free: The Future of
4448 Radical Price, which introduced Edward to the idea that you could build a
4449 business model around free content.
4450     </p><p>
4451       Edward knew he wanted to offer a free visual language while still providing
4452 some protection and reward for its contributors. There is a tension between
4453 those two goals, but for Edward, Creative Commons licenses bring this
4454 idealism and business opportunity together elegantly. He chose the
4455 Attribution (CC BY) license, which means people can download the icons for
4456 free and modify them and even use them commercially. The requirement to give
4457 attribution to the original creator ensures that the creator can build a
4458 reputation and get global recognition for their work. And if they simply
4459 want to offer an icon that people can use without having to give credit,
4460 they can use CC0 to put the work into the public domain.
4461     </p><p>
4462       Noun Project’s business model and means of generating revenue have evolved
4463 significantly over time. Their initial plan was to sell T-shirts with the
4464 icons on it, which in retrospect Edward says was a horrible idea. They did
4465 get a lot of email from people saying they loved the icons but asking if
4466 they could pay a fee instead of giving attribution. Ad agencies (among
4467 others) wanted to keep marketing and presentation materials clean and free
4468 of attribution statements. For Edward, <span class="quote">„<span class="quote">That’s when our lightbulb went
4469 off.</span>“</span>
4470     </p><p>
4471       They asked their global network of designers whether they’d be open to
4472 receiving modest remuneration instead of attribution.  Designers saw it as a
4473 win-win. The idea that you could offer your designs for free and have a
4474 global audience and maybe even make some money was pretty exciting for most
4475 designers.
4476     </p><p>
4477       The Noun Project first adopted a model whereby using an icon without giving
4478 attribution would cost $1.99 per icon. The model’s second iteration added a
4479 subscription component, where there would be a monthly fee to access a
4480 certain number of icons—ten, fifty, a hundred, or five hundred. However,
4481 users didn’t like these hard-count options. They preferred to try out many
4482 similar icons to see which worked best before eventually choosing the one
4483 they wanted to use. So the Noun Project moved to an unlimited model, whereby
4484 users have unlimited access to the whole library for a flat monthly
4485 fee. This service is called NounPro and costs $9.99 per month. Edward says
4486 this model is working well—good for customers, good for creators, and good
4487 for the platform.
4488     </p><p>
4489       Customers then began asking for an application-programming interface (API),
4490 which would allow Noun Project icons and symbols to be directly accessed
4491 from within other applications. Edward knew that the icons and symbols would
4492 be valuable in a lot of different contexts and that they couldn’t possibly
4493 know all of them in advance, so they built an API with a lot of
4494 flexibility.  Knowing that most API applications would want to use the icons
4495 without giving attribution, the API was built with the aim of charging for
4496 its use. You can use what’s called the <span class="quote">„<span class="quote">Playground API</span>“</span> for
4497 free to test how it integrates with your application, but full
4498 implementation will require you to purchase the API Pro version.
4499     </p><p>
4500       The Noun Project shares revenue with its international designers.  For
4501 one-off purchases, the revenue is split 70 percent to the designer and 30
4502 percent to Noun Project.
4503     </p><p>
4504       The revenue from premium purchases (the subscription and API options) is
4505 split a little differently. At the end of each month, the total revenue from
4506 subscriptions is divided by Noun Project’s total number of downloads,
4507 resulting in a rate per download—for example, it could be $0.13 per download
4508 for that month. For each download, the revenue is split 40 percent to the
4509 designer and 60 percent to the Noun Project. (For API usage, it’s per use
4510 instead of per download.) Noun Project’s share is higher this time as it’s
4511 providing more service to the user.
4512     </p><p>
4513       The Noun Project tries to be completely transparent about their royalty
4514 structure.<a href="#ftn.idm1445" class="footnote" name="idm1445"><sup class="footnote">[127]</sup></a> They tend to over
4515 communicate with creators about it because building trust is the top
4516 priority.
4517     </p><p>
4518       For most creators, contributing to the Noun Project is not a full-time job
4519 but something they do on the side. Edward categorizes monthly earnings for
4520 creators into three broad categories: enough money to buy beer; enough to
4521 pay the bills; and most successful of all, enough to pay the rent.
4522     </p><p>
4523       Recently the Noun Project launched a new app called Lingo.  Designers can
4524 use Lingo to organize not just their Noun Project icons and symbols but also
4525 their photos, illustrations, UX designs, et cetera. You simply drag any
4526 visual item directly into Lingo to save it. Lingo also works for teams so
4527 people can share visuals with each other and search across their combined
4528 collections. Lingo is free for personal use. A pro version for $9.99 per
4529 month lets you add guests. A team version for $49.95 per month allows up to
4530 twenty-five team members to collaborate, and to view, use, edit, and add new
4531 assets to each other’s collections.  And if you subscribe to NounPro, you
4532 can access Noun Project from within Lingo.
4533     </p><p>
4534       The Noun Project gives a ton of value away for free. A very large percentage
4535 of their roughly one million members have a free account, but there are
4536 still lots of paid accounts coming from digital designers, advertising and
4537 design agencies, educators, and others who need to communicate ideas
4538 visually.
4539     </p><p>
4540       For Edward, <span class="quote">„<span class="quote">creating, sharing, and celebrating the world’s visual
4541 language</span>“</span> is the most important aspect of what they do; it’s their
4542 stated mission. It differentiates them from others who offer graphics,
4543 icons, or clip art.
4544     </p><p>
4545       Noun Project creators agree. When surveyed on why they participate in the
4546 Noun Project, this is how designers rank their reasons: 1)  to support the
4547 Noun Project mission, 2) to promote their own personal brand, and 3) to
4548 generate money. It’s striking to see that money comes third, and mission,
4549 first. If you want to engage a global network of contributors, it’s
4550 important to have a mission beyond making money.
4551     </p><p>
4552       In Edward’s view, Creative Commons is central to their mission of sharing
4553 and social good. Using Creative Commons makes the Noun Project’s mission
4554 genuine and has generated a lot of their initial traction and
4555 credibility. CC comes with a built-in community of users and fans.
4556     </p><p>
4557       Edward told us, <span class="quote">„<span class="quote">Don’t underestimate the power of a passionate
4558 community around your product or your business. They are going to go to bat
4559 for you when you’re getting ripped in the media. If you go down the road of
4560 choosing to work with Creative Commons, you’re taking the first step to
4561 building a great community and tapping into a really awesome community that
4562 comes with it. But you need to continue to foster that community through
4563 other initiatives and continue to nurture it.</span>“</span>
4564     </p><p>
4565       The Noun Project nurtures their creators’ second motivation—promoting a
4566 personal brand—by connecting every icon and symbol to the creator’s name and
4567 profile page; each profile features their full collection. Users can also
4568 search the icons by the creator’s name.
4569     </p><p>
4570       The Noun Project also builds community through Iconathons—hackathons for
4571 icons.<a href="#ftn.idm1459" class="footnote" name="idm1459"><sup class="footnote">[128]</sup></a> In partnership with a sponsoring
4572 organization, the Noun Project comes up with a theme (e.g., sustainable
4573 energy, food bank, guerrilla gardening, human rights) and a list of icons
4574 that are needed, which designers are invited to create at the event.  The
4575 results are vectorized, and added to the Noun Project using CC0 so they can
4576 be used by anyone for free.
4577     </p><p>
4578       Providing a free version of their product that satisfies a lot of their
4579 customers’ needs has actually enabled the Noun Project to build the paid
4580 version, using a service-oriented model. The Noun Project’s success lies in
4581 creating services and content that are a strategic mix of free and paid
4582 while staying true to their mission—creating, sharing, and celebrating the
4583 world’s visual language. Integrating Creative Commons into their model has
4584 been key to that goal.
4585     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1428" class="footnote"><p><a href="#idm1428" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1445" class="footnote"><p><a href="#idm1445" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1459" class="footnote"><p><a href="#idm1459" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>Kapitel 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>
4586         The Open Data Institute is an independent nonprofit that connects, equips,
4587 and inspires people around the world to innovate with data. Founded in 2012
4588 in the UK.
4589       </p><p>
4590           <a class="ulink" href="http://theodi.org" target="_top">http://theodi.org</a>
4591         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant and government
4592 funding, charging for custom services, donations
4593       </p><p><span class="strong"><strong>Interview date</strong></span>: November 11, 2015
4594       </p><p><span class="strong"><strong>Interviewee</strong></span>: Jeni Tennison, technical
4595 director
4596       </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}
4597     \textit{
4598         Profile written by Paul Stacey
4599       }
4600     \end{flushright}</td></tr></table></div><p>
4601       Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the
4602 London-based Open Data Institute (ODI) offers data-related training, events,
4603 consulting services, and research. For ODI, Creative Commons licenses are
4604 central to making their own business model and their customers’ open. CC BY
4605 (Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the
4606 public domain)  all play a critical role in ODI’s mission to help people
4607 around the world innovate with data.
4608     </p><p>
4609       Data underpins planning and decision making across all aspects of
4610 society. Weather data helps farmers know when to plant their crops, flight
4611 time data from airplane companies helps us plan our travel, data on local
4612 housing informs city planning. When this data is not only accurate and
4613 timely, but open and accessible, it opens up new possibilities. Open data
4614 can be a resource businesses use to build new products and services. It can
4615 help governments measure progress, improve efficiency, and target
4616 investments. It can help citizens improve their lives by better
4617 understanding what is happening around them.
4618     </p><p>
4619       The Open Data Institute’s 2012–17 business plan starts out by describing its
4620 vision to establish itself as a world-leading center and to research and be
4621 innovative with the opportunities created by the UK government’s open data
4622 policy. (The government was an early pioneer in open policy and open-data
4623 initiatives.) It goes on to say that the ODI wants to—
4624     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4625           demonstrate the commercial value of open government data and how open-data
4626 policies affect this;
4627         </p></li><li class="listitem"><p>
4628           develop the economic benefits case and business models for open data;
4629         </p></li><li class="listitem"><p>
4630           help UK businesses use open data; and
4631         </p></li><li class="listitem"><p>
4632           show how open data can improve public services.<a href="#ftn.idm1488" class="footnote" name="idm1488"><sup class="footnote">[129]</sup></a>
4633         </p></li></ul></div><p>
4634       ODI is very explicit about how it wants to make open business models, and
4635 defining what this means. Jeni Tennison, ODI’s technical director, puts it
4636 this way: <span class="quote">„<span class="quote">There is a whole ecosystem of open—open-source software,
4637 open government, open-access research—and a whole ecosystem of data. ODI’s
4638 work cuts across both, with an emphasis on where they overlap—with open
4639 data.</span>“</span> ODI’s particular focus is to show open data’s potential for
4640 revenue.
4641     </p><p>
4642       As an independent nonprofit, ODI secured £10 million over five years from
4643 the UK government via Innovate UK, an agency that promotes innovation in
4644 science and technology. For this funding, ODI has to secure matching funds
4645 from other sources, some of which were met through a $4.75-million
4646 investment from the Omidyar Network.
4647     </p><p>
4648       Jeni started out as a developer and technical architect for data.gov.uk, the
4649 UK government’s pioneering open-data initiative.  She helped make data sets
4650 from government departments available as open data. She joined ODI in 2012
4651 when it was just starting up, as one of six people. It now has a staff of
4652 about sixty.
4653     </p><p>
4654       ODI strives to have half its annual budget come from the core UK government
4655 and Omidyar grants, and the other half from project-based research and
4656 commercial work. In Jeni’s view, having this balance of revenue sources
4657 establishes some stability, but also keeps them motivated to go out and
4658 generate these matching funds in response to market needs.
4659     </p><p>
4660       On the commercial side, ODI generates funding through memberships, training,
4661 and advisory services.
4662     </p><p>
4663       You can join the ODI as an individual or commercial member.  Individual
4664 membership is pay-what-you-can, with options ranging from £1 to
4665 £100. Members receive a newsletter and related communications and a discount
4666 on ODI training courses and the annual summit, and they can display an
4667 ODI-supporter badge on their website. Commercial membership is divided into
4668 two tiers: small to medium size enterprises and nonprofits at £720 a year,
4669 and corporations and government organizations at £2,200 a year.  Commercial
4670 members have greater opportunities to connect and collaborate, explore the
4671 benefits of open data, and unlock new business opportunities. (All members
4672 are listed on their website.)<a href="#ftn.idm1498" class="footnote" name="idm1498"><sup class="footnote">[130]</sup></a>
4673     </p><p>
4674       ODI provides standardized open data training courses in which anyone can
4675 enroll. The initial idea was to offer an intensive and academically oriented
4676 diploma in open data, but it quickly became clear there was no market for
4677 that. Instead, they offered a five-day-long public training course, which
4678 has subsequently been reduced to three days; now the most popular course is
4679 one day long. The fee, in addition to the time commitment, can be a barrier
4680 for participation. Jeni says, <span class="quote">„<span class="quote">Most of the people who would be able to
4681 pay don’t know they need it. Most who know they need it can’t pay.</span>“</span>
4682 Public-sector organizations sometimes give vouchers to their employees so
4683 they can attend as a form of professional development.
4684     </p><p>
4685       ODI customizes training for clients as well, for which there is more
4686 demand. Custom training usually emerges through an established relationship
4687 with an organization. The training program is based on a definition of
4688 open-data knowledge as applicable to the organization and on the skills
4689 needed by their high-level executives, management, and technical staff. The
4690 training tends to generate high interest and commitment.
4691     </p><p>
4692       Education about open data is also a part of ODI’s annual summit event, where
4693 curated presentations and speakers showcase the work of ODI and its members
4694 across the entire ecosystem. Tickets to the summit are available to the
4695 public, and hundreds of people and organizations attend and participate. In
4696 2014, there were four thematic tracks and over 750 attendees.
4697     </p><p>
4698       In addition to memberships and training, ODI provides advisory services to
4699 help with technical-data support, technology development, change management,
4700 policies, and other areas. ODI has advised large commercial organizations,
4701 small businesses, and international governments; the focus at the moment is
4702 on government, but ODI is working to shift more toward commercial
4703 organizations.
4704     </p><p>
4705       On the commercial side, the following value propositions seem to resonate:
4706     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4707           Data-driven insights. Businesses need data from outside their business to
4708 get more insight. Businesses can generate value and more effectively pursue
4709 their own goals if they open up their own data too. Big data is a hot topic.
4710         </p></li><li class="listitem"><p>
4711           Open innovation. Many large-scale enterprises are aware they don’t innovate
4712 very well. One way they can innovate is to open up their data. ODI
4713 encourages them to do so even if it exposes problems and challenges. The key
4714 is to invite other people to help while still maintaining organizational
4715 autonomy.
4716         </p></li><li class="listitem"><p>
4717           Corporate social responsibility. While this resonates with businesses, ODI
4718 cautions against having it be the sole reason for making data open. If a
4719 business is just thinking about open data as a way to be transparent and
4720 accountable, they can miss out on efficiencies and opportunities.
4721         </p></li></ul></div><p>
4722       During their early years, ODI wanted to focus solely on the United
4723 Kingdom. But in their first year, large delegations of government visitors
4724 from over fifty countries wanted to learn more about the UK government’s
4725 open-data practices and how ODI saw that translating into economic
4726 value. They were contracted as a service provider to international
4727 governments, which prompted a need to set up international ODI
4728 <span class="quote">„<span class="quote">nodes.</span>“</span>
4729     </p><p>
4730       Nodes are franchises of the ODI at a regional or city level.  Hosted by
4731 existing (for-profit or not-for-profit) organizations, they operate locally
4732 but are part of the global network. Each ODI node adopts the charter, a set
4733 of guiding principles and rules under which ODI operates. They develop and
4734 deliver training, connect people and businesses through membership and
4735 events, and communicate open-data stories from their part of the
4736 world. There are twenty-seven different nodes across nineteen countries. ODI
4737 nodes are charged a small fee to be part of the network and to use the
4738 brand.
4739     </p><p>
4740       ODI also runs programs to help start-ups in the UK and across Europe develop
4741 a sustainable business around open data, offering mentoring, advice,
4742 training, and even office space.<a href="#ftn.idm1518" class="footnote" name="idm1518"><sup class="footnote">[131]</sup></a>
4743     </p><p>
4744       A big part of ODI’s business model revolves around community
4745 building. Memberships, training, summits, consulting services, nodes, and
4746 start-up programs create an ever-growing network of open-data users and
4747 leaders. (In fact, ODI even operates something called an Open Data Leaders
4748 Network.) For ODI, community is key to success. They devote significant time
4749 and effort to build it, not just online but through face-to-face events.
4750     </p><p>
4751       ODI has created an online tool that organizations can use to assess the
4752 legal, practical, technical, and social aspects of their open data. If it is
4753 of high quality, the organization can earn ODI’s Open Data Certificate, a
4754 globally recognized mark that signals that their open data is useful,
4755 reliable, accessible, discoverable, and supported.<a href="#ftn.idm1524" class="footnote" name="idm1524"><sup class="footnote">[132]</sup></a>
4756     </p><p>
4757       Separate from commercial activities, the ODI generates funding through
4758 research grants. Research includes looking at evidence on the impact of open
4759 data, development of open-data tools and standards, and how to deploy open
4760 data at scale.
4761     </p><p>
4762       Creative Commons 4.0 licenses cover database rights and ODI recommends CC
4763 BY, CC BY-SA, and CC0 for data releases. ODI encourages publishers of data
4764 to use Creative Commons licenses rather than creating new <span class="quote">„<span class="quote">open
4765 licenses</span>“</span> of their own.
4766     </p><p>
4767       For ODI, open is at the heart of what they do. They also release any
4768 software code they produce under open-source-software licenses, and
4769 publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
4770 to connect and equip people around the world so they can innovate with
4771 data. Disseminating stories, research, guidance, and code under an open
4772 license is essential for achieving that mission. It also demonstrates that
4773 it is perfectly possible to generate sustainable revenue streams that do not
4774 rely on restrictive licensing of content, data, or code.  People pay to have
4775 ODI experts provide training to them, not for the content of the training;
4776 people pay for the advice ODI gives them, not for the methodologies they
4777 use. Producing open content, data, and source code helps establish
4778 credibility and creates leads for the paid services that they
4779 offer. According to Jeni, <span class="quote">„<span class="quote">The biggest lesson we have learned is that
4780 it is completely possible to be open, get customers, and make money.</span>“</span>
4781     </p><p>
4782       To serve as evidence of a successful open business model and return on
4783 investment, ODI has a public dashboard of key performance indicators. Here
4784 are a few metrics as of April 27, 2016:
4785     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4786           Total amount of cash investments unlocked in direct investments in ODI,
4787 competition funding, direct contracts, and partnerships, and income that ODI
4788 nodes and ODI start-ups have generated since joining the ODI program: £44.5
4789 million
4790         </p></li><li class="listitem"><p>
4791           Total number of active members and nodes across the globe: 1,350
4792         </p></li><li class="listitem"><p>
4793           Total sales since ODI began: £7.44 million
4794         </p></li><li class="listitem"><p>
4795           Total number of unique people reached since ODI began, in person and online:
4796 2.2 million
4797         </p></li><li class="listitem"><p>
4798           Total Open Data Certificates created: 151,000
4799         </p></li><li class="listitem"><p>
4800           Total number of people trained by ODI and its nodes since ODI began:
4801 5,080<a href="#ftn.idm1546" class="footnote" name="idm1546"><sup class="footnote">[133]</sup></a>
4802         </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1488" class="footnote"><p><a href="#idm1488" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1498" class="footnote"><p><a href="#idm1498" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1518" class="footnote"><p><a href="#idm1518" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>; <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1524" class="footnote"><p><a href="#idm1524" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1546" class="footnote"><p><a href="#idm1546" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>Kapitel 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>
4803         Opendesk is a for-profit company offering an online platform that connects
4804 furniture designers around the world with customers and local makers who
4805 bring the designs to life.  Founded in 2014 in the UK.
4806       </p><p>
4807           <a class="ulink" href="http://www.opendesk.cc" target="_top">http://www.opendesk.cc</a>
4808         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
4809       </p><p><span class="strong"><strong>Interview date</strong></span>: November 4, 2015
4810       </p><p><span class="strong"><strong>Interviewees</strong></span>: Nick Ierodiaconou and Joni
4811 Steiner, cofounders
4812       </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}
4813     \textit{
4814         Profile written by Paul Stacey
4815       }
4816     \end{flushright}</td></tr></table></div><p>
4817       Opendesk is an online platform that connects furniture designers around the
4818 world not just with customers but also with local registered makers who
4819 bring the designs to life. Opendesk and the designer receive a portion of
4820 every sale that is made by a maker.
4821     </p><p>
4822       Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as
4823 architects together. They also made goods. Their first client was Mint
4824 Digital, who had an interest in open licensing. Nick and Joni were exploring
4825 digital fabrication, and Mint’s interest in open licensing got them to
4826 thinking how the open-source world may interact and apply to physical
4827 goods. They sought to design something for their client that was also
4828 reproducible. As they put it, they decided to <span class="quote">„<span class="quote">ship the recipe, but
4829 not the goods.</span>“</span> They created the design using software, put it under
4830 an open license, and had it manufactured locally near the client. This was
4831 the start of the idea for Opendesk. The idea for Wikihouse—another open
4832 project dedicated to accessible housing for all—started as discussions
4833 around the same table. The two projects ultimately went on separate paths,
4834 with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit
4835 company.
4836     </p><p>
4837       When Nick and Joni set out to create Opendesk, there were a lot of questions
4838 about the viability of distributed manufacturing. No one was doing it in a
4839 way that was even close to realistic or competitive. The design community
4840 had the intent, but fulfilling this vision was still a long way away.
4841     </p><p>
4842       And now this sector is emerging, and Nick and Joni are highly interested in
4843 the commercialization aspects of it. As part of coming up with a business
4844 model, they began investigating intellectual property and licensing
4845 options. It was a thorny space, especially for designs. Just what aspect of
4846 a design is copyrightable? What is patentable? How can allowing for digital
4847 sharing and distribution be balanced against the designer’s desire to still
4848 hold ownership? In the end, they decided there was no need to reinvent the
4849 wheel and settled on using Creative Commons.
4850     </p><p>
4851       When designing the Opendesk system, they had two goals. They wanted anyone,
4852 anywhere in the world, to be able to download designs so that they could be
4853 made locally, and they wanted a viable model that benefited designers when
4854 their designs were sold. Coming up with a business model was going to be
4855 complex.
4856     </p><p>
4857       They gave a lot of thought to three angles—the potential for social sharing,
4858 allowing designers to choose their license, and the impact these choices
4859 would have on the business model.
4860     </p><p>
4861       In support of social sharing, Opendesk actively advocates for (but doesn’t
4862 demand) open licensing. And Nick and Joni are agnostic about which Creative
4863 Commons license is used; it’s up to the designer. They can be proprietary or
4864 choose from the full suite of Creative Commons licenses, deciding for
4865 themselves how open or closed they want to be.
