public/MadewithCreativeCommonsmostup-to-dateversion.de.html

   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 Vsnapshot"></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">Einleitung</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. Das große Ganze</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. Die neue Welt der Digital Commons (deutsch gern: digitale Allmende)</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       Vor drei Jahren, kurz nachdem ich als CEO von Creative Commons eingestellt
  19 worden war, traf ich mich mit Cory Doctorow in der Hotelbar des Gladstone
  20 Hotels in Toronto. Als einer der bekanntesten Befürworter von CC - einer,
  21 der auch eine erfolgreiche Karriere als Schriftsteller gemacht hat und seine
  22 Arbeit mit CC teilt - sagte ich ihm, dass ich denke, dass CC eine Rolle bei
  23 der Definition und Förderung offener Geschäftsmodelle spielt. Er widersprach
  24 mir freundlich und nannte das Streben nach tragfähigen Geschäftsmodellen
  25 durch CC <span class="quote">„<span class="quote"> ein Ablenkungsmanöver</span>“</span>
  26     </p><p>
  27       Er lag im gewisser Weise komplett richtig - Diejenigen, die Dinge unter
  28 Creative Commons veröffentlichen, haben Hintergedanken, wie Paul Stacey in
  29 diesem Buch erklärt: <span class="quote">„<span class="quote">Unabhängig von der rechtlichen Situation, haben
  30 sie alle eine gesellschaftliche Mission. Der Hauptdaseinsgrund ist, die Welt
  31 zu verbessern und nicht zu profitieren. Geld ist Mittel zum sozialen Zweck
  32 und kein Selbstzweck.</span>“</span>
  33     </p><p>
  34       In der Fallstudie über Cory Doctorow zitiert Sarah Hinchliff Pearson Corys
  35 Worte aus seinem Buch Information Doesn't Want to Be Free: <span class="quote">„<span class="quote">In die
  36 Kunst einzusteigen, weil man reich werden will, ist wie Lotterielose zu
  37 kaufen, weil man reich werden will. Es könnte funktionieren, aber es wird
  38 mit ziemlicher Sicherheit nicht funktionieren. Obwohl natürlich immer jemand
  39 im Lotto gewinnt.</span>“</span>
  40     </p><p>
  41       Today, copyright is like a lottery ticket—everyone has one, and almost
  42 nobody wins. What they don’t tell you is that if you choose to share your
  43 work, the returns can be significant and long-lasting. This book is filled
  44 with stories of those who take much greater risks than the two dollars we
  45 pay for a lottery ticket, and instead reap the rewards that come from
  46 pursuing their passions and living their values.
  47     </p><p>
  48       Es geht also nicht um das Geld. Doch: Es geht. Um die Mittel zu finden, um
  49 weiterhin etwas zu schaffen und zu teilen, ist oft ein gewisses Einkommen
  50 erforderlich.  Max Temkin von Cards Against Humanity drückt es in seiner
  51 Fallstudie am besten aus: <span class="quote">„<span class="quote">Wir machen keine Witze und Spiele, um Geld
  52 zu verdienen - wir machen Geld, damit wir mehr Witze und Spiele machen
  53 können.</span>“</span>
  54     </p><p>
  55       Creative Commons’ focus is on building a vibrant, usable commons, powered by
  56 collaboration and gratitude. Enabling communities of collaboration is at the
  57 heart of our strategy. With that in mind, Creative Commons began this book
  58 project. Led by Paul and Sarah, the project set out to define and advance
  59 the best open business models. Paul and Sarah were the ideal authors to
  60 write Made with Creative Commons.
  61     </p><p>
  62       Paul träumt von einer Zukunft, in der neue Modelle von Kreativität und
  63 Innovation die Ungleichheit und Knappheit überwinden, die heute die
  64 schlimmsten Seiten des Kapitalismus ausmachen. Sein Antrieb ist die Kraft
  65 menschlicher Verbindungen zwischen Gemeinschaften von Kreativen. Er blickt
  66 über den Tellerrand hinaus, und das hat ihn zu einem besseren Pädagogen,
  67 einem aufschlussreichen Forscher und auch zu einem geschickten Gärtner
  68 gemacht. Er hat eine ruhige, kühle Stimme, die eine Leidenschaft vermittelt,
  69 die seine Kollegen und seine Gemeinschaft inspiriert.
  70     </p><p>
  71       Sarah ist die beste Art von Anwältin - eine echte Fürsprecherin, die an das
  72 Gute im Menschen und an die Macht des gemeinsamen Handelns glaubt, um die
  73 Welt zu verändern. Im vergangenen Jahr habe ich gesehen, wie Sarah mit dem
  74 Kummer zu kämpfen hatte, der entsteht, wenn man so viel in eine politische
  75 Kampagne investiert, die nicht so endet, wie sie es sich erhofft
  76 hatte. Heute ist sie entschlossener denn je, ihre Werte offen zu leben. Ich
  77 kann mich immer darauf verlassen, dass Sarah Creative Commons dazu antreibt,
  78 sich auf unsere Wirkung zu konzentrieren und die Hauptsache zur Hauptsache
  79 zu machen. Sie ist praktisch, detailorientiert und klug. Es gibt niemanden
  80 in meinem Team, mit dem ich so gerne diskutiere.
  81     </p><p>
  82       As coauthors, Paul and Sarah complement each other perfectly. They
  83 researched, analyzed, argued, and worked as a team, sometimes together and
  84 sometimes independently. They dove into the research and writing with
  85 passion and curiosity, and a deep respect for what goes into building the
  86 commons and sharing with the world.  They remained open to new ideas,
  87 including the possibility that their initial theories would need refinement
  88 or might be completely wrong. That’s courageous, and it has made for a
  89 better book that is insightful, honest, and useful.
  90     </p><p>
  91       Von Anfang an wollte CC dieses Projekt nach den Prinzipien und Werten der
  92 offenen Zusammenarbeit entwickeln. Das Buch wurde öffentlich finanziert,
  93 entwickelt, recherchiert und geschrieben. Es wird unter einer CC
  94 BY-SA-Lizenz veröffentlicht und kann von jedermann unter Angabe der Quelle
  95 verwendet, umgestaltet oder angepasst werden. Es ist an sich schon ein
  96 Beispiel für ein offenes Geschäftsmodell.
  97     </p><p>
  98       Im August 2015 organisierte und führte Sarah 31 Tage lang eine
  99 Kickstarter-Kampagne durch, um die Grundfinanzierung des Buches zu
 100 sichern. Der Rest wurde von den großzügigen Spendern und Unterstützern von
 101 CC bereitgestellt. Am Ende wurde es zu einem der erfolgreichsten
 102 Buchprojekte auf Kickstarter, das zwei Stretch Goals übertraf und über 1.600
 103 Spender einbezog - die meisten von ihnen neue Unterstützer von Creative
 104 Commons.
 105     </p><p>
 106       Paul und Sarah arbeiteten während des gesamten Projekts offen zusammen,
 107 veröffentlichten die Pläne, Entwürfe, Fallstudien und Analysen frühzeitig
 108 und häufig und banden Gemeinschaften in der ganzen Welt in die Arbeit an
 109 diesem Buch ein. Als ihre Meinungen auseinandergingen und ihre Interessen in
 110 den Vordergrund traten, teilten sie ihre Stimmen und beschlossen, sie im
 111 Endprodukt getrennt zu halten. Diese Arbeitsweise erfordert sowohl
 112 Bescheidenheit als auch Selbstvertrauen, und sie hat Made with Creative
 113 Commons ohne Frage zu einem besseren Projekt gemacht.
 114     </p><p>
 115       Diejenigen, die in den Allmenden arbeiten und teilen, sind keine typischen
 116 Schöpfer.  Sie sind Teil von etwas, das größer ist als sie selbst, und was
 117 sie uns allen bieten, ist ein tiefes Geschenk. Was sie im Gegenzug erhalten,
 118 ist Dankbarkeit und eine Gemeinschaft.
 119     </p><p>
 120       Jonathan Mann, der in diesem Buch vorgestellt wird, schreibt jeden Tag einen
 121 Song.  Als ich ihn bat, einen Song für unseren Kickstarter zu schreiben (und
 122 sich selbst als Kickstarter-Benefiz anzubieten), sagte er sofort zu. Warum
 123 sollte er das tun? Weil die Commons die Zusammenarbeit in den Mittelpunkt
 124 stellen und die Gemeinschaft einen zentralen Wert darstellt, und weil die
 125 CC-Lizenzen so vielen Menschen geholfen haben, auf die von ihnen gewählte
 126 Weise mit einem weltweiten Publikum zu teilen.
 127     </p><p>
 128       Sarah schreibt: <span class="quote">„<span class="quote">Projekte, die mit Creative Commons gemacht sind,
 129 gedeihen, wenn eine Gemeinschaft um sie herum aufgebaut wird. Das kann
 130 bedeuten, dass eine Gemeinschaft zusammenarbeitet, um etwas Neues zu
 131 schaffen, oder es kann einfach eine Ansammlung von Gleichgesinnten sein, die
 132 sich kennen lernen und sich um gemeinsame Interessen oder Überzeugungen
 133 scharen. Bis zu einem gewissen Grad bringt das "Made with Creative Commons"
 134 automatisch ein gewisses Element der Gemeinschaft mit sich, indem es dazu
 135 beiträgt, dass man mit Gleichgesinnten in Kontakt kommt, die diejenigen
 136 Werte, die durch die Verwendung von CC symbolisiert werden, erkennen und
 137 sich zu ihnen hingezogen fühlen.</span>“</span> Amanda Palmer, die andere im Buch
 138 vorgestellte Musikerin, würde dies in ihrer Fallstudie sicherlich
 139 hinzufügen: <span class="quote">„<span class="quote">Es gibt kein befriedigenderes Ziel als jemanden zu haben,
 140 der dir sagt, dass das, was du tust, für ihn wirklich von Wert ist.</span>“</span>
 141     </p><p>
 142       Dies ist kein typisches Geschäftsbuch. Wer nach einem Rezept oder einem
 143 Fahrplan sucht, wird vielleicht enttäuscht sein. Aber wer ein soziales Ziel
 144 verfolgt, etwas Großes durch Zusammenarbeit aufbauen oder sich einer
 145 mächtigen und wachsenden globalen Gemeinschaft anschließen möchte, wird
 146 sicher zufrieden sein. Made with Creative Commons bietet eine Reihe von klar
 147 formulierten Werten und Prinzipien, welche die Welt verändern werden, einige
 148 unverzichtbare Werkzeuge, um Ihre eigenen Geschäftsmöglichkeiten zu
 149 erkunden, und zwei Dutzend Dosen purer Inspiration.
 150     </p><p>
 151       In a 1996 Stanford Law Review article <span class="quote">„<span class="quote">The Zones of
 152 Cyberspace</span>“</span>, CC founder Lawrence Lessig wrote, <span class="quote">„<span class="quote">Cyberspace is a
 153 place. People live there. They experience all the sorts of things that they
 154 experience in real space, there.  For some, they experience more. They
 155 experience this not as isolated individuals, playing some high tech computer
 156 game; they experience it in groups, in communities, among strangers, among
 157 people they come to know, and sometimes like.</span>“</span>
 158     </p><p>
 159       Ich bin unglaublich stolz darauf, dass Creative Commons in der Lage ist,
 160 dieses Buch für die vielen Gemeinschaften, die wir kennen und schätzen
 161 gelernt haben, zu veröffentlichen.  Ich bin Paul und Sarah für ihre
 162 Kreativität und ihre Einsichten dankbar, und ich danke den globalen
 163 Gemeinschaften, die uns geholfen haben, dieses Buch zu veröffentlichen.  Wie
 164 CC-Vorstandsmitglied Johnathan Nightingale oft sagt: <span class="quote">„<span class="quote">Es besteht alles
 165 aus Menschen.</span>“</span>
 166     </p><p>
 167       Das ist der wahre Wert von Dingen, für die gilt: Made with Creative Commons
 168 [Anmerkung des Übersetzers: Eine Anspielung auf den englischen Buchtitel].
 169     </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}
 170     \textit{ Ryan Merkley, CEO, Creative Commons}
 171     \end{flushright}</td></tr></table></div></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="introduction"></a>Einleitung</h1></div></div></div><p>
 172       Dieses Buch zeigt der Welt, wie das Teilen gut für das Geschäft sein kann -
 173 aber mit einem gewissen Unterschied.
 174     </p><p>
 175       Wir begannen das Projekt mit der Absicht, zu untersuchen, wie Urheber,
 176 Organisationen und Unternehmen Geld verdienen, um ihre Arbeit
 177 aufrechtzuerhalten, wenn sie ihre Werke unter Creative-Commons-Lizenzen
 178 teilen. Unser Ziel war es nicht, eine Formel für Geschäftsmodelle zu finden,
 179 die Creative Commons nutzen, sondern stattdessen frische Ideen und
 180 dynamische Beispiele zu sammeln, die neue, innovative Modelle hervorbringen
 181 und anderen helfen, dem Beispiel zu folgen, indem sie auf dem aufbauen, was
 182 bereits funktioniert. Zu Beginn haben wir unsere Untersuchung in vertrauten
 183 geschäftlichen Begriffen formuliert. Wir erstellten ein leeres <span class="quote">„<span class="quote">open
 184 business model canvas,</span>“</span> ein interaktives Online-Tool, das Menschen
 185 bei der Gestaltung und Analyse ihres Geschäftsmodells helfen sollte.
 186     </p><p>
 187       Through the generous funding of Kickstarter backers, we set about this
 188 project first by identifying and selecting a diverse group of creators,
 189 organizations, and businesses who use Creative Commons in an integral
 190 way—what we call being Made with Creative Commons.  We interviewed them and
 191 wrote up their stories. We analyzed what we heard and dug deep into the
 192 literature.
 193     </p><p>
 194       Bei unseren Nachforschungen stellten wir jedoch etwas Interessantes
 195 fest. Unsere ursprüngliche Vorstellung von der Arbeit stimmte nicht mit den
 196 Geschichten überein, die wir hörten.
 197     </p><p>
 198       Bei den von uns befragten Unternehmen handelt es sich nicht um typische
 199 Unternehmen, die an Verbraucher verkaufen und versuchen, ihre Gewinne zu
 200 maximieren und die Bilanz zu verbessern.  Stattdessen teilten sie, um die
 201 Welt zu verbessern, schufen Beziehungen und eine Gemeinschaft rund um die
 202 geteilten Werke und erzielten Einnahmen nicht für unbegrenztes Wachstum,
 203 sondern um den Betrieb aufrechtzuerhalten.
 204     </p><p>
 205       Sie mochten es oft nicht, wenn man ihre Tätigkeit als offenes
 206 Geschäftsmodell bezeichnete. Ihr Bestreben war etwas mehr als das.  Etwas
 207 anderes. Etwas, das nicht nur einen wirtschaftlichen, sondern auch einen
 208 sozialen und kulturellen Wert schafft. Etwas, bei dem es um menschliche
 209 Beziehungen geht. Mit Creative Commons gemacht zu sein ist nicht
 210 <span class="quote">„<span class="quote">business as usual.</span>“</span>
 211     </p><p>
 212       Wir mussten die Art und Weise, wie wir dieses Projekt konzipiert hatten, neu
 213 überdenken. Und das geschah nicht über Nacht. Von Herbst 2015 bis 2016
 214 dokumentierten wir unsere Gedanken in Blogbeiträgen auf Medium und mit
 215 regelmäßigen Updates für unsere Kickstarter-Unterstützer. Wir teilten
 216 Entwürfe von Fallstudien und Analysen mit unseren Kickstarter-Mitgestaltern,
 217 die uns mit wertvollen Korrekturen, Feedback und Ratschlägen versorgten. Im
 218 Laufe der anderthalb Jahre hat sich unser Denken dramatisch verändert.
 219     </p><p>
 220       Throughout the process, the two of us have often had very different ways of
 221 understanding and describing what we were learning. Learning from each other
 222 has been one of the great joys of this work, and, we hope, something that
 223 has made the final product much richer than it ever could have been if
 224 either of us undertook this project alone. We have preserved our voices
 225 throughout, and you’ll be able to sense our different but complementary
 226 approaches as you read through our different sections.
 227     </p><p>
 228       Wir empfehlen zwar, das Buch von Anfang bis Ende zu lesen, aber die
 229 einzelnen Abschnitte lassen sich mehr oder weniger unabhängig voneinander
 230 lesen. Das Buch ist in zwei Hauptteile gegliedert.
 231     </p><p>
 232       Der erste Teil, der Überblick, beginnt mit einem von Paul verfassten
 233 Rahmenwerk für das große Ganze. Er liefert einen historischen Kontext für
 234 die digitalen Gemeingüter und beschreibt die drei Arten, wie die
 235 Gesellschaft Ressourcen verwaltet und Wohlstand geteilt hat - die
 236 Gemeingüter, der Markt und der Staat. Er plädiert für ein Denken jenseits
 237 von Geschäfts- und Marktbegriffen und plädiert wortgewandt für die
 238 gemeinsame Nutzung und Erweiterung der digitalen Allmende.
 239     </p><p>
 240       Der Überblick wird mit Sarahs Kapitel fortgesetzt, in dem sie darüber
 241 nachdenkt, was es bedeutet, mit Creative Commons erfolgreich zu sein. Das
 242 Geldverdienen ist zwar ein Teil des Kuchens, aber es gibt auch eine Reihe
 243 von Werten, die der Öffentlichkeit dienen, und die Art von menschlichen
 244 Verbindungen, die das Teilen wirklich sinnvoll machen. In diesem Abschnitt
 245 wird dargelegt, wie die von uns befragten Urheber, Organisationen und
 246 Unternehmen Einnahmen erzielen, wie sie das öffentliche Interesse fördern
 247 und ihre Werte leben und wie sie die Beziehungen zu den Menschen, mit denen
 248 sie teilen, pflegen.
 249     </p><p>
 250       Und zum Abschluss des ersten Teils gibt es einen kurzen Abschnitt, in dem
 251 die verschiedenen Creative-Commons-Lizenzen erklärt werden. Wir sprechen
 252 über das Missverständnis, dass die restriktiveren Lizenzen - die, welche dem
 253 Modell des traditionellen Urheberrechts mit allen Rechten am nächsten kommen
 254 - die einzigen Möglichkeiten sind, Geld zu verdienen.
 255     </p><p>
 256       Der zweite Teil des Buches besteht aus den vierundzwanzig Geschichten der
 257 Künstler, Unternehmen und Organisationen, die wir interviewt haben. Während
 258 wir beide an den Interviews teilnahmen, haben wir uns das Schreiben dieser
 259 Profile aufgeteilt.
 260     </p><p>
 261       Natürlich stellen wir das Buch gerne unter einer Creative Commons
 262 Attribution-ShareAlike-Lizenz zur Verfügung. Bitte kopieren, verbreiten,
 263 übersetzen, lokalisieren und bauen Sie auf diesem Werk auf.
 264     </p><p>
 265       Das Schreiben dieses Buches hat uns verändert und inspiriert. Die Art und
 266 Weise, wie wir nun betrachten und darüber nachdenken, was es bedeutet, mit
 267 Creative Commons gemacht zu sein, hat sich unwiderruflich verändert. Wir
 268 hoffen, dass dieses Buch Sie und Ihr Unternehmen dazu inspiriert, Creative
 269 Commons zu nutzen und so zur Verbesserung unserer Wirtschaft und Welt
 270 beizutragen.
 271     </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}
 272     \textit{ Paul und Sarah }
 273     \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. Das große Ganze</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. Die neue Welt der Digital Commons (deutsch gern: digitale Allmende)</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. Die neue Welt der Digital Commons (deutsch gern: digitale Allmende)</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">Die Allmende, der Markt und der Staat</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}
 274     \textit{ Paul Stacey}
 275     \end{flushright}</td></tr></table></div><p>
 276         Jonathan Rowe beschreibt die Allmende sehr treffend als <span class="quote">„<span class="quote">. Die Luft
 277 und die Ozeane, das Netz der Arten, die Wildnis und das fließende Wasser -
 278 all das sind Teile der Allmende. Das Gleiche gilt für Sprache und Wissen,
 279 Bürgersteige und öffentliche Plätze, die Geschichten der Kindheit und die
 280 Prozesse der Demokratie. Einige Teile der Gemeingüter sind ein Geschenk der
 281 Natur, andere sind das Produkt menschlicher Bemühungen. Einige sind neu, wie
 282 das Internet, andere sind so alt wie die Erde und die
 283 Kalligraphie.</span>“</span><a href="#ftn.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
 284       </p><p>
 285         In Made with Creative Commons konzentrieren wir uns auf unsere gegenwärtige
 286 Ära der digitalen Allmende, eine Allmende der von Menschen produzierten
 287 Werke. Dieses Gemeingut erstreckt sich über ein breites Spektrum von
 288 Bereichen wie Kulturerbe, Bildung, Forschung, Technologie, Kunst, Design,
 289 Literatur, Unterhaltung, Wirtschaft und Daten. Die von Menschen geschaffenen
 290 Werke in all diesen Bereichen sind zunehmend digital. Das Internet ist eine
 291 Art globales, digitales Gemeingut. Die Einzelpersonen, Organisationen und
 292 Unternehmen, die wir in unseren Fallstudien vorstellen, nutzen Creative
 293 Commons, um ihre Ressourcen online über das Internet zu teilen.
 294       </p><p>
 295         Bei den Gemeingütern geht es jedoch nicht nur um gemeinsam genutzte
 296 Ressourcen. Es geht auch um die sozialen Praktiken und Werte, die sie
 297 verwalten. Eine Ressource ist ein Substantiv, aber "commons" - die Ressource
 298 in die Allmende zu bringen - ist ein Verb.<a href="#ftn.idm115" class="footnote" name="idm115"><sup class="footnote">[2]</sup></a> Die Urheber, Organisationen und Unternehmen, die wir in unserem
 299 Profil vorstellen, sind alle mit dem Commoning beschäftigt. Durch die
 300 Nutzung von Creative Commons sind sie in die soziale Praxis des Commoning
 301 eingebunden, d. h. sie verwalten die Ressourcen gemeinsam mit einer
 302 Gemeinschaft von Nutzern.<a href="#ftn.idm117" class="footnote" name="idm117"><sup class="footnote">[3]</sup></a> Commoning
 303 wird von einer Reihe von Werten und Normen geleitet, die die Kosten und
 304 Vorteile des Unternehmens mit denen der Gemeinschaft in Einklang
 305 bringen. Besonderes Augenmerk gilt dabei dem gerechten Zugang, der Nutzung
 306 und der Nachhaltigkeit.
 307       </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>Die Allmende, der Markt und der Staat</h2></div></div></div><p>
 308           Historisch gesehen gab es drei Möglichkeiten, Ressourcen zu verwalten und
 309 Reichtum zu teilen: die Allmende (kollektiv verwaltet), der Staat (also die
 310 Regierung) und der Markt - wobei die letzten beiden heute die dominierenden
 311 Formen darstellen.<a href="#ftn.idm122" class="footnote" name="idm122"><sup class="footnote">[4]</sup></a>
 312         </p><p>
 313           The organizations and businesses in our case studies are unique in the way
 314 they participate in the commons while still engaging with the market and/or
 315 state. The extent of engagement with market or state varies. Some operate
 316 primarily as a commons with minimal or no reliance on the market or
 317 state.<a href="#ftn.idm125" class="footnote" name="idm125"><sup class="footnote">[5]</sup></a> Others are very much a part of
 318 the market or state, depending on them for financial sustainability. All
 319 operate as hybrids, blending the norms of the commons with those of the
 320 market or state.
 321         </p><p>
 322           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
 323 an enterprise can have varying levels of engagement with commons, state, and
 324 market.
 325         </p><p>
 326           Some of our case studies are simply commons and market enterprises with
 327 little or no engagement with the state. A depiction of those case studies
 328 would show the state sphere as tiny or even absent. Other case studies are
 329 primarily market-based with only a small engagement with the commons. A
 330 depiction of those case studies would show the market sphere as large and
 331 the commons sphere as small. The extent to which an enterprise sees itself
 332 as being primarily of one type or another affects the balance of norms by
 333 which they operate.
 334         </p><p>
 335           All our case studies generate money as a means of livelihood and
 336 sustainability. Money is primarily of the market. Finding ways to generate
 337 revenue while holding true to the core values of the commons (usually
 338 expressed in mission statements) is challenging. To manage interaction and
 339 engagement between the commons and the market requires a deft touch, a
 340 strong sense of values, and the ability to blend the best of both.
 341         </p><p>
 342           The state has an important role to play in fostering the use and adoption of
 343 the commons. State programs and funding can deliberately contribute to and
 344 build the commons. Beyond money, laws and regulations regarding property,
 345 copyright, business, and finance can all be designed to foster the commons.
 346         </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>
 347           It’s helpful to understand how the commons, market, and state manage
 348 resources differently, and not just for those who consider themselves
 349 primarily as a commons. For businesses or governmental organizations who
 350 want to engage in and use the commons, knowing how the commons operates will
 351 help them understand how best to do so. Participating in and using the
 352 commons the same way you do the market or state is not a strategy for
 353 success.
 354         </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>
 355           As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework
 356 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
 357 biophysical characteristics of common resources, the community’s actors and
 358 the interactions that take place between them, rules-in-use, and
 359 outcomes. That framework has been simplified and generalized to apply to the
 360 commons, the market, and the state for this chapter.
 361         </p><p>
 362           To compare and contrast the ways in which the commons, market, and state
 363 work, let’s consider four aspects of resource management: resource
 364 characteristics, the people involved and the process they use, the norms and
 365 rules they develop to govern use, and finally actual resource use along with
 366 outcomes of that use (see Fig. <a class="xref" href="#fig-2" title="Abbildung 1.2. Four aspects of resource management">1.2</a>).
 367         </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>
 368             Resources have particular characteristics or attributes that affect the way
 369 they can be used. Some resources are natural; others are human
 370 produced. And—significantly for today’s commons—resources can be physical or
 371 digital, which affects a resource’s inherent potential.
 372           </p><p>
 373             Physical resources exist in limited supply. If I have a physical resource
 374 and give it to you, I no longer have it.  When a resource is removed and
 375 used, the supply becomes scarce or depleted. Scarcity can result in
 376 competing rivalry for the resource. Made with Creative Commons enterprises
 377 are usually digitally based but some of our case studies also produce
 378 resources in physical form. The costs of producing and distributing a
 379 physical good usually require them to engage with the market.
 380           </p><p>
 381             Physical resources are depletable, exclusive, and rivalrous.  Digital
 382 resources, on the other hand, are nondepletable, nonexclusive, and
 383 nonrivalrous. If I share a digital resource with you, we both have the
 384 resource. Giving it to you does not mean I no longer have it. Digital
 385 resources can be infinitely stored, copied, and distributed without becoming
 386 depleted, and at close to zero cost. Abundance rather than scarcity is an
 387 inherent characteristic of digital resources.
 388           </p><p>
 389             The nondepletable, nonexclusive, and nonrivalrous nature of digital
 390 resources means the rules and norms for managing them can (and ought to) be
 391 different from how physical resources are managed. However, this is not
 392 always the case.  Digital resources are frequently made artificially
 393 scarce.  Placing digital resources in the commons makes them free and
 394 abundant.
 395           </p><p>
 396             Our case studies frequently manage hybrid resources, which start out as
 397 digital with the possibility of being made into a physical resource. The
 398 digital file of a book can be printed on paper and made into a physical
 399 book. A computer-rendered design for furniture can be physically
 400 manufactured in wood. This conversion from digital to physical invariably
 401 has costs. Often the digital resources are managed in a free and open way,
 402 but money is charged to convert a digital resource into a physical one.
 403           </p><p>
 404             Beyond this idea of physical versus digital, the commons, market, and state
 405 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
 406 for sale—from which value is extracted.  The state sees resources as public
 407 goods that provide value to state citizens. The commons sees resources as
 408 common goods, providing a common wealth extending beyond state boundaries,
 409 to be passed on in undiminished or enhanced form to future generations.
 410           </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>
 411             In the commons, the market, and the state, different people and processes
 412 are used to manage resources. The processes used define both who has a say
 413 and how a resource is managed.
 414           </p><p>
 415             In the state, a government of elected officials is responsible for managing
 416 resources on behalf of the public.  The citizens who produce and use those
 417 resources are not directly involved; instead, that responsibility is given
 418 over to the government. State ministries and departments staffed with public
 419 servants set budgets, implement programs, and manage resources based on
 420 government priorities and procedures.
 421           </p><p>
 422             In the market, the people involved are producers, buyers, sellers, and
 423 consumers. Businesses act as intermediaries between those who produce
 424 resources and those who consume or use them. Market processes seek to
 425 extract as much monetary value from resources as possible. In the market,
 426 resources are managed as commodities, frequently mass-produced, and sold to
 427 consumers on the basis of a cash transaction.
 428           </p><p>
 429             In contrast to the state and market, resources in a commons are managed more
 430 directly by the people involved.<a href="#ftn.idm170" class="footnote" name="idm170"><sup class="footnote">[7]</sup></a>
 431 Creators of human produced resources can put them in the commons by personal
 432 choice. No permission from state or market is required. Anyone can
 433 participate in the commons and determine for themselves the extent to which
 434 they want to be involved—as a contributor, user, or manager.  The people
 435 involved include not only those who create and use resources but those
 436 affected by outcome of use. Who you are affects your say, actions you can
 437 take, and extent of decision making. In the commons, the community as a
 438 whole manages the resources. Resources put into the commons using Creative
 439 Commons require users to give the original creator credit. Knowing the
 440 person behind a resource makes the commons less anonymous and more personal.
 441           </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>
 442             The social interactions between people, and the processes used by the state,
 443 market, and commons, evolve social norms and rules. These norms and rules
 444 define permissions, allocate entitlements, and resolve disputes.
 445           </p><p>
 446             State authority is governed by national constitutions. Norms related to
 447 priorities and decision making are defined by elected officials and
 448 parliamentary procedures. State rules are expressed through policies,
 449 regulations, and laws. The state influences the norms and rules of the
 450 market and commons through the rules it passes.
 451           </p><p>
 452             Market norms are influenced by economics and competition for scarce
 453 resources. Market rules follow property, business, and financial laws
 454 defined by the state.
 455           </p><p>
 456             As with the market, a commons can be influenced by state policies,
 457 regulations, and laws. But the norms and rules of a commons are largely
 458 defined by the community. They weigh individual costs and benefits against
 459 the costs and benefits to the whole community. Consideration is given not
 460 just to economic efficiency but also to equity and
 461 sustainability.<a href="#ftn.idm185" class="footnote" name="idm185"><sup class="footnote">[8]</sup></a>
 462           </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="goals"></a>Goals</h3></div></div></div><p>
 463             The combination of the aspects we’ve discussed so far—the resource’s
 464 inherent characteristics, people and processes, and norms and rules—shape
 465 how resources are used. Use is also influenced by the different goals the
 466 state, market, and commons have.
 467           </p><p>
 468             In the market, the focus is on maximizing the utility of a resource. What we
 469 pay for the goods we consume is seen as an objective measure of the utility
 470 they provide. The goal then becomes maximizing total monetary value in the
 471 economy.<a href="#ftn.idm191" class="footnote" name="idm191"><sup class="footnote">[9]</sup></a> Units consumed translates to
 472 sales, revenue, profit, and growth, and these are all ways to measure goals
 473 of the market.
 474           </p><p>
 475             The state aims to use and manage resources in a way that balances the
 476 economy with the social and cultural needs of its citizens. Health care,
 477 education, jobs, the environment, transportation, security, heritage, and
 478 justice are all facets of a healthy society, and the state applies its
 479 resources toward these aims. State goals are reflected in quality of life
 480 measures.
 481           </p><p>
 482             In the commons, the goal is maximizing access, equity, distribution,
 483 participation, innovation, and sustainability.  You can measure success by
 484 looking at how many people access and use a resource; how users are
 485 distributed across gender, income, and location; if a community to extend
 486 and enhance the resources is being formed; and if the resources are being
 487 used in innovative ways for personal and social good.
 488           </p><p>
 489             As hybrid combinations of the commons with the market or state, the success
 490 and sustainability of all our case study enterprises depends on their
 491 ability to strategically utilize and balance these different aspects of
 492 managing resources.
 493           </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>
 494           Using the commons to manage resources is part of a long historical
 495 continuum. However, in contemporary society, the market and the state
 496 dominate the discourse on how resources are best managed. Rarely is the
 497 commons even considered as an option. The commons has largely disappeared
 498 from consciousness and consideration. There are no news reports or speeches
 499 about the commons.
 500         </p><p>
 501           But the more than 1.1 billion resources licensed with Creative Commons
 502 around the world are indications of a grassroots move toward the
 503 commons. The commons is making a resurgence. To understand the resilience of
 504 the commons and its current renewal, it’s helpful to know something of its
 505 history.
 506         </p><p>
 507           For centuries, indigenous people and preindustrialized societies managed
 508 resources, including water, food, firewood, irrigation, fish, wild game, and
 509 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
 510 rulers influenced the commons but by no means controlled it. Direct social
 511 participation in a commons was the primary way in which resources were
 512 managed and needs met.  (Fig. <a class="xref" href="#fig-4" title="Abbildung 1.4. In preindustrialized society.">1.4</a> illustrates the commons in relation to the state and the
 513 market.)
 514         </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>
 515           This is followed by a long history of the state (a monarchy or ruler) taking
 516 over the commons for their own purposes. This is called enclosure of the
 517 commons.<a href="#ftn.idm213" class="footnote" name="idm213"><sup class="footnote">[11]</sup></a> In olden days,
 518 <span class="quote">„<span class="quote">commoners</span>“</span> were evicted from the land, fences and hedges
 519 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
 520 state and the state became the primary means by which resources were
 521 managed. (See Fig. <a class="xref" href="#fig-5" title="Abbildung 1.5. The commons is gradually superseded by the state.">1.5</a>).
 522         </p><p>
 523           Holdings of land, water, and game were distributed to ruling family and
 524 political appointees. Commoners displaced from the land migrated to
 525 cities. With the emergence of the industrial revolution, land and resources
 526 became commodities sold to businesses to support production. Monarchies
 527 evolved into elected parliaments. Commoners became labourers earning money
 528 operating the machinery of industry. Financial, business, and property laws
 529 were revised by governments to support markets, growth, and
 530 productivity. Over time ready access to market produced goods resulted in a
 531 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
 532 primary means by which resources are managed.
 533         </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>
 534           However, the world today is going through turbulent times. The benefits of
 535 the market have been offset by unequal distribution and overexploitation.
 536         </p><p>
 537           Overexploitation was the topic of Garrett Hardin’s influential essay
 538 <span class="quote">„<span class="quote">The Tragedy of the Commons,</span>“</span> published in Science in
 539 1968. Hardin argues that everyone in a commons seeks to maximize personal
 540 gain and will continue to do so even when the limits of the commons are
 541 reached. The commons is then tragically depleted to the point where it can
 542 no longer support anyone. Hardin’s essay became widely accepted as an
 543 economic truism and a justification for private property and free markets.
 544         </p><p>
 545           However, there is one serious flaw with Hardin’s <span class="quote">„<span class="quote">The Tragedy of the
 546 Commons</span>“</span>—it’s fiction. Hardin did not actually study how real commons
 547 work. Elinor Ostrom won the 2009 Nobel Prize in economics for her work
 548 studying different commons all around the world. Ostrom’s work shows that
 549 natural resource commons can be successfully managed by local communities
 550 without any regulation by central authorities or without
 551 privatization. Government and privatization are not the only two
 552 choices. There is a third way: management by the people, where those that
 553 are directly impacted are directly involved. With natural resources, there
 554 is a regional locality. The people in the region are the most familiar with
 555 the natural resource, have the most direct relationship and history with it,
 556 and are therefore best situated to manage it.  Ostrom’s approach to the
 557 governance of natural resources broke with convention; she recognized the
 558 importance of the commons as an alternative to the market or state for
 559 solving problems of collective action.<a href="#ftn.idm233" class="footnote" name="idm233"><sup class="footnote">[13]</sup></a>
 560         </p><p>
 561           Hardin failed to consider the actual social dynamic of the commons. His
 562 model assumed that people in the commons act autonomously, out of pure
 563 self-interest, without interaction or consideration of others. But as Ostrom
 564 found, in reality, managing common resources together forms a community and
 565 encourages discourse. This naturally generates norms and rules that help
 566 people work collectively and ensure a sustainable commons. Paradoxically,
 567 while Hardin’s essay is called The Tragedy of the Commons it might more
 568 accurately be titled The Tragedy of the Market.
 569         </p><p>
 570           Hardin’s story is based on the premise of depletable resources. Economists
 571 have focused almost exclusively on scarcity-based markets. Very little is
 572 known about how abundance works.<a href="#ftn.idm238" class="footnote" name="idm238"><sup class="footnote">[14]</sup></a> The
 573 emergence of information technology and the Internet has led to an explosion
 574 in digital resources and new means of sharing and distribution. Digital
 575 resources can never be depleted. An absence of a theory or model for how
 576 abundance works, however, has led the market to make digital resources
 577 artificially scarce and makes it possible for the usual market norms and
 578 rules to be applied.
 579         </p><p>
 580           When it comes to use of state funds to create digital goods, however, there
 581 is really no justification for artificial scarcity. The norm for state
 582 funded digital works should be that they are freely and openly available to
 583 the public that paid for them.
 584         </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>
 585           In the early days of computing, programmers and developers learned from each
 586 other by sharing software. In the 1980s, the free-software movement codified
 587 this practice of sharing into a set of principles and freedoms:
 588         </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
 589               The freedom to run a software program as you wish, for any purpose.
 590             </p></li><li class="listitem"><p>
 591               The freedom to study how a software program works (because access to the
 592 source code has been freely given), and change it so it does your computing
 593 as you wish.
 594             </p></li><li class="listitem"><p>
 595               The freedom to redistribute copies.
 596             </p></li><li class="listitem"><p>
 597               The freedom to distribute copies of your modified versions to
 598 others.<a href="#ftn.idm261" class="footnote" name="idm261"><sup class="footnote">[15]</sup></a>
 599             </p></li></ul></div><p>
 600           These principles and freedoms constitute a set of norms and rules that
 601 typify a digital commons.
 602         </p><p>
 603           In the late 1990s, to make the sharing of source code and collaboration more
 604 appealing to companies, the open-source-software initiative converted these
 605 principles into licenses and standards for managing access to and
 606 distribution of software. The benefits of open source—such as reliability,
 607 scalability, and quality verified by independent peer review—became widely
 608 recognized and accepted. Customers liked the way open source gave them
 609 control without being locked into a closed, proprietary technology. Free and
 610 open-source software also generated a network effect where the value of a
 611 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
 612 much to the fact that nobody has a proprietary lock on core Internet
 613 protocols.
 614         </p><p>
 615           While open-source software functions as a commons, many businesses and
 616 markets did build up around it. Business models based on the licenses and
 617 standards of open-source software evolved alongside organizations that
 618 managed software code on principles of abundance rather than scarcity. Eric
 619 Raymond’s essay <span class="quote">„<span class="quote">The Magic Cauldron</span>“</span> does a great job of
 620 analyzing the economics and business models associated with open-source
 621 software.<a href="#ftn.idm272" class="footnote" name="idm272"><sup class="footnote">[17]</sup></a> These models can provide
 622 examples of sustainable approaches for those Made with Creative Commons.
 623         </p><p>
 624           It isn’t just about an abundant availability of digital assets but also
 625 about abundance of participation. The growth of personal computing,
 626 information technology, and the Internet made it possible for mass
 627 participation in producing creative works and distributing them. Photos,
 628 books, music, and many other forms of digital content could now be readily
 629 created and distributed by almost anyone. Despite this potential for
 630 abundance, by default these digital works are governed by copyright
 631 laws. Under copyright, a digital work is the property of the creator, and by
 632 law others are excluded from accessing and using it without the creator’s
 633 permission.
 634         </p><p>
 635           But people like to share. One of the ways we define ourselves is by sharing
 636 valuable and entertaining content. Doing so grows and nourishes
 637 relationships, seeks to change opinions, encourages action, and informs
 638 others about who we are and what we care about. Sharing lets us feel more
 639 involved with the world.<a href="#ftn.idm278" class="footnote" name="idm278"><sup class="footnote">[18]</sup></a>
 640         </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>
 641           In 2001, Creative Commons was created as a nonprofit to support all those
 642 who wanted to share digital content. A suite of Creative Commons licenses
 643 was modeled on those of open-source software but for use with digital
 644 content rather than software code. The licenses give everyone from
 645 individual creators to large companies and institutions a simple,
 646 standardized way to grant copyright permissions to their creative work.
 647         </p><p>
 648           Creative Commons licenses have a three-layer design. The norms and rules of
 649 each license are first expressed in full legal language as used by
 650 lawyers. This layer is called the legal code. But since most creators and
 651 users are not lawyers, the licenses also have a commons deed, expressing the
 652 permissions in plain language, which regular people can read and quickly
 653 understand. It acts as a user-friendly interface to the legal-code layer
 654 beneath. The third layer is the machine-readable one, making it easy for the
 655 Web to know a work is Creative Commons–licensed by expressing permissions in
 656 a way that software systems, search engines, and other kinds of technology
 657 can understand.<a href="#ftn.idm285" class="footnote" name="idm285"><sup class="footnote">[19]</sup></a> Taken together, these
 658 three layers ensure creators, users, and even the Web itself understand the
 659 norms and rules associated with digital content in a commons.
 660         </p><p>
 661           In 2015, there were over one billion Creative Commons licensed works in a
 662 global commons. These works were viewed online 136 billion times. People are
 663 using Creative Commons licenses all around the world, in thirty-four
 664 languages. These resources include photos, artwork, research articles in
 665 journals, educational resources, music and other audio tracks, and videos.
 666         </p><p>
 667           Individual artists, photographers, musicians, and filmmakers use Creative
 668 Commons, but so do museums, governments, creative industries, manufacturers,
 669 and publishers. Millions of websites use CC licenses, including major
 670 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
 671 across many different sectors. (Our case studies were chosen to reflect that
 672 diversity.)
 673         </p><p>
 674           Some see Creative Commons as a way to share a gift with others, a way of
 675 getting known, or a way to provide social benefit. Others are simply
 676 committed to the norms associated with a commons. And for some,
 677 participation has been spurred by the free-culture movement, a social
 678 movement that promotes the freedom to distribute and modify creative
 679 works. The free-culture movement sees a commons as providing significant
 680 benefits compared to restrictive copyright laws. This ethos of free exchange
 681 in a commons aligns the free-culture movement with the free and open-source
 682 software movement.
 683         </p><p>
 684           Over time, Creative Commons has spawned a range of open movements, including
 685 open educational resources, open access, open science, and open data. The
 686 goal in every case has been to democratize participation and share digital
 687 resources at no cost, with legal permissions for anyone to freely access,
 688 use, and modify.
 689         </p><p>
 690           The state is increasingly involved in supporting open movements. The Open
 691 Government Partnership was launched in 2011 to provide an international
 692 platform for governments to become more open, accountable, and responsive to
 693 citizens.  Since then, it has grown from eight participating countries to
 694 seventy.<a href="#ftn.idm297" class="footnote" name="idm297"><sup class="footnote">[21]</sup></a> In all these countries,
 695 government and civil society are working together to develop and implement
 696 ambitious open-government reforms. Governments are increasingly adopting
 697 Creative Commons to ensure works funded with taxpayer dollars are open and
 698 free to the public that paid for them.
 699         </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>
 700           Today’s market is largely driven by global capitalism. Law and financial
 701 systems are structured to support extraction, privatization, and corporate
 702 growth. A perception that the market is more efficient than the state has
 703 led to continual privatization of many public natural resources, utilities,
 704 services, and infrastructures.<a href="#ftn.idm304" class="footnote" name="idm304"><sup class="footnote">[22]</sup></a> While
 705 this system has been highly efficient at generating consumerism and the
 706 growth of gross domestic product, the impact on human well-being has been
 707 mixed.  Offsetting rising living standards and improvements to health and
 708 education are ever-increasing wealth inequality, social inequality, poverty,
 709 deterioration of our natural environment, and breakdowns of
 710 democracy.<a href="#ftn.idm306" class="footnote" name="idm306"><sup class="footnote">[23]</sup></a>
 711         </p><p>
 712           In light of these challenges there is a growing recognition that GDP growth
 713 should not be an end in itself, that development needs to be socially and
 714 economically inclusive, that environmental sustainability is a requirement
 715 not an option, and that we need to better balance the market, state and
 716 community.<a href="#ftn.idm309" class="footnote" name="idm309"><sup class="footnote">[24]</sup></a>
 717         </p><p>
 718           These realizations have led to a resurgence of interest in the commons as a
 719 means of enabling that balance. City governments like Bologna, Italy, are
 720 collaborating with their citizens to put in place regulations for the care
 721 and regeneration of urban commons.<a href="#ftn.idm314" class="footnote" name="idm314"><sup class="footnote">[25]</sup></a>
 722 Seoul and Amsterdam call themselves <span class="quote">„<span class="quote">sharing cities,</span>“</span> looking
 723 to make sustainable and more efficient use of scarce resources. They see
 724 sharing as a way to improve the use of public spaces, mobility, social
 725 cohesion, and safety.<a href="#ftn.idm318" class="footnote" name="idm318"><sup class="footnote">[26]</sup></a>
 726         </p><p>
 727           The market itself has taken an interest in the sharing economy, with
 728 businesses like Airbnb providing a peer-to-peer marketplace for short-term
 729 lodging and Uber providing a platform for ride sharing. However, Airbnb and
 730 Uber are still largely operating under the usual norms and rules of the
 731 market, making them less like a commons and more like a traditional business
 732 seeking financial gain. Much of the sharing economy is not about the commons
 733 or building an alternative to a corporate-driven market economy; it’s about
 734 extending the deregulated free market into new areas of our
 735 lives.<a href="#ftn.idm323" class="footnote" name="idm323"><sup class="footnote">[27]</sup></a> While none of the people we
 736 interviewed for our case studies would describe themselves as part of the
 737 sharing economy, there are in fact some significant parallels. Both the
 738 sharing economy and the commons make better use of asset capacity. The
 739 sharing economy sees personal residents and cars as having latent spare
 740 capacity with rental value. The equitable access of the commons broadens and
 741 diversifies the number of people who can use and derive value from an asset.
 742         </p><p>
 743           One way Made with Creative Commons case studies differ from those of the
 744 sharing economy is their focus on digital resources. Digital resources
 745 function under different economic rules than physical ones. In a world where
 746 prices always seem to go up, information technology is an anomaly.
 747 Computer-processing power, storage, and bandwidth are all rapidly
 748 increasing, but rather than costs going up, costs are coming down. Digital
 749 technologies are getting faster, better, and cheaper. The cost of anything
 750 built on these technologies will always go down until it is close to
 751 zero.<a href="#ftn.idm326" class="footnote" name="idm326"><sup class="footnote">[28]</sup></a>
 752         </p><p>
 753           Those that are Made with Creative Commons are looking to leverage the unique
 754 inherent characteristics of digital resources, including lowering costs. The
 755 use of digital-rights-management technologies in the form of locks,
 756 passwords, and controls to prevent digital goods from being accessed,
 757 changed, replicated, and distributed is minimal or nonexistent. Instead,
 758 Creative Commons licenses are used to put digital content out in the
 759 commons, taking advantage of the unique economics associated with being
 760 digital. The aim is to see digital resources used as widely and by as many
 761 people as possible. Maximizing access and participation is a common
 762 goal. They aim for abundance over scarcity.
 763         </p><p>
 764           The incremental cost of storing, copying, and distributing digital goods is
 765 next to zero, making abundance possible. But imagining a market based on
 766 abundance rather than scarcity is so alien to the way we conceive of
 767 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
 768 pioneering in this new landscape, devising their own economic models and
 769 practice.
 770         </p><p>
 771           Some are looking to minimize their interactions with the market and operate
 772 as autonomously as possible. Others are operating largely as a business
 773 within the existing rules and norms of the market. And still others are
 774 looking to change the norms and rules by which the market operates.
 775         </p><p>
 776           For an ordinary corporation, making social benefit a part of its operations
 777 is difficult, as it’s legally required to make decisions that financially
 778 benefit stockholders. But new forms of business are emerging. There are
 779 benefit corporations and social enterprises, which broaden their business
 780 goals from making a profit to making a positive impact on society, workers,
 781 the community, and the environment.<a href="#ftn.idm334" class="footnote" name="idm334"><sup class="footnote">[30]</sup></a>
 782 Community-owned businesses, worker-owned businesses, cooperatives, guilds,
 783 and other organizational forms offer alternatives to the traditional
 784 corporation.  Collectively, these alternative market entities are changing
 785 the rules and norms of the market.<a href="#ftn.idm336" class="footnote" name="idm336"><sup class="footnote">[31]</sup></a>
 786         </p><p><span class="quote">„<span class="quote">A book on open business models</span>“</span> is how we described it in this
 787 book’s Kickstarter campaign. We used a handbook called Business Model
 788 Generation as our reference for defining just what a business model
 789 is. Developed over nine years using an <span class="quote">„<span class="quote">open process</span>“</span> involving
 790 470 coauthors from forty-five countries, it is useful as a framework for
 791 talking about business models.<a href="#ftn.idm341" class="footnote" name="idm341"><sup class="footnote">[32]</sup></a>
 792         </p><p>
 793           It contains a <span class="quote">„<span class="quote">business model canvas,</span>“</span> which conceives of a
 794 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
 795 own business model. We remixed this business model canvas into an open
 796 business model canvas, adding three more building blocks relevant to hybrid
 797 market, commons enterprises: social good, Creative Commons license, and
 798 <span class="quote">„<span class="quote">type of open environment that the business fits
 799 in.</span>“</span><a href="#ftn.idm350" class="footnote" name="idm350"><sup class="footnote">[34]</sup></a> This enhanced canvas proved
 800 useful when we analyzed businesses and helped start-ups plan their economic
 801 model.