4866     </p><p>
4867       For the most part, designers love the idea of sharing content.  They
4868 understand that you get positive feedback when you’re attributed, what Nick
4869 and Joni called <span class="quote">„<span class="quote">reputational glow.</span>“</span> And Opendesk does an
4870 awesome job profiling the designers.<a href="#ftn.idm1572" class="footnote" name="idm1572"><sup class="footnote">[134]</sup></a>
4871     </p><p>
4872       While designers are largely OK with personal sharing, there is a concern
4873 that someone will take the design and manufacture the furniture in bulk,
4874 with the designer not getting any benefits. So most Opendesk designers
4875 choose the Attribution-NonCommercial license (CC BY-NC).
4876     </p><p>
4877       Anyone can download a design and make it themselves, provided it’s for
4878 noncommercial use — and there have been many, many downloads.  Or users can
4879 buy the product from Opendesk, or from a registered maker in Opendesk’s
4880 network, for on-demand personal fabrication.  The network of Opendesk makers
4881 currently is made up of those who do digital fabrication using a
4882 computer-controlled CNC (Computer Numeric Control) machining device that
4883 cuts shapes out of wooden sheets according to the specifications in the
4884 design file.
4885     </p><p>
4886       Makers benefit from being part of Opendesk’s network. Making furniture for
4887 local customers is paid work, and Opendesk generates business for them. Joni
4888 said, <span class="quote">„<span class="quote">Finding a whole network and community of makers was pretty easy
4889 because we built a site where people could write in about their
4890 capabilities. Building the community by learning from the maker community is
4891 how we have moved forward.</span>“</span> Opendesk now has relationships with
4892 hundreds of makers in countries all around the world.<a href="#ftn.idm1579" class="footnote" name="idm1579"><sup class="footnote">[135]</sup></a>
4893     </p><p>
4894       The makers are a critical part of the Opendesk business model.  Their model
4895 builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
4896 website:
4897     </p><p>
4898       When customers buy an Opendesk product directly from a registered maker,
4899 they pay:
4900     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4901           the manufacturing cost as set by the maker (this covers material and labour
4902 costs for the product to be manufactured and any extra assembly costs
4903 charged by the maker)
4904         </p></li><li class="listitem"><p>
4905           a design fee for the designer (a design fee that is paid to the designer
4906 every time their design is used)
4907         </p></li><li class="listitem"><p>
4908           a percentage fee to the Opendesk platform (this supports the infrastructure
4909 and ongoing development of the platform that helps us build out our
4910 marketplace)
4911         </p></li><li class="listitem"><p>
4912           a percentage fee to the channel through which the sale is made (at the
4913 moment this is Opendesk, but in the future we aim to open this up to
4914 third-party sellers who can sell Opendesk products through their own
4915 channels—this covers sales and marketing fees for the relevant channel)
4916         </p></li><li class="listitem"><p>
4917           a local delivery service charge (the delivery is typically charged by the
4918 maker, but in some cases may be paid to a third-party delivery partner)
4919         </p></li><li class="listitem"><p>
4920           charges for any additional services the customer chooses, such as on-site
4921 assembly (additional services are discretionary—in many cases makers will be
4922 happy to quote for assembly on-site and designers may offer bespoke design
4923 options)
4924         </p></li><li class="listitem"><p>
4925           local sales taxes (variable by customer and maker location)<a href="#ftn.idm1599" class="footnote" name="idm1599"><sup class="footnote">[136]</sup></a>
4926         </p></li></ul></div><p>
4927       They then go into detail how makers’ quotes are created:
4928     </p><p>
4929       When a customer wants to buy an Opendesk . . . they are provided with a
4930 transparent breakdown of fees including the manufacturing cost, design fee,
4931 Opendesk platform fee and channel fees. If a customer opts to buy by getting
4932 in touch directly with a registered local maker using a downloaded Opendesk
4933 file, the maker is responsible for ensuring the design fee, Opendesk
4934 platform fee and channel fees are included in any quote at the time of
4935 sale.  Percentage fees are always based on the underlying manufacturing cost
4936 and are typically apportioned as follows:
4937     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4938           manufacturing cost: fabrication, finishing and any other costs as set by the
4939 maker (excluding any services like delivery or on-site assembly)
4940         </p></li><li class="listitem"><p>
4941           design fee: 8 percent of the manufacturing cost
4942         </p></li><li class="listitem"><p>
4943           platform fee: 12 percent of the manufacturing cost
4944         </p></li><li class="listitem"><p>
4945           channel fee: 18 percent of the manufacturing cost
4946         </p></li><li class="listitem"><p>
4947           sales tax: as applicable (depends on product and location)
4948         </p></li></ul></div><p>
4949       Opendesk shares revenue with their community of designers.  According to
4950 Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
4951 percent is more generous, and providing a higher value to the designer.
4952     </p><p>
4953       The Opendesk website features stories of designers and makers.  Denis Fuzii
4954 published the design for the Valovi Chair from his studio in São Paulo. His
4955 designs have been downloaded over five thousand times in ninety-five
4956 countries. I.J. CNC Services is Ian Jinks, a professional maker based in the
4957 United Kingdom. Opendesk now makes up a large proportion of his business.
4958     </p><p>
4959       To manage resources and remain effective, Opendesk has so far focused on a
4960 very narrow niche—primarily office furniture of a certain simple aesthetic,
4961 which uses only one type of material and one manufacturing technique. This
4962 allows them to be more strategic and more disruptive in the market, by
4963 getting things to market quickly with competitive prices. It also reflects
4964 their vision of creating reproducible and functional pieces.
4965     </p><p>
4966       On their website, Opendesk describes what they do as <span class="quote">„<span class="quote">open
4967 making</span>“</span>: <span class="quote">„<span class="quote">Designers get a global distribution channel. Makers
4968 get profitable jobs and new customers. You get designer products without the
4969 designer price tag, a more social, eco-friendly alternative to
4970 mass-production and an affordable way to buy custom-made products.</span>“</span>
4971     </p><p>
4972       Nick and Joni say that customers like the fact that the furniture has a
4973 known provenance. People really like that their furniture was designed by a
4974 certain international designer but was made by a maker in their local
4975 community; it’s a great story to tell. It certainly sets apart Opendesk
4976 furniture from the usual mass-produced items from a store.
4977     </p><p>
4978       Nick and Joni are taking a community-based approach to define and evolve
4979 Opendesk and the <span class="quote">„<span class="quote">open making</span>“</span> business model.  They’re
4980 engaging thought leaders and practitioners to define this new movement. They
4981 have a separate Open Making site, which includes a manifesto, a field guide,
4982 and an invitation to get involved in the Open Making community.<a href="#ftn.idm1624" class="footnote" name="idm1624"><sup class="footnote">[137]</sup></a> People can submit ideas and discuss the principles
4983 and business practices they’d like to see used.
4984     </p><p>
4985       Nick and Joni talked a lot with us about intellectual property (IP) and
4986 commercialization. Many of their designers fear the idea that someone could
4987 take one of their design files and make and sell infinite number of pieces
4988 of furniture with it. As a consequence, most Opendesk designers choose the
4989 Attribution-NonCommercial license (CC BY-NC).
4990     </p><p>
4991       Opendesk established a set of principles for what their community considers
4992 commercial and noncommercial use. Their website states:
4993     </p><p>
4994       It is unambiguously commercial use when anyone:
4995     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4996           charges a fee or makes a profit when making an Opendesk
4997         </p></li><li class="listitem"><p>
4998           sells (or bases a commercial service on) an Opendesk
4999         </p></li></ul></div><p>
5000       It follows from this that noncommercial use is when you make an Opendesk
5001 yourself, with no intention to gain commercial advantage or monetary
5002 compensation. For example, these qualify as noncommercial:
5003     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5004           you are an individual with your own CNC machine, or access to a shared CNC
5005 machine, and will personally cut and make a few pieces of furniture yourself
5006         </p></li><li class="listitem"><p>
5007           you are a student (or teacher) and you use the design files for educational
5008 purposes or training (and do not intend to sell the resulting pieces)
5009         </p></li><li class="listitem"><p>
5010           you work for a charity and get furniture cut by volunteers, or by employees
5011 at a fab lab or maker space
5012         </p></li></ul></div><p>
5013       Whether or not people technically are doing things that implicate IP, Nick
5014 and Joni have found that people tend to comply with the wishes of creators
5015 out of a sense of fairness. They have found that behavioral economics can
5016 replace some of the thorny legal issues. In their business model, Nick and
5017 Joni are trying to suspend the focus on IP and build an open business model
5018 that works for all stakeholders—designers, channels, manufacturers, and
5019 customers. For them, the value Opendesk generates hangs off
5020 <span class="quote">„<span class="quote">open,</span>“</span> not IP.
5021     </p><p>
5022       The mission of Opendesk is about relocalizing manufacturing, which changes
5023 the way we think about how goods are made.  Commercialization is integral to
5024 their mission, and they’ve begun to focus on success metrics that track how
5025 many makers and designers are engaged through Opendesk in revenue-making
5026 work.
5027     </p><p>
5028       As a global platform for local making, Opendesk’s business model has been
5029 built on honesty, transparency, and inclusivity. As Nick and Joni describe
5030 it, they put ideas out there that get traction and then have faith in
5031 people.
5032     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1572" class="footnote"><p><a href="#idm1572" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1579" class="footnote"><p><a href="#idm1579" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1599" class="footnote"><p><a href="#idm1599" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1624" class="footnote"><p><a href="#idm1624" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>Kapitel 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>
5033         OpenStax is a nonprofit that provides free, openly licensed textbooks for
5034 high-enrollment introductory college courses and Advanced Placement
5035 courses. Founded in 2012 in the U.S.
5036       </p><p>
5037           <a class="ulink" href="http://www.openstaxcollege.org" target="_top">http://www.openstaxcollege.org</a>
5038         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding, charging
5039 for custom services, charging for physical copies (textbook sales)
5040       </p><p><span class="strong"><strong>Interview date</strong></span>: December 16, 2015
5041       </p><p><span class="strong"><strong>Interviewee</strong></span>: David Harris,
5042 editor-in-chief
5043       </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}
5044     \textit{
5045         Profile written by Paul Stacey
5046       }
5047     \end{flushright}</td></tr></table></div><p>
5048       OpenStax is an extension of a program called Connexions, which was started
5049 in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of
5050 Electrical and Computer Engineering at Rice University in Houston,
5051 Texas. Frustrated by the limitations of traditional textbooks and courses,
5052 Dr. Baraniuk wanted to provide authors and learners a way to share and
5053 freely adapt educational materials such as courses, books, and
5054 reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
5055 best libraries of customizable educational materials, all licensed with
5056 Creative Commons and available to anyone, anywhere, anytime—for free.
5057     </p><p>
5058       In 2008, while in a senior leadership role at WebAssign and looking at ways
5059 to reduce the risk that came with relying on publishers, David Harris began
5060 investigating open educational resources (OER) and discovered Connexions. A
5061 year and a half later, Connexions received a grant to help grow the use of
5062 OER so that it could meet the needs of students who couldn’t afford
5063 textbooks. David came on board to spearhead this effort.  Connexions became
5064 OpenStax CNX; the program to create open textbooks became OpenStax College,
5065 now simply called OpenStax.
5066     </p><p>
5067       David brought with him a deep understanding of the best practices of
5068 publishing along with where publishers have inefficiencies. In David’s view,
5069 peer review and high standards for quality are critically important if you
5070 want to scale easily. Books have to have logical scope and sequence, they
5071 have to exist as a whole and not in pieces, and they have to be easy to
5072 find. The working hypothesis for the launch of OpenStax was to
5073 professionally produce a turnkey textbook by investing effort up front, with
5074 the expectation that this would lead to rapid growth through easy downstream
5075 adoptions by faculty and students.
5076     </p><p>
5077       In 2012, OpenStax College launched as a nonprofit with the aim of producing
5078 high-quality, peer-reviewed full-color textbooks that would be available for
5079 free for the twenty-five most heavily attended college courses in the
5080 nation. Today they are fast approaching that number. There is data that
5081 proves the success of their original hypothesis on how many students they
5082 could help and how much money they could help save.<a href="#ftn.idm1664" class="footnote" name="idm1664"><sup class="footnote">[138]</sup></a> Professionally produced content scales rapidly. All
5083 with no sales force!
5084     </p><p>
5085       OpenStax textbooks are all Attribution (CC BY) licensed, and each textbook
5086 is available as a PDF, an e-book, or web pages. Those who want a physical
5087 copy can buy one for an affordable price. Given the cost of education and
5088 student debt in North America, free or very low-cost textbooks are very
5089 appealing. OpenStax encourages students to talk to their professor and
5090 librarians about these textbooks and to advocate for their use.
5091     </p><p>
5092       Teachers are invited to try out a single chapter from one of the textbooks
5093 with students. If that goes well, they’re encouraged to adopt the entire
5094 book. They can simply paste a URL into their course syllabus, for free and
5095 unlimited access. And with the CC BY license, teachers are free to delete
5096 chapters, make changes, and customize any book to fit their needs.
5097     </p><p>
5098       Any teacher can post corrections, suggest examples for difficult concepts,
5099 or volunteer as an editor or author. As many teachers also want supplemental
5100 material to accompany a textbook, OpenStax also provides slide
5101 presentations, test banks, answer keys, and so on.
5102     </p><p>
5103       Institutions can stand out by offering students a lower-cost education
5104 through the use of OpenStax textbooks; there’s even a textbook-savings
5105 calculator they can use to see how much students would save. OpenStax keeps
5106 a running list of institutions that have adopted their
5107 textbooks.<a href="#ftn.idm1671" class="footnote" name="idm1671"><sup class="footnote">[139]</sup></a>
5108     </p><p>
5109       Unlike traditional publishers’ monolithic approach of controlling
5110 intellectual property, distribution, and so many other aspects, OpenStax has
5111 adopted a model that embraces open licensing and relies on an extensive
5112 network of partners.
5113     </p><p>
5114       Up-front funding of a professionally produced all-color turnkey textbook is
5115 expensive. For this part of their model, OpenStax relies on
5116 philanthropy. They have initially been funded by the William and Flora
5117 Hewlett Foundation, the Laura and John Arnold Foundation, the Bill and
5118 Melinda Gates Foundation, the 20 Million Minds Foundation, the Maxfield
5119 Foundation, the Calvin K. Kazanjian Foundation, and Rice University. To
5120 develop additional titles and supporting technology is probably still going
5121 to require philanthropic investment.
5122     </p><p>
5123       However, ongoing operations will not rely on foundation grants but instead
5124 on funds received through an ecosystem of over forty partners, whereby a
5125 partner takes core content from OpenStax and adds features that it can
5126 create revenue from. For example, WebAssign, an online homework and
5127 assessment tool, takes the physics book and adds algorithmically generated
5128 physics problems, with problem-specific feedback, detailed solutions, and
5129 tutorial support. WebAssign resources are available to students for a fee.
5130     </p><p>
5131       Another example is Odigia, who has turned OpenStax books into interactive
5132 learning experiences and created additional tools to measure and promote
5133 student engagement. Odigia licenses its learning platform to
5134 institutions. Partners like Odigia and WebAssign give a percentage of the
5135 revenue they earn back to OpenStax, as mission-support fees. OpenStax has
5136 already published revisions of their titles, such as Introduction to
5137 Sociology 2e, using these funds.
5138     </p><p>
5139       In David’s view, this approach lets the market operate at peak
5140 efficiency. OpenStax’s partners don’t have to worry about developing
5141 textbook content, freeing them up from those development costs and letting
5142 them focus on what they do best.  With OpenStax textbooks available at no
5143 cost, they can provide their services at a lower cost—not free, but still
5144 saving students money. OpenStax benefits not only by receiving
5145 mission-support fees but through free publicity and marketing. OpenStax
5146 doesn’t have a sales force; partners are out there showcasing their
5147 materials.
5148     </p><p>
5149       OpenStax’s cost of sales to acquire a single student is very, very low and
5150 is a fraction of what traditional players in the market face. This year,
5151 Tyton Partners is actually evaluating the costs of sales for an OER effort
5152 like OpenStax in comparison with incumbents. David looks forward to sharing
5153 these findings with the community.
5154     </p><p>
5155       While OpenStax books are available online for free, many students still want
5156 a print copy. Through a partnership with a print and courier company,
5157 OpenStax offers a complete solution that scales.  OpenStax sells tens of
5158 thousands of print books. The price of an OpenStax sociology textbook is
5159 about twenty-eight dollars, a fraction of what sociology textbooks usually
5160 cost. OpenStax keeps the prices low but does aim to earn a small margin on
5161 each book sold, which also contributes to ongoing operations.
5162     </p><p>
5163       Campus-based bookstores are part of the OpenStax solution.  OpenStax
5164 collaborates with NACSCORP (the National Association of College Stores
5165 Corporation) to provide print versions of their textbooks in the
5166 stores. While the overall cost of the textbook is significantly less than a
5167 traditional textbook, bookstores can still make a profit on sales. Sometimes
5168 students take the savings they have from the lower-priced book and use it to
5169 buy other things in the bookstore. And OpenStax is trying to break the
5170 expensive behavior of excessive returns by having a no-returns policy. This
5171 is working well, since the sell-through of their print titles is virtually a
5172 hundred percent.
5173     </p><p>
5174       David thinks of the OpenStax model as <span class="quote">„<span class="quote">OER 2.0.</span>“</span> So what is OER
5175 1.0? Historically in the OER field, many OER initiatives have been locally
5176 funded by institutions or government ministries. In David’s view, this
5177 results in content that has high local value but is infrequently adopted
5178 nationally. It’s therefore difficult to show payback over a time scale that
5179 is reasonable.
5180     </p><p>
5181       OER 2.0 is about OER intended to be used and adopted on a national level
5182 right from the start. This requires a bigger investment up front but pays
5183 off through wide geographic adoption. The OER 2.0 process for OpenStax
5184 involves two development models. The first is what David calls the
5185 acquisition model, where OpenStax purchases the rights from a publisher or
5186 author for an already published book and then extensively revises it. The
5187 OpenStax physics textbook, for example, was licensed from an author after
5188 the publisher released the rights back to the authors. The second model is
5189 to develop a book from scratch, a good example being their biology book.
5190     </p><p>
5191       The process is similar for both models. First they look at the scope and
5192 sequence of existing textbooks. They ask questions like what does the
5193 customer need? Where are students having challenges? Then they identify
5194 potential authors and put them through a rigorous evaluation—only one in ten
5195 authors make it through.  OpenStax selects a team of authors who come
5196 together to develop a template for a chapter and collectively write the
5197 first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
5198 books with just a single author as David says it risks the project going
5199 longer than scheduled.) The draft is peer-reviewed with no less than three
5200 reviewers per chapter. A second draft is generated, with artists producing
5201 illustrations and visuals to go along with the text. The book is then
5202 copyedited to ensure grammatical correctness and a singular voice. Finally,
5203 it goes into production and through a final proofread. The whole process is
5204 very time-consuming.
5205     </p><p>
5206       All the people involved in this process are paid. OpenStax does not rely on
5207 volunteers. Writers, reviewers, illustrators, and editors are all paid an
5208 up-front fee—OpenStax does not use a royalty model. A best-selling author
5209 might make more money under the traditional publishing model, but that is
5210 only maybe 5 percent of all authors. From David’s perspective, 95 percent of
5211 all authors do better under the OER 2.0 model, as there is no risk to them
5212 and they earn all the money up front.
5213     </p><p>
5214       David thinks of the Attribution license (CC BY) as the <span class="quote">„<span class="quote">innovation
5215 license.</span>“</span> It’s core to the mission of OpenStax, letting people use
5216 their textbooks in innovative ways without having to ask for permission. It
5217 frees up the whole market and has been central to OpenStax being able to
5218 bring on partners.  OpenStax sees a lot of customization of their
5219 materials. By enabling frictionless remixing, CC BY gives teachers control
5220 and academic freedom.
5221     </p><p>
5222       Using CC BY is also a good example of using strategies that traditional
5223 publishers can’t. Traditional publishers rely on copyright to prevent others
5224 from making copies and heavily invest in digital rights management to ensure
5225 their books aren’t shared.  By using CC BY, OpenStax avoids having to deal
5226 with digital rights management and its costs. OpenStax books can be copied
5227 and shared over and over again. CC BY changes the rules of engagement and
5228 takes advantage of traditional market inefficiencies.
5229     </p><p>
5230       As of September 16, 2016, OpenStax has achieved some impressive
5231 results. From the OpenStax at a Glance fact sheet from their recent press
5232 kit:
5233     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5234           Books published: 23
5235         </p></li><li class="listitem"><p>
5236           Students who have used OpenStax: 1.6 million
5237         </p></li><li class="listitem"><p>
5238           Money saved for students: $155 million
5239         </p></li><li class="listitem"><p>
5240           Money saved for students in the 2016/17 academic year: $77 million
5241         </p></li><li class="listitem"><p>
5242           Schools that have used OpenStax: 2,668 (This number reflects all
5243 institutions using at least one OpenStax textbook. Out of 2,668 schools, 517
5244 are two-year colleges, 835 four-year colleges and universities, and 344
5245 colleges and universities outside the U.S.)
5246         </p></li></ul></div><p>
5247       While OpenStax has to date been focused on the United States, there is
5248 overseas adoption especially in the science, technology, engineering, and
5249 math (STEM) fields. Large scale adoption in the United States is seen as a
5250 necessary precursor to international interest.
5251     </p><p>
5252       OpenStax has primarily focused on introductory-level college courses where
5253 there is high enrollment, but they are starting to think about verticals—a
5254 broad offering for a specific group or need. David thinks it would be
5255 terrific if OpenStax could provide access to free textbooks through the
5256 entire curriculum of a nursing degree, for example.
5257     </p><p>
5258       Finally, for OpenStax success is not just about the adoption of their
5259 textbooks and student savings. There is a human aspect to the work that is
5260 hard to quantify but incredibly important. They get emails from students
5261 saying how OpenStax saved them from making difficult choices like buying
5262 food or a textbook. OpenStax would also like to assess the impact their
5263 books have on learning efficiency, persistence, and completion. By building
5264 an open business model based on Creative Commons, OpenStax is making it
5265 possible for every student who wants access to education to get it.
5266     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1664" class="footnote"><p><a href="#idm1664" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1671" class="footnote"><p><a href="#idm1671" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>Kapitel 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>
5267         Amanda Palmer is a musician, artist, and writer. Based in the U.S.
5268       </p><p>
5269           <a class="ulink" href="http://amandapalmer.net" target="_top">http://amandapalmer.net</a>
5270         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
5271 (subscription-based), pay-what-you-want, charging for physical copies (book
5272 and album sales), charg-ing for in-person version (performances), selling
5273 merchandise
5274       </p><p><span class="strong"><strong>Interview date</strong></span>: December 15, 2015
5275       </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}
5276     \textit{
5277         Profile written by Sarah Hinchliff Pearson
5278       }
5279     \end{flushright}</td></tr></table></div><p>
5280       Since the beginning of her career, Amanda Palmer has been on what she calls
5281 a <span class="quote">„<span class="quote">journey with no roadmap,</span>“</span> continually experimenting to find
5282 new ways to sustain her creative work.<a href="#ftn.idm1718" class="footnote" name="idm1718"><sup class="footnote">[140]</sup></a>
5283     </p><p>
5284       In her best-selling book, The Art of Asking, Amanda articulates exactly what
5285 she has been and continues to strive for—<span class="quote">„<span class="quote">the ideal sweet spot
5286 . . . in which the artist can share freely and directly feel the
5287 reverberations of their artistic gifts to the community, and make a living
5288 doing that.</span>“</span>
5289     </p><p>
5290       While she seems to have successfully found that sweet spot for herself,
5291 Amanda is the first to acknowledge there is no silver bullet. She thinks the
5292 digital age is both an exciting and frustrating time for creators. <span class="quote">„<span class="quote">On
5293 the one hand, we have this beautiful shareability,</span>“</span> Amanda
5294 said. <span class="quote">„<span class="quote">On the other, you’ve got a bunch of confused artists wondering
5295 how to make money to buy food so we can make more art.</span>“</span>
5296     </p><p>
5297       Amanda began her artistic career as a street performer. She would dress up
5298 in an antique wedding gown, paint her face white, stand on a stack of milk
5299 crates, and hand out flowers to strangers as part of a silent dramatic
5300 performance. She collected money in a hat. Most people walked by her without
5301 stopping, but an essential few stopped to watch and drop some money into her
5302 hat to show their appreciation. Rather than dwelling on the majority of
5303 people who ignored her, she felt thankful for those who stopped.  <span class="quote">„<span class="quote">All
5304 I needed was . . . some people,</span>“</span> she wrote in her book. <span class="quote">„<span class="quote">Enough
5305 people. Enough to make it worth coming back the next day, enough people to
5306 help me make rent and put food on the table. Enough so I could keep making
5307 art.</span>“</span>
5308     </p><p>
5309       Amanda has come a long way from her street-performing days, but her career
5310 remains dominated by that same sentiment—finding ways to reach <span class="quote">„<span class="quote">her
5311 crowd</span>“</span> and feeling gratitude when she does. With her band the Dresden
5312 Dolls, Amanda tried the traditional path of signing with a record label. It
5313 didn’t take for a variety of reasons, but one of them was that the label had
5314 absolutely no interest in Amanda’s view of success. They wanted hits, but
5315 making music for the masses was never what Amanda and the Dresden Dolls set
5316 out to do.
5317     </p><p>
5318       After leaving the record label in 2008, she began experimenting with
5319 different ways to make a living. She released music directly to the public
5320 without involving a middle man, releasing digital files on a <span class="quote">„<span class="quote">pay what
5321 you want</span>“</span> basis and selling CDs and vinyl. She also made money from
5322 live performances and merchandise sales. Eventually, in 2012 she decided to
5323 try her hand at the sort of crowdfunding we know so well today. Her
5324 Kickstarter project started with a goal of $100,000, and she made $1.2
5325 million. It remains one of the most successful Kickstarter projects of all
5326 time.
5327     </p><p>
5328       Today, Amanda has switched gears away from crowdfunding for specific
5329 projects to instead getting consistent financial support from her fan base
5330 on Patreon, a crowdfunding site that allows artists to get recurring
5331 donations from fans. More than eight thousand people have signed up to
5332 support her so she can create music, art, and any other creative
5333 <span class="quote">„<span class="quote">thing</span>“</span> that she is inspired to make. The recurring pledges are
5334 made on a <span class="quote">„<span class="quote">per thing</span>“</span> basis. All of the content she makes is
5335 made freely available under an Attribution-NonCommercial-ShareAlike license
5336 (CC BY-NC-SA).
5337     </p><p>
5338       Making her music and art available under Creative Commons licensing
5339 undoubtedly limits her options for how she makes a living. But sharing her
5340 work has been part of her model since the beginning of her career, even
5341 before she discovered Creative Commons. Amanda says the Dresden Dolls used
5342 to get ten emails per week from fans asking if they could use their music
5343 for different projects. They said yes to all of the requests, as long as it
5344 wasn’t for a completely for-profit venture. At the time, they used a
5345 short-form agreement written by Amanda herself. <span class="quote">„<span class="quote">I made everyone sign
5346 that contract so at least I wouldn’t be leaving the band vulnerable to
5347 someone later going on and putting our music in a Camel cigarette
5348 ad,</span>“</span> Amanda said. Once she discovered Creative Commons, adopting the
5349 licenses was an easy decision because it gave them a more formal,
5350 standardized way of doing what they had been doing all along. The
5351 NonCommercial licenses were a natural fit.
5352     </p><p>
5353       Amanda embraces the way her fans share and build upon her music.  In The Art
5354 of Asking, she wrote that some of her fans’ unofficial videos using her
5355 music surpass the official videos in number of views on YouTube. Rather than
5356 seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">„<span class="quote">We
5357 got into this because we wanted to share the joy of music,</span>“</span> she said.
5358     </p><p>
5359       This is symbolic of how nearly everything she does in her career is
5360 motivated by a desire to connect with her fans. At the start of her career,
5361 she and the band would throw concerts at house parties. As the gatherings
5362 grew, the line between fans and friends was completely blurred. <span class="quote">„<span class="quote">Not
5363 only did most our early fans know where I lived and where we practiced, but
5364 most of them had also been in my kitchen,</span>“</span> Amanda wrote in The Art of
5365 Asking.
5366     </p><p>
5367       Even though her fan base is now huge and global, she continues to seek this
5368 sort of human connection with her fans. She seeks out face-to-face contact
5369 with her fans every chance she can get. Her hugely successful Kickstarter
5370 featured fifty concerts at house parties for backers. She spends hours in
5371 the signing line after shows. It helps that Amanda has the kind of dynamic,
5372 engaging personality that instantly draws people to her, but a big component
5373 of her ability to connect with people is her willingness to
5374 listen. <span class="quote">„<span class="quote">Listening fast and caring immediately is a skill unto
5375 itself,</span>“</span> Amanda wrote.
5376     </p><p>
5377       Another part of the connection fans feel with Amanda is how much they know
5378 about her life. Rather than trying to craft a public persona or image, she
5379 essentially lives her life as an open book.  She has written openly about
5380 incredibly personal events in her life, and she isn’t afraid to be
5381 vulnerable. Having that kind of trust in her fans—the trust it takes to be
5382 truly honest—begets trust from her fans in return. When she meets fans for
5383 the first time after a show, they can legitimately feel like they know her.
5384     </p><p><span class="quote">„<span class="quote">With social media, we’re so concerned with the picture looking
5385 palatable and consumable that we forget that being human and showing the
5386 flaws and exposing the vulnerability actually create a deeper connection
5387 than just looking fantastic,</span>“</span> Amanda said. <span class="quote">„<span class="quote">Everything in our
5388 culture is telling us otherwise. But my experience has shown me that the
5389 risk of making yourself vulnerable is almost always worth it.</span>“</span>
5390     </p><p>
5391       Not only does she disclose intimate details of her life to them, she sleeps
5392 on their couches, listens to their stories, cries with them. In short, she
5393 treats her fans like friends in nearly every possible way, even when they
5394 are complete strangers. This mentality—that fans are friends—is completely
5395 intertwined with Amanda’s success as an artist. It is also intertwined with
5396 her use of Creative Commons licenses. Because that is what you do with your
5397 friends—you share.
5398     </p><p>
5399       After years of investing time and energy into building trust with her fans,
5400 she has a strong enough relationship with them to ask for support—through
5401 pay-what-you-want donations, Kickstarter, Patreon, or even asking them to
5402 lend a hand at a concert. As Amanda explains it, crowdfunding (which is
5403 really what all of these different things are) is about asking for support
5404 from people who know and trust you. People who feel personally invested in
5405 your success.
5406     </p><p><span class="quote">„<span class="quote">When you openly, radically trust people, they not only take care of
5407 you, they become your allies, your family,</span>“</span> she wrote. There really
5408 is a feeling of solidarity within her core fan base. From the beginning,
5409 Amanda and her band encouraged people to dress up for their shows. They
5410 consciously cultivated a feeling of belonging to their <span class="quote">„<span class="quote">weird little
5411 family.</span>“</span>
5412     </p><p>
5413       This sort of intimacy with fans is not possible or even desirable for every
5414 creator. <span class="quote">„<span class="quote">I don’t take for granted that I happen to be the type of
5415 person who loves cavorting with strangers,</span>“</span> Amanda said. <span class="quote">„<span class="quote">I
5416 recognize that it’s not necessarily everyone’s idea of a good time. Everyone
5417 does it differently. Replicating what I have done won’t work for others if
5418 it isn’t joyful to them. It’s about finding a way to channel energy in a way
5419 that is joyful to you.</span>“</span>
5420     </p><p>
5421       Yet while Amanda joyfully interacts with her fans and involves them in her
5422 work as much as possible, she does keep one job primarily to herself—writing
5423 the music. She loves the creativity with which her fans use and adapt her
5424 work, but she intentionally does not involve them at the first stage of
5425 creating her artistic work. And, of course, the songs and music are what
5426 initially draw people to Amanda Palmer. It is only once she has connected to
5427 people through her music that she can then begin to build ties with them on
5428 a more personal level, both in person and online. In her book, Amanda
5429 describes it as casting a net. It starts with the art and then the bond
5430 strengthens with human connection.
5431     </p><p>
5432       For Amanda, the entire point of being an artist is to establish and maintain
5433 this connection. <span class="quote">„<span class="quote">It sounds so corny,</span>“</span> she said, <span class="quote">„<span class="quote">but my
5434 experience in forty years on this planet has pointed me to an obvious
5435 truth—that connection with human beings feels so much better and more
5436 fulfilling than approaching art through a capitalist lens. There is no more
5437 satisfying end goal than having someone tell you that what you do is
5438 genuinely of value to them.</span>“</span>
5439     </p><p>
5440       As she explains it, when a fan gives her a ten-dollar bill, usually what
5441 they are saying is that the money symbolizes some deeper value the music
5442 provided them. For Amanda, art is not just a product; it’s a
5443 relationship. Viewed from this lens, what Amanda does today is not that
5444 different from what she did as a young street performer. She shares her
5445 music and other artistic gifts.  She shares herself. And then rather than
5446 forcing people to help her, she lets them.
5447     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1718" class="footnote"><p><a href="#idm1718" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>Kapitel 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>
5448         PLOS (Public Library of Science) is a nonprofit that publishes a library of
5449 academic journals and other scientific literature.  Founded in 2000 in the
5450 U.S.
5451       </p><p>
5452           <a class="ulink" href="http://plos.org" target="_top">http://plos.org</a>
5453         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
5454 an author processing charge to be featured in the journal
5455       </p><p><span class="strong"><strong>Interview date</strong></span>: March 7, 2016
5456       </p><p><span class="strong"><strong>Interviewee</strong></span>: Louise Page, publisher
5457       </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}
5458     \textit{
5459         Profile written by Paul Stacey
5460       }
5461     \end{flushright}</td></tr></table></div><p>
5462       The Public Library of Science (PLOS) began in 2000 when three leading
5463 scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
5464 online petition. They were calling for scientists to stop submitting papers
5465 to journals that didn’t make the full text of their papers freely available
5466 immediately or within six months. Although tens of thousands signed the
5467 petition, most did not follow through. In August 2001, Patrick and Michael
5468 announced that they would start their own nonprofit publishing operation to
5469 do just what the petition promised. With start-up grant support from the
5470 Gordon and Betty Moore Foundation, PLOS was launched to provide new
5471 open-access journals for biomedicine, with research articles being released
5472 under Attribution (CC BY) licenses.
5473     </p><p>
5474       Traditionally, academic publishing begins with an author submitting a
5475 manuscript to a publisher. After in-house technical and ethical
5476 considerations, the article is then peer-reviewed to determine if the
5477 quality of the work is acceptable for publishing.  Once accepted, the
5478 publisher takes the article through the process of copyediting, typesetting,
5479 and eventual publishing in a print or online publication. Traditional
5480 journal publishers recover costs and earn profit by charging a subscription
5481 fee to libraries or an access fee to users wanting to read the journal or
5482 article.
5483     </p><p>
5484       For Louise Page, the current publisher of PLOS, this traditional model
5485 results in inequity. Access is restricted to those who can pay. Most
5486 research is funded through government-appointed agencies, that is, with
5487 public funds. It’s unjust that the public who funded the research would be
5488 required to pay again to access the results. Not everyone can afford the
5489 ever-escalating subscription fees publishers charge, especially when library
5490 budgets are being reduced. Restricting access to the results of scientific
5491 research slows the dissemination of this research and advancement of the
5492 field. It was time for a new model.
5493     </p><p>
5494       That new model became known as open access. That is, free and open
5495 availability on the Internet. Open-access research articles are not behind a
5496 paywall and do not require a login. A key benefit of open access is that it
5497 allows people to freely use, copy, and distribute the articles, as they are
5498 primarily published under an Attribution (CC BY) license (which only
5499 requires the user to provide appropriate attribution). And more importantly,
5500 policy makers, clinicians, entrepreneurs, educators, and students around the
5501 world have free and timely access to the latest research immediately on
5502 publication.
5503     </p><p>
5504       However, open access requires rethinking the business model of research
5505 publication. Rather than charge a subscription fee to access the journal,
5506 PLOS decided to turn the model on its head and charge a publication fee,
5507 known as an article-processing charge.  This up-front fee, generally paid by
5508 the funder of the research or the author’s institution, covers the expenses
5509 such as editorial oversight, peer-review management, journal production,
5510 online hosting, and support for discovery. Fees are per article and are
5511 billed upon acceptance for publishing. There are no additional charges based
5512 on word length, figures, or other elements.
5513     </p><p>
5514       Calculating the article-processing charge involves taking all the costs
5515 associated with publishing the journal and determining a cost per article
5516 that collectively recovers costs. For PLOS’s journals in biology, medicine,
5517 genetics, computational biology, neglected tropical diseases, and pathogens,
5518 the article-processing charge ranges from $2,250 to
5519 $2,900. Article-publication charges for PLOS ONE, a journal started in 2006,
5520 are just under $1,500.
5521     </p><p>
5522       PLOS believes that lack of funds should not be a barrier to
5523 publication. Since its inception, PLOS has provided fee support for
5524 individuals and institutions to help authors who can’t afford the
5525 article-processing charges.
5526     </p><p>
5527       Louise identifies marketing as one area of big difference between PLOS and
5528 traditional journal publishers. Traditional journals have to invest heavily
5529 in staff, buildings, and infrastructure to market their journal and convince
5530 customers to subscribe.  Restricting access to subscribers means that tools
5531 for managing access control are necessary. They spend millions of dollars on
5532 access-control systems, staff to manage them, and sales staff.  With PLOS’s
5533 open-access publishing, there’s no need for these massive expenses; the
5534 articles are free, open, and accessible to all upon
5535 publication. Additionally, traditional publishers tend to spend more on
5536 marketing to libraries, who ultimately pay the subscription fees. PLOS
5537 provides a better service for authors by promoting their research directly
5538 to the research community and giving the authors exposure. And this
5539 encourages other authors to submit their work for publication.
5540     </p><p>
5541       For Louise, PLOS would not exist without the Attribution license (CC
5542 BY). This makes it very clear what rights are associated with the content
5543 and provides a safe way for researchers to make their work available while
5544 ensuring they get recognition (appropriate attribution). For PLOS, all of
5545 this aligns with how they think research content should be published and
5546 disseminated.
5547     </p><p>
5548       PLOS also has a broad open-data policy. To get their research paper
5549 published, PLOS authors must also make their data available in a public
5550 repository and provide a data-availability statement.
5551     </p><p>
5552       Business-operation costs associated with the open-access model still largely
5553 follow the existing publishing model. PLOS journals are online only, but the
5554 editorial, peer-review, production, typesetting, and publishing stages are
5555 all the same as for a traditional publisher. The editorial teams must be top
5556 notch. PLOS has to function as well as or better than other premier
5557 journals, as researchers have a choice about where to publish.
5558     </p><p>
5559       Researchers are influenced by journal rankings, which reflect the place of a
5560 journal within its field, the relative difficulty of being published in that
5561 journal, and the prestige associated with it. PLOS journals rank high, even
5562 though they are relatively new.
5563     </p><p>
5564       The promotion and tenure of researchers are partially based how many times
5565 other researchers cite their articles. Louise says when researchers want to
5566 discover and read the work of others in their field, they go to an online
5567 aggregator or search engine, and not typically to a particular journal. The
5568 CC BY licensing of PLOS research articles ensures easy access for readers
5569 and generates more discovery and citations for authors.
5570     </p><p>
5571       Louise believes that open access has been a huge success, progressing from a
5572 movement led by a small cadre of researchers to something that is now
5573 widespread and used in some form by every journal publisher. PLOS has had a
5574 big impact. In 2012 to 2014, they published more open-access articles than
5575 BioMed Central, the original open-access publisher, or anyone else.
5576     </p><p>
5577       PLOS further disrupted the traditional journal-publishing model by
5578 pioneering the concept of a megajournal. The PLOS ONE megajournal, launched
5579 in 2006, is an open-access peer-reviewed academic journal that is much
5580 larger than a traditional journal, publishing thousands of articles per year
5581 and benefiting from economies of scale. PLOS ONE has a broad scope, covering
5582 science and medicine as well as social sciences and the humanities. The
5583 review and editorial process is less subjective. Articles are accepted for
5584 publication based on whether they are technically sound rather than
5585 perceived importance or relevance. This is very important in the current
5586 debate about the integrity and reproducibility of research because negative
5587 or null results can then be published as well, which are generally rejected
5588 by traditional journals. PLOS ONE, like all the PLOS journals, is online
5589 only with no print version. PLOS passes on the financial savings accrued
5590 through economies of scale to researchers and the public by lowering the
5591 article-processing charges, which are below that of other journals. PLOS ONE
5592 is the biggest journal in the world and has really set the bar for
5593 publishing academic journal articles on a large scale. Other publishers see
5594 the value of the PLOS ONE model and are now offering their own
5595 multidisciplinary forums for publishing all sound science.
5596     </p><p>
5597       Louise outlined some other aspects of the research-journal business model
5598 PLOS is experimenting with, describing each as a kind of slider that could
5599 be adjusted to change current practice.
5600     </p><p>
5601       One slider is time to publication. Time to publication may shorten as
5602 journals get better at providing quicker decisions to authors.  However,
5603 there is always a trade-off with scale, as the bigger the volume of
5604 articles, the more time the approval process inevitably takes.
5605     </p><p>
5606       Peer review is another part of the process that could change. It’s possible
5607 to redefine what peer review actually is, when to review, and what
5608 constitutes the final article for publication. Louise talked about the
5609 potential to shift to an open-review process, placing the emphasis on
5610 transparency rather than double-blind reviews. Louise thinks we’re moving
5611 into a direction where it’s actually beneficial for an author to know who is
5612 reviewing their paper and for the reviewer to know their review will be
5613 public. An open-review process can also ensure everyone gets credit; right
5614 now, credit is limited to the publisher and author.
5615     </p><p>
5616       Louise says research with negative outcomes is almost as important as
5617 positive results. If journals published more research with negative
5618 outcomes, we’d learn from what didn’t work. It could also reduce how much
5619 the research wheel gets reinvented around the world.
5620     </p><p>
5621       Another adjustable practice is the sharing of articles at early preprint
5622 stages. Publication of research in a peer-reviewed journal can take a long
5623 time because articles must undergo extensive peer review. The need to
5624 quickly circulate current results within a scientific community has led to a
5625 practice of distributing pre-print documents that have not yet undergone
5626 peer review. Preprints broaden the peer-review process, allowing authors to
5627 receive early feedback from a wide group of peers, which can help revise and
5628 prepare the article for submission.  Offsetting the advantages of preprints
5629 are author concerns over ensuring their primacy of being first to come up
5630 with findings based on their research. Other researches may see findings the
5631 preprint author has not yet thought of. However, preprints help researchers
5632 get their discoveries out early and establish precedence. A big challenge is
5633 that researchers don’t have a lot of time to comment on preprints.
5634     </p><p>
5635       What constitutes a journal article could also change. The idea of a research
5636 article as printed, bound, and in a library stack is outdated. Digital and
5637 online open up new possibilities, such as a living document evolving over
5638 time, inclusion of audio and video, and interactivity, like discussion and
5639 recommendations. Even the size of what gets published could change. With
5640 these changes the current form factor for what constitutes a research
5641 article would undergo transformation.
5642     </p><p>
5643       As journals scale up, and new journals are introduced, more and more
5644 information is being pushed out to readers, making the experience feel like
5645 drinking from a fire hose. To help mitigate this, PLOS aggregates and
5646 curates content from PLOS journals and their network of blogs.<a href="#ftn.idm1796" class="footnote" name="idm1796"><sup class="footnote">[141]</sup></a> It also offers something called Article-Level
5647 Metrics, which helps users assess research most relevant to the field
5648 itself, based on indicators like usage, citations, social bookmarking and
5649 dissemination activity, media and blog coverage, discussions, and
5650 ratings.<a href="#ftn.idm1799" class="footnote" name="idm1799"><sup class="footnote">[142]</sup></a> Louise believes that the
5651 journal model could evolve to provide a more friendly and interactive user
5652 experience, including a way for readers to communicate with authors.
5653     </p><p>
5654       The big picture for PLOS going forward is to combine and adjust these
5655 experimental practices in ways that continue to improve accessibility and
5656 dissemination of research, while ensuring its integrity and reliability. The
5657 ways they interlink are complex.  The process of change and adjustment is
5658 not linear. PLOS sees itself as a very flexible publisher interested in
5659 exploring all the permutations research-publishing can take, with authors
5660 and readers who are open to experimentation.
5661     </p><p>
5662       For PLOS, success is not about revenue. Success is about proving that
5663 scientific research can be communicated rapidly and economically at scale,
5664 for the benefit of researchers and society.  The CC BY license makes it
5665 possible for PLOS to publish in a way that is unfettered, open, and fast,
5666 while ensuring that the authors get credit for their work. More than two
5667 million scientists, scholars, and clinicians visit PLOS every month, with
5668 more than 135,000 quality articles to peruse for free.
5669     </p><p>
5670       Ultimately, for PLOS, its authors, and its readers, success is about making
5671 research discoverable, available, and reproducible for the advancement of
5672 science.