 802         </p><p>
 803           In our case study interviews, many expressed discomfort over describing
 804 themselves as an open business model—the term business model suggested
 805 primarily being situated in the market. Where you sit on the
 806 commons-to-market spectrum affects the extent to which you see yourself as a
 807 business in the market. The more central to the mission shared resources and
 808 commons values are, the less comfort there is in describing yourself, or
 809 depicting what you do, as a business.  Not all who have endeavors Made with
 810 Creative Commons use business speak; for some the process has been
 811 experimental, emergent, and organic rather than carefully planned using a
 812 predefined model.
 813         </p><p>
 814           The creators, businesses, and organizations we profile all engage with the
 815 market to generate revenue in some way. The ways in which this is done vary
 816 widely. Donations, pay what you can, memberships, <span class="quote">„<span class="quote">digital for free
 817 but physical for a fee,</span>“</span> crowdfunding, matchmaking, value-add
 818 services, patrons . . . the list goes on and on. (Initial description of how
 819 to earn revenue available through reference note. For latest thinking see
 820 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
 821 that work for them. Most make use of more than one way. Diversifying revenue
 822 streams lowers risk and provides multiple paths to sustainability.
 823         </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>
 824           While it may be clear why commons-based organizations want to interact and
 825 engage with the market (they need money to survive), it may be less obvious
 826 why the market would engage with the commons. The digital commons offers
 827 many benefits.
 828         </p><p>
 829           The commons speeds dissemination. The free flow of resources in the commons
 830 offers tremendous economies of scale.  Distribution is decentralized, with
 831 all those in the commons empowered to share the resources they have access
 832 to. Those that are Made with Creative Commons have a reduced need for sales
 833 or marketing. Decentralized distribution amplifies supply and know-how.
 834         </p><p>
 835           The commons ensures access to all. The market has traditionally operated by
 836 putting resources behind a paywall requiring payment first before
 837 access. The commons puts resources in the open, providing access up front
 838 without payment. Those that are Made with Creative Commons make little or no
 839 use of digital rights management (DRM) to manage resources. Not using DRM
 840 frees them of the costs of acquiring DRM technology and staff resources to
 841 engage in the punitive practices associated with restricting access. The way
 842 the commons provides access to everyone levels the playing field and
 843 promotes inclusiveness, equity, and fairness.
 844         </p><p>
 845           The commons maximizes participation. Resources in the commons can be used
 846 and contributed to by everyone. Using the resources of others, contributing
 847 your own, and mixing yours with others to create new works are all dynamic
 848 forms of participation made possible by the commons. Being Made with
 849 Creative Commons means you’re engaging as many users with your resources as
 850 possible. Users are also authoring, editing, remixing, curating, localizing,
 851 translating, and distributing.  The commons makes it possible for people to
 852 directly participate in culture, knowledge building, and even democracy, and
 853 many other socially beneficial practices.
 854         </p><p>
 855           The commons spurs innovation. Resources in the hands of more people who can
 856 use them leads to new ideas. The way commons resources can be modified,
 857 customized, and improved results in derivative works never imagined by the
 858 original creator. Some endeavors that are Made with Creative Commons
 859 deliberately encourage users to take the resources being shared and innovate
 860 them. Doing so moves research and development (R&amp;D) from being solely
 861 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
 862 organization or business on its toes. It must continue to contribute new
 863 ideas, absorb and build on top of the innovations of others, and steward the
 864 resources and the relationship with the community.
 865         </p><p>
 866           The commons boosts reach and impact. The digital commons is
 867 global. Resources may be created for a local or regional need, but they go
 868 far and wide generating a global impact. In the digital world, there are no
 869 borders between countries. When you are Made with Creative Commons, you are
 870 often local and global at the same time: Digital designs being globally
 871 distributed but made and manufactured locally. Digital books or music being
 872 globally distributed but readings and concerts performed locally. The
 873 digital commons magnifies impact by connecting creators to those who use and
 874 build on their work both locally and globally.
 875         </p><p>
 876           The commons is generative. Instead of extracting value, the commons adds
 877 value. Digitized resources persist without becoming depleted, and through
 878 use are improved, personalized, and localized. Each use adds value. The
 879 market focuses on generating value for the business and the customer. The
 880 commons generates value for a broader range of beneficiaries including the
 881 business, the customer, the creator, the public, and the commons itself. The
 882 generative nature of the commons means that it is more cost-effective and
 883 produces a greater return on investment. Value is not just measured in
 884 financial terms. Each new resource added to the commons provides value to
 885 the public and contributes to the overall value of the commons.
 886         </p><p>
 887           The commons brings people together for a common cause. The commons vests
 888 people directly with the responsibility to manage the resources for the
 889 common good. The costs and benefits for the individual are balanced with the
 890 costs and benefits for the community and for future generations.  Resources
 891 are not anonymous or mass produced. Their provenance is known and
 892 acknowledged through attribution and other means.  Those that are Made with
 893 Creative Commons generate awareness and reputation based on their
 894 contributions to the commons.  The reach, impact, and sustainability of
 895 those contributions rest largely on their ability to forge relationships and
 896 connections with those who use and improve them. By functioning on the basis
 897 of social engagement, not monetary exchange, the commons unifies people.
 898         </p><p>
 899           The benefits of the commons are many. When these benefits align with the
 900 goals of individuals, communities, businesses in the market, or state
 901 enterprises, choosing to manage resources as a commons ought to be the
 902 option of choice.
 903         </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>
 904           The creators, organizations, and businesses in our case studies operate as
 905 nonprofits, for-profits, and social enterprises. Regardless of legal status,
 906 they all have a social mission. Their primary reason for being is to make
 907 the world a better place, not to profit. Money is a means to a social end,
 908 not the end itself. They factor public interest into decisions, behavior,
 909 and practices. Transparency and trust are really important. Impact and
 910 success are measured against social aims expressed in mission statements,
 911 and are not just about the financial bottom line.
 912         </p><p>
 913           The case studies are based on the narratives told to us by founders and key
 914 staff. Instead of solely using financials as the measure of success and
 915 sustainability, they emphasized their mission, practices, and means by which
 916 they measure success. Metrics of success are a blend of how social goals are
 917 being met and how sustainable the enterprise is.
 918         </p><p>
 919           Our case studies are diverse, ranging from publishing to education and
 920 manufacturing. All of the organizations, businesses, and creators in the
 921 case studies produce digital resources. Those resources exist in many forms
 922 including books, designs, songs, research, data, cultural works, education
 923 materials, graphic icons, and video. Some are digital representations of
 924 physical resources. Others are born digital but can be made into physical
 925 resources.
 926         </p><p>
 927           They are creating new resources, or using the resources of others, or mixing
 928 existing resources together to make something new. They, and their audience,
 929 all play a direct, participatory role in managing those resources, including
 930 their preservation, curation, distribution, and enhancement.  Access and
 931 participation is open to all regardless of monetary means.
 932         </p><p>
 933           And as users of Creative Commons licenses, they are automatically part of a
 934 global community. The new digital commons is global. Those we profiled come
 935 from nearly every continent in the world. To build and interact within this
 936 global community is conducive to success.
 937         </p><p>
 938           Creative Commons licenses may express legal rules around the use of
 939 resources in a commons, but success in the commons requires more than
 940 following the letter of the law and acquiring financial means. Over and over
 941 we heard in our interviews how success and sustainability are tied to a set
 942 of beliefs, values, and principles that underlie their actions: Give more
 943 than you take. Be open and inclusive. Add value.  Make visible what you are
 944 using from the commons, what you are adding, and what you are
 945 monetizing. Maximize abundance. Give attribution. Express gratitude. Develop
 946 trust; don’t exploit.  Build relationship and community. Be
 947 transparent. Defend the commons.
 948         </p><p>
 949           The new digital commons is here to stay. Made With Creative Commons case
 950 studies show how it’s possible to be part of this commons while still
 951 functioning within market and state systems. The commons generates benefits
 952 neither the market nor state can achieve on their own. Rather than the
 953 market or state dominating as primary means of resource management, a more
 954 balanced alternative is possible.
 955         </p><p>
 956           Enterprise use of Creative Commons has only just begun. The case studies in
 957 this book are merely starting points. Each is changing and evolving over
 958 time. Many more are joining and inventing new models. This overview aims to
 959 provide a framework and language for thinking and talking about the new
 960 digital commons. The remaining sections go deeper providing further guidance
 961 and insights on how it works.
 962         </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>
 963             Jonathan Rowe, Our Common Wealth (San Francisco: Berrett-Koehler, 2013), 14.
 964           </p></div><div id="ftn.idm115" class="footnote"><p><a href="#idm115" class="para"><sup class="para">[2] </sup></a>
 965             David Bollier, Think Like a Commoner: A Short Introduction to the Life of
 966 the Commons (Gabriola Island, BC: New Society, 2014), 176.
 967           </p></div><div id="ftn.idm117" class="footnote"><p><a href="#idm117" class="para"><sup class="para">[3] </sup></a>
 968             Ibid., 15.
 969           </p></div><div id="ftn.idm122" class="footnote"><p><a href="#idm122" class="para"><sup class="para">[4] </sup></a>
 970               Ibid., 145.
 971             </p></div><div id="ftn.idm125" class="footnote"><p><a href="#idm125" class="para"><sup class="para">[5] </sup></a>
 972               Ibid., 175.
 973             </p></div><div id="ftn.idm143" class="footnote"><p><a href="#idm143" class="para"><sup class="para">[6] </sup></a>
 974               Daniel H. Cole, <span class="quote">„<span class="quote">Learning from Lin: Lessons and Cautions from the
 975 Natural Commons for the Knowledge Commons,</span>“</span> in Governing Knowledge
 976 Commons, eds. Brett M. Frischmann, Michael J. Madison, and Katherine
 977 J. Strandburg (New York: Oxford University Press, 2014), 53.
 978             </p></div><div id="ftn.idm170" class="footnote"><p><a href="#idm170" class="para"><sup class="para">[7] </sup></a>
 979                 Max Haiven, Crises of Imagination, Crises of Power: Capitalism, Creativity
 980 and the Commons (New York: Zed Books, 2014), 93.
 981               </p></div><div id="ftn.idm185" class="footnote"><p><a href="#idm185" class="para"><sup class="para">[8] </sup></a>
 982                 Bollier, Think Like a Commoner, 175.
 983               </p></div><div id="ftn.idm191" class="footnote"><p><a href="#idm191" class="para"><sup class="para">[9] </sup></a>
 984                 Joshua Farley and Ida Kubiszewski, <span class="quote">„<span class="quote">The Economics of Information in a
 985 Post-Carbon Economy,</span>“</span> in Free Knowledge: Confronting the
 986 Commodification of Human Discovery, eds. Patricia W. Elliott and Daryl
 987 H. Hepting (Regina, SK: University of Regina Press, 2015), 201–4.
 988               </p></div><div id="ftn.idm202" class="footnote"><p><a href="#idm202" class="para"><sup class="para">[10] </sup></a>
 989               Rowe, Our Common Wealth, 19; and Heather Menzies, Reclaiming the Commons for
 990 the Common Good: A Memoir and Manifesto (Gabriola Island, BC: New Society,
 991 2014), 42–43.
 992             </p></div><div id="ftn.idm213" class="footnote"><p><a href="#idm213" class="para"><sup class="para">[11] </sup></a>
 993               Bollier, Think Like a Commoner, 55–78.
 994             </p></div><div id="ftn.idm216" class="footnote"><p><a href="#idm216" class="para"><sup class="para">[12] </sup></a>
 995               Fritjof Capra and Ugo Mattei, The Ecology of Law: Toward a Legal System in
 996 Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57;
 997 and Bollier, Think Like a Commoner, 88.
 998             </p></div><div id="ftn.idm233" class="footnote"><p><a href="#idm233" class="para"><sup class="para">[13] </sup></a>
 999               Brett M. Frischmann, Michael J. Madison, and Katherine J.  Strandburg,
1000 <span class="quote">„<span class="quote">Governing Knowledge Commons,</span>“</span> in Frischmann, Madison, and
1001 Strandburg Governing Knowledge Commons, 12.
1002             </p></div><div id="ftn.idm238" class="footnote"><p><a href="#idm238" class="para"><sup class="para">[14] </sup></a>
1003               Farley and Kubiszewski, <span class="quote">„<span class="quote">Economics of Information,</span>“</span> in Elliott
1004 and Hepting, Free Knowledge, 203.
1005             </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
1006 Software Foundation’s Licensing and Compliance Lab, accessed December 30,
1007 2016, <a class="ulink" href="http://www.gnu.org/philosophy/free-sw" target="_top">http://www.gnu.org/philosophy/free-sw</a>.
1008                 </p></div><div id="ftn.idm267" class="footnote"><p><a href="#idm267" class="para"><sup class="para">[16] </sup></a>
1009               Wikipedia, s.v. <span class="quote">„<span class="quote">Open-source software,</span>“</span> last modified November
1010 22, 2016.
1011             </p></div><div id="ftn.idm272" class="footnote"><p><a href="#idm272" class="para"><sup class="para">[17] </sup></a>
1012               Eric S. Raymond, <span class="quote">„<span class="quote">The Magic Cauldron,</span>“</span> in The Cathedral and the
1013 Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary,
1014 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>.
1015             </p></div><div id="ftn.idm278" class="footnote"><p><a href="#idm278" class="para"><sup class="para">[18] </sup></a>
1016               New York Times Customer Insight Group, The Psychology of Sharing: Why Do
1017 People Share Online? (New York: New York Times Customer Insight Group,
1018 2011), <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
1019             </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
1020 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>.
1021             </p></div><div id="ftn.idm291" class="footnote"><p><a href="#idm291" class="para"><sup class="para">[20] </sup></a>
1022               Creative Commons, 2015 State of the Commons (Mountain View, CA: Creative
1023 Commons, 2015), <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
1024             </p></div><div id="ftn.idm297" class="footnote"><p><a href="#idm297" class="para"><sup class="para">[21] </sup></a>
1025               Wikipedia, s.v. <span class="quote">„<span class="quote">Open Government Partnership,</span>“</span> last modified
1026 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>.
1027             </p></div><div id="ftn.idm304" class="footnote"><p><a href="#idm304" class="para"><sup class="para">[22] </sup></a>
1028               Capra and Mattei, Ecology of Law, 114.
1029             </p></div><div id="ftn.idm306" class="footnote"><p><a href="#idm306" class="para"><sup class="para">[23] </sup></a>
1030               Ibid., 116.
1031             </p></div><div id="ftn.idm309" class="footnote"><p><a href="#idm309" class="para"><sup class="para">[24] </sup></a>
1032               The Swedish International Development Cooperation Agency, <span class="quote">„<span class="quote">Stockholm
1033 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>
1034             </p></div><div id="ftn.idm314" class="footnote"><p><a href="#idm314" class="para"><sup class="para">[25] </sup></a>
1035               City of Bologna, Regulation on Collaboration between Citizens and the City
1036 for the Care and Regeneration of Urban Commons, trans. LabGov (LABoratory
1037 for the GOVernance of Commons) (Bologna, Italy: City of Bologna, 2014),
1038 <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>.
1039             </p></div><div id="ftn.idm318" class="footnote"><p><a href="#idm318" class="para"><sup class="para">[26] </sup></a>
1040               The Seoul Sharing City website is <a class="ulink" href="http://english.sharehub.kr" target="_top">http://english.sharehub.kr</a>;
1041 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>.
1042             </p></div><div id="ftn.idm323" class="footnote"><p><a href="#idm323" class="para"><sup class="para">[27] </sup></a>
1043               Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
1044 Books, 2015), 42.
1045             </p></div><div id="ftn.idm326" class="footnote"><p><a href="#idm326" class="para"><sup class="para">[28] </sup></a>
1046               Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
1047 Something for Nothing, Reprint with new preface. (New York: Hyperion, 2010),
1048 78.
1049             </p></div><div id="ftn.idm330" class="footnote"><p><a href="#idm330" class="para"><sup class="para">[29] </sup></a>
1050               Jeremy Rifkin, The Zero Marginal Cost Society: The Internet of Things, the
1051 Collaborative Commons, and the Eclipse of Capitalism (New York: Palgrave
1052 Macmillan, 2014), 273.
1053             </p></div><div id="ftn.idm334" class="footnote"><p><a href="#idm334" class="para"><sup class="para">[30] </sup></a>
1054               Gar Alperovitz, What Then Must We Do? Straight Talk about the Next American
1055 Revolution: Democratizing Wealth and Building a Community-Sustaining Economy
1056 from the Ground Up (White River Junction, VT: Chelsea Green, 2013), 39.
1057             </p></div><div id="ftn.idm336" class="footnote"><p><a href="#idm336" class="para"><sup class="para">[31] </sup></a>
1058               Marjorie Kelly, Owning Our Future: The Emerging Ownership Revolution;
1059 Journeys to a Generative Economy (San Francisco: Berrett-Koehler, 2012),
1060 8–9.
1061             </p></div><div id="ftn.idm341" class="footnote"><p><a href="#idm341" class="para"><sup class="para">[32] </sup></a>
1062               Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
1063 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>.
1064             </p></div><div id="ftn.idm346" class="footnote"><p><a href="#idm346" class="para"><sup class="para">[33] </sup></a>
1065               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>.
1066             </p></div><div id="ftn.idm350" class="footnote"><p><a href="#idm350" class="para"><sup class="para">[34] </sup></a>
1067               We’ve made the <span class="quote">„<span class="quote">Open Business Model Canvas,</span>“</span> designed by the
1068 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>.
1069 You can also find the accompanying Open Business Model Canvas Questions at
1070 <a class="ulink" href="http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit" target="_top">http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit</a>.
1071             </p></div><div id="ftn.idm358" class="footnote"><p><a href="#idm358" class="para"><sup class="para">[35] </sup></a>
1072               A more comprehensive list of revenue streams is available in this post I
1073 wrote on Medium on March 6, 2016.  <span class="quote">„<span class="quote">What Is an Open Business Model and
1074 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>.
1075             </p></div><div id="ftn.idm369" class="footnote"><p><a href="#idm369" class="para"><sup class="para">[36] </sup></a>
1076               Henry Chesbrough, Open Innovation: The New Imperative for Creating and
1077 Profiting from Technology (Boston: Harvard Business Review Press, 2006),
1078 31–44.
1079             </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}
1080     \textit{ Sarah Hinchliff Pearson}
1081     \end{flushright}</td></tr></table></div><p>
1082         When we began this project in August 2015, we set out to write a book about
1083 business models that involve Creative Commons licenses in some significant
1084 way—what we call being Made with Creative Commons. With the help of our
1085 Kickstarter backers, we chose twenty-four endeavors from all around the
1086 world that are Made with Creative Commons. The mix is diverse, from an
1087 individual musician to a university-textbook publisher to an electronics
1088 manufacturer. Some make their own content and share under Creative Commons
1089 licensing. Others are platforms for CC-licensed creative work made by
1090 others. Many sit somewhere in between, both using and contributing creative
1091 work that’s shared with the public. Like all who use the licenses, these
1092 endeavors share their work—whether it’s open data or furniture designs—in a
1093 way that enables the public not only to access it but also to make use of
1094 it.
1095       </p><p>
1096         We analyzed the revenue models, customer segments, and value propositions of
1097 each endeavor. We searched for ways that putting their content under
1098 Creative Commons licenses helped boost sales or increase reach. Using
1099 traditional measures of economic success, we tried to map these business
1100 models in a way that meaningfully incorporated the impact of Creative
1101 Commons. In our interviews, we dug into the motivations, the role of CC
1102 licenses, modes of revenue generation, definitions of success.
1103       </p><p>
1104         In fairly short order, we realized the book we set out to write was quite
1105 different from the one that was revealing itself in our interviews and
1106 research.
1107       </p><p>
1108         It isn’t that we were wrong to think you can make money while using Creative
1109 Commons licenses. In many instances, CC can help make you more money. Nor
1110 were we wrong that there are business models out there that others who want
1111 to use CC licensing as part of their livelihood or business could
1112 replicate. What we didn’t realize was just how misguided it would be to
1113 write a book about being Made with Creative Commons using only a business
1114 lens.
1115       </p><p>
1116         According to the seminal handbook Business Model Generation, a business
1117 model <span class="quote">„<span class="quote">describes the rationale of how an organization creates,
1118 delivers, and captures value.</span>“</span><a href="#ftn.idm396" class="footnote" name="idm396"><sup class="footnote">[37]</sup></a>
1119 Thinking about sharing in terms of creating and capturing value always felt
1120 inappropriately transactional and out of place, something we heard time and
1121 time again in our interviews. And as Cory Doctorow told us in our interview
1122 with him, <span class="quote">„<span class="quote">Business model can mean anything you want it to
1123 mean.</span>“</span>
1124       </p><p>
1125         Eventually, we got it. Being Made with Creative Commons is more than a
1126 business model. While we will talk about specific revenue models as one
1127 piece of our analysis (and in more detail in the case studies), we scrapped
1128 that as our guiding rubric for the book.
1129       </p><p>
1130         Admittedly, it took me a long time to get there. When Paul and I divided up
1131 our writing after finishing the research, my charge was to distill
1132 everything we learned from the case studies and write up the practical
1133 lessons and takeaways. I spent months trying to jam what we learned into the
1134 business-model box, convinced there must be some formula for the way things
1135 interacted. But there is no formula. You’ll probably have to discard that
1136 way of thinking before you read any further.
1137       </p><p>
1138         In every interview, we started from the same simple questions.  Amid all the
1139 diversity among the creators, organizations, and businesses we profiled,
1140 there was one constant. Being Made with Creative Commons may be good for
1141 business, but that is not why they do it. Sharing work with Creative Commons
1142 is, at its core, a moral decision. The commercial and other self-interested
1143 benefits are secondary. Most decided to use CC licenses first and found a
1144 revenue model later. This was our first hint that writing a book solely
1145 about the impact of sharing on business might be a little off track.
1146       </p><p>
1147         But we also started to realize something about what it means to be Made with
1148 Creative Commons. When people talked to us about how and why they used CC,
1149 it was clear that it meant something more than using a copyright license. It
1150 also represented a set of values. There is symbolism behind using CC, and
1151 that symbolism has many layers.
1152       </p><p>
1153         At one level, being Made with Creative Commons expresses an affinity for the
1154 value of Creative Commons. While there are many different flavors of CC
1155 licenses and nearly infinite ways to be Made with Creative Commons, the
1156 basic value system is rooted in a fundamental belief that knowledge and
1157 creativity are building blocks of our culture rather than just commodities
1158 from which to extract market value. These values reflect a belief that the
1159 common good should always be part of the equation when we determine how to
1160 regulate our cultural outputs. They reflect a belief that everyone has
1161 something to contribute, and that no one can own our shared culture. They
1162 reflect a belief in the promise of sharing.
1163       </p><p>
1164         Whether the public makes use of the opportunity to copy and adapt your work,
1165 sharing with a Creative Commons license is a symbol of how you want to
1166 interact with the people who consume your work. Whenever you create
1167 something, <span class="quote">„<span class="quote">all rights reserved</span>“</span> under copyright is automatic,
1168 so the copyright symbol (©) on the work does not necessarily come across as
1169 a marker of distrust or excessive protectionism. But using a CC license can
1170 be a symbol of the opposite—of wanting a real human relationship, rather
1171 than an impersonal market transaction. It leaves open the possibility of
1172 connection.
1173       </p><p>
1174         Being Made with Creative Commons not only demonstrates values connected to
1175 CC and sharing. It also demonstrates that something other than profit drives
1176 what you do. In our interviews, we always asked what success looked like for
1177 them. It was stunning how rarely money was mentioned. Most have a deeper
1178 purpose and a different vision of success.
1179       </p><p>
1180         The driving motivation varies depending on the type of endeavor.  For
1181 individual creators, it is most often about personal inspiration. In some
1182 ways, this is nothing new. As Doctorow has written, <span class="quote">„<span class="quote">Creators usually
1183 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
1184 dynamic is even more pronounced. Similarly, for technological innovators, it
1185 is often less about creating a specific new thing that will make you rich
1186 and more about solving a specific problem you have. The creators of Arduino
1187 told us that the key question when creating something is <span class="quote">„<span class="quote">Do you as
1188 the creator want to use it? It has to have personal use and meaning.</span>“</span>
1189       </p><p>
1190         Many that are Made with Creative Commons have an express social mission that
1191 underpins everything they do. In many cases, sharing with Creative Commons
1192 expressly advances that social mission, and using the licenses can be the
1193 difference between legitimacy and hypocrisy. Noun Project co-founder Edward
1194 Boatman told us they could not have stated their social mission of sharing
1195 with a straight face if they weren’t willing to show the world that it was
1196 OK to share their content using a Creative Commons license.
1197       </p><p>
1198         This dynamic is probably one reason why there are so many nonprofit examples
1199 of being Made with Creative Commons. The content is the result of a labor of
1200 love or a tool to drive social change, and money is like gas in the car,
1201 something that you need to keep going but not an end in itself. Being Made
1202 with Creative Commons is a different vision of a business or livelihood,
1203 where profit is not paramount, and producing social good and human
1204 connection are integral to success.
1205       </p><p>
1206         Even if profit isn’t the end goal, you have to bring in money to be
1207 successfully Made with Creative Commons. At a bare minimum, you have to make
1208 enough money to keep the lights on.
1209       </p><p>
1210         The costs of doing business vary widely for those made with CC, but there is
1211 generally a much lower threshold for sustainability than there used to be
1212 for any creative endeavor. Digital technology has made it easier than ever
1213 to create, and easier than ever to distribute. As Doctorow put it in his
1214 book Information Doesn’t Want to Be Free, <span class="quote">„<span class="quote">If analog dollars have
1215 turned into digital dimes (as the critics of ad-supported media have it),
1216 there is the fact that it’s possible to run a business that gets the same
1217 amount of advertising as its forebears at a fraction of the price.</span>“</span>
1218       </p><p>
1219         Some creation costs are the same as they always were. It takes the same
1220 amount of time and money to write a peer-reviewed journal article or paint a
1221 painting. Technology can’t change that. But other costs are dramatically
1222 reduced by technology, particularly in production-heavy domains like
1223 filmmaking.<a href="#ftn.idm419" class="footnote" name="idm419"><sup class="footnote">[39]</sup></a> CC-licensed content and
1224 content in the public domain, as well as the work of volunteer
1225 collaborators, can also dramatically reduce costs if they’re being used as
1226 resources to create something new. And, of course, there is the reality that
1227 some content would be created whether or not the creator is paid because it
1228 is a labor of love.
1229       </p><p>
1230         Distributing content is almost universally cheaper than ever.  Once content
1231 is created, the costs to distribute copies digitally are essentially
1232 zero.<a href="#ftn.idm422" class="footnote" name="idm422"><sup class="footnote">[40]</sup></a> The costs to distribute physical
1233 copies are still significant, but lower than they have been
1234 historically. And it is now much easier to print and distribute physical
1235 copies on-demand, which also reduces costs. Depending on the endeavor, there
1236 can be a whole host of other possible expenses like marketing and promotion,
1237 and even expenses associated with the various ways money is being made, like
1238 touring or custom training.
1239       </p><p>
1240         It’s important to recognize that the biggest impact of technology on
1241 creative endeavors is that creators can now foot the costs of creation and
1242 distribution themselves. People now often have a direct route to their
1243 potential public without necessarily needing intermediaries like record
1244 labels and book publishers. Doctorow wrote, <span class="quote">„<span class="quote">If you’re a creator who
1245 never got the time of day from one of the great imperial powers, this is
1246 your time. Where once you had no means of reaching an audience without the
1247 assistance of the industry-dominating megacompanies, now you have hundreds
1248 of ways to do it without them.</span>“</span><a href="#ftn.idm426" class="footnote" name="idm426"><sup class="footnote">[41]</sup></a>
1249 Previously, distribution of creative work involved the costs associated with
1250 sustaining a monolithic entity, now creators can do the work
1251 themselves. That means the financial needs of creative endeavors can be a
1252 lot more modest.
1253       </p><p>
1254         Whether for an individual creator or a larger endeavor, it usually isn’t
1255 enough to break even if you want to make what you’re doing a livelihood. You
1256 need to build in some support for the general operation. This extra bit
1257 looks different for everyone, but importantly, in nearly all cases for those
1258 Made with Creative Commons, the definition of <span class="quote">„<span class="quote">enough money</span>“</span>
1259 looks a lot different than it does in the world of venture capital and stock
1260 options. It is more about sustainability and less about unlimited growth and
1261 profit.  SparkFun founder Nathan Seidle told us, <span class="quote">„<span class="quote">Business model is a
1262 really grandiose word for it. It is really just about keeping the operation
1263 going day to day.</span>“</span>
1264       </p><p>
1265         This book is a testament to the notion that it is possible to make money
1266 while using CC licenses and CC-licensed content, but we are still very much
1267 at an experimental stage. The creators, organizations, and businesses we
1268 profile in this book are blazing the trail and adapting in real time as they
1269 pursue this new way of operating.
1270       </p><p>
1271         There are, however, plenty of ways in which CC licensing can be good for
1272 business in fairly predictable ways. The first is how it helps solve
1273 <span class="quote">„<span class="quote">problem zero.</span>“</span>
1274       </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>
1275           Once you create or collect your content, the next step is finding users,
1276 customers, fans—in other words, your people. As Amanda Palmer wrote,
1277 <span class="quote">„<span class="quote">It has to start with the art. The songs had to touch people
1278 initially, and mean something, for anything to work at
1279 all.</span>“</span><a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[42]</sup></a> There isn’t any magic to
1280 finding your people, and there is certainly no formula. Your work has to
1281 connect with people and offer them some artistic and/or utilitarian value.
1282 In some ways, this is easier than ever. Online we are not limited by shelf
1283 space, so there is room for every obscure interest, taste, and need
1284 imaginable. This is what Chris Anderson dubbed the Long Tail, where
1285 consumption becomes less about mainstream mass <span class="quote">„<span class="quote">hits</span>“</span> and more
1286 about micromarkets for every particular niche. As Anderson wrote, <span class="quote">„<span class="quote">We
1287 are all different, with different wants and needs, and the Internet now has
1288 a place for all of them in the way that physical markets did
1289 not.</span>“</span><a href="#ftn.idm442" class="footnote" name="idm442"><sup class="footnote">[43]</sup></a> We are no longer limited
1290 to what appeals to the masses.
1291         </p><p>
1292           While finding <span class="quote">„<span class="quote">your people</span>“</span> online is theoretically easier than
1293 in the analog world, as a practical matter it can still be difficult to
1294 actually get noticed. The Internet is a firehose of content, one that only
1295 grows larger by the minute. As a content creator, not only are you competing
1296 for attention against more content creators than ever before, you are
1297 competing against creativity generated outside the market as
1298 well.<a href="#ftn.idm446" class="footnote" name="idm446"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">„<span class="quote">The
1299 greatest change of the past decade has been the shift in time people spend
1300 consuming amateur content instead of professional
1301 content.</span>“</span><a href="#ftn.idm449" class="footnote" name="idm449"><sup class="footnote">[45]</sup></a> To top it all off, you
1302 have to compete against the rest of their lives, too—<span class="quote">„<span class="quote">friends, family,
1303 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
1304 right people.
1305         </p><p>
1306           When you come to the Internet armed with an all-rights-reserved mentality
1307 from the start, you are often restricting access to your work before there
1308 is even any demand for it. In many cases, requiring payment for your work is
1309 part of the traditional copyright system. Even a tiny cost has a big effect
1310 on demand. It’s called the penny gap—the large difference in demand between
1311 something that is available at the price of one cent versus the price of
1312 zero.<a href="#ftn.idm455" class="footnote" name="idm455"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
1313 charge money for your content. It simply means you need to recognize the
1314 effect that doing so will have on demand. The same principle applies to
1315 restricting access to copy the work. If your problem is how to get
1316 discovered and find <span class="quote">„<span class="quote">your people,</span>“</span> prohibiting people from
1317 copying your work and sharing it with others is counterproductive.
1318         </p><p>
1319           Of course, it’s not that being discovered by people who like your work will
1320 make you rich—far from it. But as Cory Doctorow says, <span class="quote">„<span class="quote">Recognition is
1321 one of many necessary preconditions for artistic
1322 success.</span>“</span><a href="#ftn.idm460" class="footnote" name="idm460"><sup class="footnote">[48]</sup></a>
1323         </p><p>
1324           Choosing not to spend time and energy restricting access to your work and
1325 policing infringement also builds goodwill.  Lumen Learning, a for-profit
1326 company that publishes online educational materials, made an early decision
1327 not to prevent students from accessing their content, even in the form of a
1328 tiny paywall, because it would negatively impact student success in a way
1329 that would undermine the social mission behind what they do. They believe
1330 this decision has generated an immense amount of goodwill within the
1331 community.
1332         </p><p>
1333           It is not just that restricting access to your work may undermine your
1334 social mission. It also may alienate the people who most value your creative
1335 work. If people like your work, their natural instinct will be to share it
1336 with others. But as David Bollier wrote, <span class="quote">„<span class="quote">Our natural human impulses
1337 to imitate and share—the essence of culture—have been
1338 criminalized.</span>“</span><a href="#ftn.idm465" class="footnote" name="idm465"><sup class="footnote">[49]</sup></a>
1339         </p><p>
1340           The fact that copying can carry criminal penalties undoubtedly deters
1341 copying it, but copying with the click of a button is too easy and
1342 convenient to ever fully stop it. Try as the copyright industry might to
1343 persuade us otherwise, copying a copyrighted work just doesn’t feel like
1344 stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
1345 creative work has no impact on anyone else’s ability to make use of it.
1346         </p><p>
1347           If you take some amount of copying and sharing your work as a given, you can
1348 invest your time and resources elsewhere, rather than wasting them on
1349 playing a cat and mouse game with people who want to copy and share your
1350 work. Lizzy Jongma from the Rijksmuseum said, <span class="quote">„<span class="quote">We could spend a lot of
1351 money trying to protect works, but people are going to do it anyway.  And
1352 they will use bad-quality versions.</span>“</span> Instead, they started releasing
1353 high-resolution digital copies of their collection into the public domain
1354 and making them available for free on their website. For them, sharing was a
1355 form of quality control over the copies that were inevitably being shared
1356 online. Doing this meant forgoing the revenue they previously got from
1357 selling digital images. But Lizzy says that was a small price to pay for all
1358 of the opportunities that sharing unlocked for them.
1359         </p><p>
1360           Being Made with Creative Commons means you stop thinking about ways to
1361 artificially make your content scarce, and instead leverage it as the
1362 potentially abundant resource it is.<a href="#ftn.idm471" class="footnote" name="idm471"><sup class="footnote">[50]</sup></a>
1363 When you see information abundance as a feature, not a bug, you start
1364 thinking about the ways to use the idling capacity of your content to your
1365 advantage. As my friend and colleague Eric Steuer once said, <span class="quote">„<span class="quote">Using CC
1366 licenses shows you get the Internet.</span>“</span>
1367         </p><p>
1368           Cory Doctorow says it costs him nothing when other people make copies of his
1369 work, and it opens the possibility that he might get something in
1370 return.<a href="#ftn.idm475" class="footnote" name="idm475"><sup class="footnote">[51]</sup></a> Similarly, the makers of the
1371 Arduino boards knew it was impossible to stop people from copying their
1372 hardware, so they decided not to even try and instead look for the benefits
1373 of being open. For them, the result is one of the most ubiquitous pieces of
1374 hardware in the world, with a thriving online community of tinkerers and
1375 innovators that have done things with their work they never could have done
1376 otherwise.
1377         </p><p>
1378           There are all kinds of way to leverage the power of sharing and remix to
1379 your benefit. Here are a few.
1380         </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>
1381             Putting a Creative Commons license on your content won’t make it
1382 automatically go viral, but eliminating legal barriers to copying the work
1383 certainly can’t hurt the chances that your work will be shared. The CC
1384 license symbolizes that sharing is welcome. It can act as a little tap on
1385 the shoulder to those who come across the work—a nudge to copy the work if
1386 they have any inkling of doing so.  All things being equal, if one piece of
1387 content has a sign that says Share and the other says Don’t Share (which is
1388 what <span class="quote">„<span class="quote">©</span>“</span> means), which do you think people are more likely to
1389 share?
1390           </p><p>
1391             The Conversation is an online news site with in-depth articles written by
1392 academics who are experts on particular topics. All of the articles are
1393 CC-licensed, and they are copied and reshared on other sites by design. This
1394 proliferating effect, which they track, is a central part of the value to
1395 their academic authors who want to reach as many readers as possible.
1396           </p><p>
1397             The idea that more eyeballs equates with more success is a form of the max
1398 strategy, adopted by Google and other technology companies. According to
1399 Google’s Eric Schmidt, the idea is simple: <span class="quote">„<span class="quote">Take whatever it is you
1400 are doing and do it at the max in terms of distribution. The other way of
1401 saying this is that since marginal cost of distribution is free, you might
1402 as well put things everywhere.</span>“</span><a href="#ftn.idm485" class="footnote" name="idm485"><sup class="footnote">[52]</sup></a>
1403 This strategy is what often motivates companies to make their products and
1404 services free (i.e., no cost), but the same logic applies to making content
1405 freely shareable. Because CC-licensed content is free (as in cost)  and can
1406 be freely copied, CC licensing makes it even more accessible and likely to
1407 spread.
1408           </p><p>
1409             If you are successful in reaching more users, readers, listeners, or other
1410 consumers of your work, you can start to benefit from the bandwagon
1411 effect. The simple fact that there are other people consuming or following
1412 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
1413 herd behavior, but it is also because a large following is at least a
1414 partial indicator of quality or usefulness.<a href="#ftn.idm490" class="footnote" name="idm490"><sup class="footnote">[54]</sup></a>
1415           </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>
1416             Every Creative Commons license requires that credit be given to the author,
1417 and that reusers supply a link back to the original source of the
1418 material. CC0, not a license but a tool used to put work in the public
1419 domain, does not make attribution a legal requirement, but many communities
1420 still give credit as a matter of best practices and social norms.  In fact,
1421 it is social norms, rather than the threat of legal enforcement, that most
1422 often motivate people to provide attribution and otherwise comply with the
1423 CC license terms anyway. This is the mark of any well-functioning community,
1424 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
1425 creators, and in the vast majority of circumstances, people are naturally
1426 inclined to follow those wishes. This is particularly the case for something
1427 as straightforward and consistent with basic notions of fairness as
1428 providing credit.
1429           </p><p>
1430             The fact that the name of the creator follows a CC-licensed work makes the
1431 licenses an important means to develop a reputation or, in corporate speak,
1432 a brand. The drive to associate your name with your work is not just based
1433 on commercial motivations, it is fundamental to authorship.  Knowledge
1434 Unlatched is a nonprofit that helps to subsidize the print production of
1435 CC-licensed academic texts by pooling contributions from libraries around
1436 the United States. The CEO, Frances Pinter, says that the Creative Commons
1437 license on the works has a huge value to authors because reputation is the
1438 most important currency for academics. Sharing with CC is a way of having
1439 the most people see and cite your work.
1440           </p><p>
1441             Attribution can be about more than just receiving credit. It can also be
1442 about establishing provenance. People naturally want to know where content
1443 came from—the source of a work is sometimes just as interesting as the work
1444 itself. Opendesk is a platform for furniture designers to share their
1445 designs. Consumers who like those designs can then get matched with local
1446 makers who turn the designs into real-life furniture. The fact that I,
1447 sitting in the middle of the United States, can pick out a design created by
1448 a designer in Tokyo and then use a maker within my own community to
1449 transform the design into something tangible is part of the power of their
1450 platform. The provenance of the design is a special part of the product.
1451           </p><p>
1452             Knowing the source of a work is also critical to ensuring its
1453 credibility. Just as a trademark is designed to give consumers a way to
1454 identify the source and quality of a particular good and service, knowing
1455 the author of a work gives the public a way to assess its credibility. In a
1456 time when online discourse is plagued with misinformation, being a trusted
1457 information source is more valuable than ever.
1458           </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>
1459             As we will cover in more detail later, many endeavors that are Made with
1460 Creative Commons make money by providing a product or service other than the
1461 CC-licensed work.  Sometimes that other product or service is completely
1462 unrelated to the CC content. Other times it’s a physical copy or live
1463 performance of the CC content. In all cases, the CC content can attract
1464 people to your other product or service.
1465           </p><p>
1466             Knowledge Unlatched’s Pinter told us she has seen time and again how
1467 offering CC-licensed content—that is, digitally for free—actually increases
1468 sales of the printed goods because it functions as a marketing tool. We see
1469 this phenomenon regularly with famous artwork. The Mona Lisa is likely the
1470 most recognizable painting on the planet. Its ubiquity has the effect of
1471 catalyzing interest in seeing the painting in person, and in owning physical
1472 goods with the image. Abundant copies of the content often entice more
1473 demand, not blunt it. Another example came with the advent of the
1474 radio. Although the music industry did not see it coming (and fought it!),
1475 free music on the radio functioned as advertising for the paid version
1476 people bought in music stores.<a href="#ftn.idm505" class="footnote" name="idm505"><sup class="footnote">[56]</sup></a> Free can
1477 be a form of promotion.
1478           </p><p>
1479             In some cases, endeavors that are Made with Creative Commons do not even
1480 need dedicated marketing teams or marketing budgets. Cards Against Humanity
1481 is a CC-licensed card game available as a free download. And because of this
1482 (thanks to the CC license on the game), the creators say it is one of the
1483 best-marketed games in the world, and they have never spent a dime on
1484 marketing. The textbook publisher OpenStax has also avoided hiring a
1485 marketing team. Their products are free, or cheaper to buy in the case of
1486 physical copies, which makes them much more attractive to students who then
1487 demand them from their universities. They also partner with service
1488 providers who build atop the CC-licensed content and, in turn, spend money
1489 and resources marketing those services (and by extension, the OpenStax
1490 textbooks).
1491           </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>
1492             The great promise of Creative Commons licensing is that it signifies an
1493 embrace of remix culture. Indeed, this is the great promise of digital
1494 technology. The Internet opened up a whole new world of possibilities for
1495 public participation in creative work.
1496           </p><p>
1497             Four of the six CC licenses enable reusers to take apart, build upon, or
1498 otherwise adapt the work. Depending on the context, adaptation can mean
1499 wildly different things—translating, updating, localizing, improving,
1500 transforming. It enables a work to be customized for particular needs, uses,
1501 people, and communities, which is another distinct value to offer the
1502 public.<a href="#ftn.idm512" class="footnote" name="idm512"><sup class="footnote">[57]</sup></a> Adaptation is more game
1503 changing in some contexts than others. With educational materials, the
1504 ability to customize and update the content is critically important for its
1505 usefulness. For photography, the ability to adapt a photo is less important.
1506           </p><p>
1507             This is a way to counteract a potential downside of the abundance of free
1508 and open content described above. As Anderson wrote in Free, <span class="quote">„<span class="quote">People
1509 often don’t care as much about things they don’t pay for, and as a result
1510 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
1511 penny for something changes our perception of that thing, then surely the
1512 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
1513 had a part in creating.<a href="#ftn.idm520" class="footnote" name="idm520"><sup class="footnote">[60]</sup></a> And we know
1514 that creating something, no matter what quality, brings with it a type of
1515 creative satisfaction that can never be replaced by consuming something
1516 created by someone else.<a href="#ftn.idm522" class="footnote" name="idm522"><sup class="footnote">[61]</sup></a>
1517           </p><p>
1518             Actively engaging with the content helps us avoid the type of aimless
1519 consumption that anyone who has absentmindedly scrolled through their
1520 social-media feeds for an hour knows all too well. In his book, Cognitive
1521 Surplus, Clay Shirky says, <span class="quote">„<span class="quote">To participate is to act as if your
1522 presence matters, as if, when you see something or hear something, your
1523 response is part of the event.</span>“</span><a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[62]</sup></a>
1524 Opening the door to your content can get people more deeply tied to your
1525 work.
1526           </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>
1527             Operating under a traditional copyright regime usually means operating under
1528 the rules of establishment players in the media. Business strategies that
1529 are embedded in the traditional copyright system, like using digital rights
1530 management (DRM) and signing exclusivity contracts, can tie the hands of
1531 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
1532 function without those barriers and, in many cases, use the increased
1533 openness as a competitive advantage. David Harris from OpenStax said they
1534 specifically pursue strategies they know that traditional publishers
1535 cannot. <span class="quote">„<span class="quote">Don’t go into a market and play by the incumbent
1536 rules,</span>“</span> David said. <span class="quote">„<span class="quote">Change the rules of engagement.</span>“</span>
1537           </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>
1538           Like any moneymaking endeavor, those that are Made with Creative Commons
1539 have to generate some type of value for their audience or
1540 customers. Sometimes that value is subsidized by funders who are not
1541 actually beneficiaries of that value.  Funders, whether philanthropic
1542 institutions, governments, or concerned individuals, provide money to the
1543 organization out of a sense of pure altruism. This is the way traditional
1544 nonprofit funding operates.<a href="#ftn.idm538" class="footnote" name="idm538"><sup class="footnote">[64]</sup></a> But in many
1545 cases, the revenue streams used by endeavors that are Made with Creative
1546 Commons are directly tied to the value they generate, where the recipient is
1547 paying for the value they receive like any standard market transaction. In
1548 still other cases, rather than the quid pro quo exchange of money for value
1549 that typically drives market transactions, the recipient gives money out of
1550 a sense of reciprocity.
1551         </p><p>
1552           Most who are Made with Creative Commons use a variety of methods to bring in
1553 revenue, some market-based and some not.  One common strategy is using grant
1554 funding for content creation when research-and-development costs are
1555 particularly high, and then finding a different revenue stream (or streams)
1556 for ongoing expenses. As Shirky wrote, <span class="quote">„<span class="quote">The trick is in knowing when
1557 markets are an optimal way of organizing interactions and when they are
1558 not.</span>“</span><a href="#ftn.idm544" class="footnote" name="idm544"><sup class="footnote">[65]</sup></a>
1559         </p><p>
1560           Our case studies explore in more detail the various revenue-generating
1561 mechanisms used by the creators, organizations, and businesses we
1562 interviewed. There is nuance hidden within the specific ways each of them
1563 makes money, so it is a bit dangerous to generalize too much about what we
1564 learned. Nonetheless, zooming out and viewing things from a higher level of
1565 abstraction can be instructive.
1566         </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>
1567             In the market, the central question when determining how to bring in revenue
1568 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
1569 you provide is available for free and not a market commodity. Like the
1570 ubiquitous freemium business model, any possible market transaction with a
1571 consumer of your content has to be based on some added value you
1572 provide.<a href="#ftn.idm552" class="footnote" name="idm552"><sup class="footnote">[67]</sup></a>
1573           </p><p>
1574             In many ways, this is the way of the future for all content-driven
1575 endeavors. In the market, value lives in things that are scarce. Because the
1576 Internet makes a universe of content available to all of us for free, it is
1577 difficult to get people to pay for content online. The struggling newspaper
1578 industry is a testament to this fact.  This is compounded by the fact that
1579 at least some amount of copying is probably inevitable. That means you may
1580 end up competing with free versions of your own content, whether you condone
1581 it or not.<a href="#ftn.idm555" class="footnote" name="idm555"><sup class="footnote">[68]</sup></a> If people can easily find
1582 your content for free, getting people to buy it will be difficult,
1583 particularly in a context where access to content is more important than
1584 owning it. In Free, Anderson wrote, <span class="quote">„<span class="quote">Copyright protection schemes,
1585 whether coded into either law or software, are simply holding up a price
1586 against the force of gravity.</span>“</span>
1587           </p><p>
1588             Of course, this doesn’t mean that content-driven endeavors have no future in
1589 the traditional marketplace. In Free, Anderson explains how when one product
1590 or service becomes free, as information and content largely have in the
1591 digital age, other things become more valuable. <span class="quote">„<span class="quote">Every abundance
1592 creates a new scarcity,</span>“</span> he wrote. You just have to find some way
1593 other than the content to provide value to your audience or customers. As
1594 Anderson says, <span class="quote">„<span class="quote">It’s easy to compete with Free: simply offer something
1595 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>
1596           </p><p>
1597             In light of this reality, in some ways endeavors that are Made with Creative
1598 Commons are at a level playing field with all content-based endeavors in the
1599 digital age. In fact, they may even have an advantage because they can use
1600 the abundance of content to derive revenue from something scarce. They can
1601 also benefit from the goodwill that stems from the values behind being Made
1602 with Creative Commons.
1603           </p><p>
1604             For content creators and distributors, there are nearly infinite ways to
1605 provide value to the consumers of your work, above and beyond the value that
1606 lives within your free digital content. Often, the CC-licensed content
1607 functions as a marketing tool for the paid product or service.
1608           </p><p>
1609             Here are the most common high-level categories.
1610           </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
1611 <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1612             In this age of information abundance, we don’t lack for content. The trick
1613 is finding content that matches our needs and wants, so customized services
1614 are particularly valuable.  As Anderson wrote, <span class="quote">„<span class="quote">Commodity information
1615 (everybody gets the same version) wants to be free. Customized information
1616 (you get something unique and meaningful to you)  wants to be
1617 expensive.</span>“</span><a href="#ftn.idm571" class="footnote" name="idm571"><sup class="footnote">[70]</sup></a> This can be anything
1618 from the artistic and cultural consulting services provided by Ártica to the
1619 custom-song business of Jonathan <span class="quote">„<span class="quote">Song-A-Day</span>“</span> Mann.