5673     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1796" class="footnote"><p><a href="#idm1796" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1799" class="footnote"><p><a href="#idm1799" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>Kapitel 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>
5674         The Rijksmuseum is a Dutch national museum dedicated to art and
5675 history. Founded in 1800 in the Netherlands
5676       </p><p>
5677           <a class="ulink" href="http://www.rijksmuseum.nl" target="_top">http://www.rijksmuseum.nl</a>
5678         </p><p><span class="strong"><strong>Revenue model</strong></span>: grants and government
5679 funding, charging for in-person version (museum admission), selling
5680 merchandise
5681       </p><p><span class="strong"><strong>Interview date</strong></span>: December 11, 2015
5682       </p><p><span class="strong"><strong>Interviewee</strong></span>: Lizzy Jongma, the data
5683 manager of the collections information department
5684       </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}
5685     \textit{
5686         Profile written by Paul Stacey
5687       }
5688     \end{flushright}</td></tr></table></div><p>
5689       The Rijksmuseum, a national museum in the Netherlands dedicated to art and
5690 history, has been housed in its current building since 1885. The monumental
5691 building enjoyed more than 125 years of intensive use before needing a
5692 thorough overhaul. In 2003, the museum was closed for renovations. Asbestos
5693 was found in the roof, and although the museum was scheduled to be closed
5694 for only three to four years, renovations ended up taking ten years. During
5695 this time, the collection was moved to a different part of Amsterdam, which
5696 created a physical distance with the curators. Out of necessity, they
5697 started digitally photographing the collection and creating metadata
5698 (information about each object to put into a database). With the renovations
5699 going on for so long, the museum became largely forgotten by the public. Out
5700 of these circumstances emerged a new and more open model for the museum.
5701     </p><p>
5702       By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager,
5703 staff were fed up with the situation the museum was in.  They also realized
5704 that even with the new and larger space, it still wouldn’t be able to show
5705 very much of the whole collection—eight thousand of over one million works
5706 representing just 1 percent. Staff began exploring ways to express
5707 themselves, to have something to show for all of the work they had been
5708 doing.  The Rijksmuseum is primarily funded by Dutch taxpayers, so was there
5709 a way for the museum provide benefit to the public while it was closed? They
5710 began thinking about sharing Rijksmuseum’s collection using information
5711 technology. And they put up a card-catalog like database of the entire
5712 collection online.
5713     </p><p>
5714       It was effective but a bit boring. It was just data. A hackathon they were
5715 invited to got them to start talking about events like that as having
5716 potential. They liked the idea of inviting people to do cool stuff with
5717 their collection. What about giving online access to digital representations
5718 of the one hundred most important pieces in the Rijksmuseum collection? That
5719 eventually led to why not put the whole collection online?
5720     </p><p>
5721       Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
5722 library, museum, and archive for cultural heritage.<a href="#ftn.idm1822" class="footnote" name="idm1822"><sup class="footnote">[143]</sup></a> As an online portal to museum collections all
5723 across Europe, Europeana had become an important online platform. In October
5724 2010 Creative Commons released CC0 and its public-domain mark as tools
5725 people could use to identify works as free of known copyright. Europeana was
5726 the first major adopter, using CC0 to release metadata about their
5727 collection and the public domain mark for millions of digital works in their
5728 collection. Lizzy says the Rijksmuseum initially found this change in
5729 business practice a bit scary, but at the same time it stimulated even more
5730 discussion on whether the Rijksmuseum should follow suit.
5731     </p><p>
5732       They realized that they don’t <span class="quote">„<span class="quote">own</span>“</span> the collection and couldn’t
5733 realistically monitor and enforce compliance with the restrictive licensing
5734 terms they currently had in place. For example, many copies and versions of
5735 Vermeer’s Milkmaid (part of their collection) were already online, many of
5736 them of very poor quality. They could spend time and money policing its use,
5737 but it would probably be futile and wouldn’t make people stop using their
5738 images online. They ended up thinking it’s an utter waste of time to hunt
5739 down people who use the Rijksmuseum collection. And anyway, restricting
5740 access meant the people they were frustrating the most were schoolkids.
5741     </p><p>
5742       In 2011 the Rijksmuseum began making their digital photos of works known to
5743 be free of copyright available online, using Creative Commons CC0 to place
5744 works in the public domain. A medium-resolution image was offered for free,
5745 but a high-resolution version cost forty euros. People started paying, but
5746 Lizzy says getting the money was frequently a nightmare, especially from
5747 overseas customers. The administrative costs often offset revenue, and
5748 income above costs was relatively low. In addition, having to pay for an
5749 image of a work in the public domain from a collection owned by the Dutch
5750 government (i.e., paid for by the public) was contentious and frustrating
5751 for some. Lizzy says they had lots of fierce debates about what to do.
5752     </p><p>
5753       In 2013 the Rijksmuseum changed its business model. They Creative Commons
5754 licensed their highest-quality images and released them online for
5755 free. Digitization still cost money, however; they decided to define
5756 discrete digitization projects and find sponsors willing to fund each
5757 project. This turned out to be a successful strategy, generating high
5758 interest from sponsors and lower administrative effort for the
5759 Rijksmuseum. They started out making 150,000 high-quality images of their
5760 collection available, with the goal to eventually have the entire collection
5761 online.
5762     </p><p>
5763       Releasing these high-quality images for free reduced the number of
5764 poor-quality images that were proliferating. The high-quality image of
5765 Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
5766 month. On the Internet, images from a source like the Rijksmuseum are more
5767 trusted, and releasing them with a Creative Commons CC0 means they can
5768 easily be found in other platforms. For example, Rijksmuseum images are now
5769 used in thousands of Wikipedia articles, receiving ten to eleven million
5770 views per month. This extends Rijksmuseum’s reach far beyond the scope of
5771 its website. Sharing these images online creates what Lizzy calls the
5772 <span class="quote">„<span class="quote">Mona Lisa effect,</span>“</span> where a work of art becomes so famous that
5773 people want to see it in real life by visiting the actual museum.
5774     </p><p>
5775       Every museum tends to be driven by the number of physical visitors. The
5776 Rijksmuseum is primarily publicly funded, receiving roughly 70 percent of
5777 its operating budget from the government.  But like many museums, it must
5778 generate the rest of the funding through other means. The admission fee has
5779 long been a way to generate revenue generation, including for the
5780 Rijksmuseum.
5781     </p><p>
5782       As museums create a digital presence for themselves and put up digital
5783 representations of their collection online, there’s frequently a worry that
5784 it will lead to a drop in actual physical visits. For the Rijksmuseum, this
5785 has not turned out to be the case. Lizzy told us the Rijksmuseum used to get
5786 about one million visitors a year before closing and now gets more than two
5787 million a year. Making the collection available online has generated
5788 publicity and acts as a form of marketing. The Creative Commons mark
5789 encourages reuse as well. When the image is found on protest leaflets, milk
5790 cartons, and children’s toys, people also see what museum the image comes
5791 from and this increases the museum’s visibility.
5792     </p><p>
5793       In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
5794 a new web presence that would be different from any other museum’s. In
5795 addition to redesigning their main website to be mobile friendly and
5796 responsive to devices like the iPad, the Rijksmuseum also created the
5797 Rijksstudio, where users and artists could use and do various things with
5798 the Rijksmuseum collection.<a href="#ftn.idm1834" class="footnote" name="idm1834"><sup class="footnote">[144]</sup></a>
5799     </p><p>
5800       The Rijksstudio gives users access to over two hundred thousand high-quality
5801 digital representations of masterworks from the collection. Users can zoom
5802 in to any work and even clip small parts of images they like. Rijksstudio is
5803 a bit like Pinterest.  You can <span class="quote">„<span class="quote">like</span>“</span> works and compile your
5804 personal favorites, and you can share them with friends or download them
5805 free of charge. All the images in the Rijksstudio are copyright and royalty
5806 free, and users are encouraged to use them as they like, for private or even
5807 commercial purposes.
5808     </p><p>
5809       Users have created over 276,000 Rijksstudios, generating their own themed
5810 virtual exhibitions on a wide variety of topics ranging from tapestries to
5811 ugly babies and birds. Sets of images have also been created for educational
5812 purposes including use for school exams.
5813     </p><p>
5814       Some contemporary artists who have works in the Rijksmuseum collection
5815 contacted them to ask why their works were not included in the
5816 Rijksstudio. The answer was that contemporary artists’ works are still bound
5817 by copyright. The Rijksmuseum does encourage contemporary artists to use a
5818 Creative Commons license for their works, usually a CC BY-SA license
5819 (Attribution-ShareAlike), or a CC BY-NC (Attribution-NonCommercial) if they
5820 want to preclude commercial use. That way, their works can be made available
5821 to the public, but within limits the artists have specified.
5822     </p><p>
5823       The Rijksmuseum believes that art stimulates entrepreneurial activity. The
5824 line between creative and commercial can be blurry.  As Lizzy says, even
5825 Rembrandt was commercial, making his livelihood from selling his
5826 paintings. The Rijksmuseum encourages entrepreneurial commercial use of the
5827 images in Rijksstudio.  They’ve even partnered with the DIY marketplace Etsy
5828 to inspire people to sell their creations. One great example you can find on
5829 Etsy is a kimono designed by Angie Johnson, who used an image of an
5830 elaborate cabinet along with an oil painting by Jan Asselijn called The
5831 Threatened Swan.<a href="#ftn.idm1842" class="footnote" name="idm1842"><sup class="footnote">[145]</sup></a>
5832     </p><p>
5833       In 2013 the Rijksmuseum organized their first high-profile design
5834 competition, known as the Rijksstudio Award.<a href="#ftn.idm1846" class="footnote" name="idm1846"><sup class="footnote">[146]</sup></a> With the call to action Make Your Own Masterpiece, the competition
5835 invites the public to use Rijksstudio images to make new creative designs. A
5836 jury of renowned designers and curators selects ten finalists and three
5837 winners. The final award comes with a prize of €10,000. The second edition
5838 in 2015 attracted a staggering 892 top-class entries. Some award winners end
5839 up with their work sold through the Rijksmuseum store, such as the 2014
5840 entry featuring makeup based on a specific color scheme of a work of
5841 art.<a href="#ftn.idm1851" class="footnote" name="idm1851"><sup class="footnote">[147]</sup></a> The Rijksmuseum has been thrilled
5842 with the results.  Entries range from the fun to the weird to the
5843 inspirational. The third international edition of the Rijksstudio Award
5844 started in September 2016.
5845     </p><p>
5846       For the next iteration of the Rijksstudio, the Rijksmuseum is considering an
5847 upload tool, for people to upload their own works of art, and enhanced
5848 social elements so users can interact with each other more.
5849     </p><p>
5850       Going with a more open business model generated lots of publicity for the
5851 Rijksmuseum. They were one of the first museums to open up their collection
5852 (that is, give free access) with high-quality images. This strategy, along
5853 with the many improvements to the Rijksmuseum’s website, dramatically
5854 increased visits to their website from thirty-five thousand visits per month
5855 to three hundred thousand.
5856     </p><p>
5857       The Rijksmuseum has been experimenting with other ways to invite the public
5858 to look at and interact with their collection. On an international day
5859 celebrating animals, they ran a successful bird-themed event. The museum put
5860 together a showing of two thousand works that featured birds and invited
5861 bird-watchers to identify the birds depicted. Lizzy notes that while museum
5862 curators know a lot about the works in their collections, they may not know
5863 about certain details in the paintings such as bird species. Over eight
5864 hundred different birds were identified, including a specific species of
5865 crane bird that was unknown to the scientific community at the time of the
5866 painting.
5867     </p><p>
5868       For the Rijksmuseum, adopting an open business model was scary.  They came
5869 up with many worst-case scenarios, imagining all kinds of awful things
5870 people might do with the museum’s works. But Lizzy says those fears did not
5871 come true because <span class="quote">„<span class="quote">ninety-nine percent of people have respect for
5872 great art.</span>“</span> Many museums think they can make a lot of money by
5873 selling things related to their collection. But in Lizzy’s experience,
5874 museums are usually bad at selling things, and sometimes efforts to generate
5875 a small amount of money block something much bigger—the real value that the
5876 collection has. For Lizzy, clinging to small amounts of revenue is being
5877 penny-wise but pound-foolish. For the Rijksmuseum, a key lesson has been to
5878 never lose sight of its vision for the collection. Allowing access to and
5879 use of their collection has generated great promotional value—far more than
5880 the previous practice of charging fees for access and use. Lizzy sums up
5881 their experience: <span class="quote">„<span class="quote">Give away; get something in return.  Generosity
5882 makes people happy to join you and help out.</span>“</span>
5883     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1822" class="footnote"><p><a href="#idm1822" class="para"><sup class="para">[143] </sup></a><a class="ulink" href="http://www.europeana.eu/portal/en" target="_top">http://www.europeana.eu/portal/en</a></p></div><div id="ftn.idm1834" class="footnote"><p><a href="#idm1834" class="para"><sup class="para">[144] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio" target="_top">http://www.rijksmuseum.nl/en/rijksstudio</a></p></div><div id="ftn.idm1842" class="footnote"><p><a href="#idm1842" class="para"><sup class="para">[145] </sup></a><a class="ulink" href="http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe" target="_top">http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe</a></p></div><div id="ftn.idm1846" class="footnote"><p><a href="#idm1846" class="para"><sup class="para">[146] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award</a>; the 2014
5884 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2014" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2014</a>;
5885 the 2015 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1851" class="footnote"><p><a href="#idm1851" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>Kapitel 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>
5886         Shareable is an online magazine about sharing. Founded in 2009 in the U.S.
5887       </p><p>
5888           <a class="ulink" href="http://www.shareable.net" target="_top">http://www.shareable.net</a>
5889         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding,
5890 crowdfunding (project-based), donations, sponsorships
5891       </p><p><span class="strong"><strong>Interview date</strong></span>: February 24, 2016
5892       </p><p><span class="strong"><strong>Interviewee</strong></span>: Neal Gorenflo, cofounder and
5893 executive editor
5894       </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}
5895     \textit{
5896         Profile written by Sarah Hinchliff Pearson
5897       }
5898     \end{flushright}</td></tr></table></div><p>
5899       In 2013, Shareable faced an impasse. The nonprofit online publication had
5900 helped start a sharing movement four years prior, but over time, they
5901 watched one part of the movement stray from its ideals. As giants like Uber
5902 and Airbnb gained ground, attention began to center on the <span class="quote">„<span class="quote">sharing
5903 economy</span>“</span> we know now—profit-driven, transactional, and loaded with
5904 venture-capital money. Leaders of corporate start-ups in this domain invited
5905 Shareable to advocate for them. The magazine faced a choice: ride the wave
5906 or stand on principle.
5907     </p><p>
5908       As an organization, Shareable decided to draw a line in the sand.  In 2013,
5909 the cofounder and executive editor Neal Gorenflo wrote an opinion piece in
5910 the PandoDaily that charted Shareable’s new critical stance on the Silicon
5911 Valley version of the sharing economy, while contrasting it with aspects of
5912 the real sharing economy like open-source software, participatory budgeting
5913 (where citizens decide how a public budget is spent), cooperatives, and
5914 more. He wrote, <span class="quote">„<span class="quote">It’s not so much that collaborative consumption is
5915 dead, it’s more that it risks dying as it gets absorbed by the
5916 <span class="quote">‚<span class="quote">Borg.</span>‘</span></span>“</span>
5917     </p><p>
5918       Neal said their public critique of the corporate sharing economy defined
5919 what Shareable was and is. He does not think the magazine would still be
5920 around had they chosen differently. <span class="quote">„<span class="quote">We would have gotten another type
5921 of audience, but it would have spelled the end of us,</span>“</span> he
5922 said. <span class="quote">„<span class="quote">We are a small, mission-driven organization. We would never
5923 have been able to weather the criticism that Airbnb and Uber are getting
5924 now.</span>“</span>
5925     </p><p>
5926       Interestingly, impassioned supporters are only a small sliver of Shareable’s
5927 total audience. Most are casual readers who come across a Shareable story
5928 because it happens to align with a project or interest they have. But
5929 choosing principles over the possibility of riding the coattails of the
5930 major corporate players in the sharing space saved Shareable’s
5931 credibility. Although they became detached from the corporate sharing
5932 economy, the online magazine became the voice of the <span class="quote">„<span class="quote">real sharing
5933 economy</span>“</span> and continued to grow their audience.
5934     </p><p>
5935       Shareable is a magazine, but the content they publish is a means to
5936 furthering their role as a leader and catalyst of a movement.  Shareable
5937 became a leader in the movement in 2009. <span class="quote">„<span class="quote">At that time, there was a
5938 sharing movement bubbling beneath the surface, but no one was connecting the
5939 dots,</span>“</span> Neal said. <span class="quote">„<span class="quote">We decided to step into that space and take
5940 on that role.</span>“</span> The small team behind the nonprofit publication truly
5941 believed sharing could be central to solving some of the major problems
5942 human beings face—resource inequality, social isolation, and global warming.
5943     </p><p>
5944       They have worked hard to find ways to tell stories that show different
5945 metrics for success. <span class="quote">„<span class="quote">We wanted to change the notion of what
5946 constitutes the good life,</span>“</span> Neal said. While they started out with a
5947 very broad focus on sharing generally, today they emphasize stories about
5948 the physical commons like <span class="quote">„<span class="quote">sharing cities</span>“</span> (i.e., urban areas
5949 managed in a sustainable, cooperative way), as well as digital platforms
5950 that are run democratically. They particularly focus on how-to content that
5951 help their readers make changes in their own lives and communities.
5952     </p><p>
5953       More than half of Shareable’s stories are written by paid journalists that
5954 are contracted by the magazine.  <span class="quote">„<span class="quote">Particularly in content areas that
5955 are a priority for us, we really want to go deep and control the
5956 quality,</span>“</span> Neal said. The rest of the content is either contributed by
5957 guest writers, often for free, or written by other publications from their
5958 network of content publishers. Shareable is a member of the Post Growth
5959 Alliance, which facilitates the sharing of content and audiences among a
5960 large and growing group of mostly nonprofits.  Each organization gets a
5961 chance to present stories to the group, and the organizations can use and
5962 promote each other’s stories.  Much of the content created by the network is
5963 licensed with Creative Commons.
5964     </p><p>
5965       All of Shareable’s original content is published under the Attribution
5966 license (CC BY), meaning it can be used for any purpose as long as credit is
5967 given to Shareable. Creative Commons licensing is aligned with Shareable’s
5968 vision, mission, and identity. That alone explains the organization’s
5969 embrace of the licenses for their content, but Neal also believes CC
5970 licensing helps them increase their reach. <span class="quote">„<span class="quote">By using CC
5971 licensing,</span>“</span> he said, <span class="quote">„<span class="quote">we realized we could reach far more
5972 people through a formal and informal network of republishers or
5973 affiliates. That has definitely been the case. It’s hard for us to measure
5974 the reach of other media properties, but most of the outlets who republish
5975 our work have much bigger audiences than we do.</span>“</span>
5976     </p><p>
5977       In addition to their regular news and commentary online, Shareable has also
5978 experimented with book publishing. In 2012, they worked with a traditional
5979 publisher to release Share or Die: Voices of the Get Lost Generation in an
5980 Age of Crisis. The CC-licensed book was available in print form for purchase
5981 or online for free. To this day, the book—along with their CC-licensed guide
5982 Policies for Shareable Cities—are two of the biggest generators of traffic
5983 on their website.
5984     </p><p>
5985       In 2016, Shareable self-published a book of curated Shareable stories called
5986 How to: Share, Save Money and Have Fun. The book was available for sale, but
5987 a PDF version of the book was available for free. Shareable plans to offer
5988 the book in upcoming fund-raising campaigns.
5989     </p><p>
5990       This recent book is one of many fund-raising experiments Shareable has
5991 conducted in recent years. Currently, Shareable is primarily funded by
5992 grants from foundations, but they are actively moving toward a more
5993 diversified model. They have organizational sponsors and are working to
5994 expand their base of individual donors.  Ideally, they will eventually be a
5995 hundred percent funded by their audience. Neal believes being fully
5996 community-supported will better represent their vision of the world.
5997     </p><p>
5998       For Shareable, success is very much about their impact on the world. This is
5999 true for Neal, but also for everyone who works for Shareable. <span class="quote">„<span class="quote">We
6000 attract passionate people,</span>“</span> Neal said.  At times, that means
6001 employees work so hard they burn out. Neal tries to stress to the Shareable
6002 team that another part of success is having fun and taking care of yourself
6003 while you do something you love. <span class="quote">„<span class="quote">A central part of human beings is
6004 that we long to be on a great adventure with people we love,</span>“</span> he
6005 said.  <span class="quote">„<span class="quote">We are a species who look over the horizon and imagine and
6006 create new worlds, but we also seek the comfort of hearth and home.</span>“</span>
6007     </p><p>
6008       In 2013, Shareable ran its first crowdfunding campaign to launch their
6009 Sharing Cities Network. Neal said at first they were on pace to fail
6010 spectacularly. They called in their advisers in a panic and asked for
6011 help. The advice they received was simple—<span class="quote">„<span class="quote">Sit your ass in a chair and
6012 start making calls.</span>“</span> That’s exactly what they did, and they ended up
6013 reaching their $50,000 goal. Neal said the campaign helped them reach new
6014 people, but the vast majority of backers were people in their existing base.
6015     </p><p>
6016       For Neal, this symbolized how so much of success comes down to
6017 relationships. Over time, Shareable has invested time and energy into the
6018 relationships they have forged with their readers and supporters. They have
6019 also invested resources into building relationships between their readers
6020 and supporters.
6021     </p><p>
6022       Shareable began hosting events in 2010. These events were designed to bring
6023 the sharing community together. But over time they realized they could reach
6024 far more people if they helped their readers to host their own
6025 events. <span class="quote">„<span class="quote">If we wanted to go big on a conference, there was a huge risk
6026 and huge staffing needs, plus only a fraction of our community could travel
6027 to the event,</span>“</span> Neal said. Enabling others to create their own events
6028 around the globe allowed them to scale up their work more effectively and
6029 reach far more people. Shareable has catalyzed three hundred different
6030 events reaching over twenty thousand people since implementing this strategy
6031 three years ago. Going forward, Shareable is focusing the network on
6032 creating and distributing content meant to spur local action. For instance,
6033 Shareable will publish a new CC-licensed book in 2017 filled with ideas for
6034 their network to implement.
6035     </p><p>
6036       Neal says Shareable stumbled upon this strategy, but it seems to perfectly
6037 encapsulate just how the commons is supposed to work.  Rather than a
6038 one-size-fits-all approach, Shareable puts the tools out there for people
6039 take the ideas and adapt them to their own communities.
6040     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Kapitel 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>
6041         Siyavula is a for-profit educational-technology company that creates
6042 textbooks and integrated learning experiences. Founded in 2012 in South
6043 Africa.
6044       </p><p>
6045           <a class="ulink" href="http://www.siyavula.com" target="_top">http://www.siyavula.com</a>
6046         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
6047 services, sponsorships
6048       </p><p><span class="strong"><strong>Interview date</strong></span>: April 5, 2016
6049       </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Horner, CEO
6050       </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}
6051     \textit{
6052         Profile written by Paul Stacey
6053       }
6054     \end{flushright}</td></tr></table></div><p>
6055       Openness is a key principle for Siyavula. They believe that every learner
6056 and teacher should have access to high-quality educational resources, as
6057 this forms the basis for long-term growth and development. Siyavula has been
6058 a pioneer in creating high-quality open textbooks on mathematics and science
6059 subjects for grades 4 to 12 in South Africa.
6060     </p><p>
6061       In terms of creating an open business model that involves Creative Commons,
6062 Siyavula—and its founder, Mark Horner—have been around the block a few
6063 times. Siyavula has significantly shifted directions and strategies to
6064 survive and prosper. Mark says it’s been very organic.
6065     </p><p>
6066       It all started in 2002, when Mark and several other colleagues at the
6067 University of Cape Town in South Africa founded the Free High School Science
6068 Texts project. Most students in South Africa high schools didn’t have access
6069 to high-quality, comprehensive science and math textbooks, so Mark and his
6070 colleagues set out to write them and make them freely available.
6071     </p><p>
6072       As physicists, Mark and his colleagues were advocates of open-source
6073 software. To make the books open and free, they adopted the Free Software
6074 Foundation’s GNU Free Documentation License.<a href="#ftn.idm1924" class="footnote" name="idm1924"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
6075 documents, to author the books. Over a period of five years, the Free High
6076 School Science Texts project produced math and physical-science textbooks
6077 for grades 10 to 12.
6078     </p><p>
6079       In 2007, the Shuttleworth Foundation offered funding support to make the
6080 textbooks available for trial use at more schools.  Surveys before and after
6081 the textbooks were adopted showed there were no substantial criticisms of
6082 the textbooks’ pedagogical content. This pleased both the authors and
6083 Shuttleworth; Mark remains incredibly proud of this accomplishment.
6084     </p><p>
6085       But the development of new textbooks froze at this stage. Mark shifted his
6086 focus to rural schools, which didn’t have textbooks at all, and looked into
6087 the printing and distribution options. A few sponsors came on board but not
6088 enough to meet the need.
6089     </p><p>
6090       In 2007, Shuttleworth and the Open Society Institute convened a group of
6091 open-education activists for a small but lively meeting in Cape Town. One
6092 result was the Cape Town Open Education Declaration, a statement of
6093 principles, strategies, and commitment to help the open-education movement
6094 grow.<a href="#ftn.idm1930" class="footnote" name="idm1930"><sup class="footnote">[149]</sup></a> Shuttleworth also invited Mark to
6095 run a project writing open content for all subjects for K–12 in
6096 English. That project became Siyavula.
6097     </p><p>
6098       They wrote six original textbooks. A small publishing company offered
6099 Shuttleworth the option to buy out the publisher’s existing K–9 content for
6100 every subject in South African schools in both English and Afrikaans. A deal
6101 was struck, and all the acquired content was licensed with Creative Commons,
6102 significantly expanding the collection beyond the six original books.
6103     </p><p>
6104       Mark wanted to build out the remaining curricula collaboratively through
6105 communities of practice—that is, with fellow educators and writers. Although
6106 sharing is fundamental to teaching, there can be a few challenges when you
6107 create educational resources collectively. One concern is legal. It is
6108 standard practice in education to copy diagrams and snippets of text, but of
6109 course this doesn’t always comply with copyright law. Another concern is
6110 transparency. Sharing what you’ve authored means everyone can see it and
6111 opens you up to criticism. To alleviate these concerns, Mark adopted a
6112 team-based approach to authoring and insisted the curricula be based
6113 entirely on resources with Creative Commons licenses, thereby ensuring they
6114 were safe to share and free from legal repercussions.
6115     </p><p>
6116       Not only did Mark want the resources to be shareable, he wanted all teachers
6117 to be able to remix and edit the content. Mark and his team had to come up
6118 with an open editable format and provide tools for editing. They ended up
6119 putting all the books they’d acquired and authored on a platform called
6120 Connexions.<a href="#ftn.idm1936" class="footnote" name="idm1936"><sup class="footnote">[150]</sup></a> Siyavula trained many
6121 teachers to use Connexions, but it proved to be too complex and the
6122 textbooks were rarely edited.
6123     </p><p>
6124       Then the Shuttleworth Foundation decided to completely restructure its work
6125 as a foundation into a fellowship model (for reasons completely unrelated to
6126 Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
6127 an independent entity and took ownership over it as a Shuttleworth fellow.
6128     </p><p>
6129       Mark and his team experimented with several different strategies.  They
6130 tried creating an authoring and hosting platform called Full Marks so that
6131 teachers could share assessment items. They tried creating a service called
6132 Open Press, where teachers could ask for open educational resources to be
6133 aggregated into a package and printed for them. These services never really
6134 panned out.
6135     </p><p>
6136       Then the South African government approached Siyavula with an interest in
6137 printing out the original six Free High School Science Texts (math and
6138 physical-science textbooks for grades 10 to 12)  for all high school
6139 students in South Africa. Although at this point Siyavula was a bit
6140 discouraged by open educational resources, they saw this as a big
6141 opportunity.
6142     </p><p>
6143       They began to conceive of the six books as having massive marketing
6144 potential for Siyavula. Printing Siyavula books for every kid in South
6145 Africa would give their brand huge exposure and could drive vast amounts of
6146 traffic to their website. In addition to print books, Siyavula could also
6147 make the books available on their website, making it possible for learners
6148 to access them using any device—computer, tablet, or mobile phone.
6149     </p><p>
6150       Mark and his team began imagining what they could develop beyond what was in
6151 the textbooks as a service they charge for. One key thing you can’t do well
6152 in a printed textbook is demonstrate solutions. Typically, a one-line answer
6153 is given at the end of the book but nothing on the process for arriving at
6154 that solution.  Mark and his team developed practice items and detailed
6155 solutions, giving learners plenty of opportunity to test out what they’ve
6156 learned. Furthermore, an algorithm could adapt these practice items to the
6157 individual needs of each learner. They called this service Intelligent
6158 Practice and embedded links to it in the open textbooks.
6159     </p><p>
6160       The costs for using Intelligent Practice were set very low, making it
6161 accessible even to those with limited financial means. Siyavula was going
6162 for large volumes and wide-scale use rather than an expensive product
6163 targeting only the high end of the market.
6164     </p><p>
6165       The government distributed the books to 1.5 million students, but there was
6166 an unexpected wrinkle: the books were delivered late.  Rather than wait,
6167 schools who could afford it provided students with a different textbook. The
6168 Siyavula books were eventually distributed, but with well-off schools mainly
6169 using a different book, the primary market for Siyavula’s Intelligent
6170 Practice service inadvertently became low-income learners.
6171     </p><p>
6172       Siyavula’s site did see a dramatic increase in traffic. They got five
6173 hundred thousand visitors per month to their math site and the same number
6174 to their science site. Two-fifths of the traffic was reading on a
6175 <span class="quote">„<span class="quote">feature phone</span>“</span> (a nonsmartphone with no apps). People on basic
6176 phones were reading math and science on a two-inch screen at all hours of
6177 the day. To Mark, it was quite amazing and spoke to a need they were
6178 servicing.
6179     </p><p>
6180       At first, the Intelligent Practice services could only be paid using a
6181 credit card. This proved problematic, especially for those in the low-income
6182 demographic, as credit cards were not prevalent.  Mark says Siyavula got a
6183 harsh business-model lesson early on. As he describes it, it’s not just
6184 about product, but how you sell it, who the market is, what the price is,
6185 and what the barriers to entry are.
6186     </p><p>
6187       Mark describes this as the first version of Siyavula’s business model: open
6188 textbooks serving as marketing material and driving traffic to your site,
6189 where you can offer a related service and convert some people into a paid
6190 customer.
6191     </p><p>
6192       For Mark a key decision for Siyavula’s business was to focus on how they can
6193 add value on top of their basic service. They’ll charge only if they are
6194 adding unique value. The actual content of the textbook isn’t unique at all,
6195 so Siyavula sees no value in locking it down and charging for it. Mark
6196 contrasts this with traditional publishers who charge over and over again
6197 for the same content without adding value.
6198     </p><p>
6199       Version two of Siyavula’s business model was a big, ambitious idea—scale
6200 up. They also decided to sell the Intelligent Practice service to schools
6201 directly. Schools can subscribe on a per-student, per-subject basis. A
6202 single subscription gives a learner access to a single subject, including
6203 practice content from every grade available for that subject. Lower
6204 subscription rates are provided when there are over two hundred students,
6205 and big schools have a price cap. A 40 percent discount is offered to
6206 schools where both the science and math departments subscribe.
6207     </p><p>
6208       Teachers get a dashboard that allows them to monitor the progress of an
6209 entire class or view an individual learner’s results. They can see the
6210 questions that learners are working on, identify areas of difficulty, and be
6211 more strategic in their teaching. Students also have their own personalized
6212 dashboard, where they can view the sections they’ve practiced, how many
6213 points they’ve earned, and how their performance is improving.
6214     </p><p>
6215       Based on the success of this effort, Siyavula decided to substantially
6216 increase the production of open educational resources so they could provide
6217 the Intelligent Practice service for a wider range of books. Grades 10 to 12
6218 math and science books were reworked each year, and new books created for
6219 grades 4 to 6 and later grades 7 to 9.
6220     </p><p>
6221       In partnership with, and sponsored by, the Sasol Inzalo Foundation, Siyavula
6222 produced a series of natural sciences and technology workbooks for grades 4
6223 to 6 called Thunderbolt Kids that uses a fun comic-book style.<a href="#ftn.idm1955" class="footnote" name="idm1955"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
6224 teacher’s guides and other resources.
6225     </p><p>
6226       Through this experience, Siyavula learned they could get sponsors to help
6227 fund openly licensed textbooks. It helped that Siyavula had by this time
6228 nailed the production model. It cost roughly $150,000 to produce a book in
6229 two languages. Sponsors liked the social-benefit aspect of textbooks
6230 unlocked via a Creative Commons license. They also liked the exposure their
6231 brand got. For roughly $150,000, their logo would be visible on books
6232 distributed to over one million students.
6233     </p><p>
6234       The Siyavula books that are reviewed, approved, and branded by the
6235 government are freely and openly available on Siyavula’s website under an
6236 Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
6237 cannot be modified. Non-government-branded books are available under an
6238 Attribution license (CC BY), allowing others to modify and redistribute the
6239 books.
6240     </p><p>
6241       Although the South African government paid to print and distribute hard
6242 copies of the books to schoolkids, Siyavula itself received no funding from
6243 the government. Siyavula initially tried to convince the government to
6244 provide them with five rand per book (about US35¢). With those funds, Mark
6245 says that Siyavula could have run its entire operation, built a
6246 community-based model for producing more books, and provide Intelligent
6247 Practice for free to every child in the country. But after a lengthy
6248 negotiation, the government said no.
6249     </p><p>
6250       Using Siyavula books generated huge savings for the government.  Providing
6251 students with a traditionally published grade 12 science or math textbook
6252 costs around 250 rand per book (about US$18).  Providing the Siyavula
6253 version cost around 36 rand (about $2.60), a savings of over 200 rand per
6254 book. But none of those savings were passed on to Siyavula. In retrospect,
6255 Mark thinks this may have turned out in their favor as it allowed them to
6256 remain independent from the government.
6257     </p><p>
6258       Just as Siyavula was planning to scale up the production of open textbooks
6259 even more, the South African government changed its textbook policy. To save
6260 costs, the government declared there would be only one authorized textbook
6261 for each grade and each subject. There was no guarantee that Siyavula’s
6262 would be chosen.  This scared away potential sponsors.
6263     </p><p>
6264       Rather than producing more textbooks, Siyavula focused on improving its
6265 Intelligent Practice technology for its existing books. Mark calls this
6266 version three of Siyavula’s business model—focusing on the technology that
6267 provides the revenue-generating service and generating more users of this
6268 service. Version three got a significant boost in 2014 with an investment by
6269 the Omidyar Network (the philanthropic venture started by eBay founder
6270 Pierre Omidyar and his spouse), and continues to be the model Siyavula uses
6271 today.
6272     </p><p>
6273       Mark says sales are way up, and they are really nailing Intelligent
6274 Practice. Schools continue to use their open textbooks. The
6275 government-announced policy that there would be only one textbook per
6276 subject turned out to be highly contentious and is in limbo.
6277     </p><p>
6278       Siyavula is exploring a range of enhancements to their business model. These
6279 include charging a small amount for assessment services provided over the
6280 phone, diversifying their market to all English-speaking countries in
6281 Africa, and setting up a consortium that makes Intelligent Practice free to
6282 all kids by selling the nonpersonal data Intelligent Practice collects.
6283     </p><p>
6284       Siyavula is a for-profit business but one with a social mission.  Their
6285 shareholders’ agreement lists lots of requirements around openness for
6286 Siyavula, including stipulations that content always be put under an open
6287 license and that they can’t charge for something that people volunteered to
6288 do for them. They believe each individual should have access to the
6289 resources and support they need to achieve the education they
6290 deserve. Having educational resources openly licensed with Creative Commons
6291 means they can fulfill their social mission, on top of which they can build
6292 revenue-generating services to sustain the ongoing operation of Siyavula. In
6293 terms of open business models, Mark and Siyavula may have been around the
6294 block a few times, but both he and the company are stronger for it.
6295     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1924" class="footnote"><p><a href="#idm1924" class="para"><sup class="para">[148] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1930" class="footnote"><p><a href="#idm1930" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm1936" class="footnote"><p><a href="#idm1936" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm1955" class="footnote"><p><a href="#idm1955" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>Kapitel 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>
6296         SparkFun is an online electronics retailer specializing in open
6297 hardware. Founded in 2003 in the U.S.
6298       </p><p>
6299           <a class="ulink" href="http://www.sparkfun.com" target="_top">http://www.sparkfun.com</a>
6300         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
6301 copies (electronics sales)
6302       </p><p><span class="strong"><strong>Interview date</strong></span>: February 29, 2016
6303       </p><p><span class="strong"><strong>Interviewee</strong></span>: Nathan Seidle, founder
6304       </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}
6305     \textit{
6306         Profile written by Sarah Hinchliff Pearson
6307       }
6308     \end{flushright}</td></tr></table></div><p>
6309       SparkFun founder and former CEO Nathan Seidle has a picture of himself
6310 holding up a clone of a SparkFun product in an electronics market in China,
6311 with a huge grin on his face. He was traveling in China when he came across
6312 their LilyPad wearable technology being made by someone else. His reaction
6313 was glee.
6314     </p><p><span class="quote">„<span class="quote">Being copied is the greatest earmark of flattery and success,</span>“</span>
6315 Nathan said. <span class="quote">„<span class="quote">I thought it was so cool that they were selling to a
6316 market we were never going to get access to otherwise. It was evidence of
6317 our impact on the world.</span>“</span>
6318     </p><p>
6319       This worldview runs through everything SparkFun does. SparkFun is an
6320 electronics manufacturer. The company sells its products directly to the
6321 public online, and it bundles them with educational tools to sell to schools
6322 and teachers. SparkFun applies Creative Commons licenses to all of its
6323 schematics, images, tutorial content, and curricula, so anyone can make
6324 their products on their own. Being copied is part of the design.
6325     </p><p>
6326       Nathan believes open licensing is good for the world. <span class="quote">„<span class="quote">It touches on
6327 our natural human instinct to share,</span>“</span> he said.  But he also strongly
6328 believes it makes SparkFun better at what they do. They encourage copying,
6329 and their products are copied at a very fast rate, often within ten to
6330 twelve weeks of release.  This forces the company to compete on something
6331 other than product design, or what most commonly consider their intellectual
6332 property.
6333     </p><p><span class="quote">„<span class="quote">We compete on business principles,</span>“</span> Nathan said.
6334 <span class="quote">„<span class="quote">Claiming your territory with intellectual property allows you to get
6335 comfy and rest on your laurels. It gives you a safety net. We took away that
6336 safety net.</span>“</span>
6337     </p><p>
6338       The result is an intense company-wide focus on product development and
6339 improvement. <span class="quote">„<span class="quote">Our products are so much better than they were five
6340 years ago,</span>“</span> Nathan said. <span class="quote">„<span class="quote">We used to just sell products. Now
6341 it’s a product plus a video, a seventeen-page hookup guide, and example
6342 firmware on three different platforms to get you up and running faster. We
6343 have gotten better because we had to in order to compete. As painful as it
6344 is for us, it’s better for the customers.</span>“</span>
6345     </p><p>
6346       SparkFun parts are available on eBay for lower prices. But people come
6347 directly to SparkFun because SparkFun makes their lives easier. The example
6348 code works; there is a service number to call; they ship replacement parts
6349 the day they get a service call. They invest heavily in service and
6350 support. <span class="quote">„<span class="quote">I don’t believe businesses should be competing with IP
6351 [intellectual property] barriers,</span>“</span> Nathan said. <span class="quote">„<span class="quote">This is the
6352 stuff they should be competing on.</span>“</span>
6353     </p><p>
6354       SparkFun’s company history began in Nathan’s college dorm room. He spent a
6355 lot of time experimenting with and building electronics, and he realized
6356 there was a void in the market. <span class="quote">„<span class="quote">If you wanted to place an order for
6357 something,</span>“</span> he said, <span class="quote">„<span class="quote">you first had to search far and wide to
6358 find it, and then you had to call or fax someone.</span>“</span> In 2003, during
6359 his third year of college, he registered <a class="ulink" href="http://sparkfun.com" target="_top">http://sparkfun.com</a>
6360 and started reselling products out of his bedroom. After he graduated, he
6361 started making and selling his own products.
6362     </p><p>
6363       Once he started designing his own products, he began putting the software
6364 and schematics online to help with technical support.  After doing some
6365 research on licensing options, he chose Creative Commons licenses because he
6366 was drawn to the <span class="quote">„<span class="quote">human-readable deeds</span>“</span> that explain the
6367 licensing terms in simple terms.  SparkFun still uses CC licenses for all of
6368 the schematics and firmware for the products they create.
6369     </p><p>
6370       The company has grown from a solo project to a corporation with 140
6371 employees. In 2015, SparkFun earned $33 million in revenue.  Selling
6372 components and widgets to hobbyists, professionals, and artists remains a
6373 major part of SparkFun’s business. They sell their own products, but they
6374 also partner with Arduino (also profiled in this book) by manufacturing
6375 boards for resale using Arduino’s brand.
6376     </p><p>
6377       SparkFun also has an educational department dedicated to creating a hands-on
6378 curriculum to teach students about electronics using prototyping
6379 parts. Because SparkFun has always been dedicated to enabling others to
6380 re-create and fix their products on their own, the more recent focus on
6381 introducing young people to technology is a natural extension of their core
6382 business.
6383     </p><p><span class="quote">„<span class="quote">We have the burden and opportunity to educate the next generation of
6384 technical citizens,</span>“</span> Nathan said. <span class="quote">„<span class="quote">Our goal is to affect the
6385 lives of three hundred and fifty thousand high school students by
6386 2020.</span>“</span>
6387     </p><p>
6388       The Creative Commons license underlying all of SparkFun’s products is
6389 central to this mission. The license not only signals a willingness to
6390 share, but it also expresses a desire for others to get in and tinker with
6391 their products, both to learn and to make their products better. SparkFun
6392 uses the Attribution-ShareAlike license (CC BY-SA), which is a
6393 <span class="quote">„<span class="quote">copyleft</span>“</span> license that allows people to do anything with the
6394 content as long as they provide credit and make any adaptations available
6395 under the same licensing terms.
6396     </p><p>
6397       From the beginning, Nathan has tried to create a work environment at
6398 SparkFun that he himself would want to work in. The result is what appears
6399 to be a pretty fun workplace. The U.S. company is based in Boulder,
6400 Colorado. They have an eighty-thousand-square-foot facility (approximately
6401 seventy-four-hundred square meters), where they design and manufacture their
6402 products. They offer public tours of the space several times a week, and
6403 they open their doors to the public for a competition once a year.
6404     </p><p>
6405       The public event, called the Autonomous Vehicle Competition, brings in a
6406 thousand to two thousand customers and other technology enthusiasts from
6407 around the area to race their own self-created bots against each other,
6408 participate in training workshops, and socialize. From a business
6409 perspective, Nathan says it’s a terrible idea. But they don’t hold the event
6410 for business reasons. <span class="quote">„<span class="quote">The reason we do it is because I get to travel
6411 and have interactions with our customers all the time, but most of our
6412 employees don’t,</span>“</span> he said. <span class="quote">„<span class="quote">This event gives our employees the
6413 opportunity to get face-to-face contact with our customers.</span>“</span> The
6414 event infuses their work with a human element, which makes it more
6415 meaningful.
6416     </p><p>
6417       Nathan has worked hard to imbue a deeper meaning into the work SparkFun
6418 does. The company is, of course, focused on being fiscally responsible, but
6419 they are ultimately driven by something other than money. <span class="quote">„<span class="quote">Profit is
6420 not the goal; it is the outcome of a well-executed plan,</span>“</span> Nathan
6421 said. <span class="quote">„<span class="quote">We focus on having a bigger impact on the world.</span>“</span> Nathan
6422 believes they get some of the brightest and most amazing employees because
6423 they aren’t singularly focused on the bottom line.
6424     </p><p>
6425       The company is committed to transparency and shares all of its financials
6426 with its employees. They also generally strive to avoid being another
6427 soulless corporation. They actively try to reveal the humans behind the
6428 company, and they work to ensure people coming to their site don’t find only
6429 unchanging content.
6430     </p><p>
6431       SparkFun’s customer base is largely made up of industrious electronics
6432 enthusiasts. They have customers who are regularly involved in the company’s
6433 customer support, independently responding to questions in forums and
6434 product-comment sections.  Customers also bring product ideas to the
6435 company. SparkFun regularly sifts through suggestions from customers and
6436 tries to build on them where they can. <span class="quote">„<span class="quote">From the beginning, we have
6437 been listening to the community,</span>“</span> Nathan said.  <span class="quote">„<span class="quote">Customers
6438 would identify a pain point, and we would design something to address
6439 it.</span>“</span>
6440     </p><p>
6441       However, this sort of customer engagement does not always translate to
6442 people actively contributing to SparkFun’s projects.  The company has a
6443 public repository of software code for each of its devices online. On a
6444 particularly active project, there will only be about two dozen people
6445 contributing significant improvements. The vast majority of projects are
6446 relatively untouched by the public. <span class="quote">„<span class="quote">There is a theory that if you
6447 open-source it, they will come,</span>“</span> Nathan said. <span class="quote">„<span class="quote">That’s not
6448 really true.</span>“</span>
6449     </p><p>
6450       Rather than focusing on cocreation with their customers, SparkFun instead
6451 focuses on enabling people to copy, tinker, and improve products on their
6452 own. They heavily invest in tutorials and other material designed to help
6453 people understand how the products work so they can fix and improve things
6454 independently. <span class="quote">„<span class="quote">What gives me joy is when people take open-source
6455 layouts and then build their own circuit boards from our designs,</span>“</span>
6456 Nathan said.
6457     </p><p>
6458       Obviously, opening up the design of their products is a necessary step if
6459 their goal is to empower the public. Nathan also firmly believes it makes
6460 them more money because it requires them to focus on how to provide maximum
6461 value. Rather than designing a new product and protecting it in order to
6462 extract as much money as possible from it, they release the keys necessary
6463 for others to build it themselves and then spend company time and resources
6464 on innovation and service. From a short-term perspective, SparkFun may lose
6465 a few dollars when others copy their products. But in the long run, it makes
6466 them a more nimble, innovative business. In other words, it makes them the
6467 kind of company they set out to be.