1620           </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>
1621             In his book about maker culture, Anderson characterizes this model as giving
1622 away the bits and selling the atoms (where bits refers to digital content
1623 and atoms refer to a physical object).<a href="#ftn.idm578" class="footnote" name="idm578"><sup class="footnote">[71]</sup></a>
1624 This is particularly successful in domains where the digital version of the
1625 content isn’t as valuable as the analog version, like book publishing where
1626 a significant subset of people still prefer reading something they can hold
1627 in their hands. Or in domains where the content isn’t useful until it is in
1628 physical form, like furniture designs.  In those situations, a significant
1629 portion of consumers will pay for the convenience of having someone else put
1630 the physical version together for them. Some endeavors squeeze even more out
1631 of this revenue stream by using a Creative Commons license that only allows
1632 noncommercial uses, which means no one else can sell physical copies of
1633 their work in competition with them. This strategy of reserving commercial
1634 rights can be particularly important for items like books, where every
1635 printed copy of the same work is likely to be the same quality, so it is
1636 harder to differentiate one publishing service from another. On the other
1637 hand, for items like furniture or electronics, the provider of the physical
1638 goods can compete with other providers of the same works based on quality,
1639 service, or other traditional business principles.
1640           </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>
1641             As anyone who has ever gone to a concert will tell you, experiencing
1642 creativity in person is a completely different experience from consuming a
1643 digital copy on your own. Far from acting as a substitute for face-to-face
1644 interaction, CC-licensed content can actually create demand for the
1645 in-person version of experience. You can see this effect when people go view
1646 original art in person or pay to attend a talk or training course.
1647           </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>
1648             In many cases, people who like your work will pay for products demonstrating
1649 a connection to your work. As a child of the 1980s, I can personally attest
1650 to the power of a good concert T-shirt. This can also be an important
1651 revenue stream for museums and galleries.
1652           </p><p>
1653             Sometimes the way to find a market-based revenue stream is by providing
1654 value to people other than those who consume your CC-licensed content. In
1655 these revenue streams, the free content is being subsidized by an entirely
1656 different category of people or businesses. Often, those people or
1657 businesses are paying to access your main audience. The fact that the
1658 content is free increases the size of the audience, which in turn makes the
1659 offer more valuable to the paying customers. This is a variation of a
1660 traditional business model built on free called multi-sided
1661 platforms.<a href="#ftn.idm589" class="footnote" name="idm589"><sup class="footnote">[72]</sup></a> Access to your audience
1662 isn’t the only thing people are willing to pay for—there are other services
1663 you can provide as well.
1664           </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>
1665             The traditional model of subsidizing free content is advertising. In this
1666 version of multi-sided platforms, advertisers pay for the opportunity to
1667 reach the set of eyeballs the content creators provide in the form of their
1668 audience.<a href="#ftn.idm595" class="footnote" name="idm595"><sup class="footnote">[73]</sup></a> The Internet has made this
1669 model more difficult because the number of potential channels available to
1670 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
1671 many content creators, including those who are Made with Creative
1672 Commons. Often, instead of paying to display advertising, the advertiser
1673 pays to be an official sponsor of particular content or projects, or of the
1674 overall endeavor.
1675           </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>
1676             Another type of multisided platform is where the content creators themselves
1677 pay to be featured on the platform.  Obviously, this revenue stream is only
1678 available to those who rely on work created, at least in part, by
1679 others. The most well-known version of this model is the
1680 <span class="quote">„<span class="quote">author-processing charge</span>“</span> of open-access journals like those
1681 published by the Public Library of Science, but there are other
1682 variations. The Conversation is primarily funded by a university-membership
1683 model, where universities pay to have their faculties participate as writers
1684 of the content on the Conversation website.
1685           </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>
1686             This is a version of a traditional business model based on brokering
1687 transactions between parties.<a href="#ftn.idm608" class="footnote" name="idm608"><sup class="footnote">[75]</sup></a> Curation
1688 is an important element of this model.  Platforms like the Noun Project add
1689 value by wading through CC-licensed content to curate a high-quality set and
1690 then derive revenue when creators of that content make transactions with
1691 customers. Other platforms make money when service providers transact with
1692 their customers; for example, Opendesk makes money every time someone on
1693 their site pays a maker to make furniture based on one of the designs on the
1694 platform.
1695           </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>
1696             As mentioned above, endeavors can make money by providing customized
1697 services to their users. Platforms can undertake a variation of this service
1698 model directed at the creators that provide the content they feature. The
1699 data platforms Figure.NZ and Figshare both capitalize on this model by
1700 providing paid tools to help their users make the data they contribute to
1701 the platform more discoverable and reusable.
1702           </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>
1703             Finally, some that are Made with Creative Commons make money by selling use
1704 of their trademarks. Well known brands that consumers associate with
1705 quality, credibility, or even an ethos can license that trademark to
1706 companies that want to take advantage of that goodwill. By definition,
1707 trademarks are scarce because they represent a particular source of a good
1708 or service. Charging for the ability to use that trademark is a way of
1709 deriving revenue from something scarce while taking advantage of the
1710 abundance of CC content.
1711           </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>
1712             Even if we set aside grant funding, we found that the traditional economic
1713 framework of understanding the market failed to fully capture the ways the
1714 endeavors we analyzed were making money. It was not simply about monetizing
1715 scarcity.
1716           </p><p>
1717             Rather than devising a scheme to get people to pay money in exchange for
1718 some direct value provided to them, many of the revenue streams were more
1719 about providing value, building a relationship, and then eventually finding
1720 some money that flows back out of a sense of reciprocity. While some look
1721 like traditional nonprofit funding models, they aren’t charity. The endeavor
1722 exchange value with people, just not necessarily synchronously or in a way
1723 that requires that those values be equal. As David Bollier wrote in Think
1724 Like a Commoner, <span class="quote">„<span class="quote">There is no self-serving calculation of whether the
1725 value given and received is strictly equal.</span>“</span>
1726           </p><p>
1727             This should be a familiar dynamic—it is the way you deal with your friends
1728 and family. We give without regard for what and when we will get back. David
1729 Bollier wrote, <span class="quote">„<span class="quote">Reciprocal social exchange lies at the heart of human
1730 identity, community and culture. It is a vital brain function that helps the
1731 human species survive and evolve.</span>“</span>
1732           </p><p>
1733             What is rare is to incorporate this sort of relationship into an endeavor
1734 that also engages with the market.<a href="#ftn.idm626" class="footnote" name="idm626"><sup class="footnote">[76]</sup></a> We
1735 almost can’t help but think of relationships in the market as being centered
1736 on an even-steven exchange of value.<a href="#ftn.idm628" class="footnote" name="idm628"><sup class="footnote">[77]</sup></a>
1737           </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
1738 <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
1739             While memberships and donations are traditional nonprofit funding models, in
1740 the Made with Creative Commons context, they are directly tied to the
1741 reciprocal relationship that is cultivated with the beneficiaries of their
1742 work. The bigger the pool of those receiving value from the content, the
1743 more likely this strategy will work, given that only a small percentage of
1744 people are likely to contribute. Since using CC licenses can grease the
1745 wheels for content to reach more people, this strategy can be more effective
1746 for endeavors that are Made with Creative Commons. The greater the argument
1747 that the content is a public good or that the entire endeavor is furthering
1748 a social mission, the more likely this strategy is to succeed.
1749           </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>
1750             In the pay-what-you-want model, the beneficiary of Creative Commons content
1751 is invited to give—at any amount they can and feel is appropriate, based on
1752 the public and personal value they feel is generated by the open content.
1753 Critically, these models are not touted as <span class="quote">„<span class="quote">buying</span>“</span> something
1754 free. They are similar to a tip jar. People make financial contributions as
1755 an act of gratitude. These models capitalize on the fact that we are
1756 naturally inclined to give money for things we value in the marketplace,
1757 even in situations where we could find a way to get it for free.
1758           </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>
1759             Crowdfunding models are based on recouping the costs of creating and
1760 distributing content before the content is created. If the endeavor is Made
1761 with Creative Commons, anyone who wants the work in question could simply
1762 wait until it’s created and then access it for free. That means, for this
1763 model to work, people have to care about more than just receiving the
1764 work. They have to want you to succeed.  Amanda Palmer credits the success
1765 of her crowdfunding on Kickstarter and Patreon to the years she spent
1766 building her community and creating a connection with her fans. She wrote in
1767 The Art of Asking, <span class="quote">„<span class="quote">Good art is made, good art is shared, help is
1768 offered, ears are bent, emotions are exchanged, the compost of real, deep
1769 connection is sprayed all over the fields. Then one day, the artist steps up
1770 and asks for something. And if the ground has been fertilized enough, the
1771 audience says, without hesitation: of course.</span>“</span>
1772           </p><p>
1773             Other types of crowdfunding rely on a sense of responsibility that a
1774 particular community may feel.  Knowledge Unlatched pools funds from major
1775 U.S. libraries to subsidize CC-licensed academic work that will be, by
1776 definition, available to everyone for free. Libraries with bigger budgets
1777 tend to give more out of a sense of commitment to the library community and
1778 to the idea of open access generally.
1779           </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>
1780           Regardless of how they made money, in our interviews, we repeatedly heard
1781 language like <span class="quote">„<span class="quote">persuading people to buy</span>“</span> and <span class="quote">„<span class="quote">inviting
1782 people to pay.</span>“</span> We heard it even in connection with revenue streams
1783 that sit squarely within the market. Cory Doctorow told us, <span class="quote">„<span class="quote">I have to
1784 convince my readers that the right thing to do is to pay me.</span>“</span> The
1785 founders of the for-profit company Lumen Learning showed us the letter they
1786 send to those who opt not to pay for the services they provide in connection
1787 with their CC-licensed educational content. It isn’t a cease-and-desist
1788 letter; it’s an invitation to pay because it’s the right thing to do. This
1789 sort of behavior toward what could be considered nonpaying customers is
1790 largely unheard of in the traditional marketplace. But it seems to be part
1791 of the fabric of being Made with Creative Commons.
1792         </p><p>
1793           Nearly every endeavor we profiled relied, at least in part, on people being
1794 invested in what they do. The closer the Creative Commons content is to
1795 being <span class="quote">„<span class="quote">the product,</span>“</span> the more pronounced this dynamic has to
1796 be. Rather than simply selling a product or service, they are making
1797 ideological, personal, and creative connections with the people who value
1798 what they do.
1799         </p><p>
1800           It took me a very long time to see how this avoidance of thinking about what
1801 they do in pure market terms was deeply tied to being Made with Creative
1802 Commons.
1803         </p><p>
1804           I came to the research with preconceived notions about what Creative Commons
1805 is and what it means to be Made with Creative Commons. It turned out I was
1806 wrong on so many counts.
1807         </p><p>
1808           Obviously, being Made with Creative Commons means using Creative Commons
1809 licenses. That much I knew. But in our interviews, people spoke of so much
1810 more than copyright permissions when they explained how sharing fit into
1811 what they do. I was thinking about sharing too narrowly, and as a result, I
1812 was missing vast swaths of the meaning packed within Creative
1813 Commons. Rather than parsing the specific and narrow role of the copyright
1814 license in the equation, it is important not to disaggregate the rest of
1815 what comes with sharing. You have to widen the lens.
1816         </p><p>
1817           Being Made with Creative Commons is not just about the simple act of
1818 licensing a copyrighted work under a set of standardized terms, but also
1819 about community, social good, contributing ideas, expressing a value system,
1820 working together. These components of sharing are hard to cultivate if you
1821 think about what you do in purely market terms. Decent social behavior isn’t
1822 as intuitive when we are doing something that involves monetary exchange. It
1823 takes a conscious effort to foster the context for real sharing, based not
1824 strictly on impersonal market exchange, but on connections with the people
1825 with whom you share—connections with you, with your work, with your values,
1826 with each other.
1827         </p><p>
1828           The rest of this section will explore some of the common strategies that
1829 creators, companies, and organizations use to remind us that there are
1830 humans behind every creative endeavor. To remind us we have obligations to
1831 each other. To remind us what sharing really looks like.
1832         </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-human"></a>Be human</h3></div></div></div><p>
1833             Humans are social animals, which means we are naturally inclined to treat
1834 each other well.<a href="#ftn.idm661" class="footnote" name="idm661"><sup class="footnote">[78]</sup></a> But the further
1835 removed we are from the person with whom we are interacting, the less caring
1836 our behavior will be. While the Internet has democratized cultural
1837 production, increased access to knowledge, and connected us in extraordinary
1838 ways, it can also make it easy forget we are dealing with another human.
1839           </p><p>
1840             To counteract the anonymous and impersonal tendencies of how we operate
1841 online, individual creators and corporations who use Creative Commons
1842 licenses work to demonstrate their humanity. For some, this means pouring
1843 their lives out on the page. For others, it means showing their creative
1844 process, giving a glimpse into how they do what they do. As writer Austin
1845 Kleon wrote, <span class="quote">„<span class="quote">Our work doesn’t speak for itself. Human beings want to
1846 know where things came from, how they were made, and who made them. The
1847 stories you tell about the work you do have a huge effect on how people feel
1848 and what they understand about your work, and how people feel and what they
1849 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>
1850           </p><p>
1851             A critical component to doing this effectively is not worrying about being a
1852 <span class="quote">„<span class="quote">brand.</span>“</span> That means not being afraid to be vulnerable. Amanda
1853 Palmer says, <span class="quote">„<span class="quote">When you’re afraid of someone’s judgment, you can’t
1854 connect with them. You’re too preoccupied with the task of impressing
1855 them.</span>“</span> Not everyone is suited to live life as an open book like
1856 Palmer, and that’s OK. There are a lot of ways to be human. The trick is
1857 just avoiding pretense and the temptation to artificially craft an
1858 image. People don’t just want the glossy version of you. They can’t relate
1859 to it, at least not in a meaningful way.
1860           </p><p>
1861             This advice is probably even more important for businesses and organizations
1862 because we instinctively conceive of them as nonhuman (though in the United
1863 States, corporations are people!). When corporations and organizations make
1864 the people behind them more apparent, it reminds people that they are
1865 dealing with something other than an anonymous corporate entity. In
1866 business-speak, this is about <span class="quote">„<span class="quote">humanizing your interactions</span>“</span>
1867 with the public.<a href="#ftn.idm672" class="footnote" name="idm672"><sup class="footnote">[80]</sup></a> But it can’t be a
1868 gimmick. You can’t fake being human.
1869           </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>
1870             Transparency helps people understand who you are and why you do what you do,
1871 but it also inspires trust. Max Temkin of Cards Against Humanity told us,
1872 <span class="quote">„<span class="quote">One of the most surprising things you can do in capitalism is just be
1873 honest with people.</span>“</span> That means sharing the good and the bad. As
1874 Amanda Palmer wrote, <span class="quote">„<span class="quote">You can fix almost anything by authentically
1875 communicating.</span>“</span><a href="#ftn.idm679" class="footnote" name="idm679"><sup class="footnote">[81]</sup></a> It isn’t about
1876 trying to satisfy everyone or trying to sugarcoat mistakes or bad news, but
1877 instead about explaining your rationale and then being prepared to defend it
1878 when people are critical.<a href="#ftn.idm681" class="footnote" name="idm681"><sup class="footnote">[82]</sup></a>
1879           </p><p>
1880             Being accountable does not mean operating on consensus.  According to James
1881 Surowiecki, consensus-driven groups tend to resort to
1882 lowest-common-denominator solutions and avoid the sort of candid exchange of
1883 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
1884 context and explanation about decisions you make, even if soliciting
1885 feedback and inviting discourse is time-consuming. If you don’t go through
1886 the effort to actually respond to the input you receive, it can be worse
1887 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
1888 of thought that helps endeavors excel. And it is another way to get people
1889 involved and invested in what you do.
1890           </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>
1891             Traditional economics assumes people make decisions based solely on their
1892 own economic self-interest.<a href="#ftn.idm691" class="footnote" name="idm691"><sup class="footnote">[85]</sup></a> Any
1893 relatively introspective human knows this is a fiction—we are much more
1894 complicated beings with a whole range of needs, emotions, and
1895 motivations. In fact, we are hardwired to work together and ensure
1896 fairness.<a href="#ftn.idm693" class="footnote" name="idm693"><sup class="footnote">[86]</sup></a> Being Made with Creative
1897 Commons requires an assumption that people will largely act on those social
1898 motivations, motivations that would be considered <span class="quote">„<span class="quote">irrational</span>“</span>
1899 in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">„<span class="quote">It is
1900 best to ignore people who try to scare you about free riding. That fear is
1901 based on a very shallow view of what motivates human behavior.</span>“</span> There
1902 will always be people who will act in purely selfish ways, but endeavors
1903 that are Made with Creative Commons design for the good actors.
1904           </p><p>
1905             The assumption that people will largely do the right thing can be a
1906 self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">„<span class="quote">Systems
1907 that assume people will act in ways that create public goods, and that give
1908 them opportunities and rewards for doing so, often let them work together
1909 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
1910 by something other than financial self-interest, we design our endeavors in
1911 ways that encourage and accentuate our social instincts.
1912           </p><p>
1913             Rather than trying to exert control over people’s behavior, this mode of
1914 operating requires a certain level of trust. We might not realize it, but
1915 our daily lives are already built on trust. As Surowiecki wrote in The
1916 Wisdom of Crowds, <span class="quote">„<span class="quote">It’s impossible for a society to rely on law alone
1917 to make sure citizens act honestly and responsibly. And it’s impossible for
1918 any organization to rely on contracts alone to make sure that its managers
1919 and workers live up to their obligation.</span>“</span> Instead, we largely trust
1920 that people—mostly strangers—will do what they are supposed to
1921 do.<a href="#ftn.idm703" class="footnote" name="idm703"><sup class="footnote">[88]</sup></a> And most often, they do.
1922           </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>
1923             For creators, treating people as humans means not treating them like
1924 fans. As Kleon says, <span class="quote">„<span class="quote">If you want fans, you have to be a fan
1925 first.</span>“</span><a href="#ftn.idm709" class="footnote" name="idm709"><sup class="footnote">[89]</sup></a> Even if you happen to be
1926 one of the few to reach celebrity levels of fame, you are better off
1927 remembering that the people who follow your work are human, too. Cory
1928 Doctorow makes a point to answer every single email someone sends
1929 him. Amanda Palmer spends vast quantities of time going online to
1930 communicate with her public, making a point to listen just as much as she
1931 talks.<a href="#ftn.idm711" class="footnote" name="idm711"><sup class="footnote">[90]</sup></a>
1932           </p><p>
1933             The same idea goes for businesses and organizations. Rather than automating
1934 its customer service, the music platform Tribe of Noise makes a point to
1935 ensure its employees have personal, one-on-one interaction with users.
1936           </p><p>
1937             When we treat people like humans, they typically return the gift in
1938 kind. It’s called karma. But social relationships are fragile. It is all too
1939 easy to destroy them if you make the mistake of treating people as anonymous
1940 customers or free labor.<a href="#ftn.idm715" class="footnote" name="idm715"><sup class="footnote">[91]</sup></a> Platforms that
1941 rely on content from contributors are especially at risk of creating an
1942 exploitative dynamic.  It is important to find ways to acknowledge and pay
1943 back the value that contributors generate. That does not mean you can solve
1944 this problem by simply paying contributors for their time or
1945 contributions. As soon as we introduce money into a relationship—at least
1946 when it takes a form of paying monetary value in exchange for other value—it
1947 can dramatically change the dynamic.<a href="#ftn.idm717" class="footnote" name="idm717"><sup class="footnote">[92]</sup></a>
1948           </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>
1949             Being Made with Creative Commons makes a statement about who you are and
1950 what you do. The symbolism is powerful. Using Creative Commons licenses
1951 demonstrates adherence to a particular belief system, which generates
1952 goodwill and connects like-minded people to your work. Sometimes people will
1953 be drawn to endeavors that are Made with Creative Commons as a way of
1954 demonstrating their own commitment to the Creative Commons value system,
1955 akin to a political statement. Other times people will identify and feel
1956 connected with an endeavor’s separate social mission. Often both.
1957           </p><p>
1958             The expression of your values doesn’t have to be implicit.  In fact, many of
1959 the people we interviewed talked about how important it is to state your
1960 guiding principles up front.  Lumen Learning attributes a lot of their
1961 success to having been outspoken about the fundamental values that guide
1962 what they do. As a for-profit company, they think their expressed commitment
1963 to low-income students and open licensing has been critical to their
1964 credibility in the OER (open educational resources) community in which they
1965 operate.
1966           </p><p>
1967             When your end goal is not about making a profit, people trust that you
1968 aren’t just trying to extract value for your own gain. People notice when
1969 you have a sense of purpose that transcends your own
1970 self-interest.<a href="#ftn.idm724" class="footnote" name="idm724"><sup class="footnote">[93]</sup></a> It attracts committed
1971 employees, motivates contributors, and builds trust.
1972           </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>
1973             Endeavors that are Made with Creative Commons thrive when community is built
1974 around what they do. This may mean a community collaborating together to
1975 create something new, or it may simply be a collection of like-minded people
1976 who get to know each other and rally around common interests or
1977 beliefs.<a href="#ftn.idm729" class="footnote" name="idm729"><sup class="footnote">[94]</sup></a> To a certain extent, simply
1978 being Made with Creative Commons automatically brings with it some element
1979 of community, by helping connect you to like-minded others who recognize and
1980 are drawn to the values symbolized by using CC.
1981           </p><p>
1982             To be sustainable, though, you have to work to nurture community. People
1983 have to care—about you and each other. One critical piece to this is
1984 fostering a sense of belonging. As Jono Bacon writes in The Art of
1985 Community, <span class="quote">„<span class="quote">If there is no belonging, there is no community.</span>“</span>
1986 For Amanda Palmer and her band, that meant creating an accepting and
1987 inclusive environment where people felt a part of their <span class="quote">„<span class="quote">weird little
1988 family.</span>“</span><a href="#ftn.idm734" class="footnote" name="idm734"><sup class="footnote">[95]</sup></a> For organizations like
1989 Red Hat, that means connecting around common beliefs or goals. As the CEO
1990 Jim Whitehurst wrote in The Open Organization, <span class="quote">„<span class="quote">Tapping into passion
1991 is especially important in building the kinds of participative communities
1992 that drive open organizations.</span>“</span><a href="#ftn.idm737" class="footnote" name="idm737"><sup class="footnote">[96]</sup></a>
1993           </p><p>
1994             Communities that collaborate together take deliberate planning. Surowiecki
1995 wrote, <span class="quote">„<span class="quote">It takes a lot of work to put the group together. It’s
1996 difficult to ensure that people are working in the group’s interest and not
1997 in their own.  And when there’s a lack of trust between the members of the
1998 group (which isn’t surprising given that they don’t really know each other),
1999 considerable energy is wasted trying to determine each other’s bona
2000 fides.</span>“</span><a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[97]</sup></a> Building true community
2001 requires giving people within the community the power to create or influence
2002 the rules that govern the community.<a href="#ftn.idm743" class="footnote" name="idm743"><sup class="footnote">[98]</sup></a> If
2003 the rules are created and imposed in a top-down manner, people feel like
2004 they don’t have a voice, which in turn leads to disengagement.
2005           </p><p>
2006             Community takes work, but working together, or even simply being connected
2007 around common interests or values, is in many ways what sharing is about.
2008           </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>
2009             Conventional wisdom in the marketplace dictates that people should try to
2010 extract as much money as possible from resources. This is essentially what
2011 defines so much of the so-called sharing economy. In an article on the
2012 Harvard Business Review website called <span class="quote">„<span class="quote">The Sharing Economy Isn’t
2013 about Sharing at All,</span>“</span> authors Giana Eckhardt and Fleura Bardhi
2014 explained how the anonymous market-driven trans-actions in most
2015 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
2016 primary strategy of the sharing economy is to sell the same product multiple
2017 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.
2018           </p><p>
2019             Sharing requires adding as much or more value to the ecosystem than you
2020 take. You can’t simply treat open content as a free pool of resources from
2021 which to extract value.  Part of giving back to the ecosystem is
2022 contributing content back to the public under CC licenses. But it doesn’t
2023 have to just be about creating content; it can be about adding value in
2024 other ways. The social blogging platform Medium provides value to its
2025 community by incentivizing good behavior, and the result is an online space
2026 with remarkably high-quality user-generated content and limited
2027 trolling.<a href="#ftn.idm757" class="footnote" name="idm757"><sup class="footnote">[101]</sup></a> Opendesk contributes to its
2028 community by committing to help its designers make money, in part by
2029 actively curating and displaying their work on its platform effectively.
2030           </p><p>
2031             In all cases, it is important to openly acknowledge the amount of value you
2032 add versus that which you draw on that was created by others. Being
2033 transparent about this builds credibility and shows you are a contributing
2034 player in the commons. When your endeavor is making money, that also means
2035 apportioning financial compensation in a way that reflects the value
2036 contributed by others, providing more to contributors when the value they
2037 add outweighs the value provided by you.
2038           </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>
2039             Thanks to the Internet, we can tap into the talents and expertise of people
2040 around the globe. Chris Anderson calls it the Long Tail of
2041 talent.<a href="#ftn.idm765" class="footnote" name="idm765"><sup class="footnote">[102]</sup></a> But to make collaboration work,
2042 the group has to be effective at what it is doing, and the people within the
2043 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
2044 creative work than it is for others. Groups tied together online collaborate
2045 best when people can work independently and asynchronously, and particularly
2046 for larger groups with loose ties, when contributors can make simple
2047 improvements without a particularly heavy time commitment.<a href="#ftn.idm769" class="footnote" name="idm769"><sup class="footnote">[104]</sup></a>
2048           </p><p>
2049             As the success of Wikipedia demonstrates, editing an online encyclopedia is
2050 exactly the sort of activity that is perfect for massive co-creation because
2051 small, incremental edits made by a diverse range of people acting on their
2052 own are immensely valuable in the aggregate. Those same sorts of small
2053 contributions would be less useful for many other types of creative work,
2054 and people are inherently less motivated to contribute when it doesn’t
2055 appear that their efforts will make much of a difference.<a href="#ftn.idm772" class="footnote" name="idm772"><sup class="footnote">[105]</sup></a>
2056           </p><p>
2057             It is easy to romanticize the opportunities for global cocreation made
2058 possible by the Internet, and, indeed, the successful examples of it are
2059 truly incredible and inspiring. But in a wide range of circumstances—perhaps
2060 more often than not—community cocreation is not part of the equation, even
2061 within endeavors built on CC content. Shirky wrote, <span class="quote">„<span class="quote">Sometimes the
2062 value of professional work trumps the value of amateur sharing or a feeling
2063 of belonging.<a href="#ftn.idm776" class="footnote" name="idm776"><sup class="footnote">[106]</sup></a> The textbook publisher
2064 OpenStax, which distributes all of its material for free under CC licensing,
2065 is an example of this dynamic. Rather than tapping the community to help
2066 cocreate their college textbooks, they invest a significant amount of time
2067 and money to develop professional content. For individual creators, where
2068 the creative work is the basis for what they do, community cocreation is
2069 only rarely a part of the picture. Even musician Amanda Palmer, who is
2070 famous for her openness and involvement with her fans, said,</span>“</span>The only
2071 department where I wasn’t open to input was the writing, the music
2072 itself."<a href="#ftn.idm778" class="footnote" name="idm778"><sup class="footnote">[107]</sup></a>
2073           </p><p>
2074             While we tend to immediately think of cocreation and remixing when we hear
2075 the word collaboration, you can also involve others in your creative process
2076 in more informal ways, by sharing half-baked ideas and early drafts, and
2077 interacting with the public to incubate ideas and get feedback. So-called
2078 <span class="quote">„<span class="quote">making in public</span>“</span> opens the door to letting people feel more
2079 invested in your creative work.<a href="#ftn.idm782" class="footnote" name="idm782"><sup class="footnote">[108]</sup></a> And it
2080 shows a nonterritorial approach to ideas and information. Stephen Covey (of
2081 The 7 Habits of Highly Effective People fame) calls this the abundance
2082 mentality—treating ideas like something plentiful—and it can create an
2083 environment where collaboration flourishes.<a href="#ftn.idm784" class="footnote" name="idm784"><sup class="footnote">[109]</sup></a>
2084           </p><p>
2085             There is no one way to involve people in what you do. They key is finding a
2086 way for people to contribute on their terms, compelled by their own
2087 motivations.<a href="#ftn.idm787" class="footnote" name="idm787"><sup class="footnote">[110]</sup></a> What that looks like
2088 varies wildly depending on the project. Not every endeavor that is Made with
2089 Creative Commons can be Wikipedia, but every endeavor can find ways to
2090 invite the public into what they do. The goal for any form of collaboration
2091 is to move away from thinking of consumers as passive recipients of your
2092 content and transition them into active participants.<a href="#ftn.idm789" class="footnote" name="idm789"><sup class="footnote">[111]</sup></a>
2093           </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>
2094             Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
2095 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>.
2096           </p></div><div id="ftn.idm410" class="footnote"><p><a href="#idm410" class="para"><sup class="para">[38] </sup></a>
2097             Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
2098 Age (San Francisco, CA: McSweeney’s, 2014) 68.
2099           </p></div><div id="ftn.idm419" class="footnote"><p><a href="#idm419" class="para"><sup class="para">[39] </sup></a>
2100             Ibid., 55.
2101           </p></div><div id="ftn.idm422" class="footnote"><p><a href="#idm422" class="para"><sup class="para">[40] </sup></a>
2102             Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
2103 Something for Nothing, reprint with new preface (New York: Hyperion, 2010),
2104 224.
2105           </p></div><div id="ftn.idm426" class="footnote"><p><a href="#idm426" class="para"><sup class="para">[41] </sup></a>
2106             Doctorow, Information Doesn’t Want to Be Free, 44.
2107           </p></div><div id="ftn.idm438" class="footnote"><p><a href="#idm438" class="para"><sup class="para">[42] </sup></a>
2108               Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let
2109 People Help (New York: Grand Central, 2014), 121.
2110             </p></div><div id="ftn.idm442" class="footnote"><p><a href="#idm442" class="para"><sup class="para">[43] </sup></a>
2111               Chris Anderson, Makers: The New Industrial Revolution (New York: Signal,
2112 2012), 64.
2113             </p></div><div id="ftn.idm446" class="footnote"><p><a href="#idm446" class="para"><sup class="para">[44] </sup></a>
2114               David Bollier, Think Like a Commoner: A Short Introduction to the Life of
2115 the Commons (Gabriola Island, BC: New Society, 2014), 70.
2116             </p></div><div id="ftn.idm449" class="footnote"><p><a href="#idm449" class="para"><sup class="para">[45] </sup></a>
2117               Anderson, Makers, 66.
2118             </p></div><div id="ftn.idm452" class="footnote"><p><a href="#idm452" class="para"><sup class="para">[46] </sup></a>
2119               Bryan Kramer, Shareology: How Sharing Is Powering the Human Economy (New
2120 York: Morgan James, 2016), 10.
2121             </p></div><div id="ftn.idm455" class="footnote"><p><a href="#idm455" class="para"><sup class="para">[47] </sup></a>
2122               Anderson, Free, 62.
2123             </p></div><div id="ftn.idm460" class="footnote"><p><a href="#idm460" class="para"><sup class="para">[48] </sup></a>
2124               Doctorow, Information Doesn’t Want to Be Free, 38.
2125             </p></div><div id="ftn.idm465" class="footnote"><p><a href="#idm465" class="para"><sup class="para">[49] </sup></a>
2126               Bollier, Think Like a Commoner, 68.
2127             </p></div><div id="ftn.idm471" class="footnote"><p><a href="#idm471" class="para"><sup class="para">[50] </sup></a>
2128               Anderson, Free, 86.
2129             </p></div><div id="ftn.idm475" class="footnote"><p><a href="#idm475" class="para"><sup class="para">[51] </sup></a>
2130               Doctorow, Information Doesn’t Want to Be Free, 144.
2131             </p></div><div id="ftn.idm485" class="footnote"><p><a href="#idm485" class="para"><sup class="para">[52] </sup></a>
2132                 Anderson, Free, 123.
2133               </p></div><div id="ftn.idm488" class="footnote"><p><a href="#idm488" class="para"><sup class="para">[53] </sup></a>
2134                 Ibid., 132.
2135               </p></div><div id="ftn.idm490" class="footnote"><p><a href="#idm490" class="para"><sup class="para">[54] </sup></a>
2136                 Ibid., 70.
2137               </p></div><div id="ftn.idm495" class="footnote"><p><a href="#idm495" class="para"><sup class="para">[55] </sup></a>
2138                 James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005),
2139 124. Surowiecki says, <span class="quote">„<span class="quote">The measure of success of laws and contracts is
2140 how rarely they are invoked.</span>“</span>
2141               </p></div><div id="ftn.idm505" class="footnote"><p><a href="#idm505" class="para"><sup class="para">[56] </sup></a>
2142                 Anderson, Free, 44.
2143               </p></div><div id="ftn.idm512" class="footnote"><p><a href="#idm512" class="para"><sup class="para">[57] </sup></a>
2144                 Osterwalder and Pigneur, Business Model Generation, 23.
2145               </p></div><div id="ftn.idm516" class="footnote"><p><a href="#idm516" class="para"><sup class="para">[58] </sup></a>
2146                 Anderson, Free, 67.
2147               </p></div><div id="ftn.idm518" class="footnote"><p><a href="#idm518" class="para"><sup class="para">[59] </sup></a>
2148                 Ibid., 58.
2149               </p></div><div id="ftn.idm520" class="footnote"><p><a href="#idm520" class="para"><sup class="para">[60] </sup></a>
2150                 Anderson, Makers, 71.
2151               </p></div><div id="ftn.idm522" class="footnote"><p><a href="#idm522" class="para"><sup class="para">[61] </sup></a>
2152                 Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into
2153 Collaborators (London: Penguin Books, 2010), 78.
2154               </p></div><div id="ftn.idm526" class="footnote"><p><a href="#idm526" class="para"><sup class="para">[62] </sup></a>
2155                 Ibid., 21.
2156               </p></div><div id="ftn.idm531" class="footnote"><p><a href="#idm531" class="para"><sup class="para">[63] </sup></a>
2157                 Doctorow, Information Doesn’t Want to Be Free, 43.
2158               </p></div><div id="ftn.idm538" class="footnote"><p><a href="#idm538" class="para"><sup class="para">[64] </sup></a>
2159               William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">„<span class="quote">Ten
2160 Nonprofit Funding Models,</span>“</span> Stanford Social Innovation Review, Spring
2161 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>.
2162             </p></div><div id="ftn.idm544" class="footnote"><p><a href="#idm544" class="para"><sup class="para">[65] </sup></a>
2163               Shirky, Cognitive Surplus, 111.
2164             </p></div><div id="ftn.idm550" class="footnote"><p><a href="#idm550" class="para"><sup class="para">[66] </sup></a>
2165                 Osterwalder and Pigneur, Business Model Generation, 30.
2166               </p></div><div id="ftn.idm552" class="footnote"><p><a href="#idm552" class="para"><sup class="para">[67] </sup></a>
2167                 Jim Whitehurst, The Open Organization: Igniting Passion and Performance
2168 (Boston: Harvard Business Review Press, 2015), 202.
2169               </p></div><div id="ftn.idm555" class="footnote"><p><a href="#idm555" class="para"><sup class="para">[68] </sup></a>
2170                 Anderson, Free, 71.
2171               </p></div><div id="ftn.idm561" class="footnote"><p><a href="#idm561" class="para"><sup class="para">[69] </sup></a>
2172                 Ibid., 231.
2173               </p></div><div id="ftn.idm571" class="footnote"><p><a href="#idm571" class="para"><sup class="para">[70] </sup></a>
2174                 Ibid., 97.
2175               </p></div><div id="ftn.idm578" class="footnote"><p><a href="#idm578" class="para"><sup class="para">[71] </sup></a>
2176                 Anderson, Makers, 107.
2177               </p></div><div id="ftn.idm589" class="footnote"><p><a href="#idm589" class="para"><sup class="para">[72] </sup></a>
2178                 Osterwalder and Pigneur, Business Model Generation, 89.
2179               </p></div><div id="ftn.idm595" class="footnote"><p><a href="#idm595" class="para"><sup class="para">[73] </sup></a>
2180                 Ibid., 92.
2181               </p></div><div id="ftn.idm597" class="footnote"><p><a href="#idm597" class="para"><sup class="para">[74] </sup></a>
2182                 Anderson, Free, 142.
2183               </p></div><div id="ftn.idm608" class="footnote"><p><a href="#idm608" class="para"><sup class="para">[75] </sup></a>
2184                 Osterwalder and Pigneur, Business Model Generation, 32.
2185               </p></div><div id="ftn.idm626" class="footnote"><p><a href="#idm626" class="para"><sup class="para">[76] </sup></a>
2186                 Bollier, Think Like a Commoner, 150.
2187               </p></div><div id="ftn.idm628" class="footnote"><p><a href="#idm628" class="para"><sup class="para">[77] </sup></a>
2188                 Ibid., 134.
2189               </p></div><div id="ftn.idm661" class="footnote"><p><a href="#idm661" class="para"><sup class="para">[78] </sup></a>
2190                 Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our
2191 Decisions, rev. ed. (New York: Harper Perennial, 2010), 109.
2192               </p></div><div id="ftn.idm665" class="footnote"><p><a href="#idm665" class="para"><sup class="para">[79] </sup></a>
2193                 Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and Get
2194 Discovered (New York: Workman, 2014), 93.
2195               </p></div><div id="ftn.idm672" class="footnote"><p><a href="#idm672" class="para"><sup class="para">[80] </sup></a>
2196                 Kramer, Shareology, 76.
2197               </p></div><div id="ftn.idm679" class="footnote"><p><a href="#idm679" class="para"><sup class="para">[81] </sup></a>
2198                 Palmer, Art of Asking, 252.
2199               </p></div><div id="ftn.idm681" class="footnote"><p><a href="#idm681" class="para"><sup class="para">[82] </sup></a>
2200                 Whitehurst, Open Organization, 145.
2201               </p></div><div id="ftn.idm684" class="footnote"><p><a href="#idm684" class="para"><sup class="para">[83] </sup></a>
2202                 Surowiecki, Wisdom of Crowds, 203.
2203               </p></div><div id="ftn.idm686" class="footnote"><p><a href="#idm686" class="para"><sup class="para">[84] </sup></a>
2204                 Whitehurst, Open Organization, 80.
2205               </p></div><div id="ftn.idm691" class="footnote"><p><a href="#idm691" class="para"><sup class="para">[85] </sup></a>
2206                 Bollier, Think Like a Commoner, 25.
2207               </p></div><div id="ftn.idm693" class="footnote"><p><a href="#idm693" class="para"><sup class="para">[86] </sup></a>
2208                 Ibid., 31.
2209               </p></div><div id="ftn.idm699" class="footnote"><p><a href="#idm699" class="para"><sup class="para">[87] </sup></a>
2210                 Shirky, Cognitive Surplus, 112.
2211               </p></div><div id="ftn.idm703" class="footnote"><p><a href="#idm703" class="para"><sup class="para">[88] </sup></a>
2212                 Surowiecki, Wisdom of Crowds, 124.
2213               </p></div><div id="ftn.idm709" class="footnote"><p><a href="#idm709" class="para"><sup class="para">[89] </sup></a>
2214                 Kleon, Show Your Work, 127.
2215               </p></div><div id="ftn.idm711" class="footnote"><p><a href="#idm711" class="para"><sup class="para">[90] </sup></a>
2216                 Palmer, Art of Asking, 121.
2217               </p></div><div id="ftn.idm715" class="footnote"><p><a href="#idm715" class="para"><sup class="para">[91] </sup></a>
2218                 Ariely, Predictably Irrational, 87.
2219               </p></div><div id="ftn.idm717" class="footnote"><p><a href="#idm717" class="para"><sup class="para">[92] </sup></a>
2220                 Ibid., 105.
2221               </p></div><div id="ftn.idm724" class="footnote"><p><a href="#idm724" class="para"><sup class="para">[93] </sup></a>
2222                 Ibid., 36.
2223               </p></div><div id="ftn.idm729" class="footnote"><p><a href="#idm729" class="para"><sup class="para">[94] </sup></a>
2224                 Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
2225 2012), 36.
2226               </p></div><div id="ftn.idm734" class="footnote"><p><a href="#idm734" class="para"><sup class="para">[95] </sup></a>
2227                 Palmer, Art of Asking, 98.
2228               </p></div><div id="ftn.idm737" class="footnote"><p><a href="#idm737" class="para"><sup class="para">[96] </sup></a>
2229                 Whitehurst, Open Organization, 34.
2230               </p></div><div id="ftn.idm741" class="footnote"><p><a href="#idm741" class="para"><sup class="para">[97] </sup></a>
2231                 Surowiecki, Wisdom of Crowds, 200.
2232               </p></div><div id="ftn.idm743" class="footnote"><p><a href="#idm743" class="para"><sup class="para">[98] </sup></a>
2233                 Bollier, Think Like a Commoner, 29.
2234               </p></div><div id="ftn.idm750" class="footnote"><p><a href="#idm750" class="para"><sup class="para">[99] </sup></a>
2235                 Giana Eckhardt and Fleura Bardhi, <span class="quote">„<span class="quote">The Sharing Economy Isn’t about
2236 Sharing at All,</span>“</span> Harvard Business Review (website), January 28, 2015,
2237 <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>.
2238               </p></div><div id="ftn.idm754" class="footnote"><p><a href="#idm754" class="para"><sup class="para">[100] </sup></a>
2239                 Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with
2240 new epilogue (New York: Portfolio, 2012).
2241               </p></div><div id="ftn.idm757" class="footnote"><p><a href="#idm757" class="para"><sup class="para">[101] </sup></a>
2242                 David Lee, <span class="quote">„<span class="quote">Inside Medium: An Attempt to Bring Civility to the
2243 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>.
2244               </p></div><div id="ftn.idm765" class="footnote"><p><a href="#idm765" class="para"><sup class="para">[102] </sup></a>
2245                 Anderson, Makers, 148.
2246               </p></div><div id="ftn.idm767" class="footnote"><p><a href="#idm767" class="para"><sup class="para">[103] </sup></a>
2247                 Shirky, Cognitive Surplus, 164.
2248               </p></div><div id="ftn.idm769" class="footnote"><p><a href="#idm769" class="para"><sup class="para">[104] </sup></a>
2249                 Whitehurst, foreword to Open Organization.
2250               </p></div><div id="ftn.idm772" class="footnote"><p><a href="#idm772" class="para"><sup class="para">[105] </sup></a>
2251                 Shirky, Cognitive Surplus, 144.
2252               </p></div><div id="ftn.idm776" class="footnote"><p><a href="#idm776" class="para"><sup class="para">[106] </sup></a>
2253                 Ibid., 154.
2254               </p></div><div id="ftn.idm778" class="footnote"><p><a href="#idm778" class="para"><sup class="para">[107] </sup></a>
2255                 Palmer, Art of Asking, 163.
2256               </p></div><div id="ftn.idm782" class="footnote"><p><a href="#idm782" class="para"><sup class="para">[108] </sup></a>
2257                 Anderson, Makers, 173.
2258               </p></div><div id="ftn.idm784" class="footnote"><p><a href="#idm784" class="para"><sup class="para">[109] </sup></a>
2259                 Tom Kelley and David Kelley, Creative Confidence: Unleashing the Potential
2260 within Us All (New York: Crown, 2013), 82.
2261               </p></div><div id="ftn.idm787" class="footnote"><p><a href="#idm787" class="para"><sup class="para">[110] </sup></a>
2262                 Whitehurst, foreword to Open Organization.
2263               </p></div><div id="ftn.idm789" class="footnote"><p><a href="#idm789" class="para"><sup class="para">[111] </sup></a>
2264                 Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
2265 Collaborative Consumption (New York: Harper Business, 2010), 188.
2266               </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>
2267         All of the Creative Commons licenses grant a basic set of permissions. At a
2268 minimum, a CC- licensed work can be copied and shared in its original form
2269 for noncommercial purposes so long as attribution is given to the
2270 creator. There are six licenses in the CC license suite that build on that
2271 basic set of permissions, ranging from the most restrictive (allowing only
2272 those basic permissions to share unmodified copies for noncommercial
2273 purposes) to the most permissive (reusers can do anything they want with the
2274 work, even for commercial purposes, as long as they give the creator
2275 credit). The licenses are built on copyright and do not cover other types of
2276 rights that creators might have in their works, like patents or trademarks.
2277       </p><p>
2278         Here are the six licenses:
2279       </p><p>
2280         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D83BF99FC0821C489.png" width="40.0%"></span>
2281       </p><p>
2282         The Attribution license (CC BY) lets others distribute, remix, tweak, and
2283 build upon your work, even commercially, as long as they credit you for the
2284 original creation. This is the most accommodating of licenses
2285 offered. Recommended for maximum dissemination and use of licensed
2286 materials.
2287       </p><p>
2288         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DFD3592CB17C4EC38.png" width="40.0%"></span>
2289       </p><p>
2290         The Attribution-Share-Alike license (CC BY-SA) lets others remix, tweak, and
2291 build upon your work, even for commercial purposes, as long as they credit
2292 you and license their new creations under identical terms. This license is
2293 often compared to <span class="quote">„<span class="quote">copyleft</span>“</span> free and open source software
2294 licenses. All new works based on yours will carry the same license, so any
2295 derivatives will also allow commercial use.
2296       </p><p>
2297         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D254882DE24793FEA.png" width="40.0%"></span>
2298       </p><p>
2299         The Attribution-NoDerivs license (CC BY-ND) allows for redistribution,
2300 commercial and noncommercial, as long as it is passed along unchanged with
2301 credit to you.
2302       </p><p>
2303         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png" width="40.0%"></span>
2304       </p><p>
2305         The Attribution-NonCommercial license (CC BY-NC) lets others remix, tweak,
2306 and build upon your work noncommercially. Although their new works must also
2307 acknowledge you, they don’t have to license their derivative works on the
2308 same terms.
2309       </p><p>
2310         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D16DA603376395620.png" width="40.0%"></span>
2311       </p><p>
2312         The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA)  lets others
2313 remix, tweak, and build upon your work noncommercially, as long as they
2314 credit you and license their new creations under the same terms.
2315       </p><p>
2316         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DC3FEF92B21310965.png" width="40.0%"></span>
2317       </p><p>
2318         The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most
2319 restrictive of our six main licenses, only allowing others to download your
2320 works and share them with others as long as they credit you, but they can’t
2321 change them or use them commercially.
2322       </p><p>
2323         In addition to these six licenses, Creative Commons has two public-domain
2324 tools—one for creators and the other for those who manage collections of
2325 existing works by authors whose terms of copyright have expired:
2326       </p><p>
2327         <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008DBE3414994CD27786.png" width="40.0%"></span>
2328       </p><p>
2329         CC0 enables authors and copyright owners to dedicate their works to the
2330 worldwide public domain (<span class="quote">„<span class="quote">no rights reserved</span>“</span>).
2331       </p><p>
2332         <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008D36DCD649C5B1411F.png" width="40.0%"></span>
2333       </p><p>
2334         The Creative Commons Public Domain Mark facilitates the labeling and
2335 discovery of works that are already free of known copyright restrictions.
2336       </p><p>
2337         In our case studies, some use just one Creative Commons license, others use
2338 several. Attribution (found in thirteen case studies)  and
2339 Attribution-ShareAlike (found in eight studies) were the most common, with
2340 the other licenses coming up in four or so case studies, including the
2341 public-domain tool CC0. Some of the organizations we profiled offer both
2342 digital content and software: by using open-source-software licenses for the
2343 software code and Creative Commons licenses for digital content, they
2344 amplify their involvement with and commitment to sharing.
2345       </p><p>
2346         There is a popular misconception that the three NonCommercial licenses
2347 offered by CC are the only options for those who want to make money off
2348 their work. As we hope this book makes clear, there are many ways to make
2349 endeavors that are Made with Creative Commons sustainable. Reserving
2350 commercial rights is only one of those ways. It is certainly true that a
2351 license that allows others to make commercial use of your work (CC BY, CC
2352 BY-SA, and CC BY-ND) forecloses some traditional revenue streams. If you
2353 apply an Attribution (CC BY) license to your book, you can’t force a film
2354 company to pay you royalties if they turn your book into a feature-length
2355 film, or prevent another company from selling physical copies of your work.
2356       </p><p>
2357         The decision to choose a NonCommercial and/or NoDerivs license comes down to
2358 how much you need to retain control over the creative work. The
2359 NonCommercial and NoDerivs licenses are ways of reserving some significant
2360 portion of the exclusive bundle of rights that copyright grants to
2361 creators. In some cases, reserving those rights is important to how you
2362 bring in revenue.  In other cases, creators use a NonCommercial or NoDerivs
2363 license because they can’t give up on the dream of hitting the creative
2364 jackpot. The music platform Tribe of Noise told us the NonCommercial
2365 licenses were popular among their users because people still held out the
2366 dream of having a major record label discover their work.
2367       </p><p>
2368         Other times the decision to use a more restrictive license is due to a
2369 concern about the integrity of the work. For example, the nonprofit
2370 TeachAIDS uses a NoDerivs license for its educational materials because the
2371 medical subject matter is particularly important to get right.
2372       </p><p>
2373         There is no one right way. The NonCommercial and NoDerivs restrictions
2374 reflect the values and preferences of creators about how their creative work
2375 should be reused, just as the ShareAlike license reflects a different set of
2376 values, one that is less about controlling access to their own work and more
2377 about ensuring that whatever gets created with their work is available to
2378 all on the same terms. Since the beginning of the commons, people have been
2379 setting up structures that helped regulate the way in which shared resources
2380 were used. The CC licenses are an attempt to standardize norms across all
2381 domains.
2382       </p><p>
2383         Note
2384       </p><p>
2385         For more about the licenses including examples and tips on sharing your work
2386 in the digital commons, start with the Creative Commons page called
2387 <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>.
2388       </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>
2389       The twenty-four case studies in this section were chosen from hundreds of
2390 nominations received from Kickstarter backers, Creative Commons staff, and
2391 the global Creative Commons community.  We selected eighty potential
2392 candidates that represented a mix of industries, content types, revenue
2393 streams, and parts of the world. Twelve of the case studies were selected
2394 from that group based on votes cast by Kickstarter backers, and the other
2395 twelve were selected by us.
2396     </p><p>
2397       We did background research and conducted interviews for each case study,
2398 based on the same set of basic questions about the endeavor. The idea for
2399 each case study is to tell the story about the endeavor and the role sharing
2400 plays within it, largely the way in which it was told to us by those we
2401 interviewed.
2402     </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>
2403           Arduino is a for-profit open-source electronics platform and computer
2404 hardware and software company. Founded in 2005 in Italy.
2405         </p><p>
2406           <a class="ulink" href="http://www.arduino.cc" target="_top">http://www.arduino.cc</a>
2407         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
2408 copies (sales of boards, modules, shields, and kits), licensing a trademark
2409 (fees paid by those who want to sell Arduino products using their name)
2410         </p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
2411         </p><p><span class="strong"><strong>Interviewees</strong></span>: David Cuartielles and Tom
2412 Igoe, cofounders
2413         </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}
2414     \textit{
2415           Profile written by Paul Stacey
2416         }
2417     \end{flushright}</td></tr></table></div><p>
2418         In 2005, at the Interaction Design Institute Ivrea in northern Italy,
2419 teachers and students needed an easy way to use electronics and programming
2420 to quickly prototype design ideas.  As musicians, artists, and designers,
2421 they needed a platform that didn’t require engineering expertise. A group of
2422 teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe,
2423 Gianluca Martino, and David Mellis, built a platform that combined different
2424 open technologies. They called it Arduino.  The platform integrated
2425 software, hardware, microcontrollers, and electronics. All aspects of the
2426 platform were openly licensed: hardware designs and documentation with the
2427 Attribution-Share-Alike license (CC BY-SA), and software with the GNU
2428 General Public License.
2429       </p><p>
2430         Arduino boards are able to read inputs—light on a sensor, a finger on a
2431 button, or a Twitter message—and turn it into outputs—activating a motor,
2432 turning on an LED, publishing something online. You send a set of
2433 instructions to the microcontroller on the board by using the Arduino
2434 programming language and Arduino software (based on a piece of open-source
2435 software called Processing, a programming tool used to make visual art).
2436       </p><p><span class="quote">„<span class="quote">The reasons for making Arduino open source are complicated,</span>“</span>
2437 Tom says. Partly it was about supporting flexibility. The open-source nature
2438 of Arduino empowers users to modify it and create a lot of different
2439 variations, adding on top of what the founders build. David says this
2440 <span class="quote">„<span class="quote">ended up strengthening the platform far beyond what we had even
2441 thought of building.</span>“</span>
2442       </p><p>
2443         For Tom another factor was the impending closure of the Ivrea design
2444 school. He’d seen other organizations close their doors and all their work
2445 and research just disappear. Open-sourcing ensured that Arduino would
2446 outlive the Ivrea closure.  Persistence is one thing Tom really likes about
2447 open source. If key people leave, or a company shuts down, an open-source
2448 product lives on. In Tom’s view, <span class="quote">„<span class="quote">Open sourcing makes it easier to
2449 trust a product.</span>“</span>
2450       </p><p>
2451         With the school closing, David and some of the other Arduino founders
2452 started a consulting firm and multidisciplinary design studio they called
2453 Tinker, in London. Tinker designed products and services that bridged the
2454 digital and the physical, and they taught people how to use new technologies
2455 in creative ways.  Revenue from Tinker was invested in sustaining and
2456 enhancing Arduino.
2457       </p><p>
2458         For Tom, part of Arduino’s success is because the founders made themselves
2459 the first customer of their product. They made products they themselves
2460 personally wanted. It was a matter of <span class="quote">„<span class="quote">I need this thing,</span>“</span> not
2461 <span class="quote">„<span class="quote">If we make this, we’ll make a lot of money.</span>“</span> Tom notes that
2462 being your own first customer makes you more confident and convincing at
2463 selling your product.
2464       </p><p>
2465         Arduino’s business model has evolved over time—and Tom says model is a
2466 grandiose term for it. Originally, they just wanted to make a few boards and
2467 get them out into the world. They started out with two hundred boards, sold
2468 them, and made a little profit. They used that to make another thousand,
2469 which generated enough revenue to make five thousand. In the early days,
2470 they simply tried to generate enough funding to keep the venture going day
2471 to day. When they hit the ten thousand mark, they started to think about
2472 Arduino as a company. By then it was clear you can open-source the design
2473 but still manufacture the physical product. As long as it’s a quality
2474 product and sold at a reasonable price, people will buy it.
2475       </p><p>
2476         Arduino now has a worldwide community of makers—students, hobbyists,
2477 artists, programmers, and professionals. Arduino provides a wiki called
2478 Playground (a wiki is where all users can edit and add pages, contributing
2479 to and benefiting from collective research). People share code, circuit
2480 diagrams, tutorials, DIY instructions, and tips and tricks, and show off
2481 their projects. In addition, there’s a multilanguage discussion forum where
2482 users can get help using Arduino, discuss topics like robotics, and make
2483 suggestions for new Arduino product designs. As of January 2017, 324,928
2484 members had made 2,989,489 posts on 379,044 topics. The worldwide community
2485 of makers has contributed an incredible amount of accessible knowledge
2486 helpful to novices and experts alike.
2487       </p><p>
2488         Transitioning Arduino from a project to a company was a big step. Other
2489 businesses who made boards were charging a lot of money for them. Arduino
2490 wanted to make theirs available at a low price to people across a wide range
2491 of industries. As with any business, pricing was key. They wanted prices
2492 that would get lots of customers but were also high enough to sustain the
2493 business.
2494       </p><p>
2495         For a business, getting to the end of the year and not being in the red is a
2496 success. Arduino may have an open-licensing strategy, but they are still a
2497 business, and all the things needed to successfully run one still
2498 apply. David says, <span class="quote">„<span class="quote">If you do those other things well, sharing things
2499 in an open-source way can only help you.</span>“</span>
2500       </p><p>
2501         While openly licensing the designs, documentation, and software ensures
2502 longevity, it does have risks. There’s a possibility that others will create
2503 knockoffs, clones, and copies. The CC BY-SA license means anyone can produce
2504 copies of their boards, redesign them, and even sell boards that copy the
2505 design. They don’t have to pay a license fee to Arduino or even ask
2506 permission. However, if they republish the design of the board, they have to
2507 give attribution to Arduino. If they change the design, they must release
2508 the new design using the same Creative Commons license to ensure that the
2509 new version is equally free and open.
2510       </p><p>
2511         Tom and David say that a lot of people have built companies off of Arduino,
2512 with dozens of Arduino derivatives out there. But in contrast to closed
2513 business models that can wring money out of the system over many years
2514 because there is no competition, Arduino founders saw competition as keeping
2515 them honest, and aimed for an environment of collaboration. A benefit of
2516 open over closed is the many new ideas and designs others have contributed
2517 back to the Arduino ecosystem, ideas and designs that Arduino and the
2518 Arduino community use and incorporate into new products.
2519       </p><p>
2520         Over time, the range of Arduino products has diversified, changing and
2521 adapting to new needs and challenges. In addition to simple entry level
2522 boards, new products have been added ranging from enhanced boards that
2523 provide advanced functionality and faster performance, to boards for
2524 creating Internet of Things applications, wearables, and 3-D printing. The
2525 full range of official Arduino products includes boards, modules (a smaller
2526 form-factor of classic boards), shields (elements that can be plugged onto a
2527 board to give it extra features), and kits.<a href="#ftn.idm884" class="footnote" name="idm884"><sup class="footnote">[112]</sup></a>
2528       </p><p>
2529         Arduino’s focus is on high-quality boards, well-designed support materials,
2530 and the building of community; this focus is one of the keys to their
2531 success. And being open lets you build a real community. David says
2532 Arduino’s community is a big strength and something that really does
2533 matter—in his words, <span class="quote">„<span class="quote">It’s good business.</span>“</span> When they started,
2534 the Arduino team had almost entirely no idea how to build a community. They
2535 started by conducting numerous workshops, working directly with people using
2536 the platform to make sure the hardware and software worked the way it was
2537 meant to work and solved people’s problems. The community grew organically
2538 from there.
2539       </p><p>
2540         A key decision for Arduino was trademarking the name. The founders needed a
2541 way to guarantee to people that they were buying a quality product from a
2542 company committed to open-source values and knowledge sharing. Trademarking
2543 the Arduino name and logo expresses that guarantee and helps customers
2544 easily identify their products, and the products sanctioned by them. If
2545 others want to sell boards using the Arduino name and logo, they have to pay
2546 a small fee to Arduino. This allows Arduino to scale up manufacturing and
2547 distribution while at the same time ensuring the Arduino brand isn’t hurt by
2548 low-quality copies.
2549       </p><p>
2550         Current official manufacturers are Smart Projects in Italy, SparkFun in the
2551 United States, and Dog Hunter in Taiwan/China.  These are the only
2552 manufacturers that are allowed to use the Arduino logo on their
2553 boards. Trademarking their brand provided the founders with a way to protect
2554 Arduino, build it out further, and fund software and tutorial
2555 development. The trademark-licensing fee for the brand became Arduino’s
2556 revenue-generating model.
2557       </p><p>
2558         How far to open things up wasn’t always something the founders perfectly
2559 agreed on. David, who was always one to advocate for opening things up more,
2560 had some fears about protecting the Arduino name, thinking people would be
2561 mad if they policed their brand. There was some early backlash with a
2562 project called Freeduino, but overall, trademarking and branding has been a
2563 critical tool for Arduino.
2564       </p><p>
2565         David encourages people and businesses to start by sharing everything as a
2566 default strategy, and then think about whether there is anything that really
2567 needs to be protected and why.  There are lots of good reasons to not open
2568 up certain elements.  This strategy of sharing everything is certainly the
2569 complete opposite of how today’s world operates, where nothing is shared.
2570 Tom suggests a business formalize which elements are based on open sharing
2571 and which are closed. An Arduino blog post from 2013 entitled <span class="quote">„<span class="quote">Send In
2572 the Clones,</span>“</span> by one of the founders Massimo Banzi, does a great job
2573 of explaining the full complexities of how trademarking their brand has
2574 played out, distinguishing between official boards and those that are
2575 clones, derivatives, compatibles, and counterfeits.<a href="#ftn.idm894" class="footnote" name="idm894"><sup class="footnote">[113]</sup></a>
2576       </p><p>
2577         For David, an exciting aspect of Arduino is the way lots of people can use
2578 it to adapt technology in many different ways.  Technology is always making
2579 more things possible but doesn’t always focus on making it easy to use and
2580 adapt. This is where Arduino steps in. Arduino’s goal is <span class="quote">„<span class="quote">making
2581 things that help other people make things.</span>“</span>
2582       </p><p>
2583         Arduino has been hugely successful in making technology and electronics
2584 reach a larger audience. For Tom, Arduino has been about <span class="quote">„<span class="quote">the
2585 democratization of technology.</span>“</span> Tom sees Arduino’s open-source
2586 strategy as helping the world get over the idea that technology has to be
2587 protected. Tom says, <span class="quote">„<span class="quote">Technology is a literacy everyone should
2588 learn.</span>“</span>
2589       </p><p>
2590         Ultimately, for Arduino, going open has been good business—good for product
2591 development, good for distribution, good for pricing, and good for
2592 manufacturing.
2593       </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>
2594           Ártica provides online courses and consulting services focused on how to use
2595 digital technology to share knowledge and enable collaboration in arts and
2596 culture. Founded in 2011 in Uruguay.
2597         </p><p>
2598           <a class="ulink" href="http://www.articaonline.com" target="_top">http://www.articaonline.com</a>
2599         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
2600 services
2601         </p><p><span class="strong"><strong>Interview date</strong></span>: March 9, 2016
2602         </p><p><span class="strong"><strong>Interviewees</strong></span>: Mariana Fossatti and Jorge
2603 Gemetto, cofounders
2604         </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}
2605     \textit{
2606           Profile written by Sarah Hinchliff Pearson
2607         }
2608     \end{flushright}</td></tr></table></div><p>
2609         The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
2610 ultimate example of DIY. Not only are they successful entrepreneurs, the
2611 niche in which their small business operates is essentially one they built
2612 themselves.
2613       </p><p>
2614         Their dream jobs didn’t exist, so they created them.
2615       </p><p>
2616         In 2011, Mariana was a sociologist working for an international organization
2617 to develop research and online education about rural-development
2618 issues. Jorge was a psychologist, also working in online education. Both
2619 were bloggers and heavy users of social media, and both had a passion for
2620 arts and culture. They decided to take their skills in digital technology
2621 and online learning and apply them to a topic area they loved. They launched
2622 Ártica, an online business that provides education and consulting for people
2623 and institutions creating artistic and cultural projects on the Internet.
2624       </p><p>
2625         Ártica feels like a uniquely twenty-first century business. The small
2626 company has a global online presence with no physical offices. Jorge and
2627 Mariana live in Uruguay, and the other two full-time employees, who Jorge
2628 and Mariana have never actually met in person, live in Spain. They started
2629 by creating a MOOC (massive open online course) about remix culture and
2630 collaboration in the arts, which gave them a direct way to reach an
2631 international audience, attracting students from across Latin America and
2632 Spain. In other words, it is the classic Internet story of being able to
2633 directly tap into an audience without relying upon gatekeepers or
2634 intermediaries.
2635       </p><p>
2636         Ártica offers personalized education and consulting services, and helps
2637 clients implement projects. All of these services are customized. They call
2638 it an <span class="quote">„<span class="quote">artisan</span>“</span> process because of the time and effort it takes
2639 to adapt their work for the particular needs of students and
2640 clients. <span class="quote">„<span class="quote">Each student or client is paying for a specific solution to
2641 his or her problems and questions,</span>“</span> Mariana said. Rather than sell
2642 access to their content, they provide it for free and charge for the
2643 personalized services.
2644       </p><p>
2645         When they started, they offered a smaller number of courses designed to
2646 attract large audiences. <span class="quote">„<span class="quote">Over the years, we realized that online
2647 communities are more specific than we thought,</span>“</span> Mariana said. Ártica
2648 now provides more options for classes and has lower enrollment in each
2649 course. This means they can provide more attention to individual students
2650 and offer classes on more specialized topics.
2651       </p><p>
2652         Online courses are their biggest revenue stream, but they also do more than
2653 a dozen consulting projects each year, ranging from digitization to event
2654 planning to marketing campaigns. Some are significant in scope, particularly
2655 when they work with cultural institutions, and some are smaller projects
2656 commissioned by individual artists.
2657       </p><p>
2658         Ártica also seeks out public and private funding for specific
2659 projects. Sometimes, even if they are unsuccessful in subsidizing a project
2660 like a new course or e-book, they will go ahead because they believe in
2661 it. They take the stance that every new project leads them to something new,
2662 every new resource they create opens new doors.
2663       </p><p>
2664         Ártica relies heavily on their free Creative Commons–licensed content to
2665 attract new students and clients. Everything they create—online education,
2666 blog posts, videos—is published under an Attribution-ShareAlike license (CC
2667 BY-SA). <span class="quote">„<span class="quote">We use a ShareAlike license because we want to give the
2668 greatest freedom to our students and readers, and we also want that freedom
2669 to be viral,</span>“</span> Jorge said. For them, giving others the right to reuse
2670 and remix their content is a fundamental value. <span class="quote">„<span class="quote">How can you offer an
2671 online educational service without giving permission to download, make and
2672 keep copies, or print the educational resources?</span>“</span> Jorge
2673 said. <span class="quote">„<span class="quote">If we want to do the best for our students—those who trust in
2674 us to the point that they are willing to pay online without face-to-face
2675 contact—we have to offer them a fair and ethical agreement.</span>“</span>
2676       </p><p>
2677         They also believe sharing their ideas and expertise openly helps them build
2678 their reputation and visibility. People often share and cite their work. A
2679 few years ago, a publisher even picked up one of their e-books and
2680 distributed printed copies. Ártica views reuse of their work as a way to
2681 open up new opportunities for their business.
2682       </p><p>
2683         This belief that openness creates new opportunities reflects another
2684 belief—in serendipity. When describing their process for creating content,
2685 they spoke of all of the spontaneous and organic ways they find
2686 inspiration. <span class="quote">„<span class="quote">Sometimes, the collaborative process starts with a
2687 conversation between us, or with friends from other projects,</span>“</span> Jorge
2688 said.  <span class="quote">„<span class="quote">That can be the first step for a new blog post or another
2689 simple piece of content, which can evolve to a more complex product in the
2690 future, like a course or a book.</span>“</span>
2691       </p><p>
2692         Rather than planning their work in advance, they let their creative process
2693 be dynamic. <span class="quote">„<span class="quote">This doesn’t mean that we don’t need to work hard in
2694 order to get good professional results, but the design process is more
2695 flexible,</span>“</span> Jorge said. They share early and often, and they adjust
2696 based on what they learn, always exploring and testing new ideas and ways of
2697 operating. In many ways, for them, the process is just as important as the
2698 final product.
2699       </p><p>
2700         People and relationships are also just as important, sometimes
2701 more. <span class="quote">„<span class="quote">In the educational and cultural business, it is more important
2702 to pay attention to people and process, rather than content or specific
2703 formats or materials,</span>“</span> Mariana said. <span class="quote">„<span class="quote">Materials and content are
2704 fluid. The important thing is the relationships.</span>“</span>
2705       </p><p>
2706         Ártica believes in the power of the network. They seek to make connections
2707 with people and institutions across the globe so they can learn from them
2708 and share their knowledge.
2709       </p><p>
2710         At the core of everything Ártica does is a set of values.  <span class="quote">„<span class="quote">Good
2711 content is not enough,</span>“</span> Jorge said. <span class="quote">„<span class="quote">We also think that it is
2712 very important to take a stand for some things in the cultural
2713 sector.</span>“</span> Mariana and Jorge are activists. They defend free culture
2714 (the movement promoting the freedom to modify and distribute creative work)
2715 and work to demonstrate the intersection between free culture and other
2716 social-justice movements. Their efforts to involve people in their work and
2717 enable artists and cultural institutions to better use technology are all
2718 tied closely to their belief system. Ultimately, what drives their work is a
2719 mission to democratize art and culture.
2720       </p><p>
2721         Of course, Ártica also has to make enough money to cover its expenses. Human
2722 resources are, by far, their biggest expense.  They tap a network of
2723 collaborators on a case-by-case basis and hire contractors for specific
2724 projects. Whenever possible, they draw from artistic and cultural resources
2725 in the commons, and they rely on free software. Their operation is small,
2726 efficient, and sustainable, and because of that, it is a success.
2727       </p><p><span class="quote">„<span class="quote">There are lots of people offering online courses,</span>“</span> Jorge
2728 said. <span class="quote">„<span class="quote">But it is easy to differentiate us. We have an approach that is
2729 very specific and personal.</span>“</span> Ártica’s model is rooted in the personal
2730 at every level. For Mariana and Jorge, success means doing what brings them
2731 personal meaning and purpose, and doing it sustainably and collaboratively.
2732       </p><p>
2733         In their work with younger artists, Mariana and Jorge try to emphasize that
2734 this model of success is just as valuable as the picture of success we get
2735 from the media. <span class="quote">„<span class="quote">If they seek only the traditional type of success,
2736 they will get frustrated,</span>“</span> Mariana said. <span class="quote">„<span class="quote">We try to show them
2737 another image of what it looks like.</span>“</span>
2738       </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>
2739           The Blender Institute is an animation studio that creates 3-D films using
2740 Blender software. Founded in 2006 in the Netherlands.
2741         </p><p>
2742           <a class="ulink" href="http://www.blender.org" target="_top">http://www.blender.org</a>
2743         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
2744 (subscription-based), charging for physical copies, selling merchandise
2745         </p><p><span class="strong"><strong>Interview date</strong></span>: March 8, 2016
2746         </p><p><span class="strong"><strong>Interviewee</strong></span>: Francesco Siddi, production
2747 coordinator
2748         </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}
2749     \textit{
2750           Profile written by Sarah Hinchliff Pearson
2751         }
2752     \end{flushright}</td></tr></table></div><p>
2753         For Ton Roosendaal, the creator of Blender software and its related
2754 entities, sharing is practical. Making their 3-D content creation software
2755 available under a free software license has been integral to its development
2756 and popularity. Using that software to make movies that were licensed with
2757 Creative Commons pushed that development even further. Sharing enables
2758 people to participate and to interact with and build upon the technology and
2759 content they create in a way that benefits Blender and its community in
2760 concrete ways.
2761       </p><p>
2762         Each open-movie project Blender runs produces a host of openly licensed
2763 outputs, not just the final film itself but all of the source material as
2764 well. The creative process also enhances the development of the Blender
2765 software because the technical team responds directly to the needs of the
2766 film production team, creating tools and features that make their lives
2767 easier. And, of course, each project involves a long, rewarding process for
2768 the creative and technical community working together.
2769       </p><p>
2770         Rather than just talking about the theoretical benefits of sharing and free
2771 culture, Ton is very much about doing and making free culture. Blender’s
2772 production coordinator Francesco Siddi told us, <span class="quote">„<span class="quote">Ton believes if you
2773 don’t make content using your tools, then you’re not doing anything.</span>“</span>
2774       </p><p>
2775         Blender’s history begins in the late 1990s, when Ton created the Blender
2776 software. Originally, the software was an in-house resource for his
2777 animation studio based in the Netherlands.  Investors became interested in
2778 the software, so he began marketing the software to the public, offering a
2779 free version in addition to a paid version. Sales were disappointing, and
2780 his investors gave up on the endeavor in the early 2000s. He made a deal
2781 with investors—if he could raise enough money, he could then make the
2782 Blender software available under the GNU General Public License.
2783       </p><p>
2784         This was long before Kickstarter and other online crowdfunding sites
2785 existed, but Ton ran his own version of a crowdfunding campaign and quickly
2786 raised the money he needed. The Blender software became freely available for
2787 anyone to use. Simply applying the General Public License to the software,
2788 however, was not enough to create a thriving community around it.  Francesco
2789 told us, <span class="quote">„<span class="quote">Software of this complexity relies on people and their
2790 vision of how people work together. Ton is a fantastic community builder and
2791 manager, and he put a lot of work into fostering a community of developers
2792 so that the project could live.</span>“</span>
2793       </p><p>
2794         Like any successful free and open-source software project, Blender developed
2795 quickly because the community could make fixes and
2796 improvements. <span class="quote">„<span class="quote">Software should be free and open to hack,</span>“</span>
2797 Francesco said. <span class="quote">„<span class="quote">Otherwise, everyone is doing the same thing in the
2798 dark for ten years.</span>“</span> Ton set up the Blender Foundation to oversee and
2799 steward the software development and maintenance.
2800       </p><p>
2801         After a few years, Ton began looking for new ways to push development of the
2802 software. He came up with the idea of creating CC-licensed films using the
2803 Blender software. Ton put a call online for all interested and skilled
2804 artists. Francesco said the idea was to get the best artists available, put
2805 them in a building together with the best developers, and have them work
2806 together. They would not only produce high-quality openly licensed content,
2807 they would improve the Blender software in the process.
2808       </p><p>
2809         They turned to crowdfunding to subsidize the costs of the project. They had
2810 about twenty people working full-time for six to ten months, so the costs
2811 were significant. Francesco said that when their crowdfunding campaign
2812 succeeded, people were astounded. <span class="quote">„<span class="quote">The idea that making money was
2813 possible by producing CC-licensed material was mind-blowing to
2814 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
2815 believe it.</span>‘</span></span>“</span>
2816       </p><p>
2817         The first film, which was released in 2006, was an experiment.  It was so
2818 successful that Ton decided to set up the Blender Institute, an entity
2819 dedicated to hosting open-movie projects.  The Blender Institute’s next
2820 project was an even bigger success.  The film, Big Buck Bunny, went viral,
2821 and its animated characters were picked up by marketers.
2822       </p><p>
2823         Francesco said that, over time, the Blender Institute projects have gotten
2824 bigger and more prominent. That means the filmmaking process has become more
2825 complex, combining technical experts and artists who focus on
2826 storytelling. Francesco says the process is almost on an industrial scale
2827 because of the number of moving parts. This requires a lot of specialized
2828 assistance, but the Blender Institute has no problem finding the talent it
2829 needs to help on projects. <span class="quote">„<span class="quote">Blender hardly does any recruiting for
2830 film projects because the talent emerges naturally,</span>“</span> Francesco
2831 said. <span class="quote">„<span class="quote">So many people want to work with us, and we can’t always hire
2832 them because of budget constraints.</span>“</span>
2833       </p><p>
2834         Blender has had a lot of success raising money from its community over the
2835 years. In many ways, the pitch has gotten easier to make. Not only is
2836 crowdfunding simply more familiar to the public, but people know and trust
2837 Blender to deliver, and Ton has developed a reputation as an effective
2838 community leader and visionary for their work. <span class="quote">„<span class="quote">There is a whole
2839 community who sees and understands the benefit of these projects,</span>“</span>
2840 Francesco said.
2841       </p><p>
2842         While these benefits of each open-movie project make a compelling pitch for
2843 crowdfunding campaigns, Francesco told us the Blender Institute has found
2844 some limitations in the standard crowdfunding model where you propose a
2845 specific project and ask for funding. <span class="quote">„<span class="quote">Once a project is over,
2846 everyone goes home,</span>“</span> he said. <span class="quote">„<span class="quote">It is great fun, but then it
2847 ends.  That is a problem.</span>“</span>
2848       </p><p>
2849         To make their work more sustainable, they needed a way to receive ongoing
2850 support rather than on a project-by-project basis. Their solution is Blender
2851 Cloud, a subscription-style crowdfunding model akin to the online
2852 crowdfunding platform, Patreon. For about ten euros each month, subscribers
2853 get access to download everything the Blender Institute produces—software,
2854 art, training, and more. All of the assets are available under an
2855 Attribution license (CC BY) or placed in the public domain (CC0), but they
2856 are initially made available only to subscribers. Blender Cloud enables
2857 subscribers to follow Blender’s movie projects as they develop, sharing
2858 detailed information and content used in the creative process. Blender Cloud
2859 also has extensive training materials and libraries of characters and other
2860 assets used in various projects.
2861       </p><p>
2862         The continuous financial support provided by Blender Cloud subsidizes five
2863 to six full-time employees at the Blender Institute. Francesco says their
2864 goal is to grow their subscriber base. <span class="quote">„<span class="quote">This is our freedom,</span>“</span>
2865 he told us, <span class="quote">„<span class="quote">and for artists, freedom is everything.</span>“</span>
2866       </p><p>
2867         Blender Cloud is the primary revenue stream of the Blender Institute. The
2868 Blender Foundation is funded primarily by donations, and that money goes
2869 toward software development and maintenance. The revenue streams of the
2870 Institute and Foundation are deliberately kept separate. Blender also has
2871 other revenue streams, such as the Blender Store, where people can purchase
2872 DVDs, T-shirts, and other Blender products.
2873       </p><p>
2874         Ton has worked on projects relating to his Blender software for nearly
2875 twenty years. Throughout most of that time, he has been committed to making
2876 the software and the content produced with the software free and
2877 open. Selling a license has never been part of the business model.
2878       </p><p>
2879         Since 2006, he has been making films available along with all of their
2880 source material. He says he has hardly ever seen people stepping into
2881 Blender’s shoes and trying to make money off of their content. Ton believes
2882 this is because the true value of what they do is in the creative and
2883 production process.  <span class="quote">„<span class="quote">Even when you share everything, all your
2884 original sources, it still takes a lot of talent, skills, time, and budget
2885 to reproduce what you did,</span>“</span> Ton said.
2886       </p><p>
2887         For Ton and Blender, it all comes back to doing.
2888       </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>
2889           Cards Against Humanity is a private, for-profit company that makes a popular
2890 party game by the same name. Founded in 2011 in the U.S.
2891         </p><p>
2892           <a class="ulink" href="http://www.cardsagainsthumanity.com" target="_top">http://www.cardsagainsthumanity.com</a>
2893         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
2894 copies
2895         </p><p><span class="strong"><strong>Interview date</strong></span>: February 3, 2016
2896         </p><p><span class="strong"><strong>Interviewee</strong></span>: Max Temkin, cofounder
2897         </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}
2898     \textit{
2899           Profile written by Sarah Hinchliff Pearson
2900         }
2901     \end{flushright}</td></tr></table></div><p>
2902         If you ask cofounder Max Temkin, there is nothing particularly interesting
2903 about the Cards Against Humanity business model.  <span class="quote">„<span class="quote">We make a
2904 product. We sell it for money. Then we spend less money than we
2905 make,</span>“</span> Max said.
2906       </p><p>
2907         He is right. Cards Against Humanity is a simple party game, modeled after
2908 the game Apples to Apples. To play, one player asks a question or
2909 fill-in-the-blank statement from a black card, and the other players submit
2910 their funniest white card in response. The catch is that all of the cards
2911 are filled with crude, gruesome, and otherwise awful things. For the right
2912 kind of people (<span class="quote">„<span class="quote">horrible people,</span>“</span> according to Cards Against
2913 Humanity advertising), this makes for a hilarious and fun game.
2914       </p><p>
2915         The revenue model is simple. Physical copies of the game are sold for a
2916 profit. And it works. At the time of this writing, Cards Against Humanity is
2917 the number-one best-selling item out of all toys and games on Amazon. There
2918 are official expansion packs available, and several official themed packs
2919 and international editions as well.
2920       </p><p>
2921         But Cards Against Humanity is also available for free. Anyone can download a
2922 digital version of the game on the Cards Against Humanity website. More than
2923 one million people have downloaded the game since the company began tracking
2924 the numbers.
2925       </p><p>
2926         The game is available under an Attribution-NonCommercial-ShareAlike license
2927 (CC BY-NC-SA). That means, in addition to copying the game, anyone can
2928 create new versions of the game as long as they make it available under the
2929 same noncommercial terms. The ability to adapt the game is like an entire
2930 new game unto itself.
2931       </p><p>
2932         All together, these factors—the crass tone of the game and company, the free
2933 download, the openness to fans remixing the game—give the game a massive
2934 cult following.
2935       </p><p>
2936         Their success is not the result of a grand plan. Instead, Cards Against
2937 Humanity was the last in a long line of games and comedy projects that Max
2938 Temkin and his friends put together for their own amusement. As Max tells
2939 the story, they made the game so they could play it themselves on New Year’s
2940 Eve because they were too nerdy to be invited to other parties. The game was
2941 a hit, so they decided to put it up online as a free PDF. People started
2942 asking if they could pay to have the game printed for them, and eventually
2943 they decided to run a Kickstarter to fund the printing. They set their
2944 Kickstarter goal at $4,000—and raised $15,000. The game was officially
2945 released in May 2011.
2946       </p><p>
2947         The game caught on quickly, and it has only grown more popular over
2948 time. Max says the eight founders never had a meeting where they decided to
2949 make it an ongoing business. <span class="quote">„<span class="quote">It kind of just happened,</span>“</span> he
2950 said.
2951       </p><p>
2952         But this tale of a <span class="quote">„<span class="quote">happy accident</span>“</span> belies marketing
2953 genius. Just like the game, the Cards Against Humanity brand is irreverent
2954 and memorable. It is hard to forget a company that calls the FAQ on their
2955 website <span class="quote">„<span class="quote">Your dumb questions.</span>“</span>
2956       </p><p>
2957         Like most quality satire, however, there is more to the joke than vulgarity
2958 and shock value. The company’s marketing efforts around Black Friday
2959 illustrate this particularly well. For those outside the United States,
2960 Black Friday is the term for the day after the Thanksgiving holiday, the
2961 biggest shopping day of the year. It is an incredibly important day for
2962 Cards Against Humanity, like it is for all U.S. retailers. Max said they
2963 struggled with what to do on Black Friday because they didn’t want to
2964 support what he called the <span class="quote">„<span class="quote">orgy of consumerism</span>“</span> the day has
2965 become, particularly since it follows a day that is about being grateful for
2966 what you have. In 2013, after deliberating, they decided to have an
2967 Everything Costs $5 More sale.
2968       </p><p><span class="quote">„<span class="quote">We sweated it out the night before Black Friday, wondering if our
2969 fans were going to hate us for it,</span>“</span> he said. <span class="quote">„<span class="quote">But it made us
2970 laugh so we went with it. People totally caught the joke.</span>“</span>
2971       </p><p>
2972         This sort of bold transparency delights the media, but more importantly, it
2973 engages their fans. <span class="quote">„<span class="quote">One of the most surprising things you can do in
2974 capitalism is just be honest with people,</span>“</span> Max said. <span class="quote">„<span class="quote">It shocks
2975 people that there is transparency about what you are doing.</span>“</span>
2976       </p><p>
2977         Max also likened it to a grand improv scene. <span class="quote">„<span class="quote">If we do something a
2978 little subversive and unexpected, the public wants to be a part of the
2979 joke.</span>“</span> One year they did a Give Cards Against Humanity $5 event,
2980 where people literally paid them five dollars for no reason. Their fans
2981 wanted to make the joke funnier by making it successful. They made $70,000
2982 in a single day.
2983       </p><p>
2984         This remarkable trust they have in their customers is what inspired their
2985 decision to apply a Creative Commons license to the game. Trusting your
2986 customers to reuse and remix your work requires a leap of faith. Cards
2987 Against Humanity obviously isn’t afraid of doing the unexpected, but there
2988 are lines even they do not want to cross. Before applying the license, Max
2989 said they worried that some fans would adapt the game to include all of the
2990 jokes they intentionally never made because they crossed that
2991 line. <span class="quote">„<span class="quote">It happened, and the world didn’t end,</span>“</span> Max
2992 said. <span class="quote">„<span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
2993 times over because there are so many benefits.</span>“</span>
2994       </p><p>
2995         Any successful product inspires its biggest fans to create remixes of it,
2996 but unsanctioned adaptations are more likely to fly under the radar. The
2997 Creative Commons license gives fans of Cards Against Humanity the freedom to
2998 run with the game and copy, adapt, and promote their creations openly. Today
2999 there are thousands of fan expansions of the game.
3000       </p><p>
3001         Max said, <span class="quote">„<span class="quote">CC was a no-brainer for us because it gets the most people
3002 involved. Making the game free and available under a CC license led to the
3003 unbelievable situation where we are one of the best-marketed games in the
3004 world, and we have never spent a dime on marketing.</span>“</span>
3005       </p><p>
3006         Of course, there are limits to what the company allows its customers to do
3007 with the game. They chose the Attribution-NonCommercial-ShareAlike license
3008 because it restricts people from using the game to make money. It also
3009 requires that adaptations of the game be made available under the same
3010 licensing terms if they are shared publicly. Cards Against Humanity also
3011 polices its brand. <span class="quote">„<span class="quote">We feel like we’re the only ones who can use our
3012 brand and our game and make money off of it,</span>“</span> Max said. About 99.9
3013 percent of the time, they just send an email to those making commercial use
3014 of the game, and that is the end of it. There have only been a handful of
3015 instances where they had to get a lawyer involved.
3016       </p><p>
3017         Just as there is more than meets the eye to the Cards Against Humanity
3018 business model, the same can be said of the game itself. To be playable,
3019 every white card has to work syntactically with enough black cards. The
3020 eight creators invest an incredible amount of work into creating new cards
3021 for the game. <span class="quote">„<span class="quote">We have daylong arguments about commas,</span>“</span> Max
3022 said. <span class="quote">„<span class="quote">The slacker tone of the cards gives people the impression that
3023 it is easy to write them, but it is actually a lot of work and
3024 quibbling.</span>“</span>
3025       </p><p>
3026         That means cocreation with their fans really doesn’t work. The company has a
3027 submission mechanism on their website, and they get thousands of
3028 suggestions, but it is very rare that a submitted card is adopted. Instead,
3029 the eight initial creators remain the primary authors of expansion decks and
3030 other new products released by the company. Interestingly, the creativity of
3031 their customer base is really only an asset to the company once their
3032 original work is created and published when people make their own
3033 adaptations of the game.
3034       </p><p>
3035         For all of their success, the creators of Cards Against Humanity are only
3036 partially motivated by money. Max says they have always been interested in
3037 the Walt Disney philosophy of financial success. <span class="quote">„<span class="quote">We don’t make jokes
3038 and games to make money—we make money so we can make more jokes and
3039 games,</span>“</span> he said.
3040       </p><p>
3041         In fact, the company has given more than $4 million to various charities and
3042 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
3043 have other interests and hobbies. We are passionate about other things going
3044 on in our lives. A lot of the activism we have done comes out of us taking
3045 things from the rest of our lives and channeling some of the excitement from
3046 the game into it.</span>“</span>
3047       </p><p>
3048         Seeing money as fuel rather than the ultimate goal is what has enabled them
3049 to embrace Creative Commons licensing without reservation. CC licensing
3050 ended up being a savvy marketing move for the company, but nonetheless,
3051 giving up exclusive control of your work necessarily means giving up some
3052 opportunities to extract more money from customers.
3053       </p><p><span class="quote">„<span class="quote">It’s not right for everyone to release everything under CC
3054 licensing,</span>“</span> Max said. <span class="quote">„<span class="quote">If your only goal is to make a lot of
3055 money, then CC is not best strategy. This kind of business model, though,
3056 speaks to your values, and who you are and why you’re making things.</span>“</span>
3057       </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>
3058           The Conversation is an independent source of news, sourced from the academic
3059 and research community and delivered direct to the public over the
3060 Internet. Founded in 2011 in Australia.
3061         </p><p>
3062           <a class="ulink" href="http://theconversation.com" target="_top">http://theconversation.com</a>
3063         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
3064 (universities pay membership fees to have their faculties serve as writers),
3065 grant funding
3066         </p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
3067         </p><p><span class="strong"><strong>Interviewee</strong></span>: Andrew Jaspan, founder
3068         </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}
3069     \textit{
3070           Profile written by Paul Stacey
3071         }
3072     \end{flushright}</td></tr></table></div><p>
3073         Andrew Jaspan spent years as an editor of major newspapers including the
3074 Observer in London, the Sunday Herald in Glasgow, and the Age in Melbourne,
3075 Australia. He experienced firsthand the decline of newspapers, including the
3076 collapse of revenues, layoffs, and the constant pressure to reduce
3077 costs. After he left the Age in 2005, his concern for the future journalism
3078 didn’t go away. Andrew made a commitment to come up with an alternative
3079 model.
3080       </p><p>
3081         Around the time he left his job as editor of the Melbourne Age, Andrew
3082 wondered where citizens would get news grounded in fact and evidence rather
3083 than opinion or ideology. He believed there was still an appetite for
3084 journalism with depth and substance but was concerned about the increasing
3085 focus on the sensational and sexy.
3086       </p><p>
3087         While at the Age, he’d become friends with a vice-chancellor of a university
3088 in Melbourne who encouraged him to talk to smart people across campus—an
3089 astrophysicist, a Nobel laureate, earth scientists, economists . . . These
3090 were the kind of smart people he wished were more involved in informing the
3091 world about what is going on and correcting the errors that appear in
3092 media.  However, they were reluctant to engage with mass media. Often,
3093 journalists didn’t understand what they said, or unilaterally chose what
3094 aspect of a story to tell, putting out a version that these people felt was
3095 wrong or mischaracterized. Newspapers want to attract a mass
3096 audience. Scholars want to communicate serious news, findings, and
3097 insights. It’s not a perfect match.  Universities are massive repositories
3098 of knowledge, research, wisdom, and expertise. But a lot of that stays
3099 behind a wall of their own making—there are the walled garden and ivory
3100 tower metaphors, and in more literal terms, the paywall. Broadly speaking,
3101 universities are part of society but disconnected from it. They are an
3102 enormous public resource but not that good at presenting their expertise to
3103 the wider public.
3104       </p><p>
3105         Andrew believed he could to help connect academics back into the public
3106 arena, and maybe help society find solutions to big problems. He thought
3107 about pairing professional editors with university and research experts,
3108 working one-on-one to refine everything from story structure to headline,
3109 captions, and quotes. The editors could help turn something that is academic
3110 into something understandable and readable. And this would be a key
3111 difference from traditional journalism—the subject matter expert would get a
3112 chance to check the article and give final approval before it is
3113 published. Compare this with reporters just picking and choosing the quotes
3114 and writing whatever they want.
3115       </p><p>
3116         The people he spoke to liked this idea, and Andrew embarked on raising money
3117 and support with the help of the Commonwealth Scientific and Industrial
3118 Research Organisation (CSIRO), the University of Melbourne, Monash
3119 University, the University of Technology Sydney, and the University of
3120 Western Australia.  These founding partners saw the value of an independent
3121 information channel that would also showcase the talent and knowledge of the
3122 university and research sector. With their help, in 2011, the Conversation,
3123 was launched as an independent news site in Australia. Everything published
3124 in the Conversation is openly licensed with Creative Commons.
3125       </p><p>
3126         The Conversation is founded on the belief that underpinning a functioning
3127 democracy is access to independent, high-quality, informative
3128 journalism. The Conversation’s aim is for people to have a better
3129 understanding of current affairs and complex issues—and hopefully a better
3130 quality of public discourse. The Conversation sees itself as a source of
3131 trusted information dedicated to the public good. Their core mission is
3132 simple: to provide readers with a reliable source of evidence-based
3133 information.
3134       </p><p>
3135         Andrew worked hard to reinvent a methodology for creating reliable, credible
3136 content. He introduced strict new working practices, a charter, and codes of
3137 conduct.<a href="#ftn.idm1075" class="footnote" name="idm1075"><sup class="footnote">[114]</sup></a> These include fully disclosing
3138 who every author is (with their relevant expertise); who is funding their
3139 research; and if there are any potential or real conflicts of interest.
3140 Also important is where the content originates, and even though it comes
3141 from the university and research community, it still needs to be fully
3142 disclosed. The Conversation does not sit behind a paywall. Andrew believes
3143 access to information is an issue of equality—everyone should have access,
3144 like access to clean water. The Conversation is committed to an open and
3145 free Internet. Everyone should have free access to their content, and be
3146 able to share it or republish it.
3147       </p><p>
3148         Creative Commons help with these goals; articles are published with the
3149 Attribution- NoDerivs license (CC BY-ND). They’re freely available for
3150 others to republish elsewhere as long as attribution is given and the
3151 content is not edited. Over five years, more than twenty-two thousand sites
3152 have republished their content. The Conversation website gets about 2.9
3153 million unique views per month, but through republication they have
3154 thirty-five million readers. This couldn’t have been done without the
3155 Creative Commons license, and in Andrew’s view, Creative Commons is central
3156 to everything the Conversation does.
3157       </p><p>
3158         When readers come across the Conversation, they seem to like what they find
3159 and recommend it to their friends, peers, and networks. Readership has grown
3160 primarily through word of mouth.  While they don’t have sales and marketing,
3161 they do promote their work through social media (including Twitter and
3162 Facebook), and by being an accredited supplier to Google News.
3163       </p><p>
3164         It’s usual for the founders of any company to ask themselves what kind of
3165 company it should be. It quickly became clear to the founders of the
3166 Conversation that they wanted to create a public good rather than make money
3167 off of information. Most media companies are working to aggregate as many
3168 eyeballs as possible and sell ads. The Conversation founders didn’t want
3169 this model. It takes no advertising and is a not-for-profit venture.
3170       </p><p>
3171         There are now different editions of the Conversation for Africa, the United
3172 Kingdom, France, and the United States, in addition to the one for
3173 Australia. All five editions have their own editorial mastheads, advisory
3174 boards, and content. The Conversation’s global virtual newsroom has roughly
3175 ninety staff working with thirty-five thousand academics from over sixteen
3176 hundred universities around the world. The Conversation would like to be
3177 working with university scholars from even more parts of the world.
3178       </p><p>
3179         Additionally, each edition has its own set of founding partners, strategic
3180 partners, and funders. They’ve received funding from foundations,
3181 corporates, institutions, and individual donations, but the Conversation is
3182 shifting toward paid memberships by universities and research institutions
3183 to sustain operations.  This would safeguard the current service and help
3184 improve coverage and features.
3185       </p><p>
3186         When professors from member universities write an article, there is some
3187 branding of the university associated with the article.  On the Conversation
3188 website, paying university members are listed as <span class="quote">„<span class="quote">members and
3189 funders.</span>“</span> Early participants may be designated as <span class="quote">„<span class="quote">founding
3190 members,</span>“</span> with seats on the editorial advisory board.
3191       </p><p>
3192         Academics are not paid for their contributions, but they get free editing
3193 from a professional (four to five hours per piece, on average). They also
3194 get access to a large audience. Every author and member university has
3195 access to a special analytics dashboard where they can check the reach of an
3196 article. The metrics include what people are tweeting, the comments,
3197 countries the readership represents, where the article is being republished,
3198 and the number of readers per article.
3199       </p><p>
3200         The Conversation plans to expand the dashboard to show not just reach but
3201 impact. This tracks activities, behaviors, and events that occurred as a
3202 result of publication, including things like a scholar being asked to go on
3203 a show to discuss their piece, give a talk at a conference, collaborate,
3204 submit a journal paper, and consult a company on a topic.
3205       </p><p>
3206         These reach and impact metrics show the benefits of membership.  With the
3207 Conversation, universities can engage with the public and show why they’re
3208 of value.
3209       </p><p>
3210         With its tagline, <span class="quote">„<span class="quote">Academic Rigor, Journalistic Flair,</span>“</span> the
3211 Conversation represents a new form of journalism that contributes to a more
3212 informed citizenry and improved democracy around the world. Its open
3213 business model and use of Creative Commons show how it’s possible to
3214 generate both a public good and operational revenue at the same time.
3215       </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>
3216           Cory Doctorow is a science fiction writer, activist, blogger, and
3217 journalist. Based in the U.S.
3218         </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>
3219         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
3220 copies (book sales), pay-what-you-want, selling translation rights to books
3221         </p><p><span class="strong"><strong>Interview date</strong></span>: January 12, 2016
3222         </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}
3223     \textit{
3224           Profile written by Sarah Hinchliff Pearson
3225         }
3226     \end{flushright}</td></tr></table></div><p>
3227         Cory Doctorow hates the term <span class="quote">„<span class="quote">business model,</span>“</span> and he is
3228 adamant that he is not a brand. <span class="quote">„<span class="quote">To me, branding is the idea that you
3229 can take a thing that has certain qualities, remove the qualities, and go on
3230 selling it,</span>“</span> he said.  <span class="quote">„<span class="quote">I’m not out there trying to figure out
3231 how to be a brand.  I’m doing this thing that animates me to work crazy
3232 insane hours because it’s the most important thing I know how to do.</span>“</span>
3233       </p><p>
3234         Cory calls himself an entrepreneur. He likes to say his success came from
3235 making stuff people happened to like and then getting out of the way of them
3236 sharing it.
3237       </p><p>
3238         He is a science fiction writer, activist, blogger, and journalist. Beginning
3239 with his first novel, Down and Out in the Magic Kingdom, in 2003, his work
3240 has been published under a Creative Commons license. Cory is coeditor of the
3241 popular CC-licensed site Boing Boing, where he writes about technology,
3242 politics, and intellectual property. He has also written several nonfiction
3243 books, including the most recent Information Doesn’t Want to Be Free, about
3244 the ways in which creators can make a living in the Internet age.
3245       </p><p>
3246         Cory primarily makes money by selling physical books, but he also takes on
3247 paid speaking gigs and is experimenting with pay-what-you-want models for
3248 his work.
3249       </p><p>
3250         While Cory’s extensive body of fiction work has a large following, he is
3251 just as well known for his activism. He is an outspoken opponent of
3252 restrictive copyright and digital-rights-management (DRM) technology used to
3253 lock up content because he thinks both undermine creators and the public
3254 interest. He is currently a special adviser at the Electronic Frontier
3255 Foundation, where he is involved in a lawsuit challenging the U.S. law that
3256 protects DRM. Cory says his political work doesn’t directly make him money,
3257 but if he gave it up, he thinks he would lose credibility and, more
3258 importantly, lose the drive that propels him to create.  <span class="quote">„<span class="quote">My political
3259 work is a different expression of the same artistic-political urge,</span>“</span>
3260 he said. <span class="quote">„<span class="quote">I have this suspicion that if I gave up the things that
3261 didn’t make me money, the genuineness would leach out of what I do, and the
3262 quality that causes people to like what I do would be gone.</span>“</span>
3263       </p><p>
3264         Cory has been financially successful, but money is not his primary
3265 motivation. At the start of his book Information Doesn’t Want to Be Free, he
3266 stresses how important it is not to become an artist if your goal is to get
3267 rich. <span class="quote">„<span class="quote">Entering the arts because you want to get rich is like buying
3268 lottery tickets because you want to get rich,</span>“</span> he wrote. <span class="quote">„<span class="quote">It
3269 might work, but it almost certainly won’t. Though, of course, someone always
3270 wins the lottery.</span>“</span> He acknowledges that he is one of the lucky few to
3271 <span class="quote">„<span class="quote">make it,</span>“</span> but he says he would be writing no matter
3272 what. <span class="quote">„<span class="quote">I am compelled to write,</span>“</span> he wrote. <span class="quote">„<span class="quote">Long before I
3273 wrote to keep myself fed and sheltered, I was writing to keep myself
3274 sane.</span>“</span>
3275       </p><p>
3276         Just as money is not his primary motivation to create, money is not his
3277 primary motivation to share. For Cory, sharing his work with Creative
3278 Commons is a moral imperative. <span class="quote">„<span class="quote">It felt morally right,</span>“</span> he said
3279 of his decision to adopt Creative Commons licenses. <span class="quote">„<span class="quote">I felt like I
3280 wasn’t contributing to the culture of surveillance and censorship that has
3281 been created to try to stop copying.</span>“</span> In other words, using CC
3282 licenses symbolizes his worldview.