6468     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Kapitel 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>
6469         TeachAIDS is a nonprofit that creates educational materials designed to
6470 teach people around the world about HIV and AIDS.  Founded in 2005 in the
6471 U.S.
6472       </p><p>
6473           <a class="ulink" href="http://teachaids.org" target="_top">http://teachaids.org</a>
6474         </p><p><span class="strong"><strong>Revenue model</strong></span>: sponsorships
6475       </p><p><span class="strong"><strong>Interview date</strong></span>: March 24, 2016
6476       </p><p><span class="strong"><strong>Interviewees</strong></span>: Piya Sorcar, the CEO, and
6477 Shuman Ghosemajumder, the chair
6478       </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}
6479     \textit{
6480         Profile written by Sarah Hinchliff Pearson
6481       }
6482     \end{flushright}</td></tr></table></div><p>
6483       TeachAIDS is an unconventional media company with a conventional revenue
6484 model. Like most media companies, they are subsidized by
6485 advertising. Corporations pay to have their logos appear on the educational
6486 materials TeachAIDS distributes.
6487     </p><p>
6488       But unlike most media companies, Teach-AIDS is a nonprofit organization with
6489 a purely social mission. TeachAIDS is dedicated to educating the global
6490 population about HIV and AIDS, particularly in parts of the world where
6491 education efforts have been historically unsuccessful. Their educational
6492 content is conveyed through interactive software, using methods based on the
6493 latest research about how people learn. TeachAIDS serves content in more
6494 than eighty countries around the world. In each instance, the content is
6495 translated to the local language and adjusted to conform to local norms and
6496 customs. All content is free and made available under a Creative Commons
6497 license.
6498     </p><p>
6499       TeachAIDS is a labor of love for founder and CEO Piya Sorcar, who earns a
6500 salary of one dollar per year from the nonprofit. The project grew out of
6501 research she was doing while pursuing her doctorate at Stanford
6502 University. She was reading reports about India, noting it would be the next
6503 hot zone of people living with HIV. Despite international and national
6504 entities pouring in hundreds of millions of dollars on HIV-prevention
6505 efforts, the reports showed knowledge levels were still low. People were
6506 unaware of whether the virus could be transmitted through coughing and
6507 sneezing, for instance. Supported by an interdisciplinary team of experts at
6508 Stanford, Piya conducted similar studies, which corroborated the previous
6509 research. They found that the primary cause of the limited understanding was
6510 that HIV, and issues relating to it, were often considered too taboo to
6511 discuss comprehensively. The other major problem was that most of the
6512 education on this topic was being taught through television advertising,
6513 billboards, and other mass-media campaigns, which meant people were only
6514 receiving bits and pieces of information.
6515     </p><p>
6516       In late 2005, Piya and her team used research-based design to create new
6517 educational materials and worked with local partners in India to help
6518 distribute them. As soon as the animated software was posted online, Piya’s
6519 team started receiving requests from individuals and governments who were
6520 interested in bringing this model to more countries. <span class="quote">„<span class="quote">We realized
6521 fairly quickly that educating large populations about a topic that was
6522 considered taboo would be challenging. We began by identifying optimal local
6523 partners and worked toward creating an effective, culturally appropriate
6524 education,</span>“</span> Piya said.
6525     </p><p>
6526       Very shortly after the initial release, Piya’s team decided to spin the
6527 endeavor into an independent nonprofit out of Stanford University. They also
6528 decided to use Creative Commons licenses on the materials.
6529     </p><p>
6530       Given their educational mission, TeachAIDS had an obvious interest in seeing
6531 the materials as widely shared as possible. But they also needed to preserve
6532 the integrity of the medical information in the content. They chose the
6533 Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND), which essentially
6534 gives the public the right to distribute only verbatim copies of the
6535 content, and for noncommercial purposes. <span class="quote">„<span class="quote">We wanted attribution for
6536 TeachAIDS, and we couldn’t stand by derivatives without vetting
6537 them,</span>“</span> the cofounder and chair Shuman Ghosemajumder said.  <span class="quote">„<span class="quote">It
6538 was almost a no-brainer to go with a CC license because it was a
6539 plug-and-play solution to this exact problem. It has allowed us to scale our
6540 materials safely and quickly worldwide while preserving our content and
6541 protecting us at the same time.</span>“</span>
6542     </p><p>
6543       Choosing a license that does not allow adaptation of the content was an
6544 outgrowth of the careful precision with which TeachAIDS crafts their
6545 content. The organization invests heavily in research and testing to
6546 determine the best method of conveying the information. <span class="quote">„<span class="quote">Creating
6547 high-quality content is what matters most to us,</span>“</span> Piya
6548 said. <span class="quote">„<span class="quote">Research drives everything we do.</span>“</span>
6549     </p><p>
6550       One important finding was that people accept the message best when it comes
6551 from familiar voices they trust and admire. To achieve this, TeachAIDS
6552 researches cultural icons that would best resonate with their target
6553 audiences and recruits them to donate their likenesses and voices for use in
6554 the animated software. The celebrities involved vary for each localized
6555 version of the materials.
6556     </p><p>
6557       Localization is probably the single-most important aspect of the way
6558 TeachAIDS creates its content. While each regional version builds from the
6559 same core scientific materials, they pour a lot of resources into
6560 customizing the content for a particular population. Because they use a CC
6561 license that does not allow the public to adapt the content, TeachAIDS
6562 retains careful control over the localization process. The content is
6563 translated into the local language, but there are also changes in substance
6564 and format to reflect cultural differences. This process results in minor
6565 changes, like choosing different idioms based on the local language, and
6566 significant changes, like creating gendered versions for places where people
6567 are more likely to accept information from someone of the same gender.
6568     </p><p>
6569       The localization process relies heavily on volunteers. Their volunteer base
6570 is deeply committed to the cause, and the organization has had better luck
6571 controlling the quality of the materials when they tap volunteers instead of
6572 using paid translators. For quality control, TeachAIDS has three separate
6573 volunteer teams translate the materials from English to the local language
6574 and customize the content based on local customs and norms. Those three
6575 versions are then analyzed and combined into a single master
6576 translation. TeachAIDS has additional teams of volunteers then translate
6577 that version back into English to see how well it lines up with the original
6578 materials. They repeat this process until they reach a translated version
6579 that meets their standards. For the Tibetan version, they went through this
6580 cycle eleven times.
6581     </p><p>
6582       TeachAIDS employs full-time employees, contractors, and volunteers, all in
6583 different capacities and organizational configurations. They are careful to
6584 use people from diverse backgrounds to create the materials, including
6585 teachers, students, and doctors, as well as individuals experienced in
6586 working in the NGO space. This diversity and breadth of knowledge help
6587 ensure their materials resonate with people from all walks of life.
6588 Additionally, TeachAIDS works closely with film writers and directors to
6589 help keep the concepts entertaining and easy to understand. The inclusive,
6590 but highly controlled, creative process is undertaken entirely by people who
6591 are specifically brought on to help with a particular project, rather than
6592 ongoing staff. The final product they create is designed to require zero
6593 training for people to implement in practice. <span class="quote">„<span class="quote">In our research, we
6594 found we can’t depend on people passing on the information correctly, even
6595 if they have the best of intentions,</span>“</span> Piya said.  <span class="quote">„<span class="quote">We need
6596 materials where you can push play and they will work.</span>“</span>
6597     </p><p>
6598       Piya’s team was able to produce all of these versions over several years
6599 with a head count that never exceeded eight full-time employees. The
6600 organization is able to reduce costs by relying heavily on volunteers and
6601 in-kind donations. Nevertheless, the nonprofit needed a sustainable revenue
6602 model to subsidize content creation and physical distribution of the
6603 materials. Charging even a low price was simply not an
6604 option. <span class="quote">„<span class="quote">Educators from various nonprofits around the world were just
6605 creating their own materials using whatever they could find for free
6606 online,</span>“</span> Shuman said. <span class="quote">„<span class="quote">The only way to persuade them to use our
6607 highly effective model was to make it completely free.</span>“</span>
6608     </p><p>
6609       Like many content creators offering their work for free, they settled on
6610 advertising as a funding model. But they were extremely careful not to let
6611 the advertising compromise their credibility or undermine the heavy
6612 investment they put into creating quality content. Sponsors of the content
6613 have no ability to influence the substance of the content, and they cannot
6614 even create advertising content. Sponsors only get the right to have their
6615 logo appear before and after the educational content. All of the content
6616 remains branded as TeachAIDS.
6617     </p><p>
6618       TeachAIDS is careful not to seek funding to cover the costs of a specific
6619 project. Instead, sponsorships are structured as unrestricted donations to
6620 the nonprofit. This gives the nonprofit more stability, but even more
6621 importantly, it enables them to subsidize projects being localized for an
6622 area with no sponsors.  <span class="quote">„<span class="quote">If we just created versions based on where we
6623 could get sponsorships, we would only have materials for wealthier
6624 countries,</span>“</span> Shuman said.
6625     </p><p>
6626       As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">„<span class="quote">When we go into a new
6627 country, various companies hear about us and reach out to us,</span>“</span> Piya
6628 said. <span class="quote">„<span class="quote">We don’t have to do much to find or attract them.</span>“</span> They
6629 believe the sponsorships are easy to sell because they offer so much value
6630 to sponsors. TeachAIDS sponsorships give corporations the chance to reach
6631 new eyeballs with their brand, but at a much lower cost than other
6632 advertising channels. The audience for TeachAIDS content also tends to skew
6633 young, which is often a desirable demographic for brands. Unlike traditional
6634 advertising, the content is not time-sensitive, so an investment in a
6635 sponsorship can benefit a brand for many years to come.
6636     </p><p>
6637       Importantly, the value to corporate sponsors goes beyond commercial
6638 considerations. As a nonprofit with a clearly articulated social mission,
6639 corporate sponsorships are donations to a cause. <span class="quote">„<span class="quote">This is something
6640 companies can be proud of internally,</span>“</span> Shuman said. Some companies
6641 have even built publicity campaigns around the fact that they have sponsored
6642 these initiatives.
6643     </p><p>
6644       The core mission of TeachAIDS—ensuring global access to life-saving
6645 education—is at the root of everything the organization does. It underpins
6646 the work; it motivates the funders. The CC license on the materials they
6647 create furthers that mission, allowing them to safely and quickly scale
6648 their materials worldwide. <span class="quote">„<span class="quote">The Creative Commons license has been a
6649 game changer for TeachAIDS,</span>“</span> Piya said.
6650     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Kapitel 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>
6651         Tribe of Noise is a for-profit online music platform serving the film, TV,
6652 video, gaming, and in-store-media industries. Founded in 2008 in the
6653 Netherlands.
6654       </p><p>
6655           <a class="ulink" href="http://www.tribeofnoise.com" target="_top">http://www.tribeofnoise.com</a>
6656         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
6657       </p><p><span class="strong"><strong>Interview date</strong></span>: January 26, 2016
6658       </p><p><span class="strong"><strong>Interviewee</strong></span>: Hessel van Oorschot,
6659 cofounder
6660       </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}
6661     \textit{
6662         Profile written by Paul Stacey
6663       }
6664     \end{flushright}</td></tr></table></div><p>
6665       In the early 2000s, Hessel van Oorschot was an entrepreneur running a
6666 business where he coached other midsize entrepreneurs how to create an
6667 online business. He also coauthored a number of workbooks for small- to
6668 medium-size enterprises to use to optimize their business for the
6669 Web. Through this early work, Hessel became familiar with the principles of
6670 open licensing, including the use of open-source software and Creative
6671 Commons.
6672     </p><p>
6673       In 2005, Hessel and Sandra Brandenburg launched a niche video-production
6674 initiative. Almost immediately, they ran into issues around finding and
6675 licensing music tracks. All they could find was standard, cold
6676 stock-music. They thought of looking up websites where you could license
6677 music directly from the musician without going through record labels or
6678 agents. But in 2005, the ability to directly license music from a rights
6679 holder was not readily available.
6680     </p><p>
6681       They hired two lawyers to investigate further, and while they uncovered five
6682 or six examples, Hessel found the business models lacking. The lawyers
6683 expressed interest in being their legal team should they decide to pursue
6684 this as an entrepreneurial opportunity. Hessel says, <span class="quote">„<span class="quote">When lawyers are
6685 interested in a venture like this, you might have something special.</span>“</span>
6686 So after some more research, in early 2008, Hessel and Sandra decided to
6687 build a platform.
6688     </p><p>
6689       Building a platform posed a real chicken-and-egg problem. The platform had
6690 to build an online community of music-rights holders and, at the same time,
6691 provide the community with information and ideas about how the new economy
6692 works. Community willingness to try new music business models requires a
6693 trust relationship.
6694     </p><p>
6695       In July 2008, Tribe of Noise opened its virtual doors with a couple hundred
6696 musicians willing to use the CC BY-SA license (Attribution-ShareAlike) for a
6697 limited part of their repertoire.  The two entrepreneurs wanted to take the
6698 pain away for media makers who wanted to license music and solve the
6699 problems the two had personally experienced finding this music.
6700     </p><p>
6701       As they were growing the community, Hessel got a phone call from a company
6702 that made in-store music playlists asking if they had enough music licensed
6703 with Creative Commons that they could use.  Stores need quality,
6704 good-listening music but not necessarily hits, a bit like a radio show
6705 without the DJ. This opened a new opportunity for Tribe of Noise. They
6706 started their In-store Music Service, using music (licensed with CC BY-SA)
6707 uploaded by the Tribe of Noise community of musicians.<a href="#ftn.idm2090" class="footnote" name="idm2090"><sup class="footnote">[152]</sup></a>
6708     </p><p>
6709       In most countries, artists, authors, and musicians join a collecting society
6710 that manages the licensing and helps collect the royalties. Copyright
6711 collecting societies in the European Union usually hold monopolies in their
6712 respective national markets. In addition, they require their members to
6713 transfer exclusive administration rights to them of all of their works.
6714 This complicates the picture for Tribe of Noise, who wants to represent
6715 artists, or at least a portion of their repertoire.  Hessel and his legal
6716 team reached out to collecting societies, starting with those in the
6717 Netherlands. What would be the best legal way forward that would respect the
6718 wishes of composers and musicians who’d be interested in trying out new
6719 models like the In-store Music Service? Collecting societies at first were
6720 hesitant and said no, but Tribe of Noise persisted arguing that they
6721 primarily work with unknown artists and provide them exposure in parts of
6722 the world where they don’t get airtime normally and a source of revenue—and
6723 this convinced them that it was OK. However, Hessel says, <span class="quote">„<span class="quote">We are
6724 still fighting for a good cause every single day.</span>“</span>
6725     </p><p>
6726       Instead of building a large sales force, Tribe of Noise partnered with big
6727 organizations who have lots of clients and can act as a kind of Tribe of
6728 Noise reseller. The largest telecom network in the Netherlands, for example,
6729 sells Tribe’s In-store Music Service subscriptions to their business
6730 clients, which include fashion retailers and fitness centers. They have a
6731 similar deal with the leading trade association representing hotels and
6732 restaurants in the country. Hessel hopes to <span class="quote">„<span class="quote">copy and paste</span>“</span>
6733 this service into other countries where collecting societies understand what
6734 you can do with Creative Commons. Outside of the Netherlands, early
6735 adoptions have happened in Scandinavia, Belgium, and the U.S.
6736     </p><p>
6737       Tribe of Noise doesn’t pay the musicians up front; they get paid when their
6738 music ends up in Tribe of Noise’s in-store music channels. The musicians’
6739 share is 42.5 percent. It’s not uncommon in a traditional model for the
6740 artist to get only 5 to 10 percent, so a share of over 40 percent is a
6741 significantly better deal.  Here’s how they give an example on their
6742 website:
6743     </p><p>
6744       A few of your songs [licensed with CC BY-SA], for example five in total, are
6745 selected for a bespoke in-store music channel broadcasting at a large
6746 retailer with 1,000 stores nationwide. In this case the overall playlist
6747 contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
6748 agreed with this retailer is US$12 per month per play-out. So if 42.5% is
6749 shared with the Tribe musicians in this playlist and your share is 1.43%,
6750 you end up with US$12 * 1000 stores * 0.425 * 0.0143 = US$73 per
6751 month.<a href="#ftn.idm2099" class="footnote" name="idm2099"><sup class="footnote">[153]</sup></a>
6752     </p><p>
6753       Tribe of Noise has another model that does not involve Creative Commons. In
6754 a survey with members, most said they liked the exposure using Creative
6755 Commons gets them and the way it lets them reach out to others to share and
6756 remix. However, they had a bit of a mental struggle with Creative Commons
6757 licenses being perpetual.  A lot of musicians have the mind-set that one day
6758 one of their songs may become an overnight hit. If that happened the CC
6759 BY-SA license would preclude them getting rich off the sale of that song.
6760     </p><p>
6761       Hessel’s legal team took this feedback and created a second model and
6762 separate area of the platform called Tribe of Noise Pro. Songs uploaded to
6763 Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
6764 instead created a <span class="quote">„<span class="quote">nonexclusive exploitation</span>“</span> contract, similar
6765 to a Creative Commons license but allowing musicians to opt out whenever
6766 they want. When you opt out, Tribe of Noise agrees to take your music off
6767 the Tribe of Noise platform within one to two months. This lets the musician
6768 reuse their song for a better deal.
6769     </p><p>
6770       Tribe of Noise Pro is primarily geared toward media makers who are looking
6771 for music. If they buy a license from this catalog, they don’t have to state
6772 the name of the creator; they just license the song for a specific
6773 amount. This is a big plus for media makers.  And musicians can pull their
6774 repertoire at any time. Hessel sees this as a more direct and clean deal.
6775     </p><p>
6776       Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and
6777 the community area of Tribe of Noises. There aren’t that many artists who
6778 upload only to Tribe of Noise Pro, which has a smaller repertoire of music
6779 than the community area.
6780     </p><p>
6781       Hessel sees the two as complementary. Both are needed for the model to
6782 work. With a whole generation of musicians interested in the sharing
6783 economy, the community area of Tribe of Noise is where they can build trust,
6784 create exposure, and generate money. And after that, musicians may become
6785 more interested in exploring other models like Tribe of Noise Pro.
6786     </p><p>
6787       Every musician who joins Tribe of Noise gets their own home page and free
6788 unlimited Web space to upload as much of their own music as they like. Tribe
6789 of Noise is also a social network; fellow musicians and professionals can
6790 vote for, comment on, and like your music. Community managers interact with
6791 and support members, and music supervisors pick and choose from the uploaded
6792 songs for in-store play or to promote them to media producers. Members
6793 really like having people working for the platform who truly engage with
6794 them.
6795     </p><p>
6796       Another way Tribe of Noise creates community and interest is with contests,
6797 which are organized in partnership with Tribe of Noise clients. The client
6798 specifies what they want, and any member can submit a song. Contests usually
6799 involve prizes, exposure, and money. In addition to building member
6800 engagement, contests help members learn how to work with clients: listening
6801 to them, understanding what they want, and creating a song to meet that
6802 need.
6803     </p><p>
6804       Tribe of Noise now has twenty-seven thousand members from 192 countries, and
6805 many are exploring do-it-yourself models for generating revenue. Some came
6806 from music labels and publishers, having gone through the traditional way of
6807 music licensing and now seeing if this new model makes sense for
6808 them. Others are young musicians, who grew up with a DIY mentality and see
6809 little reason to sign with a third party or hand over some of the
6810 control. Still a small but growing group of Tribe members are pursuing a
6811 hybrid model by licensing some of their songs under CC BY-SA and opting in
6812 others with collecting societies like ASCAP or BMI.
6813     </p><p>
6814       It’s not uncommon for performance-rights organizations, record labels, or
6815 music publishers to sign contracts with musicians based on exclusivity. Such
6816 an arrangement prevents those musicians from uploading their music to Tribe
6817 of Noise. In the United States, you can have a collecting society handle
6818 only some of your tracks, whereas in many countries in Europe, a collecting
6819 society prefers to represent your entire repertoire (although the European
6820 Commission is making some changes). Tribe of Noise deals with this issue all
6821 the time and gives you a warning whenever you upload a song. If collecting
6822 societies are willing to be open and flexible and do the most they can for
6823 their members, then they can consider organizations like Tribe of Noise as a
6824 nice add-on, generating more exposure and revenue for the musicians they
6825 represent. So far, Tribe of Noise has been able to make all this work
6826 without litigation.
6827     </p><p>
6828       For Hessel the key to Tribe of Noise’s success is trust. The fact that
6829 Creative Commons licenses work the same way all over the world and have been
6830 translated into all languages really helps build that trust. Tribe of Noise
6831 believes in creating a model where they work together with musicians. They
6832 can only do that if they have a live and kicking community, with people who
6833 think that the Tribe of Noise team has their best interests in
6834 mind. Creative Commons makes it possible to create a new business model for
6835 music, a model that’s based on trust.
6836     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2090" class="footnote"><p><a href="#idm2090" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2099" class="footnote"><p><a href="#idm2099" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>Kapitel 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>
6837         The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia
6838 and its sister projects. Founded in 2003 in the U.S.
6839       </p><p>
6840           <a class="ulink" href="http://wikimediafoundation.org" target="_top">http://wikimediafoundation.org</a>
6841         </p><p><span class="strong"><strong>Revenue model</strong></span>: donations
6842       </p><p><span class="strong"><strong>Interview date</strong></span>: December 18, 2015
6843       </p><p><span class="strong"><strong>Interviewees</strong></span>: Luis Villa, former Chief
6844 Officer of Community Engagement, and Stephen LaPorte, legal counsel
6845       </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}
6846     \textit{
6847         Profile written by Sarah Hinchliff Pearson
6848       }
6849     \end{flushright}</td></tr></table></div><p>
6850       Nearly every person with an online presence knows Wikipedia.
6851     </p><p>
6852       In many ways, it is the preeminent open project: The online encyclopedia is
6853 created entirely by volunteers. Anyone in the world can edit the
6854 articles. All of the content is available for free to anyone online. All of
6855 the content is released under a Creative Commons license that enables people
6856 to reuse and adapt it for any purpose.