3283       </p><p>
3284         He also feels like there is a solid commercial basis for licensing his work
3285 with Creative Commons. While he acknowledges he hasn’t been able to do a
3286 controlled experiment to compare the commercial benefits of licensing with
3287 CC against reserving all rights, he thinks he has sold more books using a CC
3288 license than he would have without it. Cory says his goal is to convince
3289 people they should pay him for his work. <span class="quote">„<span class="quote">I started by not calling
3290 them thieves,</span>“</span> he said.
3291       </p><p>
3292         Cory started using CC licenses soon after they were first created. At the
3293 time his first novel came out, he says the science fiction genre was overrun
3294 with people scanning and downloading books without permission. When he and
3295 his publisher took a closer look at who was doing that sort of thing online,
3296 they realized it looked a lot like book promotion. <span class="quote">„<span class="quote">I knew there was a
3297 relationship between having enthusiastic readers and having a successful
3298 career as a writer,</span>“</span> he said.  <span class="quote">„<span class="quote">At the time, it took eighty
3299 hours to OCR a book, which is a big effort. I decided to spare them the time
3300 and energy, and give them the book for free in a format destined to
3301 spread.</span>“</span>
3302       </p><p>
3303         Cory admits the stakes were pretty low for him when he first adopted
3304 Creative Commons licenses. He only had to sell two thousand copies of his
3305 book to break even. People often said he was only able to use CC licenses
3306 successfully at that time because he was just starting out. Now they say he
3307 can only do it because he is an established author.
3308       </p><p>
3309         The bottom line, Cory says, is that no one has found a way to prevent people
3310 from copying the stuff they like. Rather than fighting the tide, Cory makes
3311 his work intrinsically shareable.  <span class="quote">„<span class="quote">Getting the hell out of the way
3312 for people who want to share their love of you with other people sounds
3313 obvious, but it’s remarkable how many people don’t do it,</span>“</span> he said.
3314       </p><p>
3315         Making his work available under Creative Commons licenses enables him to
3316 view his biggest fans as his ambassadors.  <span class="quote">„<span class="quote">Being open to fan activity
3317 makes you part of the conversation about what fans do with your work and how
3318 they interact with it,</span>“</span> he said. Cory’s own website routinely
3319 highlights cool things his audience has done with his work.  Unlike
3320 corporations like Disney that tend to have a hands-off relationship with
3321 their fan activity, he has a symbiotic relationship with his
3322 audience. <span class="quote">„<span class="quote">Engaging with your audience can’t guarantee you
3323 success,</span>“</span> he said.  <span class="quote">„<span class="quote">And Disney is an example of being able to
3324 remain aloof and still being the most successful company in the creative
3325 industry in history. But I figure my likelihood of being Disney is pretty
3326 slim, so I should take all the help I can get.</span>“</span>
3327       </p><p>
3328         His first book was published under the most restrictive Creative Commons
3329 license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND). It allows only
3330 verbatim copying for noncommercial purposes. His later work is published
3331 under the Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA), which
3332 gives people the right to adapt his work for noncommercial purposes but only
3333 if they share it back under the same license terms. Before releasing his
3334 work under a CC license that allows adaptations, he always sells the right
3335 to translate the book to other languages to a commercial publisher first. He
3336 wants to reach new potential buyers in other parts of the world, and he
3337 thinks it is more difficult to get people to pay for translations if there
3338 are fan translations already available for free.
3339       </p><p>
3340         In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
3341 to thinking like a dandelion. Dandelions produce thousands of seeds each
3342 spring, and they are blown into the air going in every direction. The
3343 strategy is to maximize the number of blind chances the dandelion has for
3344 continuing its genetic line. Similarly, he says there are lots of people out
3345 there who may want to buy creative work or compensate authors for it in some
3346 other way. <span class="quote">„<span class="quote">The more places your work can find itself, the greater the
3347 likelihood that it will find one of those would-be customers in some
3348 unsuspected crack in the metaphorical pavement,</span>“</span> he wrote. <span class="quote">„<span class="quote">The
3349 copies that others make of my work cost me nothing, and present the
3350 possibility that I’ll get something.</span>“</span>
3351       </p><p>
3352         Applying a CC license to his work increases the chances it will be shared
3353 more widely around the Web. He avoids DRM—and openly opposes the
3354 practice—for similar reasons. DRM has the effect of tying a work to a
3355 particular platform. This digital lock, in turn, strips the authors of
3356 control over their own work and hands that control over to the platform. He
3357 calls it Cory’s First Law: <span class="quote">„<span class="quote">Anytime someone puts a lock on something
3358 that belongs to you and won’t give you the key, that lock isn’t there for
3359 your benefit.</span>“</span>
3360       </p><p>
3361         Cory operates under the premise that artists benefit when there are more,
3362 rather than fewer, places where people can access their work. The Internet
3363 has opened up those avenues, but DRM is designed to limit them. <span class="quote">„<span class="quote">On
3364 the one hand, we can credibly make our work available to a widely dispersed
3365 audience,</span>“</span> he said. <span class="quote">„<span class="quote">On the other hand, the intermediaries we
3366 historically sold to are making it harder to go around them.</span>“</span> Cory
3367 continually looks for ways to reach his audience without relying upon major
3368 platforms that will try to take control over his work.
3369       </p><p>
3370         Cory says his e-book sales have been lower than those of his competitors,
3371 and he attributes some of that to the CC license making the work available
3372 for free. But he believes people are willing to pay for content they like,
3373 even when it is available for free, as long as it is easy to do. He was
3374 extremely successful using Humble Bundle, a platform that allows people to
3375 pay what they want for DRM-free versions of a bundle of a particular
3376 creator’s work. He is planning to try his own pay-what-you-want experiment
3377 soon.
3378       </p><p>
3379         Fans are particularly willing to pay when they feel personally connected to
3380 the artist. Cory works hard to create that personal connection. One way he
3381 does this is by personally answering every single email he gets. <span class="quote">„<span class="quote">If
3382 you look at the history of artists, most die in penury,</span>“</span> he
3383 said. <span class="quote">„<span class="quote">That reality means that for artists, we have to find ways to
3384 support ourselves when public tastes shift, when copyright stops
3385 producing. Future-proofing your artistic career in many ways means figuring
3386 out how to stay connected to those people who have been touched by your
3387 work.</span>“</span>
3388       </p><p>
3389         Cory’s realism about the difficulty of making a living in the arts does not
3390 reflect pessimism about the Internet age. Instead, he says the fact that it
3391 is hard to make a living as an artist is nothing new. What is new, he writes
3392 in his book, <span class="quote">„<span class="quote">is how many ways there are to make things, and to get
3393 them into other people’s hands and minds.</span>“</span>
3394       </p><p>
3395         It has never been easier to think like a dandelion.
3396       </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>
3397           Figshare is a for-profit company offering an online repository where
3398 researchers can preserve and share the output of their research, including
3399 figures, data sets, images, and videos.  Founded in 2011 in the UK.
3400         </p><p>
3401           <a class="ulink" href="http://figshare.com" target="_top">http://figshare.com</a>
3402         </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
3403 services to creators
3404         </p><p><span class="strong"><strong>Interview date</strong></span>: January 28, 2016
3405         </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Hahnel, founder
3406         </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}
3407     \textit{
3408           Profile written by Paul Stacey
3409         }
3410     \end{flushright}</td></tr></table></div><p>
3411         Figshare’s mission is to change the face of academic publishing through
3412 improved dissemination, discoverability, and reusability of scholarly
3413 research. Figshare is a repository where users can make all the output of
3414 their research available—from posters and presentations to data sets and
3415 code—in a way that’s easy to discover, cite, and share. Users can upload any
3416 file format, which can then be previewed in a Web browser. Research output
3417 is disseminated in a way that the current scholarly-publishing model does
3418 not allow.
3419       </p><p>
3420         Figshare founder Mark Hahnel often gets asked: How do you make money? How do
3421 we know you’ll be here in five years? Can you, as a for-profit venture, be
3422 trusted? Answers have evolved over time.
3423       </p><p>
3424         Mark traces the origins of Figshare back to when he was a graduate student
3425 getting his PhD in stem cell biology. His research involved working with
3426 videos of stem cells in motion.  However, when he went to publish his
3427 research, there was no way for him to also publish the videos, figures,
3428 graphs, and data sets. This was frustrating. Mark believed publishing his
3429 complete research would lead to more citations and be better for his career.
3430       </p><p>
3431         Mark does not consider himself an advanced software programmer.
3432 Fortunately, things like cloud-based computing and wikis had become
3433 mainstream, and he believed it ought to be possible to put all his research
3434 online and share it with anyone. So he began working on a solution.
3435       </p><p>
3436         There were two key needs: licenses to make the data citable, and persistent
3437 identifiers— URL links that always point back to the original object
3438 ensuring the research is citable for the long term.
3439       </p><p>
3440         Mark chose Digital Object Identifiers (DOIs) to meet the need for a
3441 persistent identifier. In the DOI system, an object’s metadata is stored as
3442 a series of numbers in the DOI name.  Referring to an object by its DOI is
3443 more stable than referring to it by its URL, because the location of an
3444 object (the web page or URL) can often change. Mark partnered with DataCite
3445 for the provision of DOIs for research data.
3446       </p><p>
3447         As for licenses, Mark chose Creative Commons. The open-access and
3448 open-science communities were already using and recommending Creative
3449 Commons. Based on what was happening in those communities and Mark’s
3450 dialogue with peers, he went with CC0 (in the public domain) for data sets
3451 and CC BY (Attribution) for figures, videos, and data sets.
3452       </p><p>
3453         So Mark began using DOIs and Creative Commons for his own research work. He
3454 had a science blog where he wrote about it and made all his data
3455 open. People started commenting on his blog that they wanted to do the
3456 same. So he opened it up for them to use, too.
3457       </p><p>
3458         People liked the interface and simple upload process. People started asking
3459 if they could also share theses, grant proposals, and code. Inclusion of
3460 code raised new licensing issues, as Creative Commons licenses are not used
3461 for software. To allow the sharing of software code, Mark chose the MIT
3462 license, but GNU and Apache licenses can also be used.
3463       </p><p>
3464         Mark sought investment to make this into a scalable product.  After a few
3465 unsuccessful funding pitches, UK-based Digital Science expressed interest
3466 but insisted on a more viable business model. They made an initial
3467 investment, and together they came up with a freemium-like business model.
3468       </p><p>
3469         Under the freemium model, academics upload their research to Figshare for
3470 storage and sharing for free. Each research object is licensed with Creative
3471 Commons and receives a DOI link. The premium option charges researchers a
3472 fee for gigabytes of private storage space, and for private online space
3473 designed for a set number of research collaborators, which is ideal for
3474 larger teams and geographically dispersed research groups.  Figshare sums up
3475 its value proposition to researchers as <span class="quote">„<span class="quote">You retain ownership. You
3476 license it. You get credit. We just make sure it persists.</span>“</span>
3477       </p><p>
3478         In January 2012, Figshare was launched. (The fig in Figshare stands for
3479 figures.) Using investment funds, Mark made significant improvements to
3480 Figshare. For example, researchers could quickly preview their research
3481 files within a browser without having to download them first or require
3482 third-party software. Journals who were still largely publishing articles as
3483 static noninteractive PDFs became interested in having Figshare provide that
3484 functionality for them.
3485       </p><p>
3486         Figshare diversified its business model to include services for
3487 journals. Figshare began hosting large amounts of data for the journals’
3488 online articles. This additional data improved the quality of the
3489 articles. Outsourcing this service to Figshare freed publishers from having
3490 to develop this functionality as part of their own
3491 infrastructure. Figshare-hosted data also provides a link back to the
3492 article, generating additional click-through and readership—a benefit to
3493 both journal publishers and researchers. Figshare now provides research-data
3494 infrastructure for a wide variety of publishers including Wiley, Springer
3495 Nature, PLOS, and Taylor and Francis, to name a few, and has convinced them
3496 to use Creative Commons licenses for the data.
3497       </p><p>
3498         Governments allocate significant public funds to research. In parallel with
3499 the launch of Figshare, governments around the world began requesting the
3500 research they fund be open and accessible. They mandated that researchers
3501 and academic institutions better manage and disseminate their research
3502 outputs. Institutions looking to comply with this new mandate became
3503 interested in Figshare. Figshare once again diversified its business model,
3504 adding services for institutions.
3505       </p><p>
3506         Figshare now offers a range of fee-based services to institutions, including
3507 their own minibranded Figshare space (called Figshare for Institutions) that
3508 securely hosts research data of institutions in the cloud. Services include
3509 not just hosting but data metrics, data dissemination, and user-group
3510 administration. Figshare’s workflow, and the services they offer for
3511 institutions, take into account the needs of librarians and administrators,
3512 as well as of the researchers.
3513       </p><p>
3514         As with researchers and publishers, Fig-share encouraged institutions to
3515 share their research with CC BY (Attribution)  and their data with CC0 (into
3516 the public domain). Funders who require researchers and institutions to use
3517 open licensing believe in the social responsibilities and benefits of making
3518 research accessible to all. Publishing research in this open way has come to
3519 be called open access. But not all funders specify CC BY; some institutions
3520 want to offer their researchers a choice, including less permissive licenses
3521 like CC BY-NC (Attribution-NonCommercial), CC BY-SA
3522 (Attribution-ShareAlike), or CC BY-ND (Attribution-NoDerivs).
3523       </p><p>
3524         For Mark this created a conflict. On the one hand, the principles and
3525 benefits of open science are at the heart of Figshare, and Mark believes CC
3526 BY is the best license for this.  On the other hand, institutions were
3527 saying they wouldn’t use Figshare unless it offered a choice in licenses. He
3528 initially refused to offer anything beyond CC0 and CC BY, but after seeing
3529 an open-source CERN project offer all Creative Commons licenses without any
3530 negative repercussions, he decided to follow suit.
3531       </p><p>
3532         Mark is thinking of doing a Figshare study that tracks research
3533 dissemination according to Creative Commons license, and gathering metrics
3534 on views, citations, and downloads. You could see which license generates
3535 the biggest impact. If the data showed that CC BY is more impactful, Mark
3536 believes more and more researchers and institutions will make it their
3537 license of choice.
3538       </p><p>
3539         Figshare has an Application Programming Interface (API) that makes it
3540 possible for data to be pulled from Figshare and used in other
3541 applications. As an example, Mark shared a Figshare data set showing the
3542 journal subscriptions that higher-education institutions in the United
3543 Kingdom paid to ten major publishers.<a href="#ftn.idm1183" class="footnote" name="idm1183"><sup class="footnote">[115]</sup></a>
3544 Figshare’s API enables that data to be pulled into an app developed by a
3545 completely different researcher that converts the data into a visually
3546 interesting graph, which any viewer can alter by changing any of the
3547 variables.<a href="#ftn.idm1186" class="footnote" name="idm1186"><sup class="footnote">[116]</sup></a>
3548       </p><p>
3549         The free version of Figshare has built a community of academics, who through
3550 word of mouth and presentations have promoted and spread awareness of
3551 Figshare. To amplify and reward the community, Figshare established an
3552 Advisor program, providing those who promoted Figshare with hoodies and
3553 T-shirts, early access to new features, and travel expenses when they gave
3554 presentations outside of their area. These Advisors also helped Mark on what
3555 license to use for software code and whether to offer universities an option
3556 of using Creative Commons licenses.
3557       </p><p>
3558         Mark says his success is partly about being in the right place at the right
3559 time. He also believes that the diversification of Figshare’s model over
3560 time has been key to success. Figshare now offers a comprehensive set of
3561 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
3562 subscriptions, he believes Figshare would have struggled. In Figshare’s
3563 early days, their primary users were early-career and late-career
3564 academics. It has only been because funders mandated open licensing that
3565 Figshare is now being used by the mainstream.
3566       </p><p>
3567         Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
3568 800,000–plus user uploads, 2 million–plus articles, 500,000-plus
3569 collections, and 5,000–plus projects. Sixty percent of their traffic comes
3570 from Google. A sister company called Altmetric tracks the use of Figshare by
3571 others, including Wikipedia and news sources.
3572       </p><p>
3573         Figshare uses the revenue it generates from the premium subscribers, journal
3574 publishers, and institutions to fund and expand what it can offer to
3575 researchers for free. Figshare has publicly stuck to its principles—keeping
3576 the free service free and requiring the use of CC BY and CC0 from the
3577 start—and from Mark’s perspective, this is why people trust Figshare. Mark
3578 sees new competitors coming forward who are just in it for money. If
3579 Figshare was only in it for the money, they wouldn’t care about offering a
3580 free version. Figshare’s principles and advocacy for openness are a key
3581 differentiator. Going forward, Mark sees Figshare not only as supporting
3582 open access to research but also enabling people to collaborate and make new
3583 discoveries.
3584       </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>
3585           Figure.NZ is a nonprofit charity that makes an online data platform designed
3586 to make data reusable and easy to understand. Founded in 2012 in New
3587 Zealand.
3588         </p><p>
3589           <a class="ulink" href="http://figure.nz" target="_top">http://figure.nz</a>
3590         </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
3591 services to creators, donations, sponsorships
3592         </p><p><span class="strong"><strong>Interview date</strong></span>: May 3, 2016
3593         </p><p><span class="strong"><strong>Interviewee</strong></span>: Lillian Grace, founder
3594         </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}
3595     \textit{
3596           Profile written by Paul Stacey
3597         }
3598     \end{flushright}</td></tr></table></div><p>
3599         In the paper Harnessing the Economic and Social Power of Data presented at
3600 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
3601 valuable and relevant data sets freely available to us right now, but most
3602 people don’t use them. She used to think this meant people didn’t care about
3603 being informed, but she’s come to see that she was wrong. Almost everyone
3604 wants to be informed about issues that matter—not only to them, but also to
3605 their families, their communities, their businesses, and their country. But
3606 there’s a big difference between availability and accessibility of
3607 information. Data is spread across thousands of sites and is held within
3608 databases and spreadsheets that require both time and skill to engage
3609 with. To use data when making a decision, you have to know what specific
3610 question to ask, identify a source that has collected the data, and
3611 manipulate complex tools to extract and visualize the information within the
3612 data set. Lillian established Figure.NZ to make data truly accessible to
3613 all, with a specific focus on New Zealand.
3614       </p><p>
3615         Lillian had the idea for Figure.NZ in February 2012 while working for the
3616 New Zealand Institute, a think tank concerned with improving economic
3617 prosperity, social well-being, environmental quality, and environmental
3618 productivity for New Zealand and New Zealanders. While giving talks to
3619 community and business groups, Lillian realized <span class="quote">„<span class="quote">every single issue we
3620 addressed would have been easier to deal with if more people understood the
3621 basic facts.</span>“</span> But understanding the basic facts sometimes requires
3622 data and research that you often have to pay for.
3623       </p><p>
3624         Lillian began to imagine a website that lifted data up to a visual form that
3625 could be easily understood and freely accessed.  Initially launched as Wiki
3626 New Zealand, the original idea was that people could contribute their data
3627 and visuals via a wiki.  However, few people had graphs that could be used
3628 and shared, and there were no standards or consistency around the data and
3629 the visuals. Realizing the wiki model wasn’t working, Lillian brought the
3630 process of data aggregation, curation, and visual presentation in-house, and
3631 invested in the technology to help automate some of it. Wiki New Zealand
3632 became Figure.NZ, and efforts were reoriented toward providing services to
3633 those wanting to open their data and present it visually.
3634       </p><p>
3635         Here’s how it works. Figure.NZ sources data from other organizations,
3636 including corporations, public repositories, government departments, and
3637 academics. Figure.NZ imports and extracts that data, and then validates and
3638 standardizes it—all with a strong eye on what will be best for users. They
3639 then make the data available in a series of standardized forms, both human-
3640 and machine-readable, with rich metadata about the sources, the licenses,
3641 and data types. Figure.NZ has a chart-designing tool that makes simple bar,
3642 line, and area graphs from any data source. The graphs are posted to the
3643 Figure.NZ website, and they can also be exported in a variety of formats for
3644 print or online use. Figure.NZ makes its data and graphs available using the
3645 Attribution (CC BY) license. This allows others to reuse, revise, remix, and
3646 redistribute Figure.NZ data and graphs as long as they give attribution to
3647 the original source and to Figure.NZ.
3648       </p><p>
3649         Lillian characterizes the initial decision to use Creative Commons as
3650 naively fortunate. It was first recommended to her by a colleague. Lillian
3651 spent time looking at what Creative Commons offered and thought it looked
3652 good, was clear, and made common sense. It was easy to use and easy for
3653 others to understand.  Over time, she’s come to realize just how fortunate
3654 and important that decision turned out to be. New Zealand’s government has
3655 an open-access and licensing framework called NZGOAL, which provides
3656 guidance for agencies when they release copyrighted and noncopyrighted work
3657 and material.<a href="#ftn.idm1218" class="footnote" name="idm1218"><sup class="footnote">[119]</sup></a> It aims to standardize
3658 the licensing of works with government copyright and how they can be reused,
3659 and it does this with Creative Commons licenses. As a result, 98 percent of
3660 all government-agency data is Creative Commons licensed, fitting in nicely
3661 with Figure.NZ’s decision.
3662       </p><p>
3663         Lillian thinks current ideas of what a business is are relatively new, only
3664 a hundred years old or so. She’s convinced that twenty years from now, we
3665 will see new and different models for business. Figure.NZ is set up as a
3666 nonprofit charity. It is purpose-driven but also strives to pay people well
3667 and thinks like a business. Lillian sees the charity-nonprofit status as an
3668 essential element for the mission and purpose of Figure.NZ. She believes
3669 Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
3670 nonprofit status assures people who have data and people who want to use it
3671 that they can rely on Figure.NZ’s motives. People see them as a trusted
3672 wrangler and source.
3673       </p><p>
3674         Although Figure.NZ is a social enterprise that openly licenses their data
3675 and graphs for everyone to use for free, they have taken care not to be
3676 perceived as a free service all around the table. Lillian believes hundreds
3677 of millions of dollars are spent by the government and organizations to
3678 collect data.  However, very little money is spent on taking that data and
3679 making it accessible, understandable, and useful for decision
3680 making. Government uses some of the data for policy, but Lillian believes
3681 that it is underutilized and the potential value is much larger. Figure.NZ
3682 is focused on solving that problem. They believe a portion of money
3683 allocated to collecting data should go into making sure that data is useful
3684 and generates value. If the government wants citizens to understand why
3685 certain decisions are being made and to be more aware about what the
3686 government is doing, why not transform the data it collects into easily
3687 understood visuals? It could even become a way for a government or any
3688 organization to differentiate, market, and brand itself.
3689       </p><p>
3690         Figure.NZ spends a lot of time seeking to understand the motivations of data
3691 collectors and to identify the channels where it can provide value. Every
3692 part of their business model has been focused on who is going to get value
3693 from the data and visuals.
3694       </p><p>
3695         Figure.NZ has multiple lines of business. They provide commercial services
3696 to organizations that want their data publicly available and want to use
3697 Figure.NZ as their publishing platform. People who want to publish open data
3698 appreciate Figure.NZ’s ability to do it faster, more easily, and better than
3699 they can. Customers are encouraged to help their users find, use, and make
3700 things from the data they make available on Figure.NZ’s website. Customers
3701 control what is released and the license terms (although Figure.NZ
3702 encourages Creative Commons licensing). Figure.NZ also serves customers who
3703 want a specific collection of charts created—for example, for their website
3704 or annual report. Charging the organizations that want to make their data
3705 available enables Figure.NZ to provide their site free to all users, to
3706 truly democratize data.
3707       </p><p>
3708         Lillian notes that the current state of most data is terrible and often not
3709 well understood by the people who have it. This sometimes makes it difficult
3710 for customers and Figure.NZ to figure out what it would cost to import,
3711 standardize, and display that data in a useful way. To deal with this,
3712 Figure.NZ uses <span class="quote">„<span class="quote">high-trust contracts,</span>“</span> where customers allocate
3713 a certain budget to the task that Figure.NZ is then free to draw from, as
3714 long as Figure.NZ frequently reports on what they’ve produced so the
3715 customer can determine the value for money. This strategy has helped build
3716 trust and transparency about the level of effort associated with doing work
3717 that has never been done before.
3718       </p><p>
3719         A second line of business is what Figure.NZ calls partners. ASB Bank and
3720 Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
3721 example, with their support Figure.NZ has been able to create Business
3722 Figures, a special way for businesses to find useful data without having to
3723 know what questions to ask.<a href="#ftn.idm1228" class="footnote" name="idm1228"><sup class="footnote">[120]</sup></a>
3724       </p><p>
3725         Figure.NZ also has patrons.<a href="#ftn.idm1232" class="footnote" name="idm1232"><sup class="footnote">[121]</sup></a> Patrons
3726 donate to topic areas they care about, directly enabling Figure.NZ to get
3727 data together to flesh out those areas. Patrons do not direct what data is
3728 included or excluded.
3729       </p><p>
3730         Figure.NZ also accepts philanthropic donations, which are used to provide
3731 more content, extend technology, and improve services, or are targeted to
3732 fund a specific effort or provide in-kind support. As a charity, donations
3733 are tax deductible.
3734       </p><p>
3735         Figure.NZ has morphed and grown over time. With data aggregation, curation,
3736 and visualizing services all in-house, Figure.NZ has developed a deep
3737 expertise in taking random styles of data, standardizing it, and making it
3738 useful. Lillian realized that Figure.NZ could easily become a warehouse of
3739 seventy people doing data. But for Lillian, growth isn’t always good. In her
3740 view, bigger often means less effective. Lillian set artificial constraints
3741 on growth, forcing the organization to think differently and be more
3742 efficient. Rather than in-house growth, they are growing and building
3743 external relationships.
3744       </p><p>
3745         Figure.NZ’s website displays visuals and data associated with a wide range
3746 of categories including crime, economy, education, employment, energy,
3747 environment, health, information and communications technology, industry,
3748 tourism, and many others. A search function helps users find tables and
3749 graphs. Figure.NZ does not provide analysis or interpretation of the data or
3750 visuals. Their goal is to teach people how to think, not think for
3751 them. Figure.NZ wants to create intuitive experiences, not user manuals.
3752       </p><p>
3753         Figure.NZ believes data and visuals should be useful. They provide their
3754 customers with a data collection template and teach them why it’s important
3755 and how to use it. They’ve begun putting more emphasis on tracking what
3756 users of their website want. They also get requests from social media and
3757 through email for them to share data for a specific topic—for example, can
3758 you share data for water quality? If they have the data, they respond
3759 quickly; if they don’t, they try and identify the organizations that would
3760 have that data and forge a relationship so they can be included on
3761 Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
3762 people to be curious about, access, and interpret data on topics they are
3763 interested in.
3764       </p><p>
3765         Lillian has a deep and profound vision for Figure.NZ that goes well beyond
3766 simply providing open-data services. She says things are different now. "We
3767 used to live in a world where it was really hard to share information
3768 widely. And in that world, the best future was created by having a few great
3769 leaders who essentially had access to the information and made decisions on
3770 behalf of others, whether it was on behalf of a country or companies.
3771       </p><p>
3772         "But now we live in a world where it’s really easy to share information
3773 widely and also to communicate widely. In the world we live in now, the best
3774 future is the one where everyone can make well-informed decisions.
3775       </p><p>
3776         "The use of numbers and data as a way of making well-informed decisions is
3777 one of the areas where there is the biggest gaps. We don’t really use
3778 numbers as a part of our thinking and part of our understanding yet.
3779       </p><p>
3780         "Part of the reason is the way data is spread across hundreds of sites. In
3781 addition, for the most part, deep thinking based on data is constrained to
3782 experts because most people don’t have data literacy. There once was a time
3783 when many citizens in society couldn’t read or write. However, as a society,
3784 we’ve now come to believe that reading and writing skills should be
3785 something all citizens have. We haven’t yet adopted a similar belief around
3786 numbers and data literacy. We largely still believe that only a few
3787 specially trained people can analyze and think with numbers.
3788       </p><p>
3789         "Figure.NZ may be the first organization to assert that everyone can use
3790 numbers in their thinking, and it’s built a technological platform along
3791 with trust and a network of relationships to make that possible. What you
3792 can see on Figure.NZ are tens of thousands of graphs, maps, and data.
3793       </p><p>
3794         <span class="quote">„<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
3795 analyze what they see around them. A way to be thoughtful and informed about
3796 society. A means of engaging in conversation and shaping decision making
3797 that transcends personal experience. The long-term value and impact is
3798 almost impossible to measure, but the goal is to help citizens gain
3799 understanding and work together in more informed ways to shape the
3800 future.</span>“</span>
3801       </p><p>
3802         Lillian sees Figure.NZ’s model as having global potential. But for now,
3803 their focus is completely on making Figure.NZ work in New Zealand and to get
3804 the <span class="quote">„<span class="quote">network effect</span>“</span>— users dramatically increasing value for
3805 themselves and for others through use of their service. Creative Commons is
3806 core to making the network effect possible.
3807       </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>
3808           Knowledge Unlatched is a not-for-profit community interest company that
3809 brings libraries together to pool funds to publish open-access
3810 books. Founded in 2012 in the UK.
3811         </p><p>
3812           <a class="ulink" href="http://knowledgeunlatched.org" target="_top">http://knowledgeunlatched.org</a>
3813         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding (specialized)
3814         </p><p><span class="strong"><strong>Interview date</strong></span>: February 26, 2016
3815         </p><p><span class="strong"><strong>Interviewee</strong></span>: Frances Pinter, founder
3816         </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}
3817     \textit{
3818           Profile written by Paul Stacey
3819         }
3820     \end{flushright}</td></tr></table></div><p>
3821         The serial entrepreneur Dr. Frances Pinter has been at the forefront of
3822 innovation in the publishing industry for nearly forty years. She founded
3823 the UK-based Knowledge Unlatched with a mission to enable open access to
3824 scholarly books. For Frances, the current scholarly- book-publishing system
3825 is not working for anyone, and especially not for monographs in the
3826 humanities and social sciences. Knowledge Unlatched is committed to changing
3827 this and has been working with libraries to create a sustainable alternative
3828 model for publishing scholarly books, sharing the cost of making monographs
3829 (released under a Creative Commons license) and savings costs over the long
3830 term. Since its launch, Knowledge Unlatched has received several awards,
3831 including the IFLA/Brill Open Access award in 2014 and a Curtin University
3832 Commercial Innovation Award for Innovation in Education in 2015.
3833       </p><p>
3834         Dr. Pinter has been in academic publishing most of her career.  About ten
3835 years ago, she became acquainted with the Creative Commons founder Lawrence
3836 Lessig and got interested in Creative Commons as a tool for both protecting
3837 content online and distributing it free to users.
3838       </p><p>
3839         Not long after, she ran a project in Africa convincing publishers in Uganda
3840 and South Africa to put some of their content online for free using a
3841 Creative Commons license and to see what happened to print sales. Sales went
3842 up, not down.
3843       </p><p>
3844         In 2008, Bloomsbury Academic, a new imprint of Bloomsbury Publishing in the
3845 United Kingdom, appointed her its founding publisher in London. As part of
3846 the launch, Frances convinced Bloomsbury to differentiate themselves by
3847 putting out monographs for free online under a Creative Commons license
3848 (BY-NC or BY-NC-ND, i.e., Attribution-NonCommercial or
3849 Attribution-NonCommercial-NoDerivs). This was seen as risky, as the biggest
3850 cost for publishers is getting a book to the stage where it can be
3851 printed. If everyone read the online book for free, there would be no
3852 print-book sales at all, and the costs associated with getting the book to
3853 print would be lost.  Surprisingly, Bloomsbury found that sales of the print
3854 versions of these books were 10 to 20 percent higher than normal. Frances
3855 found it intriguing that the Creative Commons–licensed free online book acts
3856 as a marketing vehicle for the print format.
3857       </p><p>
3858         Frances began to look at customer interest in the three forms of the book:
3859 1) the Creative Commons–licensed free online book in PDF form, 2) the
3860 printed book, and 3) a digital version of the book on an aggregator platform
3861 with enhanced features. She thought of this as the <span class="quote">„<span class="quote">ice cream
3862 model</span>“</span>: the free PDF was vanilla ice cream, the printed book was an
3863 ice cream cone, and the enhanced e-book was an ice cream sundae.
3864       </p><p>
3865         After a while, Frances had an epiphany—what if there was a way to get
3866 libraries to underwrite the costs of making these books up until they’re
3867 ready be printed, in other words, cover the fixed costs of getting to the
3868 first digital copy? Then you could either bring down the cost of the printed
3869 book, or do a whole bunch of interesting things with the printed book and
3870 e-book—the ice cream cone or sundae part of the model.
3871       </p><p>
3872         This idea is similar to the article-processing charge some open-access
3873 journals charge researchers to cover publishing costs. Frances began to
3874 imagine a coalition of libraries paying for the prepress costs—a
3875 <span class="quote">„<span class="quote">book-processing charge</span>“</span>—and providing everyone in the world
3876 with an open-access version of the books released under a Creative Commons
3877 license.
3878       </p><p>
3879         This idea really took hold in her mind. She didn’t really have a name for it
3880 but began talking about it and making presentations to see if there was
3881 interest. The more she talked about it, the more people agreed it had
3882 appeal. She offered a bottle of champagne to anyone who could come up with a
3883 good name for the idea. Her husband came up with Knowledge Unlatched, and
3884 after two years of generating interest, she decided to move forward and
3885 launch a community interest company (a UK term for not-for-profit social
3886 enterprises) in 2012.
3887       </p><p>
3888         She describes the business model in a paper called Knowledge Unlatched:
3889 Toward an Open and Networked Future for Academic Publishing:
3890       </p><div class="orderedlist"><ol class="orderedlist compact" type="1"><li class="listitem"><p>
3891             Publishers offer titles for sale reflecting origination costs only via
3892 Knowledge Unlatched.
3893           </p></li><li class="listitem"><p>
3894             Individual libraries select titles either as individual titles or as
3895 collections (as they do from library suppliers now).
3896           </p></li><li class="listitem"><p>
3897             Their selections are sent to Knowledge Unlatched specifying the titles to be
3898 purchased at the stated price(s).
3899           </p></li><li class="listitem"><p>
3900             The price, called a Title Fee (set by publishers and negotiated by Knowledge
3901 Unlatched), is paid to publishers to cover the fixed costs of publishing
3902 each of the titles that were selected by a minimum number of libraries to
3903 cover the Title Fee.
3904           </p></li><li class="listitem"><p>
3905             Publishers make the selected titles available Open Access (on a Creative
3906 Commons or similar open license) and are then paid the Title Fee which is
3907 the total collected from the libraries.
3908           </p></li><li class="listitem"><p>
3909             Publishers make print copies, e-Pub, and other digital versions of selected
3910 titles available to member libraries at a discount that reflects their
3911 contribution to the Title Fee and incentivizes membership.<a href="#ftn.idm1285" class="footnote" name="idm1285"><sup class="footnote">[122]</sup></a>
3912           </p></li></ol></div><p>
3913         The first round of this model resulted in a collection of twenty-eight
3914 current titles from thirteen recognized scholarly publishers being
3915 unlatched. The target was to have two hundred libraries participate. The
3916 cost of the package per library was capped at $1,680, which was an average
3917 price of sixty dollars per book, but in the end they had nearly three
3918 hundred libraries sharing the costs, and the price per book came in at just
3919 under forty-three dollars.
3920       </p><p>
3921         The open-access, Creative Commons versions of these twenty-eight books are
3922 still available online.<a href="#ftn.idm1290" class="footnote" name="idm1290"><sup class="footnote">[123]</sup></a> Most books have
3923 been licensed with CC BY-NC or CC BY-NC-ND. Authors are the copyright
3924 holder, not the publisher, and negotiate choice of license as part of the
3925 publishing agreement. Frances has found that most authors want to retain
3926 control over the commercial and remix use of their work.  Publishers list
3927 the book in their catalogs, and the noncommercial restriction in the
3928 Creative Commons license ensures authors continue to get royalties on sales
3929 of physical copies.
3930       </p><p>
3931         There are three cost variables to consider for each round: the overall cost
3932 incurred by the publishers, total cost for each library to acquire all the
3933 books, and the individual price per book. The fee publishers charge for each
3934 title is a fixed charge, and Knowledge Unlatched calculates the total amount
3935 for all the books being unlatched at a time. The cost of an order for each
3936 library is capped at a maximum based on a minimum number of libraries
3937 participating. If the number of participating libraries exceeds the minimum,
3938 then the cost of the order and the price per book go down for each library.
3939       </p><p>
3940         The second round, recently completed, unlatched seventy-eight books from
3941 twenty-six publishers. For this round, Frances was experimenting with the
3942 size and shape of the offerings. Books were being bundled into eight small
3943 packages separated by subject (including Anthropology, History, Literature,
3944 Media and Communications, and Politics), of around ten books per package.
3945 Three hundred libraries around the world have to commit to at least six of
3946 the eight packages to enable unlatching. The average cost per book was just
3947 under fifty dollars. The unlatching process took roughly ten months. It
3948 started with a call to publishers for titles, followed by having a library
3949 task force select the titles, getting authors’ permissions, getting the
3950 libraries to pledge, billing the libraries, and finally, unlatching.
3951       </p><p>
3952         The longest part of the whole process is getting libraries to pledge and
3953 commit funds. It takes about five months, as library buy-in has to fit
3954 within acquisition cycles, budget cycles, and library-committee meetings.
3955       </p><p>
3956         Knowledge Unlatched informs and recruits libraries through social media,
3957 mailing lists, listservs, and library associations. Of the three hundred
3958 libraries that participated in the first round, 80 percent are also
3959 participating in the second round, and there are an additional eighty new
3960 libraries taking part. Knowledge Unlatched is also working not just with
3961 individual libraries but also library consortia, which has been getting even
3962 more libraries involved.
3963       </p><p>
3964         Knowledge Unlatched is scaling up, offering 150 new titles in the second
3965 half of 2016. It will also offer backlist titles, and in 2017 will start to
3966 make journals open access too.
3967       </p><p>
3968         Knowledge Unlatched deliberately chose monographs as the initial type of
3969 book to unlatch. Monographs are foundational and important, but also
3970 problematic to keep going in the standard closed publishing model.
3971       </p><p>
3972         The cost for the publisher to get to a first digital copy of a monograph is
3973 $5,000 to $50,000. A good one costs in the $10,000 to $15,000
3974 range. Monographs typically don’t sell a lot of copies. A publisher who in
3975 the past sold three thousand copies now typically sells only three
3976 hundred. That makes unlatching monographs a low risk for publishers. For the
3977 first round, it took five months to get thirteen publishers. For the second
3978 round, it took one month to get twenty-six.
3979       </p><p>
3980         Authors don’t generally make a lot of royalties from monographs.  Royalties
3981 range from zero dollars to 5 to 10 percent of receipts. The value to the
3982 author is the awareness it brings to them; when their book is being read, it
3983 increases their reputation. Open access through unlatching generates many
3984 more downloads and therefore awareness. (On the Knowledge Unlatched website,
3985 you can find interviews with the twenty-eight round-one authors describing
3986 their experience and the benefits of taking part.)<a href="#ftn.idm1301" class="footnote" name="idm1301"><sup class="footnote">[124]</sup></a>
3987       </p><p>
3988         Library budgets are constantly being squeezed, partly due to the inflation
3989 of journal subscriptions. But even without budget constraints, academic
3990 libraries are moving away from buying physical copies. An academic library
3991 catalog entry is typically a URL to wherever the book is hosted. Or if they
3992 have enough electronic storage space, they may download the digital file
3993 into their digital repository. Only secondarily do they consider getting a
3994 print book, and if they do, they buy it separately from the digital version.
3995       </p><p>
3996         Knowledge Unlatched offers libraries a compelling economic argument. Many of
3997 the participating libraries would have bought a copy of the monograph
3998 anyway, but instead of paying $95 for a print copy or $150 for a digital
3999 multiple-use copy, they pay $50 to unlatch. It costs them less, and it opens
4000 the book to not just the participating libraries, but to the world.
4001       </p><p>
4002         Not only do the economics make sense, but there is very strong alignment
4003 with library mandates. The participating libraries pay less than they would
4004 have in the closed model, and the open-access book is available to all
4005 libraries. While this means nonparticipating libraries could be seen as free
4006 riders, in the library world, wealthy libraries are used to paying more than
4007 poor libraries and accept that part of their money should be spent to
4008 support open access. <span class="quote">„<span class="quote">Free ride</span>“</span> is more like community
4009 responsibility. By the end of March 2016, the round-one books had been
4010 downloaded nearly eighty thousand times in 175 countries.
4011       </p><p>
4012         For publishers, authors, and librarians, the Knowledge Unlatched model for
4013 monographs is a win-win-win.
4014       </p><p>
4015         In the first round, Knowledge Unlatched’s overheads were covered by
4016 grants. In the second round, they aim to demonstrate the model is
4017 sustainable. Libraries and publishers will each pay a 7.5 percent service
4018 charge that will go toward Knowledge Unlatched’s running costs. With plans
4019 to scale up in future rounds, Frances figures they can fully recover costs
4020 when they are unlatching two hundred books at a time. Moving forward,
4021 Knowledge Unlatched is making investments in technology and
4022 processes. Future plans include unlatching journals and older books.
4023       </p><p>
4024         Frances believes that Knowledge Unlatched is tapping into new ways of
4025 valuing academic content. It’s about considering how many people can find,
4026 access, and use your content without pay barriers. Knowledge Unlatched taps
4027 into the new possibilities and behaviors of the digital world. In the
4028 Knowledge Unlatched model, the content-creation process is exactly the same
4029 as it always has been, but the economics are different. For Frances,
4030 Knowledge Unlatched is connected to the past but moving into the future, an
4031 evolution rather than a revolution.
4032       </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>
4033           Lumen Learning is a for-profit company helping educational institutions use
4034 open educational resources (OER). Founded in 2013 in the U.S.
4035         </p><p>
4036           <a class="ulink" href="http://lumenlearning.com" target="_top">http://lumenlearning.com</a>
4037         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
4038 services, grant funding
4039         </p><p><span class="strong"><strong>Interview date</strong></span>: December 21, 2015
4040         </p><p><span class="strong"><strong>Interviewees</strong></span>: David Wiley and Kim Thanos,
4041 cofounders
4042         </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}
4043     \textit{
4044           Profile written by Paul Stacey
4045         }
4046     \end{flushright}</td></tr></table></div><p>
4047         Cofounded by open education visionary Dr. David Wiley and
4048 education-technology strategist Kim Thanos, Lumen Learning is dedicated to
4049 improving student success, bringing new ideas to pedagogy, and making
4050 education more affordable by facilitating adoption of open educational
4051 resources. In 2012, David and Kim partnered on a grant-funded project called
4052 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
4053 eight colleges predominantly serving at-risk students, with goals to
4054 dramatically reduce textbook costs and collaborate to improve the courses to
4055 help students succeed.  David and Kim exceeded those goals: the cost of the
4056 required textbooks, replaced with OER, decreased to zero dollars, and
4057 average student-success rates improved by 5 to 10 percent when compared with
4058 previous years. After a second round of funding, a total of more than
4059 twenty-five institutions participated in and benefited from this project. It
4060 was career changing for David and Kim to see the impact this initiative had
4061 on low-income students. David and Kim sought further funding from the Bill
4062 and Melinda Gates Foundation, who asked them to define a plan to scale their
4063 work in a financially sustainable way. That is when they decided to create
4064 Lumen Learning.
4065       </p><p>
4066         David and Kim went back and forth on whether it should be a nonprofit or
4067 for- profit. A nonprofit would make it a more comfortable fit with the
4068 education sector but meant they’d be constantly fund-raising and seeking
4069 grants from philanthropies.  Also, grants usually require money to be used
4070 in certain ways for specific deliverables. If you learn things along the way
4071 that change how you think the grant money should be used, there often isn’t
4072 a lot of flexibility to do so.
4073       </p><p>
4074         But as a for-profit, they’d have to convince educational institutions to pay
4075 for what Lumen had to offer. On the positive side, they’d have more control
4076 over what to do with the revenue and investment money; they could make
4077 decisions to invest the funds or use them differently based on the situation
4078 and shifting opportunities. In the end, they chose the for-profit status,
4079 with its different model for and approach to sustainability.
4080       </p><p>
4081         Right from the start, David and Kim positioned Lumen Learning as a way to
4082 help institutions engage in open educational resources, or OER. OER are
4083 teaching, learning, and research materials, in all different media, that
4084 reside in the public domain or are released under an open license that
4085 permits free use and repurposing by others.
4086       </p><p>
4087         Originally, Lumen did custom contracts for each institution.  This was
4088 complicated and challenging to manage. However, through that process
4089 patterns emerged which allowed them to generalize a set of approaches and
4090 offerings. Today they don’t customize as much as they used to, and instead
4091 they tend to work with customers who can use their off-the-shelf
4092 options. Lumen finds that institutions and faculty are generally very good
4093 at seeing the value Lumen brings and are willing to pay for it. Serving
4094 disadvantaged learner populations has led Lumen to be very pragmatic; they
4095 describe what they offer in quantitative terms—with facts and figures—and in
4096 a way that is very student-focused. Lumen Learning helps colleges and
4097 universities—
4098       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4099             replace expensive textbooks in high-enrollment courses with OER;
4100           </p></li><li class="listitem"><p>
4101             provide enrolled students day one access to Lumen’s fully customizable OER
4102 course materials through the institution’s learning-management system;
4103           </p></li><li class="listitem"><p>
4104             measure improvements in student success with metrics like passing rates,
4105 persistence, and course completion; and
4106           </p></li><li class="listitem"><p>
4107             collaborate with faculty to make ongoing improvements to OER based on
4108 student success research.
4109           </p></li></ul></div><p>
4110         Lumen has developed a suite of open, Creative Commons–licensed courseware in
4111 more than sixty-five subjects. All courses are freely and publicly available
4112 right off their website. They can be copied and used by others as long as
4113 they provide attribution to Lumen Learning following the terms of the
4114 Creative Commons license.
4115       </p><p>
4116         Then there are three types of bundled services that cost money.  One option,
4117 which Lumen calls Candela courseware, offers integration with the
4118 institution’s learning-management system, technical and pedagogical support,
4119 and tracking of effectiveness. Candela courseware costs institutions ten
4120 dollars per enrolled student.
4121       </p><p>
4122         A second option is Waymaker, which offers the services of Candela but adds
4123 personalized learning technologies, such as study plans, automated messages,
4124 and assessments, and helps instructors find and support the students who
4125 need it most.  Waymaker courses cost twenty-five dollars per enrolled
4126 student.
4127       </p><p>
4128         The third and emerging line of business for Lumen is providing guidance and
4129 support for institutions and state systems that are pursuing the development
4130 of complete OER degrees. Often called Z-Degrees, these programs eliminate
4131 textbook costs for students in all courses that make up the degree (both
4132 required and elective) by replacing commercial textbooks and other expensive
4133 resources with OER.
4134       </p><p>
4135         Lumen generates revenue by charging for their value-added tools and services
4136 on top of their free courses, just as solar-power companies provide the
4137 tools and services that help people use a free resource—sunlight. And
4138 Lumen’s business model focuses on getting the institutions to pay, not the
4139 students. With projects they did prior to Lumen, David and Kim learned that
4140 students who have access to all course materials from day one have greater
4141 success. If students had to pay, Lumen would have to restrict access to
4142 those who paid. Right from the start, their stance was that they would not
4143 put their content behind a paywall. Lumen invests zero dollars in
4144 technologies and processes for restricting access—no digital rights
4145 management, no time bombs.  While this has been a challenge from a
4146 business-model perspective, from an open-access perspective, it has
4147 generated immense goodwill in the community.
4148       </p><p>
4149         In most cases, development of their courses is funded by the institution
4150 Lumen has a contract with. When creating new courses, Lumen typically works
4151 with the faculty who are teaching the new course. They’re often part of the
4152 institution paying Lumen, but sometimes Lumen has to expand the team and
4153 contract faculty from other institutions. First, the faculty identifies all
4154 of the course’s learning outcomes. Lumen then searches for, aggregates, and
4155 curates the best OER they can find that addresses those learning needs,
4156 which the faculty reviews.
4157       </p><p>
4158         Sometimes faculty like the existing OER but not the way it is presented. The
4159 open licensing of existing OER allows Lumen to pick and choose from images,
4160 videos, and other media to adapt and customize the course. Lumen creates new
4161 content as they discover gaps in existing OER. Test-bank items and feedback
4162 for students on their progress are areas where new content is frequently
4163 needed. Once a course is created, Lumen puts it on their platform with all
4164 the attributions and links to the original sources intact, and any of
4165 Lumen’s new content is given an Attribution (CC BY) license.
4166       </p><p>
4167         Using only OER made them experience firsthand how complex it could be to mix
4168 differently licensed work together. A common strategy with OER is to place
4169 the Creative Commons license and attribution information in the website’s
4170 footer, which stays the same for all pages. This doesn’t quite work,
4171 however, when mixing different OER together.
4172       </p><p>
4173         Remixing OER often results in multiple attributions on every page of every
4174 course—text from one place, images from another, and videos from yet
4175 another. Some are licensed as Attribution (CC BY), others as
4176 Attribution-ShareAlike (CC BY-SA). If this information is put within the
4177 text of the course, faculty members sometimes try to edit it and students
4178 find it a distraction. Lumen dealt with this challenge by capturing the
4179 license and attribution information as metadata, and getting it to show up
4180 at the end of each page.
4181       </p><p>
4182         Lumen’s commitment to open licensing and helping low-income students has led
4183 to strong relationships with institutions, open-education enthusiasts, and
4184 grant funders. People in their network generously increase the visibility of
4185 Lumen through presentations, word of mouth, and referrals. Sometimes the
4186 number of general inquiries exceed Lumen’s sales capacity.
4187       </p><p>
4188         To manage demand and ensure the success of projects, their strategy is to be
4189 proactive and focus on what’s going on in higher education in different
4190 regions of the United States, watching out for things happening at the
4191 system level in a way that fits with what Lumen offers. A great example is
4192 the Virginia community college system, which is building out
4193 Z-Degrees. David and Kim say there are nine other U.S. states with similar
4194 system-level activity where Lumen is strategically focusing its
4195 efforts. Where there are projects that would require a lot of resources on
4196 Lumen’s part, they prioritize the ones that would impact the largest number
4197 of students.
4198       </p><p>
4199         As a business, Lumen is committed to openness. There are two core
4200 nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
4201 Commons licenses, for all the materials it creates; and day-one access for
4202 students. Having clear nonnegotiables allows them to then engage with the
4203 education community to solve for other challenges and work with institutions
4204 to identify new business models that achieve institution goals, while
4205 keeping Lumen healthy.
4206       </p><p>
4207         Openness also means that Lumen’s OER must necessarily be nonexclusive and
4208 nonrivalrous. This represents several big challenges for the business model:
4209 Why should you invest in creating something that people will be reluctant to
4210 pay for? How do you ensure that the investment the diverse education
4211 community makes in OER is not exploited? Lumen thinks we all need to be
4212 clear about how we are benefiting from and contributing to the open
4213 community.
4214       </p><p>
4215         In the OER sector, there are examples of corporations, and even
4216 institutions, acting as free riders. Some simply take and use open resources
4217 without paying anything or contributing anything back. Others give back the
4218 minimum amount so they can save face.  Sustainability will require those
4219 using open resources to give back an amount that seems fair or even give
4220 back something that is generous.
4221       </p><p>
4222         Lumen does track institutions accessing and using their free content. They
4223 proactively contact those institutions, with an estimate of how much their
4224 students are saving and encouraging them to switch to a paid model. Lumen
4225 explains the advantages of the paid model: a more interactive relationship
4226 with Lumen; integration with the institution’s learning-management system; a
4227 guarantee of support for faculty and students; and future sustainability
4228 with funding supporting the evolution and improvement of the OER they are
4229 using.
4230       </p><p>
4231         Lumen works hard to be a good corporate citizen in the OER community. For
4232 David and Kim, a good corporate citizen gives more than they take, adds
4233 unique value, and is very transparent about what they are taking from
4234 community, what they are giving back, and what they are monetizing. Lumen
4235 believes these are the building blocks of a sustainable model and strives
4236 for a correct balance of all these factors.
4237       </p><p>
4238         Licensing all the content they produce with CC BY is a key part of giving
4239 more value than they take. They’ve also worked hard at finding the right
4240 structure for their value-add and how to package it in a way that is
4241 understandable and repeatable.
4242       </p><p>
4243         As of the fall 2016 term, Lumen had eighty-six different open courses,
4244 working relationships with ninety-two institutions, and more than
4245 seventy-five thousand student enrollments. Lumen received early start-up
4246 funding from the Bill and Melinda Gates Foundation, the Hewlett Foundation,
4247 and the Shuttleworth Foundation. Since then, Lumen has also attracted
4248 investment funding. Over the last three years, Lumen has been roughly 60
4249 percent grant funded, 20 percent revenue earned, and 20 percent funded with
4250 angel capital. Going forward, their strategy is to replace grant funding
4251 with revenue.
4252       </p><p>
4253         In creating Lumen Learning, David and Kim say they’ve landed on solutions
4254 they never imagined, and there is still a lot of learning taking place. For
4255 them, open business models are an emerging field where we are all learning
4256 through sharing. Their biggest recommendations for others wanting to pursue
4257 the open model are to make your commitment to open resources public, let
4258 people know where you stand, and don’t back away from it. It really is about
4259 trust.
4260       </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>
4261           Jonathan Mann is a singer and songwriter who is most well known as the
4262 <span class="quote">„<span class="quote">Song A Day</span>“</span> guy. Based in the U.S.
4263         </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>
4264         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
4265 services, pay-what-you-want, crowdfunding (subscription-based), charging for
4266 in-person version (speaking engagements and musical performances)
4267         </p><p><span class="strong"><strong>Interview date</strong></span>: February 22, 2016
4268         </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}
4269     \textit{
4270           Profile written by Sarah Hinchliff Pearson
4271         }
4272     \end{flushright}</td></tr></table></div><p>
4273         Jonathan Mann thinks of his business model as
4274 <span class="quote">„<span class="quote">hustling</span>“</span>—seizing nearly every opportunity he sees to make
4275 money. The bulk of his income comes from writing songs under commission for
4276 people and companies, but he has a wide variety of income sources. He has
4277 supporters on the crowdfunding site Patreon. He gets advertising revenue
4278 from YouTube and Bandcamp, where he posts all of his music. He gives paid
4279 speaking engagements about creativity and motivation. He has been hired by
4280 major conferences to write songs summarizing what speakers have said in the
4281 conference sessions.
4282       </p><p>
4283         His entrepreneurial spirit is coupled with a willingness to take action
4284 quickly. A perfect illustration of his ability to act fast happened in 2010,
4285 when he read that Apple was having a conference the following day to address
4286 a snafu related to the iPhone 4. He decided to write and post a song about
4287 the iPhone 4 that day, and the next day he got a call from the public
4288 relations people at Apple wanting to use and promote his video at the Apple
4289 conference. The song then went viral, and the experience landed him in Time
4290 magazine.
4291       </p><p>
4292         Jonathan’s successful <span class="quote">„<span class="quote">hustling</span>“</span> is also about old-fashioned
4293 persistence. He is currently in his eighth straight year of writing one song
4294 each day. He holds the Guinness World Record for consecutive daily
4295 songwriting, and he is widely known as the <span class="quote">„<span class="quote">song-a-day guy.</span>“</span>
4296       </p><p>
4297         He fell into this role by, naturally, seizing a random opportunity a friend
4298 alerted him to seven years ago—an event called Fun-A-Day, where people are
4299 supposed to create a piece of art every day for thirty-one days straight. He
4300 was in need of a new project, so he decided to give it a try by writing and
4301 posting a song each day. He added a video component to the songs because he
4302 knew people were more likely to watch video online than simply listening to
4303 audio files.
4304       </p><p>
4305         He had a really good time doing the thirty-one-day challenge, so he decided
4306 to see if he could continue it for one year. He never stopped. He has
4307 written and posted a new song literally every day, seven days a week, since
4308 he began the project in 2009. When he isn’t writing songs that he is hired
4309 to write by clients, he writes songs about whatever is on his mind that
4310 day. His songs are catchy and mostly lighthearted, but they often contain at
4311 least an undercurrent of a deeper theme or meaning.  Occasionally, they are
4312 extremely personal, like the song he cowrote with his exgirlfriend
4313 announcing their breakup. Rain or shine, in sickness or health, Jonathan
4314 posts and writes a song every day. If he is on a flight or otherwise
4315 incapable of getting Internet access in time to meet the deadline, he will
4316 prepare ahead and have someone else post the song for him.
4317       </p><p>
4318         Over time, the song-a-day gig became the basis of his livelihood. In the
4319 beginning, he made money one of two ways. The first was by entering a wide
4320 variety of contests and winning a handful. The second was by having the
4321 occasional song and video go some varying degree of viral, which would bring
4322 more eyeballs and mean that there were more people wanting him to write
4323 songs for them. Today he earns most of his money this way.
4324       </p><p>
4325         His website explains his gig as <span class="quote">„<span class="quote">taking any message, from the super
4326 simple to the totally complicated, and conveying that message through a
4327 heartfelt, fun and quirky song.</span>“</span> He charges $500 to create a produced
4328 song and $300 for an acoustic song. He has been hired for product launches,
4329 weddings, conferences, and even Kickstarter campaigns like the one that
4330 funded the production of this book.
4331       </p><p>
4332         Jonathan can’t recall when exactly he first learned about Creative Commons,
4333 but he began applying CC licenses to his songs and videos as soon as he
4334 discovered the option. <span class="quote">„<span class="quote">CC seems like such a no-brainer,</span>“</span>
4335 Jonathan said. <span class="quote">„<span class="quote">I don’t understand how anything else would make
4336 sense. It seems like such an obvious thing that you would want your work to
4337 be able to be shared.</span>“</span>
4338       </p><p>
4339         His songs are essentially marketing for his services, so obviously the
4340 further his songs spread, the better. Using CC licenses helps grease the
4341 wheels, letting people know that Jonathan allows and encourages them to
4342 copy, interact with, and remix his music. <span class="quote">„<span class="quote">If you let someone cover
4343 your song or remix it or use parts of it, that’s how music is supposed to
4344 work,</span>“</span> Jonathan said. <span class="quote">„<span class="quote">That is how music has worked since the
4345 beginning of time. Our me-me, mine-mine culture has undermined that.</span>“</span>
4346       </p><p>
4347         There are some people who cover his songs fairly regularly, and he would
4348 never shut that down. But he acknowledges there is a lot more he could do to
4349 build community. <span class="quote">„<span class="quote">There is all of this conventional wisdom about how
4350 to build an audience online, and I generally think I don’t do any of
4351 that,</span>“</span> Jonathan said.
4352       </p><p>
4353         He does have a fan community he cultivates on Bandcamp, but it isn’t his
4354 major focus. <span class="quote">„<span class="quote">I do have a core audience that has stuck around for a
4355 really long time, some even longer than I’ve been doing song-a-day,</span>“</span>
4356 he said. <span class="quote">„<span class="quote">There is also a transitional aspect that drop in and get
4357 what they need and then move on.</span>“</span> Focusing less on community building
4358 than other artists makes sense given Jonathan’s primary income source of
4359 writing custom songs for clients.
4360       </p><p>
4361         Jonathan recognizes what comes naturally to him and leverages those
4362 skills. Through the practice of daily songwriting, he realized he has a gift
4363 for distilling complicated subjects into simple concepts and putting them to
4364 music. In his song <span class="quote">„<span class="quote">How to Choose a Master Password,</span>“</span> Jonathan
4365 explained the process of creating a secure password in a silly, simple
4366 song. He was hired to write the song by a client who handed him a long
4367 technical blog post from which to draw the information. Like a good (and
4368 rare) journalist, he translated the technical concepts into something
4369 understandable.
4370       </p><p>
4371         When he is hired by a client to write a song, he first asks them to send a
4372 list of talking points and other information they want to include in the
4373 song. He puts all of that into a text file and starts moving things around,
4374 cutting and pasting until the message starts to come together. The first
4375 thing he tries to do is grok the core message and develop the chorus. Then
4376 he looks for connections or parts he can make rhyme. The entire process
4377 really does resemble good journalism, but of course the final product of his
4378 work is a song rather than news. <span class="quote">„<span class="quote">There is something about being
4379 challenged and forced to take information that doesn’t seem like it should
4380 be sung about or doesn’t seem like it lends itself to a song,</span>“</span> he
4381 said. <span class="quote">„<span class="quote">I find that creative challenge really satisfying. I enjoy
4382 getting lost in that process.</span>“</span>
4383       </p><p>
4384         Jonathan admits that in an ideal world, he would exclusively write the music
4385 he wanted to write, rather than what clients hire him to write. But his
4386 business model is about capitalizing on his strengths as a songwriter, and
4387 he has found a way to keep it interesting for himself.
4388       </p><p>
4389         Jonathan uses nearly every tool possible to make money from his art, but he
4390 does have lines he won’t cross. He won’t write songs about things he
4391 fundamentally does not believe in, and there are times he has turned down
4392 jobs on principle. He also won’t stray too much from his natural
4393 style. <span class="quote">„<span class="quote">My style is silly, so I can’t really accommodate people who
4394 want something super serious,</span>“</span> Jonathan said. <span class="quote">„<span class="quote">I do what I do
4395 very easily, and it’s part of who I am.</span>“</span> Jonathan hasn’t gotten into
4396 writing commercials for the same reasons; he is best at using his own unique
4397 style rather than mimicking others.
4398       </p><p>
4399         Jonathan’s song-a-day commitment exemplifies the power of habit and
4400 grit. Conventional wisdom about creative productivity, including advice in
4401 books like the best-seller The Creative Habit by Twyla Tharp, routinely
4402 emphasizes the importance of ritual and action. No amount of planning can
4403 replace the value of simple practice and just doing. Jonathan Mann’s work is
4404 a living embodiment of these principles.
4405       </p><p>
4406         When he speaks about his work, he talks about how much the song-a-day
4407 process has changed him. Rather than seeing any given piece of work as
4408 precious and getting stuck on trying to make it perfect, he has become
4409 comfortable with just doing. If today’s song is a bust, tomorrow’s song
4410 might be better.
4411       </p><p>
4412         Jonathan seems to have this mentality about his career more generally. He is
4413 constantly experimenting with ways to make a living while sharing his work
4414 as widely as possible, seeing what sticks. While he has major
4415 accomplishments he is proud of, like being in the Guinness World Records or
4416 having his song used by Steve Jobs, he says he never truly feels successful.
4417       </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
4418 extent, a creative person is not ever going to feel completely satisfied
4419 because then so much of what drives you would be gone.</span>“</span>
4420       </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>
4421           The Noun Project is a for-profit company offering an online platform to
4422 display visual icons from a global network of designers. Founded in 2010 in
4423 the U.S.
4424         </p><p>
4425           <a class="ulink" href="http://thenounproject.com" target="_top">http://thenounproject.com</a>
4426         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction
4427 fee, charging for custom services
4428         </p><p><span class="strong"><strong>Interview date</strong></span>: October 6, 2015
4429         </p><p><span class="strong"><strong>Interviewee</strong></span>: Edward Boatman, cofounder
4430         </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}
4431     \textit{
4432           Profile written by Paul Stacey
4433         }
4434     \end{flushright}</td></tr></table></div><p>
4435         The Noun Project creates and shares visual language. There are millions who
4436 use Noun Project symbols to simplify communication across borders,
4437 languages, and cultures.
4438       </p><p>
4439         The original idea for the Noun Project came to cofounder Edward Boatman
4440 while he was a student in architecture design school.  He’d always done a
4441 lot of sketches and started to draw what used to fascinate him as a child,
4442 like trains, sequoias, and bulldozers. He began thinking how great it would
4443 be if he had a simple image or small icon of every single object or concept
4444 on the planet.
4445       </p><p>
4446         When Edward went on to work at an architecture firm, he had to make a lot of
4447 presentation boards for clients. But finding high-quality sources for
4448 symbols and icons was difficult. He couldn’t find any website that could
4449 provide them. Perhaps his idea for creating a library of icons could
4450 actually help people in similar situations.
4451       </p><p>
4452         With his partner, Sofya Polyakov, he began collecting symbols for a website
4453 and writing a business plan. Inspiration came from the book Professor and
4454 the Madman, which chronicles the use of crowdsourcing to create the Oxford
4455 English Dictionary in 1870.  Edward began to imagine crowdsourcing icons and
4456 symbols from volunteer designers around the world.
4457       </p><p>
4458         Then Edward got laid off during the recession, which turned out to be a huge
4459 catalyst. He decided to give his idea a go, and in 2010 Edward and Sofya
4460 launched the Noun Project with a Kickstarter campaign, back when Kickstarter
4461 was in its infancy.<a href="#ftn.idm1428" class="footnote" name="idm1428"><sup class="footnote">[126]</sup></a> They thought it’d
4462 be a good way to introduce the global web community to their idea. Their
4463 goal was to raise $1,500, but in twenty days they got over $14,000. They
4464 realized their idea had the potential to be something much bigger.
4465       </p><p>
4466         They created a platform where symbols and icons could be uploaded, and
4467 Edward began recruiting talented designers to contribute their designs, a
4468 process he describes as a relatively easy sell. Lots of designers have old
4469 drawings just gathering <span class="quote">„<span class="quote">digital dust</span>“</span> on their hard
4470 drives. It’s easy to convince them to finally share them with the world.
4471       </p><p>
4472         The Noun Project currently has about seven thousand designers from around
4473 the world. But not all submissions are accepted. The Noun Project’s
4474 quality-review process means that only the best works become part of its
4475 collection. They make sure to provide encouraging, constructive feedback
4476 whenever they reject a piece of work, which maintains and builds the
4477 relationship they have with their global community of designers.
4478       </p><p>
4479         Creative Commons is an integral part of the Noun Project’s business model;
4480 this decision was inspired by Chris Anderson’s book Free: The Future of
4481 Radical Price, which introduced Edward to the idea that you could build a
4482 business model around free content.
4483       </p><p>
4484         Edward knew he wanted to offer a free visual language while still providing
4485 some protection and reward for its contributors.  There is a tension between
4486 those two goals, but for Edward, Creative Commons licenses bring this
4487 idealism and business opportunity together elegantly. He chose the
4488 Attribution (CC BY)  license, which means people can download the icons for
4489 free and modify them and even use them commercially. The requirement to give
4490 attribution to the original creator ensures that the creator can build a
4491 reputation and get global recognition for their work. And if they simply
4492 want to offer an icon that people can use without having to give credit,
4493 they can use CC0 to put the work into the public domain.
4494       </p><p>
4495         Noun Project’s business model and means of generating revenue have evolved
4496 significantly over time. Their initial plan was to sell T-shirts with the
4497 icons on it, which in retrospect Edward says was a horrible idea. They did
4498 get a lot of email from people saying they loved the icons but asking if
4499 they could pay a fee instead of giving attribution. Ad agencies (among
4500 others)  wanted to keep marketing and presentation materials clean and free
4501 of attribution statements. For Edward, <span class="quote">„<span class="quote">That’s when our lightbulb went
4502 off.</span>“</span>
4503       </p><p>
4504         They asked their global network of designers whether they’d be open to
4505 receiving modest remuneration instead of attribution.  Designers saw it as a
4506 win-win. The idea that you could offer your designs for free and have a
4507 global audience and maybe even make some money was pretty exciting for most
4508 designers.
4509       </p><p>
4510         The Noun Project first adopted a model whereby using an icon without giving
4511 attribution would cost $1.99 per icon. The model’s second iteration added a
4512 subscription component, where there would be a monthly fee to access a
4513 certain number of icons—ten, fifty, a hundred, or five hundred. However,
4514 users didn’t like these hard-count options. They preferred to try out many
4515 similar icons to see which worked best before eventually choosing the one
4516 they wanted to use. So the Noun Project moved to an unlimited model, whereby
4517 users have unlimited access to the whole library for a flat monthly
4518 fee. This service is called NounPro and costs $9.99 per month. Edward says
4519 this model is working well—good for customers, good for creators, and good
4520 for the platform.
4521       </p><p>
4522         Customers then began asking for an application-programming interface (API),
4523 which would allow Noun Project icons and symbols to be directly accessed
4524 from within other applications.  Edward knew that the icons and symbols
4525 would be valuable in a lot of different contexts and that they couldn’t
4526 possibly know all of them in advance, so they built an API with a lot of
4527 flexibility. Knowing that most API applications would want to use the icons
4528 without giving attribution, the API was built with the aim of charging for
4529 its use. You can use what’s called the <span class="quote">„<span class="quote">Playground API</span>“</span> for
4530 free to test how it integrates with your application, but full
4531 implementation will require you to purchase the API Pro version.
4532       </p><p>
4533         The Noun Project shares revenue with its international designers. For
4534 one-off purchases, the revenue is split 70 percent to the designer and 30
4535 percent to Noun Project.
4536       </p><p>
4537         The revenue from premium purchases (the subscription and API options) is
4538 split a little differently. At the end of each month, the total revenue from
4539 subscriptions is divided by Noun Project’s total number of downloads,
4540 resulting in a rate per download—for example, it could be $0.13 per download
4541 for that month. For each download, the revenue is split 40 percent to the
4542 designer and 60 percent to the Noun Project. (For API usage, it’s per use
4543 instead of per download.) Noun Project’s share is higher this time as it’s
4544 providing more service to the user.
4545       </p><p>
4546         The Noun Project tries to be completely transparent about their royalty
4547 structure.<a href="#ftn.idm1445" class="footnote" name="idm1445"><sup class="footnote">[127]</sup></a> They tend to over
4548 communicate with creators about it because building trust is the top
4549 priority.
4550       </p><p>
4551         For most creators, contributing to the Noun Project is not a full-time job
4552 but something they do on the side. Edward categorizes monthly earnings for
4553 creators into three broad categories: enough money to buy beer; enough to
4554 pay the bills; and most successful of all, enough to pay the rent.
4555       </p><p>
4556         Recently the Noun Project launched a new app called Lingo.  Designers can
4557 use Lingo to organize not just their Noun Project icons and symbols but also
4558 their photos, illustrations, UX designs, et cetera. You simply drag any
4559 visual item directly into Lingo to save it. Lingo also works for teams so
4560 people can share visuals with each other and search across their combined
4561 collections. Lingo is free for personal use. A pro version for $9.99 per
4562 month lets you add guests. A team version for $49.95 per month allows up to
4563 twenty-five team members to collaborate, and to view, use, edit, and add new
4564 assets to each other’s collections. And if you subscribe to NounPro, you can
4565 access Noun Project from within Lingo.
4566       </p><p>
4567         The Noun Project gives a ton of value away for free. A very large percentage
4568 of their roughly one million members have a free account, but there are
4569 still lots of paid accounts coming from digital designers, advertising and
4570 design agencies, educators, and others who need to communicate ideas
4571 visually.
4572       </p><p>
4573         For Edward, <span class="quote">„<span class="quote">creating, sharing, and celebrating the world’s visual
4574 language</span>“</span> is the most important aspect of what they do; it’s their
4575 stated mission. It differentiates them from others who offer graphics,
4576 icons, or clip art.
4577       </p><p>
4578         Noun Project creators agree. When surveyed on why they participate in the
4579 Noun Project, this is how designers rank their reasons: 1) to support the
4580 Noun Project mission, 2) to promote their own personal brand, and 3) to
4581 generate money. It’s striking to see that money comes third, and mission,
4582 first. If you want to engage a global network of contributors, it’s
4583 important to have a mission beyond making money.
4584       </p><p>
4585         In Edward’s view, Creative Commons is central to their mission of sharing
4586 and social good. Using Creative Commons makes the Noun Project’s mission
4587 genuine and has generated a lot of their initial traction and
4588 credibility. CC comes with a built-in community of users and fans.
4589       </p><p>
4590         Edward told us, <span class="quote">„<span class="quote">Don’t underestimate the power of a passionate
4591 community around your product or your business. They are going to go to bat
4592 for you when you’re getting ripped in the media. If you go down the road of
4593 choosing to work with Creative Commons, you’re taking the first step to
4594 building a great community and tapping into a really awesome community that
4595 comes with it. But you need to continue to foster that community through
4596 other initiatives and continue to nurture it.</span>“</span>
4597       </p><p>
4598         The Noun Project nurtures their creators’ second motivation—promoting a
4599 personal brand—by connecting every icon and symbol to the creator’s name and
4600 profile page; each profile features their full collection. Users can also
4601 search the icons by the creator’s name.
4602       </p><p>
4603         The Noun Project also builds community through Iconathons—hackathons for
4604 icons.<a href="#ftn.idm1459" class="footnote" name="idm1459"><sup class="footnote">[128]</sup></a> In partnership with a sponsoring
4605 organization, the Noun Project comes up with a theme (e.g., sustainable
4606 energy, food bank, guerrilla gardening, human rights) and a list of icons
4607 that are needed, which designers are invited to create at the event. The
4608 results are vectorized, and added to the Noun Project using CC0 so they can
4609 be used by anyone for free.
4610       </p><p>
4611         Providing a free version of their product that satisfies a lot of their
4612 customers’ needs has actually enabled the Noun Project to build the paid
4613 version, using a service-oriented model. The Noun Project’s success lies in
4614 creating services and content that are a strategic mix of free and paid
4615 while staying true to their mission—creating, sharing, and celebrating the
4616 world’s visual language. Integrating Creative Commons into their model has
4617 been key to that goal.
4618       </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>
4619           The Open Data Institute is an independent nonprofit that connects, equips,
4620 and inspires people around the world to innovate with data. Founded in 2012
4621 in the UK.
4622         </p><p>
4623           <a class="ulink" href="http://theodi.org" target="_top">http://theodi.org</a>
4624         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant and government
4625 funding, charging for custom services, donations
4626         </p><p><span class="strong"><strong>Interview date</strong></span>: November 11, 2015
4627         </p><p><span class="strong"><strong>Interviewee</strong></span>: Jeni Tennison, technical
4628 director
4629         </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}
4630     \textit{
4631           Profile written by Paul Stacey
4632         }
4633     \end{flushright}</td></tr></table></div><p>
4634         Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the
4635 London-based Open Data Institute (ODI) offers data-related training, events,
4636 consulting services, and research. For ODI, Creative Commons licenses are
4637 central to making their own business model and their customers’ open. CC BY
4638 (Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the
4639 public domain) all play a critical role in ODI’s mission to help people
4640 around the world innovate with data.
4641       </p><p>
4642         Data underpins planning and decision making across all aspects of
4643 society. Weather data helps farmers know when to plant their crops, flight
4644 time data from airplane companies helps us plan our travel, data on local
4645 housing informs city planning. When this data is not only accurate and
4646 timely, but open and accessible, it opens up new possibilities. Open data
4647 can be a resource businesses use to build new products and services. It can
4648 help governments measure progress, improve efficiency, and target
4649 investments. It can help citizens improve their lives by better
4650 understanding what is happening around them.
4651       </p><p>
4652         The Open Data Institute’s 2012–17 business plan starts out by describing its
4653 vision to establish itself as a world-leading center and to research and be
4654 innovative with the opportunities created by the UK government’s open data
4655 policy. (The government was an early pioneer in open policy and open-data
4656 initiatives.)  It goes on to say that the ODI wants to—
4657       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4658             demonstrate the commercial value of open government data and how open-data
4659 policies affect this;
4660           </p></li><li class="listitem"><p>
4661             develop the economic benefits case and business models for open data;
4662           </p></li><li class="listitem"><p>
4663             help UK businesses use open data; and
4664           </p></li><li class="listitem"><p>
4665             show how open data can improve public services.<a href="#ftn.idm1488" class="footnote" name="idm1488"><sup class="footnote">[129]</sup></a>
4666           </p></li></ul></div><p>
4667         ODI is very explicit about how it wants to make open business models, and
4668 defining what this means. Jeni Tennison, ODI’s technical director, puts it
4669 this way: <span class="quote">„<span class="quote">There is a whole ecosystem of open—open-source software,
4670 open government, open-access research—and a whole ecosystem of data. ODI’s
4671 work cuts across both, with an emphasis on where they overlap—with open
4672 data.</span>“</span> ODI’s particular focus is to show open data’s potential for
4673 revenue.
4674       </p><p>
4675         As an independent nonprofit, ODI secured £10 million over five years from
4676 the UK government via Innovate UK, an agency that promotes innovation in
4677 science and technology. For this funding, ODI has to secure matching funds
4678 from other sources, some of which were met through a $4.75-million
4679 investment from the Omidyar Network.
4680       </p><p>
4681         Jeni started out as a developer and technical architect for data.gov.uk, the
4682 UK government’s pioneering open-data initiative. She helped make data sets
4683 from government departments available as open data. She joined ODI in 2012
4684 when it was just starting up, as one of six people. It now has a staff of
4685 about sixty.
4686       </p><p>
4687         ODI strives to have half its annual budget come from the core UK government
4688 and Omidyar grants, and the other half from project-based research and
4689 commercial work. In Jeni’s view, having this balance of revenue sources
4690 establishes some stability, but also keeps them motivated to go out and
4691 generate these matching funds in response to market needs.
4692       </p><p>
4693         On the commercial side, ODI generates funding through memberships, training,
4694 and advisory services.
4695       </p><p>
4696         You can join the ODI as an individual or commercial member.  Individual
4697 membership is pay-what-you-can, with options ranging from £1 to
4698 £100. Members receive a newsletter and related communications and a discount
4699 on ODI training courses and the annual summit, and they can display an
4700 ODI-supporter badge on their website. Commercial membership is divided into
4701 two tiers: small to medium size enterprises and nonprofits at £720 a year,
4702 and corporations and government organizations at £2,200 a year.  Commercial
4703 members have greater opportunities to connect and collaborate, explore the
4704 benefits of open data, and unlock new business opportunities. (All members
4705 are listed on their website.)<a href="#ftn.idm1498" class="footnote" name="idm1498"><sup class="footnote">[130]</sup></a>
4706       </p><p>
4707         ODI provides standardized open data training courses in which anyone can
4708 enroll. The initial idea was to offer an intensive and academically oriented
4709 diploma in open data, but it quickly became clear there was no market for
4710 that. Instead, they offered a five-day-long public training course, which
4711 has subsequently been reduced to three days; now the most popular course is
4712 one day long. The fee, in addition to the time commitment, can be a barrier
4713 for participation. Jeni says, <span class="quote">„<span class="quote">Most of the people who would be able to
4714 pay don’t know they need it. Most who know they need it can’t pay.</span>“</span>
4715 Public-sector organizations sometimes give vouchers to their employees so
4716 they can attend as a form of professional development.
4717       </p><p>
4718         ODI customizes training for clients as well, for which there is more
4719 demand. Custom training usually emerges through an established relationship
4720 with an organization. The training program is based on a definition of
4721 open-data knowledge as applicable to the organization and on the skills
4722 needed by their high-level executives, management, and technical staff. The
4723 training tends to generate high interest and commitment.
4724       </p><p>
4725         Education about open data is also a part of ODI’s annual summit event, where
4726 curated presentations and speakers showcase the work of ODI and its members
4727 across the entire ecosystem. Tickets to the summit are available to the
4728 public, and hundreds of people and organizations attend and participate. In
4729 2014, there were four thematic tracks and over 750 attendees.
4730       </p><p>
4731         In addition to memberships and training, ODI provides advisory services to
4732 help with technical-data support, technology development, change management,
4733 policies, and other areas. ODI has advised large commercial organizations,
4734 small businesses, and international governments; the focus at the moment is
4735 on government, but ODI is working to shift more toward commercial
4736 organizations.
4737       </p><p>
4738         On the commercial side, the following value propositions seem to resonate:
4739       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4740             Data-driven insights. Businesses need data from outside their business to
4741 get more insight. Businesses can generate value and more effectively pursue
4742 their own goals if they open up their own data too. Big data is a hot topic.
4743           </p></li><li class="listitem"><p>
4744             Open innovation. Many large-scale enterprises are aware they don’t innovate
4745 very well. One way they can innovate is to open up their data. ODI
4746 encourages them to do so even if it exposes problems and challenges. The key
4747 is to invite other people to help while still maintaining organizational
4748 autonomy.
4749           </p></li><li class="listitem"><p>
4750             Corporate social responsibility. While this resonates with businesses, ODI
4751 cautions against having it be the sole reason for making data open. If a
4752 business is just thinking about open data as a way to be transparent and
4753 accountable, they can miss out on efficiencies and opportunities.
4754           </p></li></ul></div><p>
4755         During their early years, ODI wanted to focus solely on the United
4756 Kingdom. But in their first year, large delegations of government visitors
4757 from over fifty countries wanted to learn more about the UK government’s
4758 open-data practices and how ODI saw that translating into economic
4759 value. They were contracted as a service provider to international
4760 governments, which prompted a need to set up international ODI
4761 <span class="quote">„<span class="quote">nodes.</span>“</span>
4762       </p><p>
4763         Nodes are franchises of the ODI at a regional or city level.  Hosted by
4764 existing (for-profit or not-for-profit) organizations, they operate locally
4765 but are part of the global network. Each ODI node adopts the charter, a set
4766 of guiding principles and rules under which ODI operates. They develop and
4767 deliver training, connect people and businesses through membership and
4768 events, and communicate open-data stories from their part of the
4769 world. There are twenty-seven different nodes across nineteen countries. ODI
4770 nodes are charged a small fee to be part of the network and to use the
4771 brand.
4772       </p><p>
4773         ODI also runs programs to help start-ups in the UK and across Europe develop
4774 a sustainable business around open data, offering mentoring, advice,
4775 training, and even office space.<a href="#ftn.idm1518" class="footnote" name="idm1518"><sup class="footnote">[131]</sup></a>
4776       </p><p>
4777         A big part of ODI’s business model revolves around community
4778 building. Memberships, training, summits, consulting services, nodes, and
4779 start-up programs create an ever-growing network of open-data users and
4780 leaders. (In fact, ODI even operates something called an Open Data Leaders
4781 Network.) For ODI, community is key to success. They devote significant time
4782 and effort to build it, not just online but through face-to-face events.
4783       </p><p>
4784         ODI has created an online tool that organizations can use to assess the
4785 legal, practical, technical, and social aspects of their open data. If it is
4786 of high quality, the organization can earn ODI’s Open Data Certificate, a
4787 globally recognized mark that signals that their open data is useful,
4788 reliable, accessible, discoverable, and supported.<a href="#ftn.idm1524" class="footnote" name="idm1524"><sup class="footnote">[132]</sup></a>
4789       </p><p>
4790         Separate from commercial activities, the ODI generates funding through
4791 research grants. Research includes looking at evidence on the impact of open
4792 data, development of open-data tools and standards, and how to deploy open
4793 data at scale.
4794       </p><p>
4795         Creative Commons 4.0 licenses cover database rights and ODI recommends CC
4796 BY, CC BY-SA, and CC0 for data releases. ODI encourages publishers of data
4797 to use Creative Commons licenses rather than creating new <span class="quote">„<span class="quote">open
4798 licenses</span>“</span> of their own.
4799       </p><p>
4800         For ODI, open is at the heart of what they do. They also release any
4801 software code they produce under open-source-software licenses, and
4802 publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
4803 to connect and equip people around the world so they can innovate with
4804 data. Disseminating stories, research, guidance, and code under an open
4805 license is essential for achieving that mission. It also demonstrates that
4806 it is perfectly possible to generate sustainable revenue streams that do not
4807 rely on restrictive licensing of content, data, or code.  People pay to have
4808 ODI experts provide training to them, not for the content of the training;
4809 people pay for the advice ODI gives them, not for the methodologies they
4810 use. Producing open content, data, and source code helps establish
4811 credibility and creates leads for the paid services that they
4812 offer. According to Jeni, <span class="quote">„<span class="quote">The biggest lesson we have learned is that
4813 it is completely possible to be open, get customers, and make money.</span>“</span>
4814       </p><p>
4815         To serve as evidence of a successful open business model and return on
4816 investment, ODI has a public dashboard of key performance indicators. Here
4817 are a few metrics as of April 27, 2016:
4818       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4819             Total amount of cash investments unlocked in direct investments in ODI,
4820 competition funding, direct contracts, and partnerships, and income that ODI
4821 nodes and ODI start-ups have generated since joining the ODI program: £44.5
4822 million
4823           </p></li><li class="listitem"><p>
4824             Total number of active members and nodes across the globe: 1,350
4825           </p></li><li class="listitem"><p>
4826             Total sales since ODI began: £7.44 million
4827           </p></li><li class="listitem"><p>
4828             Total number of unique people reached since ODI began, in person and online:
4829 2.2 million
4830           </p></li><li class="listitem"><p>
4831             Total Open Data Certificates created: 151,000
4832           </p></li><li class="listitem"><p>
4833             Total number of people trained by ODI and its nodes since ODI began:
4834 5,080<a href="#ftn.idm1546" class="footnote" name="idm1546"><sup class="footnote">[133]</sup></a>
4835           </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>
4836           Opendesk is a for-profit company offering an online platform that connects
4837 furniture designers around the world with customers and local makers who
4838 bring the designs to life.  Founded in 2014 in the UK.
4839         </p><p>
4840           <a class="ulink" href="http://www.opendesk.cc" target="_top">http://www.opendesk.cc</a>
4841         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
4842         </p><p><span class="strong"><strong>Interview date</strong></span>: November 4, 2015
4843         </p><p><span class="strong"><strong>Interviewees</strong></span>: Nick Ierodiaconou and Joni
4844 Steiner, cofounders
4845         </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}
4846     \textit{
4847           Profile written by Paul Stacey
4848         }
4849     \end{flushright}</td></tr></table></div><p>
4850         Opendesk is an online platform that connects furniture designers around the
4851 world not just with customers but also with local registered makers who
4852 bring the designs to life. Opendesk and the designer receive a portion of
4853 every sale that is made by a maker.
4854       </p><p>
4855         Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as
4856 architects together. They also made goods. Their first client was Mint
4857 Digital, who had an interest in open licensing. Nick and Joni were exploring
4858 digital fabrication, and Mint’s interest in open licensing got them to
4859 thinking how the open-source world may interact and apply to physical
4860 goods. They sought to design something for their client that was also
4861 reproducible. As they put it, they decided to <span class="quote">„<span class="quote">ship the recipe, but
4862 not the goods.</span>“</span> They created the design using software, put it under
4863 an open license, and had it manufactured locally near the client. This was
4864 the start of the idea for Opendesk. The idea for Wikihouse—another open
4865 project dedicated to accessible housing for all—started as discussions
4866 around the same table.  The two projects ultimately went on separate paths,
4867 with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit
4868 company.
4869       </p><p>
4870         When Nick and Joni set out to create Opendesk, there were a lot of questions
4871 about the viability of distributed manufacturing.  No one was doing it in a
4872 way that was even close to realistic or competitive. The design community
4873 had the intent, but fulfilling this vision was still a long way away.
4874       </p><p>
4875         And now this sector is emerging, and Nick and Joni are highly interested in
4876 the commercialization aspects of it. As part of coming up with a business
4877 model, they began investigating intellectual property and licensing
4878 options. It was a thorny space, especially for designs. Just what aspect of
4879 a design is copyrightable? What is patentable? How can allowing for digital
4880 sharing and distribution be balanced against the designer’s desire to still
4881 hold ownership? In the end, they decided there was no need to reinvent the
4882 wheel and settled on using Creative Commons.
4883       </p><p>
4884         When designing the Opendesk system, they had two goals. They wanted anyone,
4885 anywhere in the world, to be able to download designs so that they could be
4886 made locally, and they wanted a viable model that benefited designers when
4887 their designs were sold. Coming up with a business model was going to be
4888 complex.
4889       </p><p>
4890         They gave a lot of thought to three angles—the potential for social sharing,
4891 allowing designers to choose their license, and the impact these choices
4892 would have on the business model.
4893       </p><p>
4894         In support of social sharing, Opendesk actively advocates for (but doesn’t
4895 demand) open licensing. And Nick and Joni are agnostic about which Creative
4896 Commons license is used; it’s up to the designer. They can be proprietary or
4897 choose from the full suite of Creative Commons licenses, deciding for
4898 themselves how open or closed they want to be.
4899       </p><p>
4900         For the most part, designers love the idea of sharing content.  They
4901 understand that you get positive feedback when you’re attributed, what Nick
4902 and Joni called <span class="quote">„<span class="quote">reputational glow.</span>“</span> And Opendesk does an
4903 awesome job profiling the designers.<a href="#ftn.idm1572" class="footnote" name="idm1572"><sup class="footnote">[134]</sup></a>
4904       </p><p>
4905         While designers are largely OK with personal sharing, there is a concern
4906 that someone will take the design and manufacture the furniture in bulk,
4907 with the designer not getting any benefits.  So most Opendesk designers
4908 choose the Attribution-NonCommercial license (CC BY-NC).
4909       </p><p>
4910         Anyone can download a design and make it themselves, provided it’s for
4911 noncommercial use — and there have been many, many downloads. Or users can
4912 buy the product from Opendesk, or from a registered maker in Opendesk’s
4913 network, for on-demand personal fabrication. The network of Opendesk makers
4914 currently is made up of those who do digital fabrication using a
4915 computer-controlled CNC (Computer Numeric Control) machining device that
4916 cuts shapes out of wooden sheets according to the specifications in the
4917 design file.
4918       </p><p>
4919         Makers benefit from being part of Opendesk’s network. Making furniture for
4920 local customers is paid work, and Opendesk generates business for them. Joni
4921 said, <span class="quote">„<span class="quote">Finding a whole network and community of makers was pretty easy
4922 because we built a site where people could write in about their
4923 capabilities.  Building the community by learning from the maker community
4924 is how we have moved forward.</span>“</span> Opendesk now has relationships with
4925 hundreds of makers in countries all around the world.<a href="#ftn.idm1579" class="footnote" name="idm1579"><sup class="footnote">[135]</sup></a>
4926       </p><p>
4927         The makers are a critical part of the Opendesk business model.  Their model
4928 builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
4929 website:
4930       </p><p>
4931         When customers buy an Opendesk product directly from a registered maker,
4932 they pay:
4933       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4934             the manufacturing cost as set by the maker (this covers material and labour
4935 costs for the product to be manufactured and any extra assembly costs
4936 charged by the maker)
4937           </p></li><li class="listitem"><p>
4938             a design fee for the designer (a design fee that is paid to the designer
4939 every time their design is used)
4940           </p></li><li class="listitem"><p>
4941             a percentage fee to the Opendesk platform (this supports the infrastructure
4942 and ongoing development of the platform that helps us build out our
4943 marketplace)
4944           </p></li><li class="listitem"><p>
4945             a percentage fee to the channel through which the sale is made (at the
4946 moment this is Opendesk, but in the future we aim to open this up to
4947 third-party sellers who can sell Opendesk products through their own
4948 channels—this covers sales and marketing fees for the relevant channel)
4949           </p></li><li class="listitem"><p>
4950             a local delivery service charge (the delivery is typically charged by the
4951 maker, but in some cases may be paid to a third-party delivery partner)
4952           </p></li><li class="listitem"><p>
4953             charges for any additional services the customer chooses, such as on-site
4954 assembly (additional services are discretionary—in many cases makers will be
4955 happy to quote for assembly on-site and designers may offer bespoke design
4956 options)
4957           </p></li><li class="listitem"><p>
4958             local sales taxes (variable by customer and maker location)<a href="#ftn.idm1599" class="footnote" name="idm1599"><sup class="footnote">[136]</sup></a>
4959           </p></li></ul></div><p>
4960         They then go into detail how makers’ quotes are created:
4961       </p><p>
4962         When a customer wants to buy an Opendesk . . . they are provided with a
4963 transparent breakdown of fees including the manufacturing cost, design fee,
4964 Opendesk platform fee and channel fees. If a customer opts to buy by getting
4965 in touch directly with a registered local maker using a downloaded Opendesk
4966 file, the maker is responsible for ensuring the design fee, Opendesk
4967 platform fee and channel fees are included in any quote at the time of
4968 sale. Percentage fees are always based on the underlying manufacturing cost
4969 and are typically apportioned as follows:
4970       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4971             manufacturing cost: fabrication, finishing and any other costs as set by the
4972 maker (excluding any services like delivery or on-site assembly)
4973           </p></li><li class="listitem"><p>
4974             design fee: 8 percent of the manufacturing cost
4975           </p></li><li class="listitem"><p>
4976             platform fee: 12 percent of the manufacturing cost
4977           </p></li><li class="listitem"><p>
4978             channel fee: 18 percent of the manufacturing cost
4979           </p></li><li class="listitem"><p>
4980             sales tax: as applicable (depends on product and location)
4981           </p></li></ul></div><p>
4982         Opendesk shares revenue with their community of designers.  According to
4983 Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
4984 percent is more generous, and providing a higher value to the designer.
4985       </p><p>
4986         The Opendesk website features stories of designers and makers.  Denis Fuzii
4987 published the design for the Valovi Chair from his studio in São Paulo. His
4988 designs have been downloaded over five thousand times in ninety-five
4989 countries. I.J. CNC Services is Ian Jinks, a professional maker based in the
4990 United Kingdom.  Opendesk now makes up a large proportion of his business.
4991       </p><p>
4992         To manage resources and remain effective, Opendesk has so far focused on a
4993 very narrow niche—primarily office furniture of a certain simple aesthetic,
4994 which uses only one type of material and one manufacturing technique. This
4995 allows them to be more strategic and more disruptive in the market, by
4996 getting things to market quickly with competitive prices. It also reflects
4997 their vision of creating reproducible and functional pieces.
4998       </p><p>
4999         On their website, Opendesk describes what they do as <span class="quote">„<span class="quote">open
5000 making</span>“</span>: <span class="quote">„<span class="quote">Designers get a global distribution channel. Makers
5001 get profitable jobs and new customers. You get designer products without the
5002 designer price tag, a more social, eco-friendly alternative to
5003 mass-production and an affordable way to buy custom-made products.</span>“</span>
5004       </p><p>
5005         Nick and Joni say that customers like the fact that the furniture has a
5006 known provenance. People really like that their furniture was designed by a
5007 certain international designer but was made by a maker in their local
5008 community; it’s a great story to tell. It certainly sets apart Opendesk
5009 furniture from the usual mass-produced items from a store.
5010       </p><p>
5011         Nick and Joni are taking a community-based approach to define and evolve
5012 Opendesk and the <span class="quote">„<span class="quote">open making</span>“</span> business model. They’re engaging
5013 thought leaders and practitioners to define this new movement. They have a
5014 separate Open Making site, which includes a manifesto, a field guide, and an
5015 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
5016 and business practices they’d like to see used.
5017       </p><p>
5018         Nick and Joni talked a lot with us about intellectual property (IP) and
5019 commercialization. Many of their designers fear the idea that someone could
5020 take one of their design files and make and sell infinite number of pieces
5021 of furniture with it. As a consequence, most Opendesk designers choose the
5022 Attribution-NonCommercial license (CC BY-NC).
5023       </p><p>
5024         Opendesk established a set of principles for what their community considers
5025 commercial and noncommercial use. Their website states:
5026       </p><p>
5027         It is unambiguously commercial use when anyone:
5028       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5029             charges a fee or makes a profit when making an Opendesk
5030           </p></li><li class="listitem"><p>
5031             sells (or bases a commercial service on) an Opendesk
5032           </p></li></ul></div><p>
5033         It follows from this that noncommercial use is when you make an Opendesk
5034 yourself, with no intention to gain commercial advantage or monetary
5035 compensation. For example, these qualify as noncommercial:
5036       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5037             you are an individual with your own CNC machine, or access to a shared CNC
5038 machine, and will personally cut and make a few pieces of furniture yourself
5039           </p></li><li class="listitem"><p>
5040             you are a student (or teacher) and you use the design files for educational
5041 purposes or training (and do not intend to sell the resulting pieces)
5042           </p></li><li class="listitem"><p>
5043             you work for a charity and get furniture cut by volunteers, or by employees
5044 at a fab lab or maker space
5045           </p></li></ul></div><p>
5046         Whether or not people technically are doing things that implicate IP, Nick
5047 and Joni have found that people tend to comply with the wishes of creators
5048 out of a sense of fairness.  They have found that behavioral economics can
5049 replace some of the thorny legal issues. In their business model, Nick and
5050 Joni are trying to suspend the focus on IP and build an open business model
5051 that works for all stakeholders—designers, channels, manufacturers, and
5052 customers. For them, the value Opendesk generates hangs off
5053 <span class="quote">„<span class="quote">open,</span>“</span> not IP.
5054       </p><p>
5055         The mission of Opendesk is about relocalizing manufacturing, which changes
5056 the way we think about how goods are made.  Commercialization is integral to
5057 their mission, and they’ve begun to focus on success metrics that track how
5058 many makers and designers are engaged through Opendesk in revenue-making
5059 work.
5060       </p><p>
5061         As a global platform for local making, Opendesk’s business model has been
5062 built on honesty, transparency, and inclusivity. As Nick and Joni describe
5063 it, they put ideas out there that get traction and then have faith in
5064 people.
5065       </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>
5066           OpenStax is a nonprofit that provides free, openly licensed textbooks for
5067 high-enrollment introductory college courses and Advanced Placement
5068 courses. Founded in 2012 in the U.S.
5069         </p><p>
5070           <a class="ulink" href="http://www.openstaxcollege.org" target="_top">http://www.openstaxcollege.org</a>
5071         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding, charging
5072 for custom services, charging for physical copies (textbook sales)
5073         </p><p><span class="strong"><strong>Interview date</strong></span>: December 16, 2015
5074         </p><p><span class="strong"><strong>Interviewee</strong></span>: David Harris,
5075 editor-in-chief
5076         </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}
5077     \textit{
5078           Profile written by Paul Stacey
5079         }
5080     \end{flushright}</td></tr></table></div><p>
5081         OpenStax is an extension of a program called Connexions, which was started
5082 in 1999 by Dr. Richard Baraniuk, the Victor E.  Cameron Professor of
5083 Electrical and Computer Engineering at Rice University in Houston,
5084 Texas. Frustrated by the limitations of traditional textbooks and courses,
5085 Dr. Baraniuk wanted to provide authors and learners a way to share and
5086 freely adapt educational materials such as courses, books, and reports.