6857     </p><p>
6858       As of December 2016, there were more than forty-two million articles in the
6859 295 language editions of the online encyclopedia, according to—what
6860 else?—the Wikipedia article about Wikipedia.
6861     </p><p>
6862       The Wikimedia Foundation is a U.S.-based nonprofit organization that owns
6863 the Wikipedia domain name and hosts the site, along with many other related
6864 sites like Wikidata and Wikimedia Commons. The foundation employs about two
6865 hundred and eighty people, who all work to support the projects it
6866 hosts. But the true heart of Wikipedia and its sister projects is its
6867 community. The numbers of people in the community are variable, but about
6868 seventy-five thousand volunteers edit and improve Wikipedia articles every
6869 month. Volunteers are organized in a variety of ways across the globe,
6870 including formal Wikimedia chapters (mostly national), groups focused on a
6871 particular theme, user groups, and many thousands who are not connected to a
6872 particular organization.
6873     </p><p>
6874       As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">„<span class="quote">There is a common
6875 saying that Wikipedia works in practice but not in theory.</span>“</span> While it
6876 undoubtedly has its challenges and flaws, Wikipedia and its sister projects
6877 are a striking testament to the power of human collaboration.
6878     </p><p>
6879       Because of its extraordinary breadth and scope, it does feel a bit like a
6880 unicorn. Indeed, there is nothing else like Wikipedia.  Still, much of what
6881 makes the projects successful—community, transparency, a strong mission,
6882 trust—are consistent with what it takes to be successfully Made with
6883 Creative Commons more generally. With Wikipedia, everything just happens at
6884 an unprecedented scale.
6885     </p><p>
6886       The story of Wikipedia has been told many times. For our purposes, it is
6887 enough to know the experiment started in 2001 at a small scale, inspired by
6888 the crazy notion that perhaps a truly open, collaborative project could
6889 create something meaningful. At this point, Wikipedia is so ubiquitous and
6890 ingrained in our digital lives that the fact of its existence seems less
6891 remarkable. But outside of software, Wikipedia is perhaps the single most
6892 stunning example of successful community cocreation. Every day, seven
6893 thousand new articles are created on Wikipedia, and nearly fifteen thousand
6894 edits are made every hour.
6895     </p><p>
6896       The nature of the content the community creates is ideal for asynchronous
6897 cocreation. <span class="quote">„<span class="quote">An encyclopedia is something where incremental community
6898 improvement really works,</span>“</span> Luis Villa, former Chief Officer of
6899 Community Engagement, told us. The rules and processes that govern
6900 cocreation on Wikipedia and its sister projects are all community-driven and
6901 vary by language edition. There are entire books written on the intricacies
6902 of their systems, but generally speaking, there are very few exceptions to
6903 the rule that anyone can edit any article, even without an account on their
6904 system. The extensive peer-review process includes elaborate systems to
6905 resolve disputes, methods for managing particularly controversial subject
6906 areas, talk pages explaining decisions, and much, much more. The Wikimedia
6907 Foundation’s decision to leave governance of the projects to the community
6908 is very deliberate. <span class="quote">„<span class="quote">We look at the things that the community can do
6909 well, and we want to let them do those things,</span>“</span> Stephen told
6910 us. Instead, the foundation focuses its time and resources on what the
6911 community cannot do as effectively, like the software engineering that
6912 supports the technical infrastructure of the sites. In 2015-16, about half
6913 of the foundation’s budget went to direct support for the Wikimedia sites.
6914     </p><p>
6915       Some of that is directed at servers and general IT support, but the
6916 foundation also invests a significant amount on architecture designed to
6917 help the site function as effectively as possible.  <span class="quote">„<span class="quote">There is a
6918 constantly evolving system to keep the balance in place to avoid Wikipedia
6919 becoming the world’s biggest graffiti wall,</span>“</span> Luis said. Depending on
6920 how you measure it, somewhere between 90 to 98 percent of edits to Wikipedia
6921 are positive. Some portion of that success is attributable to the tools
6922 Wikimedia has in place to try to incentivize good actors.  <span class="quote">„<span class="quote">The secret
6923 to having any healthy community is bringing back the right people,</span>“</span>
6924 Luis said. <span class="quote">„<span class="quote">Vandals tend to get bored and go away. That is partially
6925 our model working, and partially just human nature.</span>“</span> Most of the
6926 time, people want to do the right thing.
6927     </p><p>
6928       Wikipedia not only relies on good behavior within its community and on its
6929 sites, but also by everyone else once the content leaves Wikipedia. All of
6930 the text of Wikipedia is available under an Attribution-ShareAlike license
6931 (CC BY-SA), which means it can be used for any purpose and modified so long
6932 as credit is given and anything new is shared back with the public under the
6933 same license. In theory, that means anyone can copy the content and start a
6934 new Wikipedia. But as Stephen explained, <span class="quote">„<span class="quote">Being open has only made
6935 Wikipedia bigger and stronger. The desire to protect is not always what is
6936 best for everyone.</span>“</span>
6937     </p><p>
6938       Of course, the primary reason no one has successfully co-opted Wikipedia is
6939 that copycat efforts do not have the Wikipedia community to sustain what
6940 they do. Wikipedia is not simply a source of up-to-the-minute content on
6941 every given topic—it is also a global patchwork of humans working together
6942 in a million different ways, in a million different capacities, for a
6943 million different reasons. While many have tried to guess what makes
6944 Wikipedia work as well it does, the fact is there is no single
6945 explanation. <span class="quote">„<span class="quote">In a movement as large as ours, there is an incredible
6946 diversity of motivations,</span>“</span> Stephen said. For example, there is one
6947 editor of the English Wikipedia edition who has corrected a single
6948 grammatical error in articles more than forty-eight thousand
6949 times.<a href="#ftn.idm2145" class="footnote" name="idm2145"><sup class="footnote">[154]</sup></a> Only a fraction of Wikipedia
6950 users are also editors.  But editing is not the only way to contribute to
6951 Wikipedia.  <span class="quote">„<span class="quote">Some donate text, some donate images, some donate
6952 financially,</span>“</span> Stephen told us. <span class="quote">„<span class="quote">They are all
6953 contributors.</span>“</span>
6954     </p><p>
6955       But the vast majority of us who use Wikipedia are not contributors; we are
6956 passive readers. The Wikimedia Foundation survives primarily on individual
6957 donations, with about $15 as the average. Because Wikipedia is one of the
6958 ten most popular websites in terms of total page views, donations from a
6959 small portion of that audience can translate into a lot of money. In the
6960 2015-16 fiscal year, they received more than $77 million from more than five
6961 million donors.
6962     </p><p>
6963       The foundation has a fund-raising team that works year-round to raise money,
6964 but the bulk of their revenue comes in during the December campaign in
6965 Australia, Canada, Ireland, New Zealand, the United Kingdom, and the United
6966 States. They engage in extensive user testing and research to maximize the
6967 reach of their fund-raising campaigns. Their basic fund-raising message is
6968 simple: We provide our readers and the world immense value, so give
6969 back. Every little bit helps. With enough eyeballs, they are right.
6970     </p><p>
6971       The vision of the Wikimedia Foundation is a world in which every single
6972 human being can freely share in the sum of all knowledge.  They work to
6973 realize this vision by empowering people around the globe to create
6974 educational content made freely available under an open license or in the
6975 public domain. Stephen and Luis said the mission, which is rooted in the
6976 same philosophy behind Creative Commons, drives everything the foundation
6977 does.
6978     </p><p>
6979       The philosophy behind the endeavor also enables the foundation to be
6980 financially sustainable. It instills trust in their readership, which is
6981 critical for a revenue strategy that relies on reader donations. It also
6982 instills trust in their community.
6983     </p><p>
6984       Any given edit on Wikipedia could be motivated by nearly an infinite number
6985 of reasons. But the social mission of the project is what binds the global
6986 community together. <span class="quote">„<span class="quote">Wikipedia is an example of how a mission can
6987 motivate an entire movement,</span>“</span> Stephen told us.
6988     </p><p>
6989       Of course, what results from that movement is one of the Internet’s great
6990 public resources. <span class="quote">„<span class="quote">The Internet has a lot of businesses and stores,
6991 but it is missing the digital equivalent of parks and open public
6992 spaces,</span>“</span> Stephen said.  <span class="quote">„<span class="quote">Wikipedia has found a way to be that
6993 open public space.</span>“</span>
6994     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2145" class="footnote"><p><a href="#idm2145" class="para"><sup class="para">[154] </sup></a><a class="ulink" href="http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/" target="_top">http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/</a></p></div></div></div></div>\chapter*{<title>Bibliography</title>}\addcontentsline{toc}{chapter}{<title>Bibliography</title>}<p>
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7097 new epilogue. New York: Portfolio, 2012.
7098   </p><p>
7099     Grant, Adam. Give and Take: Why Helping Others Drives Our Success.  New
7100 York: Viking, 2013.
7101   </p><p>
7102     Haiven, Max. Crises of Imagination, Crises of Power: Capitalism, Creativity
7103 and the Commons. New York: Zed Books, 2014.
7104   </p><p>
7105     Harris, Malcom, ed. Share or Die: Voices of the Get Lost Generation in the
7106 Age of Crisis. With Neal Gorenflo. Gabriola Island, BC: New Society, 2012.
7107   </p><p>
7108     Hermida, Alfred. Tell Everyone: Why We Share and Why It Matters.  Toronto:
7109 Doubleday Canada, 2014.
7110   </p><p>
7111     Hyde, Lewis. Common as Air: Revolution, Art, and Ownership. New York:
7112 Farrar, Straus and Giroux, 2010.
7113   </p><p>
7114     ———. The Gift: Creativity and the Artist in the Modern World. 2nd Vintage
7115 Books edition. New York: Vintage Books, 2007.
7116   </p><p>
7117     Kelley, Tom, and David Kelley. Creative Confidence: Unleashing the Potential
7118 within Us All. New York: Crown, 2013.
7119   </p><p>
7120     Kelly, Marjorie. Owning Our Future: The Emerging Ownership Revolution;
7121 Journeys to a Generative Economy. San Francisco: Berrett-Koehler, 2012.
7122   </p><p>
7123     Kleon, Austin. Show Your Work: 10 Ways to Share Your Creativity and Get
7124 Discovered. New York: Workman, 2014.
7125   </p><p>
7126     ———. Steal Like an Artist: 10 Things Nobody Told You about Being
7127 Creative. New York: Workman, 2012.
7128   </p><p>
7129     Kramer, Bryan. Shareology: How Sharing Is Powering the Human Economy. New
7130 York: Morgan James, 2016.
7131   </p><p>
7132     Lee, David. <span class="quote">„<span class="quote">Inside Medium: An Attempt to Bring Civility to the
7133 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>
7134   </p><p>
7135     Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid
7136 Economy. New York: Penguin Press, 2008.
7137   </p><p>
7138     Menzies, Heather. Reclaiming the Commons for the Common Good: A Memoir and
7139 Manifesto. Gabriola Island, BC: New Society, 2014.
7140   </p><p>
7141     Mason, Paul. Postcapitalism: A Guide to Our Future. New York: Farrar, Straus
7142 and Giroux, 2015.
7143   </p><p>
7144     New York Times Customer Insight Group. The Psychology of Sharing: Why Do
7145 People Share Online? New York: New York Times Customer Insight Group, 2011.
7146 <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
7147   </p><p>
7148     Osterwalder, Alex, and Yves Pigneur. Business Model Generation.  Hoboken,
7149 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>.
7150   </p><p>
7151     Osterwalder, Alex, Yves Pigneur, Greg Bernarda, and Adam Smith.  Value
7152 Proposition Design. Hoboken, NJ: John Wiley and Sons, 2014. A preview of the
7153 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>.
7154   </p><p>
7155     Palmer, Amanda. The Art of Asking: Or How I Learned to Stop Worrying and Let
7156 People Help. New York: Grand Central, 2014.
7157   </p><p>
7158     Pekel, Joris. Democratising the Rijksmuseum: Why Did the Rijksmuseum Make
7159 Available Their Highest Quality Material without Restrictions, and What Are
7160 the Results? The Hague, Netherlands: Europeana Foundation, 2014.  <a class="ulink" href="http://pro.europeana.eu/publication/democratising-the-rijksmuseum" target="_top">http://pro.europeana.eu/publication/democratising-the-rijksmuseum</a>
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7162   </p><p>
7163     Ramos, José Maria, ed. The City as Commons: A Policy Reader.  Melbourne,
7164 Australia: Commons Transition Coalition, 2016.  <a class="ulink" href="http://www.academia.edu/27143172/The_City_as_Commons_a_Policy_Reader" target="_top">http://www.academia.edu/27143172/The_City_as_Commons_a_Policy_Reader</a>
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7167     Raymond, Eric S. The Cathedral and the Bazaar: Musings on Linux and Open
7168 Source by an Accidental Revolutionary. Rev. ed. Sebastopol, CA: O’Reilly
7169 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>.
7170   </p><p>
7171     Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous
7172 Innovation to Create Radically Successful Businesses. New York: Crown
7173 Business, 2011.
7174   </p><p>
7175     Rifkin, Jeremy. The Zero Marginal Cost Society: The Internet of Things, the
7176 Collaborative Commons, and the Eclipse of Capitalism.  New York: Palgrave
7177 Macmillan, 2014.
7178   </p><p>
7179     Rowe, Jonathan. Our Common Wealth. San Francisco: Berrett-Koehler, 2013.
7180   </p><p>
7181     Rushkoff, Douglas. Throwing Rocks at the Google Bus: How Growth Became the
7182 Enemy of Prosperity. New York: Portfolio, 2016.
7183   </p><p>
7184     Sandel, Michael J. What Money Can’t Buy: The Moral Limits of Markets. New
7185 York: Farrar, Straus and Giroux, 2012.
7186   </p><p>
7187     Shirky, Clay. Cognitive Surplus: How Technology Makes Consumers into
7188 Collaborators. London, England: Penguin Books, 2010.
7189   </p><p>
7190     Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New York: OR
7191 Books, 2015.
7192   </p><p>
7193     Stephany, Alex. The Business of Sharing: Making in the New Sharing
7194 Economy. New York: Palgrave Macmillan, 2015.
7195   </p><p>
7196     Stepper, John. Working Out Loud: For a Better Career and Life. New York:
7197 Ikigai Press, 2015.
7198   </p><p>
7199     Sull, Donald, and Kathleen M. Eisenhardt. Simple Rules: How to Thrive in a
7200 Complex World. Boston: Houghton Mifflin Harcourt, 2015.
7201   </p><p>
7202     Sundararajan, Arun. The Sharing Economy: The End of Employment and the Rise
7203 of Crowd-Based Capitalism. Cambridge, MA: MIT Press, 2016.
7204   </p><p>
7205     Surowiecki, James. The Wisdom of Crowds. New York: Anchor Books, 2005.
7206   </p><p>
7207     Tapscott, Don, and Alex Tapscott. Blockchain Revolution: How the Technology
7208 Behind Bitcoin Is Changing Money, Business, and the World. Toronto:
7209 Portfolio, 2016.
7210   </p><p>
7211     Tharp, Twyla. The Creative Habit: Learn It and Use It for Life. With Mark
7212 Reiter. New York: Simon and Schuster, 2006.
7213   </p><p>
7214     Tkacz, Nathaniel. Wikipedia and the Politics of Openness. Chicago:
7215 University of Chicago Press, 2015.
7216   </p><p>
7217     Van Abel, Bass, Lucas Evers, Roel Klaassen, and Peter Troxler, eds.  Open
7218 Design Now: Why Design Cannot Remain Exclusive. Amsterdam: BIS Publishers,
7219 with Creative Commons Netherlands; Premsela, the Netherlands Institute for
7220 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).
7221   </p><p>
7222     Van den Hoff, Ronald. Mastering the Global Transition on Our Way to Society
7223 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).
7224   </p><p>
7225     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
7226 BY-NC-ND).
7227   </p><p>
7228     Whitehurst, Jim. The Open Organization: Igniting Passion and
7229 Performance. Boston: Harvard Business Review Press, 2015.
7230   </p>\chapter*{<title>Acknowledgments</title>}\addcontentsline{toc}{chapter}{<title>Acknowledgments</title>}<p>
7231     We extend special thanks to Creative Commons CEO Ryan Merkley, the Creative
7232 Commons Board, and all of our Creative Commons colleagues for
7233 enthusiastically supporting our work. Special gratitude to the William and
7234 Flora Hewlett Foundation for the initial seed funding that got us started on
7235 this project.
7236   </p><p>
7237     Huge appreciation to all the Made with Creative Commons interviewees for
7238 sharing their stories with us. You make the commons come alive.  Thanks for
7239 the inspiration.
7240   </p><p>
7241     We interviewed more than the twenty-four organizations profiled in this
7242 book. We extend special thanks to Gooru, OERu, Sage Bionetworks, and Medium
7243 for sharing their stories with us. While not featured as case studies in
7244 this book, you all are equally interesting, and we encourage our readers to
7245 visit your sites and explore your work.
7246   </p><p>
7247     This book was made possible by the generous support of 1,687 Kickstarter
7248 backers listed below. We especially acknowledge our many Kickstarter
7249 co-editors who read early drafts of our work and provided invaluable
7250 feedback. Heartfelt thanks to all of you.