5087 Today, Connexions (now called OpenStax CNX) is one of the world’s best
5088 libraries of customizable educational materials, all licensed with Creative
5089 Commons and available to anyone, anywhere, anytime—for free.
5090       </p><p>
5091         In 2008, while in a senior leadership role at WebAssign and looking at ways
5092 to reduce the risk that came with relying on publishers, David Harris began
5093 investigating open educational resources (OER) and discovered Connexions. A
5094 year and a half later, Connexions received a grant to help grow the use of
5095 OER so that it could meet the needs of students who couldn’t afford
5096 textbooks. David came on board to spearhead this effort.  Connexions became
5097 OpenStax CNX; the program to create open textbooks became OpenStax College,
5098 now simply called OpenStax.
5099       </p><p>
5100         David brought with him a deep understanding of the best practices of
5101 publishing along with where publishers have inefficiencies. In David’s view,
5102 peer review and high standards for quality are critically important if you
5103 want to scale easily. Books have to have logical scope and sequence, they
5104 have to exist as a whole and not in pieces, and they have to be easy to
5105 find. The working hypothesis for the launch of OpenStax was to
5106 professionally produce a turnkey textbook by investing effort up front, with
5107 the expectation that this would lead to rapid growth through easy downstream
5108 adoptions by faculty and students.
5109       </p><p>
5110         In 2012, OpenStax College launched as a nonprofit with the aim of producing
5111 high-quality, peer-reviewed full-color textbooks that would be available for
5112 free for the twenty-five most heavily attended college courses in the
5113 nation. Today they are fast approaching that number. There is data that
5114 proves the success of their original hypothesis on how many students they
5115 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
5116 with no sales force!
5117       </p><p>
5118         OpenStax textbooks are all Attribution (CC BY) licensed, and each textbook
5119 is available as a PDF, an e-book, or web pages.  Those who want a physical
5120 copy can buy one for an affordable price. Given the cost of education and
5121 student debt in North America, free or very low-cost textbooks are very
5122 appealing.  OpenStax encourages students to talk to their professor and
5123 librarians about these textbooks and to advocate for their use.
5124       </p><p>
5125         Teachers are invited to try out a single chapter from one of the textbooks
5126 with students. If that goes well, they’re encouraged to adopt the entire
5127 book. They can simply paste a URL into their course syllabus, for free and
5128 unlimited access. And with the CC BY license, teachers are free to delete
5129 chapters, make changes, and customize any book to fit their needs.
5130       </p><p>
5131         Any teacher can post corrections, suggest examples for difficult concepts,
5132 or volunteer as an editor or author. As many teachers also want supplemental
5133 material to accompany a textbook, OpenStax also provides slide
5134 presentations, test banks, answer keys, and so on.
5135       </p><p>
5136         Institutions can stand out by offering students a lower-cost education
5137 through the use of OpenStax textbooks; there’s even a textbook-savings
5138 calculator they can use to see how much students would save. OpenStax keeps
5139 a running list of institutions that have adopted their
5140 textbooks.<a href="#ftn.idm1671" class="footnote" name="idm1671"><sup class="footnote">[139]</sup></a>
5141       </p><p>
5142         Unlike traditional publishers’ monolithic approach of controlling
5143 intellectual property, distribution, and so many other aspects, OpenStax has
5144 adopted a model that embraces open licensing and relies on an extensive
5145 network of partners.
5146       </p><p>
5147         Up-front funding of a professionally produced all-color turnkey textbook is
5148 expensive. For this part of their model, OpenStax relies on
5149 philanthropy. They have initially been funded by the William and Flora
5150 Hewlett Foundation, the Laura and John Arnold Foundation, the Bill and
5151 Melinda Gates Foundation, the 20 Million Minds Foundation, the Maxfield
5152 Foundation, the Calvin K.  Kazanjian Foundation, and Rice University. To
5153 develop additional titles and supporting technology is probably still going
5154 to require philanthropic investment.
5155       </p><p>
5156         However, ongoing operations will not rely on foundation grants but instead
5157 on funds received through an ecosystem of over forty partners, whereby a
5158 partner takes core content from OpenStax and adds features that it can
5159 create revenue from. For example, WebAssign, an online homework and
5160 assessment tool, takes the physics book and adds algorithmically generated
5161 physics problems, with problem-specific feedback, detailed solutions, and
5162 tutorial support. WebAssign resources are available to students for a fee.
5163       </p><p>
5164         Another example is Odigia, who has turned OpenStax books into interactive
5165 learning experiences and created additional tools to measure and promote
5166 student engagement. Odigia licenses its learning platform to
5167 institutions. Partners like Odigia and WebAssign give a percentage of the
5168 revenue they earn back to OpenStax, as mission-support fees. OpenStax has
5169 already published revisions of their titles, such as Introduction to
5170 Sociology 2e, using these funds.
5171       </p><p>
5172         In David’s view, this approach lets the market operate at peak
5173 efficiency. OpenStax’s partners don’t have to worry about developing
5174 textbook content, freeing them up from those development costs and letting
5175 them focus on what they do best.  With OpenStax textbooks available at no
5176 cost, they can provide their services at a lower cost—not free, but still
5177 saving students money. OpenStax benefits not only by receiving
5178 mission-support fees but through free publicity and marketing.  OpenStax
5179 doesn’t have a sales force; partners are out there showcasing their
5180 materials.
5181       </p><p>
5182         OpenStax’s cost of sales to acquire a single student is very, very low and
5183 is a fraction of what traditional players in the market face. This year,
5184 Tyton Partners is actually evaluating the costs of sales for an OER effort
5185 like OpenStax in comparison with incumbents. David looks forward to sharing
5186 these findings with the community.
5187       </p><p>
5188         While OpenStax books are available online for free, many students still want
5189 a print copy. Through a partnership with a print and courier company,
5190 OpenStax offers a complete solution that scales. OpenStax sells tens of
5191 thousands of print books.  The price of an OpenStax sociology textbook is
5192 about twenty-eight dollars, a fraction of what sociology textbooks usually
5193 cost. OpenStax keeps the prices low but does aim to earn a small margin on
5194 each book sold, which also contributes to ongoing operations.
5195       </p><p>
5196         Campus-based bookstores are part of the OpenStax solution.  OpenStax
5197 collaborates with NACSCORP (the National Association of College Stores
5198 Corporation) to provide print versions of their textbooks in the
5199 stores. While the overall cost of the textbook is significantly less than a
5200 traditional textbook, bookstores can still make a profit on sales. Sometimes
5201 students take the savings they have from the lower-priced book and use it to
5202 buy other things in the bookstore. And OpenStax is trying to break the
5203 expensive behavior of excessive returns by having a no-returns policy. This
5204 is working well, since the sell-through of their print titles is virtually a
5205 hundred percent.
5206       </p><p>
5207         David thinks of the OpenStax model as <span class="quote">„<span class="quote">OER 2.0.</span>“</span> So what is OER
5208 1.0? Historically in the OER field, many OER initiatives have been locally
5209 funded by institutions or government ministries. In David’s view, this
5210 results in content that has high local value but is infrequently adopted
5211 nationally. It’s therefore difficult to show payback over a time scale that
5212 is reasonable.
5213       </p><p>
5214         OER 2.0 is about OER intended to be used and adopted on a national level
5215 right from the start. This requires a bigger investment up front but pays
5216 off through wide geographic adoption. The OER 2.0 process for OpenStax
5217 involves two development models. The first is what David calls the
5218 acquisition model, where OpenStax purchases the rights from a publisher or
5219 author for an already published book and then extensively revises it. The
5220 OpenStax physics textbook, for example, was licensed from an author after
5221 the publisher released the rights back to the authors. The second model is
5222 to develop a book from scratch, a good example being their biology book.
5223       </p><p>
5224         The process is similar for both models. First they look at the scope and
5225 sequence of existing textbooks. They ask questions like what does the
5226 customer need? Where are students having challenges? Then they identify
5227 potential authors and put them through a rigorous evaluation—only one in ten
5228 authors make it through. OpenStax selects a team of authors who come
5229 together to develop a template for a chapter and collectively write the
5230 first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
5231 books with just a single author as David says it risks the project going
5232 longer than scheduled.) The draft is peer-reviewed with no less than three
5233 reviewers per chapter. A second draft is generated, with artists producing
5234 illustrations and visuals to go along with the text. The book is then
5235 copyedited to ensure grammatical correctness and a singular voice. Finally,
5236 it goes into production and through a final proofread. The whole process is
5237 very time-consuming.
5238       </p><p>
5239         All the people involved in this process are paid. OpenStax does not rely on
5240 volunteers. Writers, reviewers, illustrators, and editors are all paid an
5241 up-front fee—OpenStax does not use a royalty model. A best-selling author
5242 might make more money under the traditional publishing model, but that is
5243 only maybe 5 percent of all authors. From David’s perspective, 95 percent of
5244 all authors do better under the OER 2.0 model, as there is no risk to them
5245 and they earn all the money up front.
5246       </p><p>
5247         David thinks of the Attribution license (CC BY) as the <span class="quote">„<span class="quote">innovation
5248 license.</span>“</span> It’s core to the mission of OpenStax, letting people use
5249 their textbooks in innovative ways without having to ask for permission. It
5250 frees up the whole market and has been central to OpenStax being able to
5251 bring on partners. OpenStax sees a lot of customization of their
5252 materials. By enabling frictionless remixing, CC BY gives teachers control
5253 and academic freedom.
5254       </p><p>
5255         Using CC BY is also a good example of using strategies that traditional
5256 publishers can’t. Traditional publishers rely on copyright to prevent others
5257 from making copies and heavily invest in digital rights management to ensure
5258 their books aren’t shared. By using CC BY, OpenStax avoids having to deal
5259 with digital rights management and its costs. OpenStax books can be copied
5260 and shared over and over again. CC BY changes the rules of engagement and
5261 takes advantage of traditional market inefficiencies.
5262       </p><p>
5263         As of September 16, 2016, OpenStax has achieved some impressive
5264 results. From the OpenStax at a Glance fact sheet from their recent press
5265 kit:
5266       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5267             Books published: 23
5268           </p></li><li class="listitem"><p>
5269             Students who have used OpenStax: 1.6 million
5270           </p></li><li class="listitem"><p>
5271             Money saved for students: $155 million
5272           </p></li><li class="listitem"><p>
5273             Money saved for students in the 2016/17 academic year: $77 million
5274           </p></li><li class="listitem"><p>
5275             Schools that have used OpenStax: 2,668 (This number reflects all
5276 institutions using at least one OpenStax textbook. Out of 2,668 schools, 517
5277 are two-year colleges, 835 four-year colleges and universities, and 344
5278 colleges and universities outside the U.S.)
5279           </p></li></ul></div><p>
5280         While OpenStax has to date been focused on the United States, there is
5281 overseas adoption especially in the science, technology, engineering, and
5282 math (STEM) fields. Large scale adoption in the United States is seen as a
5283 necessary precursor to international interest.
5284       </p><p>
5285         OpenStax has primarily focused on introductory-level college courses where
5286 there is high enrollment, but they are starting to think about verticals—a
5287 broad offering for a specific group or need. David thinks it would be
5288 terrific if OpenStax could provide access to free textbooks through the
5289 entire curriculum of a nursing degree, for example.
5290       </p><p>
5291         Finally, for OpenStax success is not just about the adoption of their
5292 textbooks and student savings. There is a human aspect to the work that is
5293 hard to quantify but incredibly important. They get emails from students
5294 saying how OpenStax saved them from making difficult choices like buying
5295 food or a textbook.  OpenStax would also like to assess the impact their
5296 books have on learning efficiency, persistence, and completion. By building
5297 an open business model based on Creative Commons, OpenStax is making it
5298 possible for every student who wants access to education to get it.
5299       </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>
5300           Amanda Palmer is a musician, artist, and writer. Based in the U.S.
5301         </p><p>
5302           <a class="ulink" href="http://amandapalmer.net" target="_top">http://amandapalmer.net</a>
5303         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
5304 (subscription-based), pay-what-you-want, charging for physical copies (book
5305 and album sales), charg-ing for in-person version (performances), selling
5306 merchandise
5307         </p><p><span class="strong"><strong>Interview date</strong></span>: December 15, 2015
5308         </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}
5309     \textit{
5310           Profile written by Sarah Hinchliff Pearson
5311         }
5312     \end{flushright}</td></tr></table></div><p>
5313         Since the beginning of her career, Amanda Palmer has been on what she calls
5314 a <span class="quote">„<span class="quote">journey with no roadmap,</span>“</span> continually experimenting to find
5315 new ways to sustain her creative work.<a href="#ftn.idm1718" class="footnote" name="idm1718"><sup class="footnote">[140]</sup></a>
5316       </p><p>
5317         In her best-selling book, The Art of Asking, Amanda articulates exactly what
5318 she has been and continues to strive for—<span class="quote">„<span class="quote">the ideal sweet spot
5319 . . . in which the artist can share freely and directly feel the
5320 reverberations of their artistic gifts to the community, and make a living
5321 doing that.</span>“</span>
5322       </p><p>
5323         While she seems to have successfully found that sweet spot for herself,
5324 Amanda is the first to acknowledge there is no silver bullet. She thinks the
5325 digital age is both an exciting and frustrating time for creators. <span class="quote">„<span class="quote">On
5326 the one hand, we have this beautiful shareability,</span>“</span> Amanda
5327 said. <span class="quote">„<span class="quote">On the other, you’ve got a bunch of confused artists wondering
5328 how to make money to buy food so we can make more art.</span>“</span>
5329       </p><p>
5330         Amanda began her artistic career as a street performer. She would dress up
5331 in an antique wedding gown, paint her face white, stand on a stack of milk
5332 crates, and hand out flowers to strangers as part of a silent dramatic
5333 performance. She collected money in a hat. Most people walked by her without
5334 stopping, but an essential few stopped to watch and drop some money into her
5335 hat to show their appreciation. Rather than dwelling on the majority of
5336 people who ignored her, she felt thankful for those who stopped. <span class="quote">„<span class="quote">All
5337 I needed was . . .  some people,</span>“</span> she wrote in her
5338 book. <span class="quote">„<span class="quote">Enough people. Enough to make it worth coming back the next
5339 day, enough people to help me make rent and put food on the table. Enough so
5340 I could keep making art.</span>“</span>
5341       </p><p>
5342         Amanda has come a long way from her street-performing days, but her career
5343 remains dominated by that same sentiment—finding ways to reach <span class="quote">„<span class="quote">her
5344 crowd</span>“</span> and feeling gratitude when she does. With her band the Dresden
5345 Dolls, Amanda tried the traditional path of signing with a record label. It
5346 didn’t take for a variety of reasons, but one of them was that the label had
5347 absolutely no interest in Amanda’s view of success. They wanted hits, but
5348 making music for the masses was never what Amanda and the Dresden Dolls set
5349 out to do.
5350       </p><p>
5351         After leaving the record label in 2008, she began experimenting with
5352 different ways to make a living. She released music directly to the public
5353 without involving a middle man, releasing digital files on a <span class="quote">„<span class="quote">pay what
5354 you want</span>“</span> basis and selling CDs and vinyl. She also made money from
5355 live performances and merchandise sales. Eventually, in 2012 she decided to
5356 try her hand at the sort of crowdfunding we know so well today. Her
5357 Kickstarter project started with a goal of $100,000, and she made $1.2
5358 million. It remains one of the most successful Kickstarter projects of all
5359 time.
5360       </p><p>
5361         Today, Amanda has switched gears away from crowdfunding for specific
5362 projects to instead getting consistent financial support from her fan base
5363 on Patreon, a crowdfunding site that allows artists to get recurring
5364 donations from fans. More than eight thousand people have signed up to
5365 support her so she can create music, art, and any other creative
5366 <span class="quote">„<span class="quote">thing</span>“</span> that she is inspired to make. The recurring pledges are
5367 made on a <span class="quote">„<span class="quote">per thing</span>“</span> basis. All of the content she makes is
5368 made freely available under an Attribution-NonCommercial-ShareAlike license
5369 (CC BY-NC-SA).
5370       </p><p>
5371         Making her music and art available under Creative Commons licensing
5372 undoubtedly limits her options for how she makes a living. But sharing her
5373 work has been part of her model since the beginning of her career, even
5374 before she discovered Creative Commons. Amanda says the Dresden Dolls used
5375 to get ten emails per week from fans asking if they could use their music
5376 for different projects. They said yes to all of the requests, as long as it
5377 wasn’t for a completely for-profit venture. At the time, they used a
5378 short-form agreement written by Amanda herself. <span class="quote">„<span class="quote">I made everyone sign
5379 that contract so at least I wouldn’t be leaving the band vulnerable to
5380 someone later going on and putting our music in a Camel cigarette
5381 ad,</span>“</span> Amanda said. Once she discovered Creative Commons, adopting the
5382 licenses was an easy decision because it gave them a more formal,
5383 standardized way of doing what they had been doing all along. The
5384 NonCommercial licenses were a natural fit.
5385       </p><p>
5386         Amanda embraces the way her fans share and build upon her music.  In The Art
5387 of Asking, she wrote that some of her fans’ unofficial videos using her
5388 music surpass the official videos in number of views on YouTube. Rather than
5389 seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">„<span class="quote">We
5390 got into this because we wanted to share the joy of music,</span>“</span> she said.
5391       </p><p>
5392         This is symbolic of how nearly everything she does in her career is
5393 motivated by a desire to connect with her fans. At the start of her career,
5394 she and the band would throw concerts at house parties. As the gatherings
5395 grew, the line between fans and friends was completely blurred. <span class="quote">„<span class="quote">Not
5396 only did most our early fans know where I lived and where we practiced, but
5397 most of them had also been in my kitchen,</span>“</span> Amanda wrote in The Art of
5398 Asking.
5399       </p><p>
5400         Even though her fan base is now huge and global, she continues to seek this
5401 sort of human connection with her fans. She seeks out face-to-face contact
5402 with her fans every chance she can get.  Her hugely successful Kickstarter
5403 featured fifty concerts at house parties for backers. She spends hours in
5404 the signing line after shows. It helps that Amanda has the kind of dynamic,
5405 engaging personality that instantly draws people to her, but a big component
5406 of her ability to connect with people is her willingness to
5407 listen. <span class="quote">„<span class="quote">Listening fast and caring immediately is a skill unto
5408 itself,</span>“</span> Amanda wrote.
5409       </p><p>
5410         Another part of the connection fans feel with Amanda is how much they know
5411 about her life. Rather than trying to craft a public persona or image, she
5412 essentially lives her life as an open book. She has written openly about
5413 incredibly personal events in her life, and she isn’t afraid to be
5414 vulnerable. Having that kind of trust in her fans—the trust it takes to be
5415 truly honest—begets trust from her fans in return. When she meets fans for
5416 the first time after a show, they can legitimately feel like they know her.
5417       </p><p><span class="quote">„<span class="quote">With social media, we’re so concerned with the picture looking
5418 palatable and consumable that we forget that being human and showing the
5419 flaws and exposing the vulnerability actually create a deeper connection
5420 than just looking fantastic,</span>“</span> Amanda said. <span class="quote">„<span class="quote">Everything in our
5421 culture is telling us otherwise. But my experience has shown me that the
5422 risk of making yourself vulnerable is almost always worth it.</span>“</span>
5423       </p><p>
5424         Not only does she disclose intimate details of her life to them, she sleeps
5425 on their couches, listens to their stories, cries with them. In short, she
5426 treats her fans like friends in nearly every possible way, even when they
5427 are complete strangers. This mentality—that fans are friends—is completely
5428 intertwined with Amanda’s success as an artist. It is also intertwined with
5429 her use of Creative Commons licenses. Because that is what you do with your
5430 friends—you share.
5431       </p><p>
5432         After years of investing time and energy into building trust with her fans,
5433 she has a strong enough relationship with them to ask for support—through
5434 pay-what-you-want donations, Kickstarter, Patreon, or even asking them to
5435 lend a hand at a concert. As Amanda explains it, crowdfunding (which is
5436 really what all of these different things are) is about asking for support
5437 from people who know and trust you. People who feel personally invested in
5438 your success.
5439       </p><p><span class="quote">„<span class="quote">When you openly, radically trust people, they not only take care of
5440 you, they become your allies, your family,</span>“</span> she wrote. There really
5441 is a feeling of solidarity within her core fan base. From the beginning,
5442 Amanda and her band encouraged people to dress up for their shows. They
5443 consciously cultivated a feeling of belonging to their <span class="quote">„<span class="quote">weird little
5444 family.</span>“</span>
5445       </p><p>
5446         This sort of intimacy with fans is not possible or even desirable for every
5447 creator. <span class="quote">„<span class="quote">I don’t take for granted that I happen to be the type of
5448 person who loves cavorting with strangers,</span>“</span> Amanda said. <span class="quote">„<span class="quote">I
5449 recognize that it’s not necessarily everyone’s idea of a good time. Everyone
5450 does it differently. Replicating what I have done won’t work for others if
5451 it isn’t joyful to them. It’s about finding a way to channel energy in a way
5452 that is joyful to you.</span>“</span>
5453       </p><p>
5454         Yet while Amanda joyfully interacts with her fans and involves them in her
5455 work as much as possible, she does keep one job primarily to herself—writing
5456 the music. She loves the creativity with which her fans use and adapt her
5457 work, but she intentionally does not involve them at the first stage of
5458 creating her artistic work. And, of course, the songs and music are what
5459 initially draw people to Amanda Palmer. It is only once she has connected to
5460 people through her music that she can then begin to build ties with them on
5461 a more personal level, both in person and online. In her book, Amanda
5462 describes it as casting a net. It starts with the art and then the bond
5463 strengthens with human connection.
5464       </p><p>
5465         For Amanda, the entire point of being an artist is to establish and maintain
5466 this connection. <span class="quote">„<span class="quote">It sounds so corny,</span>“</span> she said, <span class="quote">„<span class="quote">but my
5467 experience in forty years on this planet has pointed me to an obvious
5468 truth—that connection with human beings feels so much better and more
5469 fulfilling than approaching art through a capitalist lens. There is no more
5470 satisfying end goal than having someone tell you that what you do is
5471 genuinely of value to them.</span>“</span>
5472       </p><p>
5473         As she explains it, when a fan gives her a ten-dollar bill, usually what
5474 they are saying is that the money symbolizes some deeper value the music
5475 provided them. For Amanda, art is not just a product; it’s a
5476 relationship. Viewed from this lens, what Amanda does today is not that
5477 different from what she did as a young street performer. She shares her
5478 music and other artistic gifts. She shares herself. And then rather than
5479 forcing people to help her, she lets them.
5480       </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>
5481           PLOS (Public Library of Science) is a nonprofit that publishes a library of
5482 academic journals and other scientific literature. Founded in 2000 in the
5483 U.S.
5484         </p><p>
5485           <a class="ulink" href="http://plos.org" target="_top">http://plos.org</a>
5486         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
5487 an author processing charge to be featured in the journal
5488         </p><p><span class="strong"><strong>Interview date</strong></span>: March 7, 2016
5489         </p><p><span class="strong"><strong>Interviewee</strong></span>: Louise Page, publisher
5490         </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}
5491     \textit{
5492           Profile written by Paul Stacey
5493         }
5494     \end{flushright}</td></tr></table></div><p>
5495         The Public Library of Science (PLOS) began in 2000 when three leading
5496 scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
5497 online petition. They were calling for scientists to stop submitting papers
5498 to journals that didn’t make the full text of their papers freely available
5499 immediately or within six months. Although tens of thousands signed the
5500 petition, most did not follow through. In August 2001, Patrick and Michael
5501 announced that they would start their own nonprofit publishing operation to
5502 do just what the petition promised. With start-up grant support from the
5503 Gordon and Betty Moore Foundation, PLOS was launched to provide new
5504 open-access journals for biomedicine, with research articles being released
5505 under Attribution (CC BY) licenses.
5506       </p><p>
5507         Traditionally, academic publishing begins with an author submitting a
5508 manuscript to a publisher. After in-house technical and ethical
5509 considerations, the article is then peer-reviewed to determine if the
5510 quality of the work is acceptable for publishing. Once accepted, the
5511 publisher takes the article through the process of copyediting, typesetting,
5512 and eventual publishing in a print or online publication. Traditional
5513 journal publishers recover costs and earn profit by charging a subscription
5514 fee to libraries or an access fee to users wanting to read the journal or
5515 article.
5516       </p><p>
5517         For Louise Page, the current publisher of PLOS, this traditional model
5518 results in inequity. Access is restricted to those who can pay. Most
5519 research is funded through government-appointed agencies, that is, with
5520 public funds. It’s unjust that the public who funded the research would be
5521 required to pay again to access the results. Not everyone can afford the
5522 ever-escalating subscription fees publishers charge, especially when library
5523 budgets are being reduced. Restricting access to the results of scientific
5524 research slows the dissemination of this research and advancement of the
5525 field. It was time for a new model.
5526       </p><p>
5527         That new model became known as open access. That is, free and open
5528 availability on the Internet. Open-access research articles are not behind a
5529 paywall and do not require a login. A key benefit of open access is that it
5530 allows people to freely use, copy, and distribute the articles, as they are
5531 primarily published under an Attribution (CC BY) license (which only
5532 requires the user to provide appropriate attribution). And more importantly,
5533 policy makers, clinicians, entrepreneurs, educators, and students around the
5534 world have free and timely access to the latest research immediately on
5535 publication.
5536       </p><p>
5537         However, open access requires rethinking the business model of research
5538 publication. Rather than charge a subscription fee to access the journal,
5539 PLOS decided to turn the model on its head and charge a publication fee,
5540 known as an article-processing charge. This up-front fee, generally paid by
5541 the funder of the research or the author’s institution, covers the expenses
5542 such as editorial oversight, peer-review management, journal production,
5543 online hosting, and support for discovery. Fees are per article and are
5544 billed upon acceptance for publishing. There are no additional charges based
5545 on word length, figures, or other elements.
5546       </p><p>
5547         Calculating the article-processing charge involves taking all the costs
5548 associated with publishing the journal and determining a cost per article
5549 that collectively recovers costs. For PLOS’s journals in biology, medicine,
5550 genetics, computational biology, neglected tropical diseases, and pathogens,
5551 the article-processing charge ranges from $2,250 to $2,900.
5552 Article-publication charges for PLOS ONE, a journal started in 2006, are
5553 just under $1,500.
5554       </p><p>
5555         PLOS believes that lack of funds should not be a barrier to
5556 publication. Since its inception, PLOS has provided fee support for
5557 individuals and institutions to help authors who can’t afford the
5558 article-processing charges.
5559       </p><p>
5560         Louise identifies marketing as one area of big difference between PLOS and
5561 traditional journal publishers. Traditional journals have to invest heavily
5562 in staff, buildings, and infrastructure to market their journal and convince
5563 customers to subscribe. Restricting access to subscribers means that tools
5564 for managing access control are necessary. They spend millions of dollars on
5565 access-control systems, staff to manage them, and sales staff. With PLOS’s
5566 open-access publishing, there’s no need for these massive expenses; the
5567 articles are free, open, and accessible to all upon
5568 publication. Additionally, traditional publishers tend to spend more on
5569 marketing to libraries, who ultimately pay the subscription fees. PLOS
5570 provides a better service for authors by promoting their research directly
5571 to the research community and giving the authors exposure. And this
5572 encourages other authors to submit their work for publication.
5573       </p><p>
5574         For Louise, PLOS would not exist without the Attribution license (CC
5575 BY). This makes it very clear what rights are associated with the content
5576 and provides a safe way for researchers to make their work available while
5577 ensuring they get recognition (appropriate attribution). For PLOS, all of
5578 this aligns with how they think research content should be published and
5579 disseminated.
5580       </p><p>
5581         PLOS also has a broad open-data policy. To get their research paper
5582 published, PLOS authors must also make their data available in a public
5583 repository and provide a data-availability statement.
5584       </p><p>
5585         Business-operation costs associated with the open-access model still largely
5586 follow the existing publishing model. PLOS journals are online only, but the
5587 editorial, peer-review, production, typesetting, and publishing stages are
5588 all the same as for a traditional publisher. The editorial teams must be top
5589 notch. PLOS has to function as well as or better than other premier
5590 journals, as researchers have a choice about where to publish.
5591       </p><p>
5592         Researchers are influenced by journal rankings, which reflect the place of a
5593 journal within its field, the relative difficulty of being published in that
5594 journal, and the prestige associated with it. PLOS journals rank high, even
5595 though they are relatively new.
5596       </p><p>
5597         The promotion and tenure of researchers are partially based how many times
5598 other researchers cite their articles. Louise says when researchers want to
5599 discover and read the work of others in their field, they go to an online
5600 aggregator or search engine, and not typically to a particular journal. The
5601 CC BY licensing of PLOS research articles ensures easy access for readers
5602 and generates more discovery and citations for authors.
5603       </p><p>
5604         Louise believes that open access has been a huge success, progressing from a
5605 movement led by a small cadre of researchers to something that is now
5606 widespread and used in some form by every journal publisher. PLOS has had a
5607 big impact. In 2012 to 2014, they published more open-access articles than
5608 BioMed Central, the original open-access publisher, or anyone else.
5609       </p><p>
5610         PLOS further disrupted the traditional journal-publishing model by
5611 pioneering the concept of a megajournal. The PLOS ONE megajournal, launched
5612 in 2006, is an open-access peer-reviewed academic journal that is much
5613 larger than a traditional journal, publishing thousands of articles per year
5614 and benefiting from economies of scale. PLOS ONE has a broad scope, covering
5615 science and medicine as well as social sciences and the humanities. The
5616 review and editorial process is less subjective. Articles are accepted for
5617 publication based on whether they are technically sound rather than
5618 perceived importance or relevance. This is very important in the current
5619 debate about the integrity and reproducibility of research because negative
5620 or null results can then be published as well, which are generally rejected
5621 by traditional journals. PLOS ONE, like all the PLOS journals, is online
5622 only with no print version. PLOS passes on the financial savings accrued
5623 through economies of scale to researchers and the public by lowering the
5624 article-processing charges, which are below that of other journals. PLOS ONE
5625 is the biggest journal in the world and has really set the bar for
5626 publishing academic journal articles on a large scale. Other publishers see
5627 the value of the PLOS ONE model and are now offering their own
5628 multidisciplinary forums for publishing all sound science.
5629       </p><p>
5630         Louise outlined some other aspects of the research-journal business model
5631 PLOS is experimenting with, describing each as a kind of slider that could
5632 be adjusted to change current practice.
5633       </p><p>
5634         One slider is time to publication. Time to publication may shorten as
5635 journals get better at providing quicker decisions to authors. However,
5636 there is always a trade-off with scale, as the bigger the volume of
5637 articles, the more time the approval process inevitably takes.
5638       </p><p>
5639         Peer review is another part of the process that could change.  It’s possible
5640 to redefine what peer review actually is, when to review, and what
5641 constitutes the final article for publication.  Louise talked about the
5642 potential to shift to an open-review process, placing the emphasis on
5643 transparency rather than double-blind reviews. Louise thinks we’re moving
5644 into a direction where it’s actually beneficial for an author to know who is
5645 reviewing their paper and for the reviewer to know their review will be
5646 public. An open-review process can also ensure everyone gets credit; right
5647 now, credit is limited to the publisher and author.
5648       </p><p>
5649         Louise says research with negative outcomes is almost as important as
5650 positive results. If journals published more research with negative
5651 outcomes, we’d learn from what didn’t work. It could also reduce how much
5652 the research wheel gets reinvented around the world.
5653       </p><p>
5654         Another adjustable practice is the sharing of articles at early preprint
5655 stages. Publication of research in a peer-reviewed journal can take a long
5656 time because articles must undergo extensive peer review. The need to
5657 quickly circulate current results within a scientific community has led to a
5658 practice of distributing pre-print documents that have not yet undergone
5659 peer review. Preprints broaden the peer-review process, allowing authors to
5660 receive early feedback from a wide group of peers, which can help revise and
5661 prepare the article for submission.  Offsetting the advantages of preprints
5662 are author concerns over ensuring their primacy of being first to come up
5663 with findings based on their research. Other researches may see findings the
5664 preprint author has not yet thought of. However, preprints help researchers
5665 get their discoveries out early and establish precedence. A big challenge is
5666 that researchers don’t have a lot of time to comment on preprints.
5667       </p><p>
5668         What constitutes a journal article could also change. The idea of a research
5669 article as printed, bound, and in a library stack is outdated. Digital and
5670 online open up new possibilities, such as a living document evolving over
5671 time, inclusion of audio and video, and interactivity, like discussion and
5672 recommendations.  Even the size of what gets published could change. With
5673 these changes the current form factor for what constitutes a research
5674 article would undergo transformation.
5675       </p><p>
5676         As journals scale up, and new journals are introduced, more and more
5677 information is being pushed out to readers, making the experience feel like
5678 drinking from a fire hose. To help mitigate this, PLOS aggregates and
5679 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
5680 Metrics, which helps users assess research most relevant to the field
5681 itself, based on indicators like usage, citations, social bookmarking and
5682 dissemination activity, media and blog coverage, discussions, and
5683 ratings.<a href="#ftn.idm1799" class="footnote" name="idm1799"><sup class="footnote">[142]</sup></a> Louise believes that the
5684 journal model could evolve to provide a more friendly and interactive user
5685 experience, including a way for readers to communicate with authors.
5686       </p><p>
5687         The big picture for PLOS going forward is to combine and adjust these
5688 experimental practices in ways that continue to improve accessibility and
5689 dissemination of research, while ensuring its integrity and reliability. The
5690 ways they interlink are complex.  The process of change and adjustment is
5691 not linear. PLOS sees itself as a very flexible publisher interested in
5692 exploring all the permutations research-publishing can take, with authors
5693 and readers who are open to experimentation.
5694       </p><p>
5695         For PLOS, success is not about revenue. Success is about proving that
5696 scientific research can be communicated rapidly and economically at scale,
5697 for the benefit of researchers and society. The CC BY license makes it
5698 possible for PLOS to publish in a way that is unfettered, open, and fast,
5699 while ensuring that the authors get credit for their work. More than two
5700 million scientists, scholars, and clinicians visit PLOS every month, with
5701 more than 135,000 quality articles to peruse for free.
5702       </p><p>
5703         Ultimately, for PLOS, its authors, and its readers, success is about making
5704 research discoverable, available, and reproducible for the advancement of
5705 science.
5706       </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>
5707           The Rijksmuseum is a Dutch national museum dedicated to art and
5708 history. Founded in 1800 in the Netherlands
5709         </p><p>
5710           <a class="ulink" href="http://www.rijksmuseum.nl" target="_top">http://www.rijksmuseum.nl</a>
5711         </p><p><span class="strong"><strong>Revenue model</strong></span>: grants and government
5712 funding, charging for in-person version (museum admission), selling
5713 merchandise
5714         </p><p><span class="strong"><strong>Interview date</strong></span>: December 11, 2015
5715         </p><p><span class="strong"><strong>Interviewee</strong></span>: Lizzy Jongma, the data
5716 manager of the collections information department
5717         </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}
5718     \textit{
5719           Profile written by Paul Stacey
5720         }
5721     \end{flushright}</td></tr></table></div><p>
5722         The Rijksmuseum, a national museum in the Netherlands dedicated to art and
5723 history, has been housed in its current building since 1885. The monumental
5724 building enjoyed more than 125 years of intensive use before needing a
5725 thorough overhaul. In 2003, the museum was closed for renovations. Asbestos
5726 was found in the roof, and although the museum was scheduled to be closed
5727 for only three to four years, renovations ended up taking ten years.  During
5728 this time, the collection was moved to a different part of Amsterdam, which
5729 created a physical distance with the curators. Out of necessity, they
5730 started digitally photographing the collection and creating metadata
5731 (information about each object to put into a database). With the renovations
5732 going on for so long, the museum became largely forgotten by the public.
5733 Out of these circumstances emerged a new and more open model for the museum.
5734       </p><p>
5735         By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager,
5736 staff were fed up with the situation the museum was in. They also realized
5737 that even with the new and larger space, it still wouldn’t be able to show
5738 very much of the whole collection—eight thousand of over one million works
5739 representing just 1 percent. Staff began exploring ways to express
5740 themselves, to have something to show for all of the work they had been
5741 doing. The Rijksmuseum is primarily funded by Dutch taxpayers, so was there
5742 a way for the museum provide benefit to the public while it was closed? They
5743 began thinking about sharing Rijksmuseum’s collection using information
5744 technology.  And they put up a card-catalog like database of the entire
5745 collection online.
5746       </p><p>
5747         It was effective but a bit boring. It was just data. A hackathon they were
5748 invited to got them to start talking about events like that as having
5749 potential. They liked the idea of inviting people to do cool stuff with
5750 their collection. What about giving online access to digital representations
5751 of the one hundred most important pieces in the Rijksmuseum collection? That
5752 eventually led to why not put the whole collection online?
5753       </p><p>
5754         Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
5755 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
5756 across Europe, Europeana had become an important online platform. In October
5757 2010 Creative Commons released CC0 and its public-domain mark as tools
5758 people could use to identify works as free of known copyright. Europeana was
5759 the first major adopter, using CC0 to release metadata about their
5760 collection and the public domain mark for millions of digital works in their
5761 collection.  Lizzy says the Rijksmuseum initially found this change in
5762 business practice a bit scary, but at the same time it stimulated even more
5763 discussion on whether the Rijksmuseum should follow suit.
5764       </p><p>
5765         They realized that they don’t <span class="quote">„<span class="quote">own</span>“</span> the collection and couldn’t
5766 realistically monitor and enforce compliance with the restrictive licensing
5767 terms they currently had in place. For example, many copies and versions of
5768 Vermeer’s Milkmaid (part of their collection) were already online, many of
5769 them of very poor quality. They could spend time and money policing its use,
5770 but it would probably be futile and wouldn’t make people stop using their
5771 images online. They ended up thinking it’s an utter waste of time to hunt
5772 down people who use the Rijksmuseum collection.  And anyway, restricting
5773 access meant the people they were frustrating the most were schoolkids.
5774       </p><p>
5775         In 2011 the Rijksmuseum began making their digital photos of works known to
5776 be free of copyright available online, using Creative Commons CC0 to place
5777 works in the public domain. A medium-resolution image was offered for free,
5778 but a high-resolution version cost forty euros. People started paying, but
5779 Lizzy says getting the money was frequently a nightmare, especially from
5780 overseas customers. The administrative costs often offset revenue, and
5781 income above costs was relatively low.  In addition, having to pay for an
5782 image of a work in the public domain from a collection owned by the Dutch
5783 government (i.e., paid for by the public) was contentious and frustrating
5784 for some. Lizzy says they had lots of fierce debates about what to do.
5785       </p><p>
5786         In 2013 the Rijksmuseum changed its business model. They Creative Commons
5787 licensed their highest-quality images and released them online for
5788 free. Digitization still cost money, however; they decided to define
5789 discrete digitization projects and find sponsors willing to fund each
5790 project. This turned out to be a successful strategy, generating high
5791 interest from sponsors and lower administrative effort for the Rijksmuseum.
5792 They started out making 150,000 high-quality images of their collection
5793 available, with the goal to eventually have the entire collection online.
5794       </p><p>
5795         Releasing these high-quality images for free reduced the number of
5796 poor-quality images that were proliferating. The high-quality image of
5797 Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
5798 month. On the Internet, images from a source like the Rijksmuseum are more
5799 trusted, and releasing them with a Creative Commons CC0 means they can
5800 easily be found in other platforms. For example, Rijksmuseum images are now
5801 used in thousands of Wikipedia articles, receiving ten to eleven million
5802 views per month. This extends Rijksmuseum’s reach far beyond the scope of
5803 its website. Sharing these images online creates what Lizzy calls the
5804 <span class="quote">„<span class="quote">Mona Lisa effect,</span>“</span> where a work of art becomes so famous that
5805 people want to see it in real life by visiting the actual museum.
5806       </p><p>
5807         Every museum tends to be driven by the number of physical visitors. The
5808 Rijksmuseum is primarily publicly funded, receiving roughly 70 percent of
5809 its operating budget from the government. But like many museums, it must
5810 generate the rest of the funding through other means. The admission fee has
5811 long been a way to generate revenue generation, including for the
5812 Rijksmuseum.
5813       </p><p>
5814         As museums create a digital presence for themselves and put up digital
5815 representations of their collection online, there’s frequently a worry that
5816 it will lead to a drop in actual physical visits. For the Rijksmuseum, this
5817 has not turned out to be the case. Lizzy told us the Rijksmuseum used to get
5818 about one million visitors a year before closing and now gets more than two
5819 million a year. Making the collection available online has generated
5820 publicity and acts as a form of marketing. The Creative Commons mark
5821 encourages reuse as well. When the image is found on protest leaflets, milk
5822 cartons, and children’s toys, people also see what museum the image comes
5823 from and this increases the museum’s visibility.
5824       </p><p>
5825         In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
5826 a new web presence that would be different from any other museum’s. In
5827 addition to redesigning their main website to be mobile friendly and
5828 responsive to devices like the iPad, the Rijksmuseum also created the
5829 Rijksstudio, where users and artists could use and do various things with
5830 the Rijksmuseum collection.<a href="#ftn.idm1834" class="footnote" name="idm1834"><sup class="footnote">[144]</sup></a>
5831       </p><p>
5832         The Rijksstudio gives users access to over two hundred thousand high-quality
5833 digital representations of masterworks from the collection. Users can zoom
5834 in to any work and even clip small parts of images they like. Rijksstudio is
5835 a bit like Pinterest.  You can <span class="quote">„<span class="quote">like</span>“</span> works and compile your
5836 personal favorites, and you can share them with friends or download them
5837 free of charge. All the images in the Rijksstudio are copyright and royalty
5838 free, and users are encouraged to use them as they like, for private or even
5839 commercial purposes.
5840       </p><p>
5841         Users have created over 276,000 Rijksstudios, generating their own themed
5842 virtual exhibitions on a wide variety of topics ranging from tapestries to
5843 ugly babies and birds. Sets of images have also been created for educational
5844 purposes including use for school exams.
5845       </p><p>
5846         Some contemporary artists who have works in the Rijksmuseum collection
5847 contacted them to ask why their works were not included in the
5848 Rijksstudio. The answer was that contemporary artists’ works are still bound
5849 by copyright. The Rijksmuseum does encourage contemporary artists to use a
5850 Creative Commons license for their works, usually a CC BY-SA license
5851 (Attribution-ShareAlike), or a CC BY-NC (Attribution-NonCommercial) if they
5852 want to preclude commercial use. That way, their works can be made available
5853 to the public, but within limits the artists have specified.
5854       </p><p>
5855         The Rijksmuseum believes that art stimulates entrepreneurial activity. The
5856 line between creative and commercial can be blurry. As Lizzy says, even
5857 Rembrandt was commercial, making his livelihood from selling his
5858 paintings. The Rijksmuseum encourages entrepreneurial commercial use of the
5859 images in Rijksstudio. They’ve even partnered with the DIY marketplace Etsy
5860 to inspire people to sell their creations. One great example you can find on
5861 Etsy is a kimono designed by Angie Johnson, who used an image of an
5862 elaborate cabinet along with an oil painting by Jan Asselijn called The
5863 Threatened Swan.<a href="#ftn.idm1842" class="footnote" name="idm1842"><sup class="footnote">[145]</sup></a>
5864       </p><p>
5865         In 2013 the Rijksmuseum organized their first high-profile design
5866 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
5867 invites the public to use Rijksstudio images to make new creative designs. A
5868 jury of renowned designers and curators selects ten finalists and three
5869 winners. The final award comes with a prize of €10,000. The second edition
5870 in 2015 attracted a staggering 892 top-class entries. Some award winners end
5871 up with their work sold through the Rijksmuseum store, such as the 2014
5872 entry featuring makeup based on a specific color scheme of a work of
5873 art.<a href="#ftn.idm1851" class="footnote" name="idm1851"><sup class="footnote">[147]</sup></a> The Rijksmuseum has been thrilled
5874 with the results.  Entries range from the fun to the weird to the
5875 inspirational.  The third international edition of the Rijksstudio Award
5876 started in September 2016.
5877       </p><p>
5878         For the next iteration of the Rijksstudio, the Rijksmuseum is considering an
5879 upload tool, for people to upload their own works of art, and enhanced
5880 social elements so users can interact with each other more.
5881       </p><p>
5882         Going with a more open business model generated lots of publicity for the
5883 Rijksmuseum. They were one of the first museums to open up their collection
5884 (that is, give free access)  with high-quality images. This strategy, along
5885 with the many improvements to the Rijksmuseum’s website, dramatically
5886 increased visits to their website from thirty-five thousand visits per month
5887 to three hundred thousand.
5888       </p><p>
5889         The Rijksmuseum has been experimenting with other ways to invite the public
5890 to look at and interact with their collection. On an international day
5891 celebrating animals, they ran a successful bird-themed event. The museum put
5892 together a showing of two thousand works that featured birds and invited
5893 bird-watchers to identify the birds depicted. Lizzy notes that while museum
5894 curators know a lot about the works in their collections, they may not know
5895 about certain details in the paintings such as bird species. Over eight
5896 hundred different birds were identified, including a specific species of
5897 crane bird that was unknown to the scientific community at the time of the
5898 painting.
5899       </p><p>
5900         For the Rijksmuseum, adopting an open business model was scary.  They came
5901 up with many worst-case scenarios, imagining all kinds of awful things
5902 people might do with the museum’s works. But Lizzy says those fears did not
5903 come true because <span class="quote">„<span class="quote">ninety-nine percent of people have respect for
5904 great art.</span>“</span> Many museums think they can make a lot of money by
5905 selling things related to their collection. But in Lizzy’s experience,
5906 museums are usually bad at selling things, and sometimes efforts to generate
5907 a small amount of money block something much bigger—the real value that the
5908 collection has.  For Lizzy, clinging to small amounts of revenue is being
5909 penny-wise but pound-foolish. For the Rijksmuseum, a key lesson has been to
5910 never lose sight of its vision for the collection.  Allowing access to and
5911 use of their collection has generated great promotional value—far more than
5912 the previous practice of charging fees for access and use. Lizzy sums up
5913 their experience: <span class="quote">„<span class="quote">Give away; get something in return.  Generosity
5914 makes people happy to join you and help out.</span>“</span>
5915       </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
5916 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2014" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2014</a>;
5917 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>
5918           Shareable is an online magazine about sharing. Founded in 2009 in the U.S.
5919         </p><p>
5920           <a class="ulink" href="http://www.shareable.net" target="_top">http://www.shareable.net</a>
5921         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding,
5922 crowdfunding (project-based), donations, sponsorships
5923         </p><p><span class="strong"><strong>Interview date</strong></span>: February 24, 2016
5924         </p><p><span class="strong"><strong>Interviewee</strong></span>: Neal Gorenflo, cofounder and
5925 executive editor
5926         </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}
5927     \textit{
5928           Profile written by Sarah Hinchliff Pearson
5929         }
5930     \end{flushright}</td></tr></table></div><p>
5931         In 2013, Shareable faced an impasse. The nonprofit online publication had
5932 helped start a sharing movement four years prior, but over time, they
5933 watched one part of the movement stray from its ideals. As giants like Uber
5934 and Airbnb gained ground, attention began to center on the <span class="quote">„<span class="quote">sharing
5935 economy</span>“</span> we know now—profit-driven, transactional, and loaded with
5936 venture-capital money. Leaders of corporate start-ups in this domain invited
5937 Shareable to advocate for them.  The magazine faced a choice: ride the wave
5938 or stand on principle.
5939       </p><p>
5940         As an organization, Shareable decided to draw a line in the sand. In 2013,
5941 the cofounder and executive editor Neal Gorenflo wrote an opinion piece in
5942 the PandoDaily that charted Shareable’s new critical stance on the Silicon
5943 Valley version of the sharing economy, while contrasting it with aspects of
5944 the real sharing economy like open-source software, participatory budgeting
5945 (where citizens decide how a public budget is spent), cooperatives, and
5946 more. He wrote, <span class="quote">„<span class="quote">It’s not so much that collaborative consumption is
5947 dead, it’s more that it risks dying as it gets absorbed by the
5948 <span class="quote">‚<span class="quote">Borg.</span>‘</span></span>“</span>
5949       </p><p>
5950         Neal said their public critique of the corporate sharing economy defined
5951 what Shareable was and is. He does not think the magazine would still be
5952 around had they chosen differently.  <span class="quote">„<span class="quote">We would have gotten another
5953 type of audience, but it would have spelled the end of us,</span>“</span> he
5954 said. <span class="quote">„<span class="quote">We are a small, mission-driven organization. We would never
5955 have been able to weather the criticism that Airbnb and Uber are getting
5956 now.</span>“</span>
5957       </p><p>
5958         Interestingly, impassioned supporters are only a small sliver of Shareable’s
5959 total audience. Most are casual readers who come across a Shareable story
5960 because it happens to align with a project or interest they have. But
5961 choosing principles over the possibility of riding the coattails of the
5962 major corporate players in the sharing space saved Shareable’s credibility.
5963 Although they became detached from the corporate sharing economy, the online
5964 magazine became the voice of the <span class="quote">„<span class="quote">real sharing economy</span>“</span> and
5965 continued to grow their audience.
5966       </p><p>
5967         Shareable is a magazine, but the content they publish is a means to
5968 furthering their role as a leader and catalyst of a movement.  Shareable
5969 became a leader in the movement in 2009. <span class="quote">„<span class="quote">At that time, there was a
5970 sharing movement bubbling beneath the surface, but no one was connecting the
5971 dots,</span>“</span> Neal said.  <span class="quote">„<span class="quote">We decided to step into that space and take
5972 on that role.</span>“</span> The small team behind the nonprofit publication truly
5973 believed sharing could be central to solving some of the major problems
5974 human beings face—resource inequality, social isolation, and global warming.