7251   </p><p>
7252     Co-editor Kickstarter backers (alphabetically by first name): Abraham
7253 Taherivand, Alan Graham, Alfredo Louro, Anatoly Volynets, Aurora Thornton,
7254 Austin Tolentino, Ben Sheridan, Benedikt Foit, Benjamin Costantini, Bernd
7255 Nurnberger, Bernhard Seefeld, Bethanye Blount, Bradford Benn, Bryan Mock,
7256 Carmen Garcia Wiedenhoeft, Carolyn Hinchliff, Casey Milford, Cat Cooper,
7257 Chip McIntosh, Chris Thorne, Chris Weber, Chutika Udomsinn, Claire Wardle,
7258 Claudia Cristiani, Cody Allard, Colleen Cressman, Craig Thomler, Creative
7259 Commons Uruguay, Curt McNamara, Dan Parson, Daniel Dominguez, Daniel Morado,
7260 Darius Irvin, Dave Taillefer, David Lewis, David Mikula, David Varnes, David
7261 Wiley, Deborah Nas, Diderik van Wingerden, Dirk Kiefer, Dom Lane, Domi
7262 Enders, Douglas Van Houweling, Dylan Field, Einar Joergensen, Elad Wieder,
7263 Elie Calhoun, Erika Reid, Evtim Papushev, Fauxton Software, Felix
7264 Maximiliano Obes, Ferdies Food Lab, Gatien de Broucker, Gaurav Kapil, Gavin
7265 Romig-Koch, George Baier IV, George De Bruin, Gianpaolo Rando, Glenn Otis
7266 Brown, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Hamish MacEwan,
7267 Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James Cloos, Jamie
7268 Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo, Jay M
7269 Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme
7270 Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
7271 Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
7272 Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos
7273 Belair, Justin Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie
7274 Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova, Kristoffer Steen,
7275 Kyle Simpson, Laurie Racine, Leonardo Bueno Postacchini, Leticia Britos
7276 Cavagnaro, Livia Leskovec, Louis-David Benyayer, Maik Schmalstich, Mairi
7277 Thomson, Marcia Hofmann, Maria Liberman, Marino Hernandez, Mario R. Hemsley,
7278 MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black,
7279 Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
7280 Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha Batic, Mike
7281 Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall
7282 McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman,
7283 Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
7284 Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny
7285 Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv
7286 Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones,
7287 Robert Thompson, Ronald van den Hoff, Rusi Popov, Ryan Merkley, S Searle,
7288 Salomon Riedo, Samuel A. Rebelsky, Samuel Tait, Sarah McGovern, Scott
7289 Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio,
7290 Simon Law, Solomon Simon, Stefano Guidotti, Subhendu Ghosh, Susan Chun,
7291 Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent,
7292 Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
7293 Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh,
7294 William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque,
7295 Yancey Strickler
7296   </p><p>
7297     All other Kickstarter backers (alphabetically by first name): A.  Lee, Aaron
7298 C. Rathbun, Aaron Stubbs, Aaron Suggs, Abdul Razak Manaf, Abraham
7299 Taherivand, Adam Croom, Adam Finer, Adam Hansen, Adam Morris, Adam Procter,
7300 Adam Quirk, Adam Rory Porter, Adam Simmons, Adam Tinworth, Adam Zimmerman,
7301 Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al Sweigart, Alain
7302 Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert
7303 O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
7304 Blood, Alex C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown,
7305 Alexander Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar,
7306 Alexander Neumann, Alexander Plaum, Alexander Wendland, Alexandre
7307 Rafalovitch, Alexey Volkow, Alexi Wheeler, Alexis Sevault, Alfredo Louro,
7308 Ali Sternburg, Alicia Gibb &amp; Lunchbox Electronics, Alison Link, Alison
7309 Pentecost, Alistair Boettiger, Alistair Walder, Alix Bernier, Allan
7310 Callaghan, Allen Riddell, Allison Breland Crotwell, Allison Jane Smith,
7311 Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
7312 Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
7313 Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen,
7314 Andre Wallace, Andrea Bagnacani, Andrea Pepe, Andrea Pigato, Andreas
7315 Jagelund, Andres Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew
7316 Hearse, Andrew Matangi, Andrew R McHugh, Andrew Tam, Andrew Turvey, Andrew
7317 Walsh, Andrew Wilson, Andrey Novoseltsev, Andy McGhee, Andy Reeve, Andy
7318 Woods, Angela Brett, Angeliki Kapoglou, Angus Keenan, Anne-Marie Scott,
7319 Antero Garcia, Antoine Authier, Antoine Michard, Anton Kurkin, Anton
7320 Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
7321 publishing, April Johnson, Aria F.  Chernik, Ariane Allan, Ariel Katz,
7322 Arithmomaniac, Arnaud Tessier, Arnim Sommer, Ashima Bawa, Ashley Elsdon,
7323 Athanassios Diacakis, Aurora Thornton, Aurore Chavet Henry, Austin
7324 Hartzheim, Austin Tolentino, Avner Shanan, Axel Pettersson, Axel
7325 Stieglbauer, Ay Okpokam, Barb Bartkowiak, Barbara Lindsey, Barry Dayton,
7326 Bastian Hougaard, Ben Chad, Ben Doherty, Ben Hansen, Ben Nuttall, Ben
7327 Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin Costantini,
7328 Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
7329 Bernardo Miguel Antunes, Bernd Nurnberger, Bernhard Seefeld, Beth Gis, Beth
7330 Tillinghast, Bethanye Blount, Bill Bonwitt, Bill Browne, Bill Keaggy, Bill
7331 Maiden, Bill Rafferty, Bill Scanlon, Bill Shields, Bill Slankard, BJ Becker,
7332 Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
7333 Sprotte Kofod, Bob Doran, Bob Recny, Bob Stuart, Bonnie Chiu, Boris Mindzak,
7334 Boriss Lariushin, Borjan Tchakaloff, Brad Kik, Braden Hassett, Bradford
7335 Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka
7336 Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel,
7337 Brett Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian
7338 S. Weis, Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke
7339 Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno Girin, Bryan
7340 Mock, Bryant Durrell, Bryce Barbato, Buzz Technology Limited, Byung-Geun
7341 Jeon, C. Glen Williams, C. L. Couch, Cable Green, Callum Gare, Cameron
7342 Callahan, Cameron Colby Thomson, Cameron Mulder, Camille Bissuel / Nylnook,
7343 Candace Robertson, Carl Morris, Carl Perry, Carl Rigney, Carles Mateu,
7344 Carlos Correa Loyola, Carlos Solis, Carmen Garcia Wiedenhoeft, Carol Long,
7345 Carol marquardsen, Caroline Calomme, Caroline Mailloux, Carolyn Hinchliff,
7346 Carolyn Rude, Carrie Cousins, Carrie Watkins, Casey Hunt, Casey Milford,
7347 Casey Powell Shorthouse, Cat Cooper, Cecilie Maria, Cedric Howe, Cefn Hoile,
7348 @ShrimpingIt, Celia Muller, Ces Keller, Chad Anderson, Charles Butler,
7349 Charles Carstensen, Charles Chi Thoi Le, Charles Kobbe, Charles S. Tritt,
7350 Charles Stanhope, Charlotte Ong-Wisener, Chealsye Bowley, Chelle Destefano,
7351 Chenpang Chou, Cheryl Corte, Cheryl Todd, Chip Dickerson, Chip McIntosh,
7352 Chris Bannister, Chris Betcher, Chris Coleman, Chris Conway, Chris Foote
7353 (Spike), Chris Hurst, Chris Mitchell, Chris Muscat Azzopardi, Chris
7354 Niewiarowski, Chris Opperwall, Chris Stieha, Chris Thorne, Chris Weber,
7355 Chris Woolfrey, Chris Zabriskie, Christi Reid, Christian Holzberger,
7356 Christian Schubert, Christian Sheehy, Christian Thibault, Christian Villum,
7357 Christian Wachter, Christina Bennett, Christine Henry, Christine Rico,
7358 Christopher Burrows, Christopher Chan, Christopher Clay, Christopher Harris,
7359 Christopher Opiah, Christopher Swenson, Christos Keramitsis, Chuck Roslof,
7360 Chutika Udomsinn, Claire Wardle, Clare Forrest, Claudia Cristiani, Claudio
7361 Gallo, Claudio Ruiz, Clayton Dewey, Clement Delort, Cliff Church, Clint
7362 Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
7363 Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie
7364 Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
7365 Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney,
7366 Craig Thomler, Creative Commons Uruguay, Crina Kienle, Cristiano Gozzini,
7367 Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei,
7368 Dagmar M. Meyer, Dan Mcalister, Dan Mohr, Dan Parson, Dana Freeman, Dana
7369 Ospina, Dani Leviss, Daniel Bustamante, Daniel Demmel, Daniel Dominguez,
7370 Daniel Dultz, Daniel Gallant, Daniel Kossmann, Daniel Kruse, Daniel Morado,
7371 Daniel Morgan, Daniel Pimley, Daniel Sabo, Daniel Sobey, Daniel Stein,
7372 Daniel Wildt, Daniele Prati, Danielle Moss, Danny Mendoza, Dario
7373 Taraborelli, Darius Irvin, Darius Whelan, Darla Anderson, Dasha Brezinova,
7374 Dave Ainscough, Dave Bull, Dave Crosby, Dave Eagle, Dave Moskovitz, Dave
7375 Neeteson, Dave Taillefer, Dave Witzel, David Bailey, David Cheung, David
7376 Eriksson, David Gallagher, David H. Bronke, David Hartley, David Hellam,
7377 David Hood, David Hunter, David jlaietta, David Lewis, David Mason, David
7378 Mcconville, David Mikula, David Nelson, David Orban, David Parry, David
7379 Spira, David T.  Kindler, David Varnes, David Wiley, David Wormley, Deborah
7380 Nas, Denis Jean, dennis straub, Dennis Whittle, Denver Gingerich, Derek
7381 Slater, Devon Cooke, Diana Pasek-Atkinson, Diane Johnston Graves, Diane
7382 K. Kovacs, Diane Trout, Diderik van Wingerden, Diego Cuevas, Diego De La
7383 Cruz, Dimitrie Grigorescu, Dina Marie Rodriguez, Dinah Fabela, Dirk Haun,
7384 Dirk Kiefer, Dirk Loop, DJ Fusion - FuseBox Radio Broadcast, Dom jurkewitz,
7385 Dom Lane, Domi Enders, Domingo Gallardo, Dominic de Haas, Dominique
7386 Karadjian, Dongpo Deng, Donnovan Knight, Door de Flines, Doug Fitzpatrick,
7387 Doug Hoover, Douglas Craver, Douglas Van Camp, Douglas Van Houweling,
7388 Dr. Braddlee, Drew Spencer, Duncan Sample, Durand D’souza, Dylan Field, E C
7389 Humphries, Eamon Caddigan, Earleen Smith, Eden Sarid, Eden Spodek, Eduardo
7390 Belinchon, Eduardo Castro, Edwin Vandam, Einar Joergensen, Ejnar Brendsdal,
7391 Elad Wieder, Elar Haljas, Elena Valhalla, Eli Doran, Elias Bouchi, Elie
7392 Calhoun, Elizabeth Holloway, Ellen Buecher, Ellen Kaye- Cheveldayoff, Elli
7393 Verhulst, Elroy Fernandes, Emery Hurst Mikel, Emily Catedral, Enrique
7394 Mandujano R., Eric Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric
7395 Hellman, Eric Steuer, Erica Fletcher, Erik Hedman, Erik Lindholm Bundgaard,
7396 Erika Reid, Erin Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan
7397 Bousse, Erwin Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan
7398 Tangman, Evonne Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton
7399 Software, Felix Deierlein, Felix Gebauer, Felix Maximiliano Obes, Felix
7400 Schmidt, Felix Zephyr Hsiao, Ferdies Food Lab, Fernand Deschambault, Filipe
7401 Rodrigues, Filippo Toso, Fiona MacAlister, fiona.mac.uk, Floor Scheffer,
7402 Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
7403 Games, Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois
7404 Grey, François Gros, François Pelletier, Fred Benenson, Frédéric Abella,
7405 Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
7406 Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath,
7407 Gary Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de
7408 Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George
7409 Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman,
7410 Geronimo de la Lama, Gianpaolo Rando, Gil Stendig, Gino Cingolani Trucco,
7411 Giovanna Sala, Glen Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives
7412 Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman,
7413 Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg
7414 Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
7415 Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho
7416 Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
7417 Sønderland, Hamid Larbi, Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de
7418 Raad, Hans Vd Horst, Harold van Ingen, Harold Watson, Harry Chapman, Harry
7419 Kaczka, Harry Torque, Hayden Glass, Hayley Rosenblum, Heather Leson, Helen
7420 Crisp, Helen Michaud, Helen Qubain, Helle Rekdal Schønemann, Henrique Flach
7421 Latorre Moreno, Henry Finn, Henry Kaiser, Henry Lahore, Henry Steingieser,
7422 Hermann Paar, Hillary Miller, Hironori Kuriaki, Holly Dykes, Holly Lyne,
7423 Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
7424 Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider,
7425 Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah
7426 Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek
7427 Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
7428 Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach,
7429 James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James
7430 Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol,
7431 Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park,
7432 Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason
7433 E. Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy
7434 Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne,
7435 Jean-Philippe Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff
7436 De Cagna, Jeff Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff
7437 Rasalla, Jeff Ski Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen
7438 Garcia, Jens Erat, Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell,
7439 Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret,
7440 Jessica Dickinson Goodman, Jessica Litman, Jessica Mackay, Jessy Kate
7441 Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
7442 O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
7443 Allum, Joachim Brandon LeBlanc, Joachim Pileborg, Joachim von Goetz, Joakim
7444 Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
7445 Sandfort, Joe Cardillo, Joe Carpita, Joe Moross, Joerg Fricke, Johan Adda,
7446 Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
7447 Bevan, John C Patterson, John Crumrine, John Dimatos, John Feyler, John
7448 Huntsman, John Manoogian III, John Muller, John Ober, John Paul Blodgett,
7449 John Pearce, John Shale, John Sharp, John Simpson, John Sumser, John Weeks,
7450 John Wilbanks, John Worland, Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon
7451 Andersen, Jon Cohrs, Jon Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith,
7452 Jonas Öberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan
7453 Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
7454 Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
7455 Sullivan, Joseph Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP
7456 Rangaswami, Juan Carlos Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo
7457 Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
7458 Julia Devonshire, Julian Fietkau, Julie Harboe, Julien Brossoit, Julien
7459 Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
7460 Grimes, Justin Jones, Justin Szlasa, Justin Walsh, JustinChung.com, K. J.
7461 Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant,
7462 Kara Monroe, Karen Pe, Karl Jahn, Karl Jonsson, Karl Nelson, Kasia
7463 Zygmuntowicz, Kat Lim, Kate Chapman, Kate Stewart, Kathleen Beck, Kathleen
7464 Hanrahan, Kathryn Abuzzahab, Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie
7465 Lynn Daniels, Katie Meek, Katie Teague, Katrina Hennessy, Katriona Main,
7466 Kavan Antani, Keith Adams, Keith Berndtson, MD, Keith Luebke, Kellie
7467 Higginbottom, Ken Friis Larsen, Ken Haase, Ken Torbeck, Kendel Ratley,
7468 Kendra Byrne, Kerry Hicks, Kevin Brown, Kevin Coates, Kevin Flynn, Kevin
7469 Rumon, Kevin Shannon, Kevin Taylor, Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane
7470 l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
7471 Rennert, Kris Kasianovitz, Kristian Lundquist, Kristin Buxton, Kristina
7472 Popova, Kristofer Bratt, Kristoffer Steen, Kumar McMillan, Kurt Whittemore,
7473 Kyle Pinches, Kyle Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry
7474 Garfield, Larry Singer, Lars Josephsen, Lars Klaeboe, Laura Anne Brown,
7475 Laura Billings, Laura Ferejohn, Lauren Pedersen, Laurence Gonsalves, Laurent
7476 Muchacho, Laurie Racine, Laurie Reynolds, Lawrence M. Schoen, Leandro
7477 Pangilinan, Leigh Verlandson, Lenka Gondolova, Leonardo Bueno Postacchini,
7478 leonardo menegola, Lesley Mitchell, Leslie Krumholz, Leticia Britos
7479 Cavagnaro, Levi Bostian, Leyla Acaroglu, Liisa Ummelas, Lilly Kashmir
7480 Marques, Lior Mazliah, Lisa Bjerke, Lisa Brewster, Lisa Canning, Lisa
7481 Cronin, Lisa Di Valentino, Lisandro Gaertner, Livia Leskovec, Liynn
7482 Worldlaw, Liz Berg, Liz White, Logan Cox, Loki Carbis, Lora Lynn, Lorna
7483 Prescott, Lou Yufan, Louie Amphlett, Louis-David Benyayer, Louise Denman,
7484 Luca Corsato, Luca Lesinigo, Luca Palli, Luca Pianigiani, Luca S.G. de
7485 Marinis, Lucas Lopez, Lukas Mathis, Luke Chamberlin, Luke Chesser, Luke
7486 Woodbury, Lulu Tang, Lydia Pintscher, M Alexander Jurkat, Maarten Sander,
7487 Macie J Klosowski, Magnus Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh,
7488 Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
7489 Wultsch, Manickkavasakam Rajasekar, Marc Bogonovich, Marc Harpster, Marc
7490 Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
7491 Leeuwe, Marcel Hill, Marcia Hofmann, Marcin Olender, Marco Massarotto, Marco
7492 Montanari, Marco Morales, Marcos Medionegro, Marcus Bitzl, Marcus Norrgren,
7493 Margaret Gary, Mari Moreshead, Maria Liberman, Marielle Hsu, Marino
7494 Hernandez, Mario Lurig, Mario R. Hemsley, MD, Marissa Demers, Mark Chandler,
7495 Mark Cohen, Mark De Solla Price, Mark Gabby, Mark Gray, Mark Koudritsky,
7496 Mark Kupfer, Mark Lednor, Mark McGuire, Mark Moleda, Mark Mullen, Mark
7497 Murphy, Mark Perot, Mark Reeder, Mark Spickett, Mark Vincent Adams, Mark
7498 Waks, Mark Zuccarell II, Markus Deimann, Markus Jaritz, Markus Luethi,
7499 Marshal Miller, Marshall Warner, Martijn Arets, Martin Beaudoin, Martin
7500 Decky, Martin DeMello, Martin Humpolec, Martin Mayr, Martin Peck, Martin
7501 Sanchez, Martino Loco, Martti Remmelgas, Martyn Eggleton, Martyn Lewis, Mary
7502 Ellen Davis, Mary Heacock, Mary Hess, Mary Mi, Masahiro Takagi, Mason Du,
7503 Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
7504 Kruk, Matija Nalis, Matt Alcock, Matt Black, Matt Broach, Matt Hall, Matt
7505 Haughey, Matt Lee, Matt Plec, Matt Skoss, Matt Thompson, Matt Vance, Matt
7506 Wagstaff, Matteo Cocco, Matthew Bendert, Matthew Bergholt, Matthew Darlison,
7507 Matthew Epler, Matthew Hawken, Matthew Heimbecker, Matthew Orstad, Matthew
7508 Peterworth, Matthew Sheehy, Matthew Tucker, Adaptive Handy Apps, LLC,
7509 Mattias Axell, Max Green, Max Kossatz, Max lupo, Max Temkin, Max van
7510 Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
7511 Finlayson, Melissa Aho, Melissa Sterry, Melle Funambuline, Menachem
7512 Goldstein, Micah Bridges, Michael Ailberto, Michael Anderson, Michael
7513 Andersson Skane, Michael C. Stewart, Michael Carroll, Michael Cavette,
7514 Michael Crees, Michael David Johas Teener, Michael Dennis Moore, Michael
7515 Freundt Karlsen, Michael Harries, Michael Hawel, Michael Lewis, Michael May,
7516 Michael Murphy, Michael Murvine, Michael Perkins, Michael Sauers, Michael
7517 St.Onge, Michael Stanford, Michael Stanley, Michael Underwood, Michael
7518 Weiss, Michael Wright, Michael-Andreas Kuttner, Michaela Voigt, Michal
7519 Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
7520 You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike Chelen, Mike Habicher,
7521 Mike Maloney, Mike Masnick, Mike McDaniel, Mike Pouraryan, Mike Sheldon,
7522 Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
7523 Podlaszewski, Millie Gonzalez, Mindi Lovell, Mindy Lin, Mirko
7524 <span class="quote">„<span class="quote">Macro</span>“</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
7525 Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis, Moritz
7526 Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
7527 Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC, Nah Wee Yang,
7528 Natalie Brown, Natalie Freed, Nathan D Howell, Nathan Massey, Nathan Miller,
7529 Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson, Nele Wollert,
7530 Neuchee Chang, Niall McDonagh, Niall Twohig, Nic McPhee, Nicholas Bentley,
7531 Nicholas Koran, Nicholas Norfolk, Nicholas Potter, Nick Bell, Nick Coghlan,
7532 Nick Isaacs, Nick M. Daly, Nick Vance, Nickolay Vedernikov, Nicky
7533 Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole Hickman, Niek
7534 Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, Nikola Chernev,
7535 Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah Kardos-Fein, Noah
7536 Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
7537 Olivia Wilson, Olivier De Doncker, Olivier Schulbaum, Olle Ahnve, Omar
7538 Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
7539 Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
7540 Paris Marx, Parker Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat
7541 Ludwig, Pat Sticks, Patricia Brennan, Patricia Rosnel, Patricia Wolf,
7542 Patrick Berry, Patrick Beseda, Patrick Hurley, Patrick M. Lozeau, Patrick
7543 McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff, Patrik
7544 Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest, Paul Bailey,
7545 Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts, Paul Jacobson, Paul
7546 Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
7547 Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
7548 Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
7549 Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, Peter
7550 O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
7551 Viktorin, Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip
7552 Pangrac, Philip R. Skaggs Jr., Philip Young, Philippa Lorne Channer,
7553 Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan Pauwels,
7554 Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy Kirill,
7555 Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel Mercer,
7556 Rafael Scapin, Rafaela Kunz, Rain Doggerel, Raine Lourie, Rajiv Jhangiani,
7557 Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
7558 Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
7559 Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich
7560 McCue, Richard <span class="quote">„<span class="quote">TalkToMeGuy</span>“</span> Olson, Richard Best, Richard
7561 Blumberg, Richard Fannon, Richard Heying, Richard Karnesky, Richard Kelly,
7562 Richard Littauer, Richard Sobey, Richard White, Richard Winchell, Rik
7563 ToeWater, Rita Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley,
7564 Rob Bertholf, Rob Emanuele, Rob McAuliffe, Rob McKaughan, Rob Tillie, Rob
7565 Utter, Rob Vincent, Robert Gaffney, Robert Jones, Robert Kelly, Robert
7566 Lawlis, Robert McDonald, Robert Orzanna, Robert Paterson Hunter, Robert
7567 R. Daniel Jr., Robert Ryan-Silva, Robert Thompson, Robert Wagoner, Roberto
7568 Selvaggio, Robin DeRosa, Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon,
7569 Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
7570 Mari von Walthausen, Rolf Egstad, Rolf Schaller, Ron Zuijlen, Ronald
7571 Bissell, Ronald van den Hoff, Ronda Snow, Rory Landon Aronson, Ross Findlay,
7572 Ross Pruden, Ross Williams, Rowan Skewes, Roy Ivy III, Ruben Flores, Rupert
7573 Hitzenberger, Rusi Popov, Russ Antonucci, Russ Spollin, Russell Brand, Rute
7574 Correia, Ruth Ann Carpenter, Ruth White, Ryan Mentock, Ryan Merkley, Ryan
7575 Price, Ryan Sasaki, Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin
7576 Kenaid, Salomon Riedo, Sam Hokin, Sam Twidale, Samantha Levin,
7577 Samantha-Jayne Chapman, Samarth Agarwal, Sami Al-AbdRabbuh, Samuel
7578 A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
7579 Cersosimo, Samuel Tait, Sandra Fauconnier, Sandra Markus, Sandy Bjar, Sandy
7580 ONeil, Sang-Phil Ju, Sanjay Basu, Santiago Garcia, Sara Armstrong, Sara
7581 Lucca, Sara Rodriguez Marin, Sarah Brand, Sarah Cove, Sarah Curran, Sarah
7582 Gold, Sarah McGovern, Sarah Smith, Sarinee Achavanuntakul, Sasha Moss, Sasha
7583 VanHoven, Saul Gasca, Scott Abbott, Scott Akerman, Scott Beattie, Scott
7584 Bruinooge, Scott Conroy, Scott Gillespie, Scott Williams, Sean Anderson,
7585 Sean Johnson, Sean Lim, Sean Wickett, Seb Schmoller, Sebastiaan Bekker,
7586 Sebastiaan ter Burg, Sebastian Makowiecki, Sebastian Meyer, Sebastian
7587 Schweizer, Sebastian Sigloch, Sebastien Huchet, Seokwon Yang, Sergey
7588 Chernyshev, Sergey Storchay, Sergio Cardoso, Seth Drebitko, Seth Gover, Seth
7589 Lepore, Shannon Turner, Sharon Clapp, Shauna Redmond, Shawn Gaston, Shawn
7590 Martin, Shay Knohl, Shelby Hatfield, Sheldon (Vila) Widuch, Sheona Thomson,
7591 Si Jie, Sicco van Sas, Siena Oristaglio, Simon Glover, Simon John King,
7592 Simon Klose, Simon Law, Simon Linder, Simon Moffitt, Solomon Kahn, Solomon
7593 Simon, Soujanna Sarkar, Stanislav Trifonov, Stefan Dumont, Stefan Jansson,
7594 Stefan Langer, Stefan Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan
7595 Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
7596 Stephen Pearce, Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson,
7597 Steve Battle, Steve Fisches, Steve Fitzhugh, Steve Guen-gerich, Steve
7598 Ingram, Steve Kroy, Steve Midgley, Steve Rhine, Steven Kasprzyk, Steven
7599 Knudsen, Steven Melvin, Stig-Jørund B. Ö.  Arnesen, Stuart Drewer, Stuart
7600 Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
7601 Susan R Grossman, Suzie Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle,
7602 Sylvain Chery, Sylvia Green, Sylvia van Bruggen, Szabolcs Berecz,
7603 T. L. Mason, Tanbir Baeg, Tanya Hart, Tara Tiger Brown, Tara Westover, Tarmo
7604 Toikkanen, Tasha Turner Lennhoff, Tathagat Varma, Ted Timmons, Tej Dhawan,
7605 Teresa Gonczy, Terry Hook, Theis Madsen, Theo M. Scholl, Theresa Bernardo,
7606 Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
7607 Chang, Thomas Hartman, Thomas Kent, Thomas Morgan, Thomas Philipp-Edmonds,
7608 Thomas Thrush, Thomas Werkmeister, Tieg Zaharia, Tieu Thuy Nguyen, Tim
7609 Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
7610 Timothy Arfsten, Timothy Hinchliff, Timothy Vollmer, Tina Coffman, Tisza
7611 Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
7612 Bamford, Tom Caswell, Tom Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom
7613 Merkli, Tom Merritt, Tom Myers, Tom Olijhoek, Tom Rubin, Tommaso De Benetti,
7614 Tommy Dahlen, Tony Ciak, Tony Nwachukwu, Torsten Skomp, Tracey Depellegrin,
7615 Tracey Henton, Tracey James, Traci Long DeForge, Trent Yarwood, Trevor
7616 Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
7617 Tyler Occhiogrosso, Udo Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum,
7618 Vaughan jenkins, Veethika Mishra, Vic King, Vickie Goode, Victor DePina,
7619 Victor Grigas, Victoria Klassen, Victorien Elvinger, VIGA Manufacture, Vikas
7620 Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
7621 Gentilini, Virginia Kopelman, Vitor Menezes, Vivian Marthell, Wayne
7622 Mackintosh, Wendy Keenan, Werner Wiethege, Wesley Derbyshire, Widar Hellwig,
7623 Willa Köerner, William Bettridge-Radford, William Jefferson, William
7624 Marshall, William Peter Nash, William Ray, William Robins, Willow Rosenberg,
7625 Winie Evers, Wolfgang Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier
7626 Moisant, Xueqi Li, Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian
7627 Sun, Yves Deruisseau, Zach Chandler, Zak Zebrowski, Zane Amiralis and Joshua
7628 de Haan, ZeMarmot Open Movie
7629   </p></div></body></html>