5975       </p><p>
5976         They have worked hard to find ways to tell stories that show different
5977 metrics for success. <span class="quote">„<span class="quote">We wanted to change the notion of what
5978 constitutes the good life,</span>“</span> Neal said.  While they started out with a
5979 very broad focus on sharing generally, today they emphasize stories about
5980 the physical commons like <span class="quote">„<span class="quote">sharing cities</span>“</span> (i.e., urban areas
5981 managed in a sustainable, cooperative way), as well as digital platforms
5982 that are run democratically. They particularly focus on how-to content that
5983 help their readers make changes in their own lives and communities.
5984       </p><p>
5985         More than half of Shareable’s stories are written by paid journalists that
5986 are contracted by the magazine.  <span class="quote">„<span class="quote">Particularly in content areas that
5987 are a priority for us, we really want to go deep and control the
5988 quality,</span>“</span> Neal said. The rest of the content is either contributed by
5989 guest writers, often for free, or written by other publications from their
5990 network of content publishers. Shareable is a member of the Post Growth
5991 Alliance, which facilitates the sharing of content and audiences among a
5992 large and growing group of mostly nonprofits. Each organization gets a
5993 chance to present stories to the group, and the organizations can use and
5994 promote each other’s stories. Much of the content created by the network is
5995 licensed with Creative Commons.
5996       </p><p>
5997         All of Shareable’s original content is published under the Attribution
5998 license (CC BY), meaning it can be used for any purpose as long as credit is
5999 given to Shareable. Creative Commons licensing is aligned with Shareable’s
6000 vision, mission, and identity. That alone explains the organization’s
6001 embrace of the licenses for their content, but Neal also believes CC
6002 licensing helps them increase their reach. <span class="quote">„<span class="quote">By using CC
6003 licensing,</span>“</span> he said, <span class="quote">„<span class="quote">we realized we could reach far more
6004 people through a formal and informal network of republishers or
6005 affiliates. That has definitely been the case.  It’s hard for us to measure
6006 the reach of other media properties, but most of the outlets who republish
6007 our work have much bigger audiences than we do.</span>“</span>
6008       </p><p>
6009         In addition to their regular news and commentary online, Shareable has also
6010 experimented with book publishing. In 2012, they worked with a traditional
6011 publisher to release Share or Die: Voices of the Get Lost Generation in an
6012 Age of Crisis. The CC-licensed book was available in print form for purchase
6013 or online for free. To this day, the book—along with their CC-licensed guide
6014 Policies for Shareable Cities—are two of the biggest generators of traffic
6015 on their website.
6016       </p><p>
6017         In 2016, Shareable self-published a book of curated Shareable stories called
6018 How to: Share, Save Money and Have Fun. The book was available for sale, but
6019 a PDF version of the book was available for free. Shareable plans to offer
6020 the book in upcoming fund-raising campaigns.
6021       </p><p>
6022         This recent book is one of many fund-raising experiments Shareable has
6023 conducted in recent years. Currently, Shareable is primarily funded by
6024 grants from foundations, but they are actively moving toward a more
6025 diversified model. They have organizational sponsors and are working to
6026 expand their base of individual donors. Ideally, they will eventually be a
6027 hundred percent funded by their audience. Neal believes being fully
6028 community-supported will better represent their vision of the world.
6029       </p><p>
6030         For Shareable, success is very much about their impact on the world. This is
6031 true for Neal, but also for everyone who works for Shareable. <span class="quote">„<span class="quote">We
6032 attract passionate people,</span>“</span> Neal said. At times, that means employees
6033 work so hard they burn out.  Neal tries to stress to the Shareable team that
6034 another part of success is having fun and taking care of yourself while you
6035 do something you love. <span class="quote">„<span class="quote">A central part of human beings is that we long
6036 to be on a great adventure with people we love,</span>“</span> he said. <span class="quote">„<span class="quote">We
6037 are a species who look over the horizon and imagine and create new worlds,
6038 but we also seek the comfort of hearth and home.</span>“</span>
6039       </p><p>
6040         In 2013, Shareable ran its first crowdfunding campaign to launch their
6041 Sharing Cities Network. Neal said at first they were on pace to fail
6042 spectacularly. They called in their advisers in a panic and asked for
6043 help. The advice they received was simple—<span class="quote">„<span class="quote">Sit your ass in a chair and
6044 start making calls.</span>“</span> That’s exactly what they did, and they ended up
6045 reaching their $50,000 goal. Neal said the campaign helped them reach new
6046 people, but the vast majority of backers were people in their existing base.
6047       </p><p>
6048         For Neal, this symbolized how so much of success comes down to
6049 relationships. Over time, Shareable has invested time and energy into the
6050 relationships they have forged with their readers and supporters. They have
6051 also invested resources into building relationships between their readers
6052 and supporters.
6053       </p><p>
6054         Shareable began hosting events in 2010. These events were designed to bring
6055 the sharing community together. But over time they realized they could reach
6056 far more people if they helped their readers to host their own
6057 events. <span class="quote">„<span class="quote">If we wanted to go big on a conference, there was a huge risk
6058 and huge staffing needs, plus only a fraction of our community could travel
6059 to the event,</span>“</span> Neal said. Enabling others to create their own events
6060 around the globe allowed them to scale up their work more effectively and
6061 reach far more people. Shareable has catalyzed three hundred different
6062 events reaching over twenty thousand people since implementing this strategy
6063 three years ago. Going forward, Shareable is focusing the network on
6064 creating and distributing content meant to spur local action. For instance,
6065 Shareable will publish a new CC-licensed book in 2017 filled with ideas for
6066 their network to implement.
6067       </p><p>
6068         Neal says Shareable stumbled upon this strategy, but it seems to perfectly
6069 encapsulate just how the commons is supposed to work.  Rather than a
6070 one-size-fits-all approach, Shareable puts the tools out there for people
6071 take the ideas and adapt them to their own communities.
6072       </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>
6073           Siyavula is a for-profit educational-technology company that creates
6074 textbooks and integrated learning experiences. Founded in 2012 in South
6075 Africa.
6076         </p><p>
6077           <a class="ulink" href="http://www.siyavula.com" target="_top">http://www.siyavula.com</a>
6078         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
6079 services, sponsorships
6080         </p><p><span class="strong"><strong>Interview date</strong></span>: April 5, 2016
6081         </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Horner, CEO
6082         </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}
6083     \textit{
6084           Profile written by Paul Stacey
6085         }
6086     \end{flushright}</td></tr></table></div><p>
6087         Openness is a key principle for Siyavula. They believe that every learner
6088 and teacher should have access to high-quality educational resources, as
6089 this forms the basis for long-term growth and development. Siyavula has been
6090 a pioneer in creating high-quality open textbooks on mathematics and science
6091 subjects for grades 4 to 12 in South Africa.
6092       </p><p>
6093         In terms of creating an open business model that involves Creative Commons,
6094 Siyavula—and its founder, Mark Horner—have been around the block a few
6095 times. Siyavula has significantly shifted directions and strategies to
6096 survive and prosper. Mark says it’s been very organic.
6097       </p><p>
6098         It all started in 2002, when Mark and several other colleagues at the
6099 University of Cape Town in South Africa founded the Free High School Science
6100 Texts project. Most students in South Africa high schools didn’t have access
6101 to high-quality, comprehensive science and math textbooks, so Mark and his
6102 colleagues set out to write them and make them freely available.
6103       </p><p>
6104         As physicists, Mark and his colleagues were advocates of open-source
6105 software. To make the books open and free, they adopted the Free Software
6106 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
6107 documents, to author the books. Over a period of five years, the Free High
6108 School Science Texts project produced math and physical-science textbooks
6109 for grades 10 to 12.
6110       </p><p>
6111         In 2007, the Shuttleworth Foundation offered funding support to make the
6112 textbooks available for trial use at more schools.  Surveys before and after
6113 the textbooks were adopted showed there were no substantial criticisms of
6114 the textbooks’ pedagogical content. This pleased both the authors and
6115 Shuttleworth; Mark remains incredibly proud of this accomplishment.
6116       </p><p>
6117         But the development of new textbooks froze at this stage. Mark shifted his
6118 focus to rural schools, which didn’t have textbooks at all, and looked into
6119 the printing and distribution options. A few sponsors came on board but not
6120 enough to meet the need.
6121       </p><p>
6122         In 2007, Shuttleworth and the Open Society Institute convened a group of
6123 open-education activists for a small but lively meeting in Cape Town. One
6124 result was the Cape Town Open Education Declaration, a statement of
6125 principles, strategies, and commitment to help the open-education movement
6126 grow.<a href="#ftn.idm1930" class="footnote" name="idm1930"><sup class="footnote">[149]</sup></a> Shuttleworth also invited Mark to
6127 run a project writing open content for all subjects for K–12 in
6128 English. That project became Siyavula.
6129       </p><p>
6130         They wrote six original textbooks. A small publishing company offered
6131 Shuttleworth the option to buy out the publisher’s existing K–9 content for
6132 every subject in South African schools in both English and Afrikaans. A deal
6133 was struck, and all the acquired content was licensed with Creative Commons,
6134 significantly expanding the collection beyond the six original books.
6135       </p><p>
6136         Mark wanted to build out the remaining curricula collaboratively through
6137 communities of practice—that is, with fellow educators and writers. Although
6138 sharing is fundamental to teaching, there can be a few challenges when you
6139 create educational resources collectively. One concern is legal. It is
6140 standard practice in education to copy diagrams and snippets of text, but of
6141 course this doesn’t always comply with copyright law. Another concern is
6142 transparency. Sharing what you’ve authored means everyone can see it and
6143 opens you up to criticism. To alleviate these concerns, Mark adopted a
6144 team-based approach to authoring and insisted the curricula be based
6145 entirely on resources with Creative Commons licenses, thereby ensuring they
6146 were safe to share and free from legal repercussions.
6147       </p><p>
6148         Not only did Mark want the resources to be shareable, he wanted all teachers
6149 to be able to remix and edit the content. Mark and his team had to come up
6150 with an open editable format and provide tools for editing. They ended up
6151 putting all the books they’d acquired and authored on a platform called
6152 Connexions.<a href="#ftn.idm1936" class="footnote" name="idm1936"><sup class="footnote">[150]</sup></a> Siyavula trained many
6153 teachers to use Connexions, but it proved to be too complex and the
6154 textbooks were rarely edited.
6155       </p><p>
6156         Then the Shuttleworth Foundation decided to completely restructure its work
6157 as a foundation into a fellowship model (for reasons completely unrelated to
6158 Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
6159 an independent entity and took ownership over it as a Shuttleworth fellow.
6160       </p><p>
6161         Mark and his team experimented with several different strategies. They tried
6162 creating an authoring and hosting platform called Full Marks so that
6163 teachers could share assessment items. They tried creating a service called
6164 Open Press, where teachers could ask for open educational resources to be
6165 aggregated into a package and printed for them. These services never really
6166 panned out.
6167       </p><p>
6168         Then the South African government approached Siyavula with an interest in
6169 printing out the original six Free High School Science Texts (math and
6170 physical-science textbooks for grades 10 to 12) for all high school students
6171 in South Africa. Although at this point Siyavula was a bit discouraged by
6172 open educational resources, they saw this as a big opportunity.
6173       </p><p>
6174         They began to conceive of the six books as having massive marketing
6175 potential for Siyavula. Printing Siyavula books for every kid in South
6176 Africa would give their brand huge exposure and could drive vast amounts of
6177 traffic to their website. In addition to print books, Siyavula could also
6178 make the books available on their website, making it possible for learners
6179 to access them using any device—computer, tablet, or mobile phone.
6180       </p><p>
6181         Mark and his team began imagining what they could develop beyond what was in
6182 the textbooks as a service they charge for. One key thing you can’t do well
6183 in a printed textbook is demonstrate solutions. Typically, a one-line answer
6184 is given at the end of the book but nothing on the process for arriving at
6185 that solution. Mark and his team developed practice items and detailed
6186 solutions, giving learners plenty of opportunity to test out what they’ve
6187 learned. Furthermore, an algorithm could adapt these practice items to the
6188 individual needs of each learner. They called this service Intelligent
6189 Practice and embedded links to it in the open textbooks.
6190       </p><p>
6191         The costs for using Intelligent Practice were set very low, making it
6192 accessible even to those with limited financial means.  Siyavula was going
6193 for large volumes and wide-scale use rather than an expensive product
6194 targeting only the high end of the market.
6195       </p><p>
6196         The government distributed the books to 1.5 million students, but there was
6197 an unexpected wrinkle: the books were delivered late. Rather than wait,
6198 schools who could afford it provided students with a different textbook. The
6199 Siyavula books were eventually distributed, but with well-off schools mainly
6200 using a different book, the primary market for Siyavula’s Intelligent
6201 Practice service inadvertently became low-income learners.
6202       </p><p>
6203         Siyavula’s site did see a dramatic increase in traffic. They got five
6204 hundred thousand visitors per month to their math site and the same number
6205 to their science site. Two-fifths of the traffic was reading on a
6206 <span class="quote">„<span class="quote">feature phone</span>“</span> (a nonsmartphone with no apps). People on basic
6207 phones were reading math and science on a two-inch screen at all hours of
6208 the day. To Mark, it was quite amazing and spoke to a need they were
6209 servicing.
6210       </p><p>
6211         At first, the Intelligent Practice services could only be paid using a
6212 credit card. This proved problematic, especially for those in the low-income
6213 demographic, as credit cards were not prevalent. Mark says Siyavula got a
6214 harsh business-model lesson early on. As he describes it, it’s not just
6215 about product, but how you sell it, who the market is, what the price is,
6216 and what the barriers to entry are.
6217       </p><p>
6218         Mark describes this as the first version of Siyavula’s business model: open
6219 textbooks serving as marketing material and driving traffic to your site,
6220 where you can offer a related service and convert some people into a paid
6221 customer.
6222       </p><p>
6223         For Mark a key decision for Siyavula’s business was to focus on how they can
6224 add value on top of their basic service. They’ll charge only if they are
6225 adding unique value. The actual content of the textbook isn’t unique at all,
6226 so Siyavula sees no value in locking it down and charging for it. Mark
6227 contrasts this with traditional publishers who charge over and over again
6228 for the same content without adding value.
6229       </p><p>
6230         Version two of Siyavula’s business model was a big, ambitious idea—scale
6231 up. They also decided to sell the Intelligent Practice service to schools
6232 directly. Schools can subscribe on a per-student, per-subject basis. A
6233 single subscription gives a learner access to a single subject, including
6234 practice content from every grade available for that subject. Lower
6235 subscription rates are provided when there are over two hundred students,
6236 and big schools have a price cap. A 40 percent discount is offered to
6237 schools where both the science and math departments subscribe.
6238       </p><p>
6239         Teachers get a dashboard that allows them to monitor the progress of an
6240 entire class or view an individual learner’s results. They can see the
6241 questions that learners are working on, identify areas of difficulty, and be
6242 more strategic in their teaching. Students also have their own personalized
6243 dashboard, where they can view the sections they’ve practiced, how many
6244 points they’ve earned, and how their performance is improving.
6245       </p><p>
6246         Based on the success of this effort, Siyavula decided to substantially
6247 increase the production of open educational resources so they could provide
6248 the Intelligent Practice service for a wider range of books. Grades 10 to 12
6249 math and science books were reworked each year, and new books created for
6250 grades 4 to 6 and later grades 7 to 9.
6251       </p><p>
6252         In partnership with, and sponsored by, the Sasol Inzalo Foundation, Siyavula
6253 produced a series of natural sciences and technology workbooks for grades 4
6254 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
6255 teacher’s guides and other resources.
6256       </p><p>
6257         Through this experience, Siyavula learned they could get sponsors to help
6258 fund openly licensed textbooks. It helped that Siyavula had by this time
6259 nailed the production model. It cost roughly $150,000 to produce a book in
6260 two languages. Sponsors liked the social-benefit aspect of textbooks
6261 unlocked via a Creative Commons license. They also liked the exposure their
6262 brand got. For roughly $150,000, their logo would be visible on books
6263 distributed to over one million students.
6264       </p><p>
6265         The Siyavula books that are reviewed, approved, and branded by the
6266 government are freely and openly available on Siyavula’s website under an
6267 Attribution-NoDerivs license (CC BY-ND)  —NoDerivs means that these books
6268 cannot be modified.  Non-government-branded books are available under an
6269 Attribution license (CC BY), allowing others to modify and redistribute the
6270 books.
6271       </p><p>
6272         Although the South African government paid to print and distribute hard
6273 copies of the books to schoolkids, Siyavula itself received no funding from
6274 the government. Siyavula initially tried to convince the government to
6275 provide them with five rand per book (about US35¢). With those funds, Mark
6276 says that Siyavula could have run its entire operation, built a
6277 community-based model for producing more books, and provide Intelligent
6278 Practice for free to every child in the country. But after a lengthy
6279 negotiation, the government said no.
6280       </p><p>
6281         Using Siyavula books generated huge savings for the government.  Providing
6282 students with a traditionally published grade 12 science or math textbook
6283 costs around 250 rand per book (about US$18). Providing the Siyavula version
6284 cost around 36 rand (about $2.60), a savings of over 200 rand per book. But
6285 none of those savings were passed on to Siyavula. In retrospect, Mark thinks
6286 this may have turned out in their favor as it allowed them to remain
6287 independent from the government.
6288       </p><p>
6289         Just as Siyavula was planning to scale up the production of open textbooks
6290 even more, the South African government changed its textbook policy. To save
6291 costs, the government declared there would be only one authorized textbook
6292 for each grade and each subject. There was no guarantee that Siyavula’s
6293 would be chosen.  This scared away potential sponsors.
6294       </p><p>
6295         Rather than producing more textbooks, Siyavula focused on improving its
6296 Intelligent Practice technology for its existing books. Mark calls this
6297 version three of Siyavula’s business model—focusing on the technology that
6298 provides the revenue-generating service and generating more users of this
6299 service. Version three got a significant boost in 2014 with an investment by
6300 the Omidyar Network (the philanthropic venture started by eBay founder
6301 Pierre Omidyar and his spouse), and continues to be the model Siyavula uses
6302 today.
6303       </p><p>
6304         Mark says sales are way up, and they are really nailing Intelligent
6305 Practice. Schools continue to use their open textbooks. The
6306 government-announced policy that there would be only one textbook per
6307 subject turned out to be highly contentious and is in limbo.
6308       </p><p>
6309         Siyavula is exploring a range of enhancements to their business model. These
6310 include charging a small amount for assessment services provided over the
6311 phone, diversifying their market to all English-speaking countries in
6312 Africa, and setting up a consortium that makes Intelligent Practice free to
6313 all kids by selling the nonpersonal data Intelligent Practice collects.
6314       </p><p>
6315         Siyavula is a for-profit business but one with a social mission.  Their
6316 shareholders’ agreement lists lots of requirements around openness for
6317 Siyavula, including stipulations that content always be put under an open
6318 license and that they can’t charge for something that people volunteered to
6319 do for them. They believe each individual should have access to the
6320 resources and support they need to achieve the education they
6321 deserve. Having educational resources openly licensed with Creative Commons
6322 means they can fulfill their social mission, on top of which they can build
6323 revenue-generating services to sustain the ongoing operation of Siyavula. In
6324 terms of open business models, Mark and Siyavula may have been around the
6325 block a few times, but both he and the company are stronger for it.
6326       </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>
6327           SparkFun is an online electronics retailer specializing in open
6328 hardware. Founded in 2003 in the U.S.
6329         </p><p>
6330           <a class="ulink" href="http://www.sparkfun.com" target="_top">http://www.sparkfun.com</a>
6331         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
6332 copies (electronics sales)
6333         </p><p><span class="strong"><strong>Interview date</strong></span>: February 29, 2016
6334         </p><p><span class="strong"><strong>Interviewee</strong></span>: Nathan Seidle, founder
6335         </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}
6336     \textit{
6337           Profile written by Sarah Hinchliff Pearson
6338         }
6339     \end{flushright}</td></tr></table></div><p>
6340         SparkFun founder and former CEO Nathan Seidle has a picture of himself
6341 holding up a clone of a SparkFun product in an electronics market in China,
6342 with a huge grin on his face. He was traveling in China when he came across
6343 their LilyPad wearable technology being made by someone else. His reaction
6344 was glee.
6345       </p><p><span class="quote">„<span class="quote">Being copied is the greatest earmark of flattery and success,</span>“</span>
6346 Nathan said. <span class="quote">„<span class="quote">I thought it was so cool that they were selling to a
6347 market we were never going to get access to otherwise. It was evidence of
6348 our impact on the world.</span>“</span>
6349       </p><p>
6350         This worldview runs through everything SparkFun does. SparkFun is an
6351 electronics manufacturer. The company sells its products directly to the
6352 public online, and it bundles them with educational tools to sell to schools
6353 and teachers. SparkFun applies Creative Commons licenses to all of its
6354 schematics, images, tutorial content, and curricula, so anyone can make
6355 their products on their own. Being copied is part of the design.
6356       </p><p>
6357         Nathan believes open licensing is good for the world. <span class="quote">„<span class="quote">It touches on
6358 our natural human instinct to share,</span>“</span> he said.  But he also strongly
6359 believes it makes SparkFun better at what they do. They encourage copying,
6360 and their products are copied at a very fast rate, often within ten to
6361 twelve weeks of release. This forces the company to compete on something
6362 other than product design, or what most commonly consider their intellectual
6363 property.
6364       </p><p><span class="quote">„<span class="quote">We compete on business principles,</span>“</span> Nathan said.
6365 <span class="quote">„<span class="quote">Claiming your territory with intellectual property allows you to get
6366 comfy and rest on your laurels. It gives you a safety net. We took away that
6367 safety net.</span>“</span>
6368       </p><p>
6369         The result is an intense company-wide focus on product development and
6370 improvement. <span class="quote">„<span class="quote">Our products are so much better than they were five
6371 years ago,</span>“</span> Nathan said.  <span class="quote">„<span class="quote">We used to just sell products. Now
6372 it’s a product plus a video, a seventeen-page hookup guide, and example
6373 firmware on three different platforms to get you up and running faster. We
6374 have gotten better because we had to in order to compete. As painful as it
6375 is for us, it’s better for the customers.</span>“</span>
6376       </p><p>
6377         SparkFun parts are available on eBay for lower prices. But people come
6378 directly to SparkFun because SparkFun makes their lives easier. The example
6379 code works; there is a service number to call; they ship replacement parts
6380 the day they get a service call. They invest heavily in service and
6381 support. <span class="quote">„<span class="quote">I don’t believe businesses should be competing with IP
6382 [intellectual property] barriers,</span>“</span> Nathan said. <span class="quote">„<span class="quote">This is the
6383 stuff they should be competing on.</span>“</span>
6384       </p><p>
6385         SparkFun’s company history began in Nathan’s college dorm room.  He spent a
6386 lot of time experimenting with and building electronics, and he realized
6387 there was a void in the market.  <span class="quote">„<span class="quote">If you wanted to place an order for
6388 something,</span>“</span> he said, <span class="quote">„<span class="quote">you first had to search far and wide to
6389 find it, and then you had to call or fax someone.</span>“</span> In 2003, during
6390 his third year of college, he registered <a class="ulink" href="http://sparkfun.com" target="_top">http://sparkfun.com</a>
6391 and started reselling products out of his bedroom. After he graduated, he
6392 started making and selling his own products.
6393       </p><p>
6394         Once he started designing his own products, he began putting the software
6395 and schematics online to help with technical support.  After doing some
6396 research on licensing options, he chose Creative Commons licenses because he
6397 was drawn to the <span class="quote">„<span class="quote">human-readable deeds</span>“</span> that explain the
6398 licensing terms in simple terms. SparkFun still uses CC licenses for all of
6399 the schematics and firmware for the products they create.
6400       </p><p>
6401         The company has grown from a solo project to a corporation with 140
6402 employees. In 2015, SparkFun earned $33 million in revenue.  Selling
6403 components and widgets to hobbyists, professionals, and artists remains a
6404 major part of SparkFun’s business. They sell their own products, but they
6405 also partner with Arduino (also profiled in this book) by manufacturing
6406 boards for resale using Arduino’s brand.
6407       </p><p>
6408         SparkFun also has an educational department dedicated to creating a hands-on
6409 curriculum to teach students about electronics using prototyping
6410 parts. Because SparkFun has always been dedicated to enabling others to
6411 re-create and fix their products on their own, the more recent focus on
6412 introducing young people to technology is a natural extension of their core
6413 business.
6414       </p><p><span class="quote">„<span class="quote">We have the burden and opportunity to educate the next generation of
6415 technical citizens,</span>“</span> Nathan said.  <span class="quote">„<span class="quote">Our goal is to affect the
6416 lives of three hundred and fifty thousand high school students by
6417 2020.</span>“</span>
6418       </p><p>
6419         The Creative Commons license underlying all of SparkFun’s products is
6420 central to this mission. The license not only signals a willingness to
6421 share, but it also expresses a desire for others to get in and tinker with
6422 their products, both to learn and to make their products better. SparkFun
6423 uses the Attribution-ShareAlike license (CC BY-SA), which is a
6424 <span class="quote">„<span class="quote">copyleft</span>“</span> license that allows people to do anything with the
6425 content as long as they provide credit and make any adaptations available
6426 under the same licensing terms.
6427       </p><p>
6428         From the beginning, Nathan has tried to create a work environment at
6429 SparkFun that he himself would want to work in.  The result is what appears
6430 to be a pretty fun workplace. The U.S. company is based in Boulder,
6431 Colorado. They have an eighty-thousand-square-foot facility (approximately
6432 seventy-four-hundred square meters), where they design and manufacture their
6433 products. They offer public tours of the space several times a week, and
6434 they open their doors to the public for a competition once a year.
6435       </p><p>
6436         The public event, called the Autonomous Vehicle Competition, brings in a
6437 thousand to two thousand customers and other technology enthusiasts from
6438 around the area to race their own self-created bots against each other,
6439 participate in training workshops, and socialize. From a business
6440 perspective, Nathan says it’s a terrible idea. But they don’t hold the event
6441 for business reasons. <span class="quote">„<span class="quote">The reason we do it is because I get to travel
6442 and have interactions with our customers all the time, but most of our
6443 employees don’t,</span>“</span> he said. <span class="quote">„<span class="quote">This event gives our employees the
6444 opportunity to get face-to-face contact with our customers.</span>“</span> The
6445 event infuses their work with a human element, which makes it more
6446 meaningful.
6447       </p><p>
6448         Nathan has worked hard to imbue a deeper meaning into the work SparkFun
6449 does. The company is, of course, focused on being fiscally responsible, but
6450 they are ultimately driven by something other than money. <span class="quote">„<span class="quote">Profit is
6451 not the goal; it is the outcome of a well-executed plan,</span>“</span> Nathan
6452 said.  <span class="quote">„<span class="quote">We focus on having a bigger impact on the world.</span>“</span>
6453 Nathan believes they get some of the brightest and most amazing employees
6454 because they aren’t singularly focused on the bottom line.
6455       </p><p>
6456         The company is committed to transparency and shares all of its financials
6457 with its employees. They also generally strive to avoid being another
6458 soulless corporation. They actively try to reveal the humans behind the
6459 company, and they work to ensure people coming to their site don’t find only
6460 unchanging content.
6461       </p><p>
6462         SparkFun’s customer base is largely made up of industrious electronics
6463 enthusiasts. They have customers who are regularly involved in the company’s
6464 customer support, independently responding to questions in forums and
6465 product-comment sections.  Customers also bring product ideas to the
6466 company. SparkFun regularly sifts through suggestions from customers and
6467 tries to build on them where they can. <span class="quote">„<span class="quote">From the beginning, we have
6468 been listening to the community,</span>“</span> Nathan said.  <span class="quote">„<span class="quote">Customers
6469 would identify a pain point, and we would design something to address
6470 it.</span>“</span>
6471       </p><p>
6472         However, this sort of customer engagement does not always translate to
6473 people actively contributing to SparkFun’s projects. The company has a
6474 public repository of software code for each of its devices online. On a
6475 particularly active project, there will only be about two dozen people
6476 contributing significant improvements. The vast majority of projects are
6477 relatively untouched by the public. <span class="quote">„<span class="quote">There is a theory that if you
6478 open-source it, they will come,</span>“</span> Nathan said.  <span class="quote">„<span class="quote">That’s not
6479 really true.</span>“</span>
6480       </p><p>
6481         Rather than focusing on cocreation with their customers, SparkFun instead
6482 focuses on enabling people to copy, tinker, and improve products on their
6483 own. They heavily invest in tutorials and other material designed to help
6484 people understand how the products work so they can fix and improve things
6485 independently.  <span class="quote">„<span class="quote">What gives me joy is when people take open-source
6486 layouts and then build their own circuit boards from our designs,</span>“</span>
6487 Nathan said.
6488       </p><p>
6489         Obviously, opening up the design of their products is a necessary step if
6490 their goal is to empower the public. Nathan also firmly believes it makes
6491 them more money because it requires them to focus on how to provide maximum
6492 value. Rather than designing a new product and protecting it in order to
6493 extract as much money as possible from it, they release the keys necessary
6494 for others to build it themselves and then spend company time and resources
6495 on innovation and service. From a short-term perspective, SparkFun may lose
6496 a few dollars when others copy their products. But in the long run, it makes
6497 them a more nimble, innovative business. In other words, it makes them the
6498 kind of company they set out to be.
6499       </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>
6500           TeachAIDS is a nonprofit that creates educational materials designed to
6501 teach people around the world about HIV and AIDS.  Founded in 2005 in the
6502 U.S.
6503         </p><p>
6504           <a class="ulink" href="http://teachaids.org" target="_top">http://teachaids.org</a>
6505         </p><p><span class="strong"><strong>Revenue model</strong></span>: sponsorships
6506         </p><p><span class="strong"><strong>Interview date</strong></span>: March 24, 2016
6507         </p><p><span class="strong"><strong>Interviewees</strong></span>: Piya Sorcar, the CEO, and
6508 Shuman Ghosemajumder, the chair
6509         </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}
6510     \textit{
6511           Profile written by Sarah Hinchliff Pearson
6512         }
6513     \end{flushright}</td></tr></table></div><p>
6514         TeachAIDS is an unconventional media company with a conventional revenue
6515 model. Like most media companies, they are subsidized by
6516 advertising. Corporations pay to have their logos appear on the educational
6517 materials TeachAIDS distributes.
6518       </p><p>
6519         But unlike most media companies, Teach-AIDS is a nonprofit organization with
6520 a purely social mission. TeachAIDS is dedicated to educating the global
6521 population about HIV and AIDS, particularly in parts of the world where
6522 education efforts have been historically unsuccessful. Their educational
6523 content is conveyed through interactive software, using methods based on the
6524 latest research about how people learn. TeachAIDS serves content in more
6525 than eighty countries around the world. In each instance, the content is
6526 translated to the local language and adjusted to conform to local norms and
6527 customs. All content is free and made available under a Creative Commons
6528 license.
6529       </p><p>
6530         TeachAIDS is a labor of love for founder and CEO Piya Sorcar, who earns a
6531 salary of one dollar per year from the nonprofit.  The project grew out of
6532 research she was doing while pursuing her doctorate at Stanford
6533 University. She was reading reports about India, noting it would be the next
6534 hot zone of people living with HIV. Despite international and national
6535 entities pouring in hundreds of millions of dollars on HIV-prevention
6536 efforts, the reports showed knowledge levels were still low.  People were
6537 unaware of whether the virus could be transmitted through coughing and
6538 sneezing, for instance. Supported by an interdisciplinary team of experts at
6539 Stanford, Piya conducted similar studies, which corroborated the previous
6540 research. They found that the primary cause of the limited understanding was
6541 that HIV, and issues relating to it, were often considered too taboo to
6542 discuss comprehensively. The other major problem was that most of the
6543 education on this topic was being taught through television advertising,
6544 billboards, and other mass-media campaigns, which meant people were only
6545 receiving bits and pieces of information.
6546       </p><p>
6547         In late 2005, Piya and her team used research-based design to create new
6548 educational materials and worked with local partners in India to help
6549 distribute them. As soon as the animated software was posted online, Piya’s
6550 team started receiving requests from individuals and governments who were
6551 interested in bringing this model to more countries. <span class="quote">„<span class="quote">We realized
6552 fairly quickly that educating large populations about a topic that was
6553 considered taboo would be challenging. We began by identifying optimal local
6554 partners and worked toward creating an effective, culturally appropriate
6555 education,</span>“</span> Piya said.
6556       </p><p>
6557         Very shortly after the initial release, Piya’s team decided to spin the
6558 endeavor into an independent nonprofit out of Stanford University. They also
6559 decided to use Creative Commons licenses on the materials.
6560       </p><p>
6561         Given their educational mission, TeachAIDS had an obvious interest in seeing
6562 the materials as widely shared as possible.  But they also needed to
6563 preserve the integrity of the medical information in the content. They chose
6564 the Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND), which
6565 essentially gives the public the right to distribute only verbatim copies of
6566 the content, and for noncommercial purposes.  <span class="quote">„<span class="quote">We wanted attribution
6567 for TeachAIDS, and we couldn’t stand by derivatives without vetting
6568 them,</span>“</span> the cofounder and chair Shuman Ghosemajumder said. <span class="quote">„<span class="quote">It
6569 was almost a no-brainer to go with a CC license because it was a
6570 plug-and-play solution to this exact problem. It has allowed us to scale our
6571 materials safely and quickly worldwide while preserving our content and
6572 protecting us at the same time.</span>“</span>
6573       </p><p>
6574         Choosing a license that does not allow adaptation of the content was an
6575 outgrowth of the careful precision with which TeachAIDS crafts their
6576 content. The organization invests heavily in research and testing to
6577 determine the best method of conveying the information. <span class="quote">„<span class="quote">Creating
6578 high-quality content is what matters most to us,</span>“</span> Piya
6579 said. <span class="quote">„<span class="quote">Research drives everything we do.</span>“</span>
6580       </p><p>
6581         One important finding was that people accept the message best when it comes
6582 from familiar voices they trust and admire. To achieve this, TeachAIDS
6583 researches cultural icons that would best resonate with their target
6584 audiences and recruits them to donate their likenesses and voices for use in
6585 the animated software. The celebrities involved vary for each localized
6586 version of the materials.
6587       </p><p>
6588         Localization is probably the single-most important aspect of the way
6589 TeachAIDS creates its content. While each regional version builds from the
6590 same core scientific materials, they pour a lot of resources into
6591 customizing the content for a particular population. Because they use a CC
6592 license that does not allow the public to adapt the content, TeachAIDS
6593 retains careful control over the localization process. The content is
6594 translated into the local language, but there are also changes in substance
6595 and format to reflect cultural differences. This process results in minor
6596 changes, like choosing different idioms based on the local language, and
6597 significant changes, like creating gendered versions for places where people
6598 are more likely to accept information from someone of the same gender.
6599       </p><p>
6600         The localization process relies heavily on volunteers. Their volunteer base
6601 is deeply committed to the cause, and the organization has had better luck
6602 controlling the quality of the materials when they tap volunteers instead of
6603 using paid translators. For quality control, TeachAIDS has three separate
6604 volunteer teams translate the materials from English to the local language
6605 and customize the content based on local customs and norms. Those three
6606 versions are then analyzed and combined into a single master
6607 translation. TeachAIDS has additional teams of volunteers then translate
6608 that version back into English to see how well it lines up with the original
6609 materials. They repeat this process until they reach a translated version
6610 that meets their standards. For the Tibetan version, they went through this
6611 cycle eleven times.
6612       </p><p>
6613         TeachAIDS employs full-time employees, contractors, and volunteers, all in
6614 different capacities and organizational configurations. They are careful to
6615 use people from diverse backgrounds to create the materials, including
6616 teachers, students, and doctors, as well as individuals experienced in
6617 working in the NGO space. This diversity and breadth of knowledge help
6618 ensure their materials resonate with people from all walks of
6619 life. Additionally, TeachAIDS works closely with film writers and directors
6620 to help keep the concepts entertaining and easy to understand. The
6621 inclusive, but highly controlled, creative process is undertaken entirely by
6622 people who are specifically brought on to help with a particular project,
6623 rather than ongoing staff. The final product they create is designed to
6624 require zero training for people to implement in practice. <span class="quote">„<span class="quote">In our
6625 research, we found we can’t depend on people passing on the information
6626 correctly, even if they have the best of intentions,</span>“</span> Piya
6627 said. <span class="quote">„<span class="quote">We need materials where you can push play and they will
6628 work.</span>“</span>
6629       </p><p>
6630         Piya’s team was able to produce all of these versions over several years
6631 with a head count that never exceeded eight full-time employees. The
6632 organization is able to reduce costs by relying heavily on volunteers and
6633 in-kind donations.  Nevertheless, the nonprofit needed a sustainable revenue
6634 model to subsidize content creation and physical distribution of the
6635 materials. Charging even a low price was simply not an option.
6636 <span class="quote">„<span class="quote">Educators from various nonprofits around the world were just creating
6637 their own materials using whatever they could find for free online,</span>“</span>
6638 Shuman said. <span class="quote">„<span class="quote">The only way to persuade them to use our highly
6639 effective model was to make it completely free.</span>“</span>
6640       </p><p>
6641         Like many content creators offering their work for free, they settled on
6642 advertising as a funding model. But they were extremely careful not to let
6643 the advertising compromise their credibility or undermine the heavy
6644 investment they put into creating quality content. Sponsors of the content
6645 have no ability to influence the substance of the content, and they cannot
6646 even create advertising content. Sponsors only get the right to have their
6647 logo appear before and after the educational content. All of the content
6648 remains branded as TeachAIDS.
6649       </p><p>
6650         TeachAIDS is careful not to seek funding to cover the costs of a specific
6651 project. Instead, sponsorships are structured as unrestricted donations to
6652 the nonprofit. This gives the nonprofit more stability, but even more
6653 importantly, it enables them to subsidize projects being localized for an
6654 area with no sponsors. <span class="quote">„<span class="quote">If we just created versions based on where we
6655 could get sponsorships, we would only have materials for wealthier
6656 countries,</span>“</span> Shuman said.
6657       </p><p>
6658         As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">„<span class="quote">When we go into a new
6659 country, various companies hear about us and reach out to us,</span>“</span> Piya
6660 said. <span class="quote">„<span class="quote">We don’t have to do much to find or attract them.</span>“</span> They
6661 believe the sponsorships are easy to sell because they offer so much value
6662 to sponsors.  TeachAIDS sponsorships give corporations the chance to reach
6663 new eyeballs with their brand, but at a much lower cost than other
6664 advertising channels. The audience for TeachAIDS content also tends to skew
6665 young, which is often a desirable demographic for brands. Unlike traditional
6666 advertising, the content is not time-sensitive, so an investment in a
6667 sponsorship can benefit a brand for many years to come.
6668       </p><p>
6669         Importantly, the value to corporate sponsors goes beyond commercial
6670 considerations. As a nonprofit with a clearly articulated social mission,
6671 corporate sponsorships are donations to a cause. <span class="quote">„<span class="quote">This is something
6672 companies can be proud of internally,</span>“</span> Shuman said. Some companies
6673 have even built publicity campaigns around the fact that they have sponsored
6674 these initiatives.
6675       </p><p>
6676         The core mission of TeachAIDS—ensuring global access to life-saving
6677 education—is at the root of everything the organization does. It underpins
6678 the work; it motivates the funders. The CC license on the materials they
6679 create furthers that mission, allowing them to safely and quickly scale
6680 their materials worldwide. <span class="quote">„<span class="quote">The Creative Commons license has been a
6681 game changer for TeachAIDS,</span>“</span> Piya said.
6682       </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>
6683           Tribe of Noise is a for-profit online music platform serving the film, TV,
6684 video, gaming, and in-store-media industries.  Founded in 2008 in the
6685 Netherlands.
6686         </p><p>
6687           <a class="ulink" href="http://www.tribeofnoise.com" target="_top">http://www.tribeofnoise.com</a>
6688         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
6689         </p><p><span class="strong"><strong>Interview date</strong></span>: January 26, 2016
6690         </p><p><span class="strong"><strong>Interviewee</strong></span>: Hessel van Oorschot,
6691 cofounder
6692         </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}
6693     \textit{
6694           Profile written by Paul Stacey
6695         }
6696     \end{flushright}</td></tr></table></div><p>
6697         In the early 2000s, Hessel van Oorschot was an entrepreneur running a
6698 business where he coached other midsize entrepreneurs how to create an
6699 online business. He also coauthored a number of workbooks for small- to
6700 medium-size enterprises to use to optimize their business for the
6701 Web. Through this early work, Hessel became familiar with the principles of
6702 open licensing, including the use of open-source software and Creative
6703 Commons.
6704       </p><p>
6705         In 2005, Hessel and Sandra Brandenburg launched a niche video-production
6706 initiative. Almost immediately, they ran into issues around finding and
6707 licensing music tracks. All they could find was standard, cold
6708 stock-music. They thought of looking up websites where you could license
6709 music directly from the musician without going through record labels or
6710 agents. But in 2005, the ability to directly license music from a rights
6711 holder was not readily available.
6712       </p><p>
6713         They hired two lawyers to investigate further, and while they uncovered five
6714 or six examples, Hessel found the business models lacking. The lawyers
6715 expressed interest in being their legal team should they decide to pursue
6716 this as an entrepreneurial opportunity. Hessel says, <span class="quote">„<span class="quote">When lawyers are
6717 interested in a venture like this, you might have something special.</span>“</span>
6718 So after some more research, in early 2008, Hessel and Sandra decided to
6719 build a platform.
6720       </p><p>
6721         Building a platform posed a real chicken-and-egg problem. The platform had
6722 to build an online community of music-rights holders and, at the same time,
6723 provide the community with information and ideas about how the new economy
6724 works. Community willingness to try new music business models requires a
6725 trust relationship.
6726       </p><p>
6727         In July 2008, Tribe of Noise opened its virtual doors with a couple hundred
6728 musicians willing to use the CC BY-SA license (Attribution-ShareAlike) for a
6729 limited part of their repertoire.  The two entrepreneurs wanted to take the
6730 pain away for media makers who wanted to license music and solve the
6731 problems the two had personally experienced finding this music.
6732       </p><p>
6733         As they were growing the community, Hessel got a phone call from a company
6734 that made in-store music playlists asking if they had enough music licensed
6735 with Creative Commons that they could use.  Stores need quality,
6736 good-listening music but not necessarily hits, a bit like a radio show
6737 without the DJ. This opened a new opportunity for Tribe of Noise. They
6738 started their In-store Music Service, using music (licensed with CC BY-SA)
6739 uploaded by the Tribe of Noise community of musicians.<a href="#ftn.idm2090" class="footnote" name="idm2090"><sup class="footnote">[152]</sup></a>
6740       </p><p>
6741         In most countries, artists, authors, and musicians join a collecting society
6742 that manages the licensing and helps collect the royalties. Copyright
6743 collecting societies in the European Union usually hold monopolies in their
6744 respective national markets. In addition, they require their members to
6745 transfer exclusive administration rights to them of all of their works.
6746 This complicates the picture for Tribe of Noise, who wants to represent
6747 artists, or at least a portion of their repertoire.  Hessel and his legal
6748 team reached out to collecting societies, starting with those in the
6749 Netherlands. What would be the best legal way forward that would respect the
6750 wishes of composers and musicians who’d be interested in trying out new
6751 models like the In-store Music Service? Collecting societies at first were
6752 hesitant and said no, but Tribe of Noise persisted arguing that they
6753 primarily work with unknown artists and provide them exposure in parts of
6754 the world where they don’t get airtime normally and a source of revenue—and
6755 this convinced them that it was OK. However, Hessel says, <span class="quote">„<span class="quote">We are
6756 still fighting for a good cause every single day.</span>“</span>
6757       </p><p>
6758         Instead of building a large sales force, Tribe of Noise partnered with big
6759 organizations who have lots of clients and can act as a kind of Tribe of
6760 Noise reseller. The largest telecom network in the Netherlands, for example,
6761 sells Tribe’s In-store Music Service subscriptions to their business
6762 clients, which include fashion retailers and fitness centers. They have a
6763 similar deal with the leading trade association representing hotels and
6764 restaurants in the country. Hessel hopes to <span class="quote">„<span class="quote">copy and paste</span>“</span>
6765 this service into other countries where collecting societies understand what
6766 you can do with Creative Commons. Outside of the Netherlands, early
6767 adoptions have happened in Scandinavia, Belgium, and the U.S.
6768       </p><p>
6769         Tribe of Noise doesn’t pay the musicians up front; they get paid when their
6770 music ends up in Tribe of Noise’s in-store music channels. The musicians’
6771 share is 42.5 percent. It’s not uncommon in a traditional model for the
6772 artist to get only 5 to 10 percent, so a share of over 40 percent is a
6773 significantly better deal. Here’s how they give an example on their website:
6774       </p><p>
6775         A few of your songs [licensed with CC BY-SA], for example five in total, are
6776 selected for a bespoke in-store music channel broadcasting at a large
6777 retailer with 1,000 stores nationwide.  In this case the overall playlist
6778 contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
6779 agreed with this retailer is US$12 per month per play-out. So if 42.5% is
6780 shared with the Tribe musicians in this playlist and your share is 1.43%,
6781 you end up with US$12 * 1000 stores * 0.425 * 0.0143 = US$73 per
6782 month.<a href="#ftn.idm2099" class="footnote" name="idm2099"><sup class="footnote">[153]</sup></a>
6783       </p><p>
6784         Tribe of Noise has another model that does not involve Creative Commons. In
6785 a survey with members, most said they liked the exposure using Creative
6786 Commons gets them and the way it lets them reach out to others to share and
6787 remix. However, they had a bit of a mental struggle with Creative Commons
6788 licenses being perpetual. A lot of musicians have the mind-set that one day
6789 one of their songs may become an overnight hit. If that happened the CC
6790 BY-SA license would preclude them getting rich off the sale of that song.
6791       </p><p>
6792         Hessel’s legal team took this feedback and created a second model and
6793 separate area of the platform called Tribe of Noise Pro. Songs uploaded to
6794 Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
6795 instead created a <span class="quote">„<span class="quote">nonexclusive exploitation</span>“</span> contract, similar
6796 to a Creative Commons license but allowing musicians to opt out whenever
6797 they want. When you opt out, Tribe of Noise agrees to take your music off
6798 the Tribe of Noise platform within one to two months. This lets the musician
6799 reuse their song for a better deal.
6800       </p><p>
6801         Tribe of Noise Pro is primarily geared toward media makers who are looking
6802 for music. If they buy a license from this catalog, they don’t have to state
6803 the name of the creator; they just license the song for a specific
6804 amount. This is a big plus for media makers. And musicians can pull their
6805 repertoire at any time. Hessel sees this as a more direct and clean deal.
6806       </p><p>
6807         Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and
6808 the community area of Tribe of Noises. There aren’t that many artists who
6809 upload only to Tribe of Noise Pro, which has a smaller repertoire of music
6810 than the community area.
6811       </p><p>
6812         Hessel sees the two as complementary. Both are needed for the model to
6813 work. With a whole generation of musicians interested in the sharing
6814 economy, the community area of Tribe of Noise is where they can build trust,
6815 create exposure, and generate money.  And after that, musicians may become
6816 more interested in exploring other models like Tribe of Noise Pro.
6817       </p><p>
6818         Every musician who joins Tribe of Noise gets their own home page and free
6819 unlimited Web space to upload as much of their own music as they like. Tribe
6820 of Noise is also a social network; fellow musicians and professionals can
6821 vote for, comment on, and like your music. Community managers interact with
6822 and support members, and music supervisors pick and choose from the uploaded
6823 songs for in-store play or to promote them to media producers.  Members
6824 really like having people working for the platform who truly engage with
6825 them.
6826       </p><p>
6827         Another way Tribe of Noise creates community and interest is with contests,
6828 which are organized in partnership with Tribe of Noise clients. The client
6829 specifies what they want, and any member can submit a song. Contests usually
6830 involve prizes, exposure, and money. In addition to building member
6831 engagement, contests help members learn how to work with clients: listening
6832 to them, understanding what they want, and creating a song to meet that
6833 need.
6834       </p><p>
6835         Tribe of Noise now has twenty-seven thousand members from 192 countries, and
6836 many are exploring do-it-yourself models for generating revenue. Some came
6837 from music labels and publishers, having gone through the traditional way of
6838 music licensing and now seeing if this new model makes sense for
6839 them. Others are young musicians, who grew up with a DIY mentality and see
6840 little reason to sign with a third party or hand over some of the
6841 control. Still a small but growing group of Tribe members are pursuing a
6842 hybrid model by licensing some of their songs under CC BY-SA and opting in
6843 others with collecting societies like ASCAP or BMI.
6844       </p><p>
6845         It’s not uncommon for performance-rights organizations, record labels, or
6846 music publishers to sign contracts with musicians based on exclusivity. Such
6847 an arrangement prevents those musicians from uploading their music to Tribe
6848 of Noise. In the United States, you can have a collecting society handle
6849 only some of your tracks, whereas in many countries in Europe, a collecting
6850 society prefers to represent your entire repertoire (although the European
6851 Commission is making some changes). Tribe of Noise deals with this issue all
6852 the time and gives you a warning whenever you upload a song. If collecting
6853 societies are willing to be open and flexible and do the most they can for
6854 their members, then they can consider organizations like Tribe of Noise as a
6855 nice add-on, generating more exposure and revenue for the musicians they
6856 represent. So far, Tribe of Noise has been able to make all this work
6857 without litigation.
6858       </p><p>
6859         For Hessel the key to Tribe of Noise’s success is trust. The fact that
6860 Creative Commons licenses work the same way all over the world and have been
6861 translated into all languages really helps build that trust. Tribe of Noise
6862 believes in creating a model where they work together with musicians. They
6863 can only do that if they have a live and kicking community, with people who
6864 think that the Tribe of Noise team has their best interests in
6865 mind. Creative Commons makes it possible to create a new business model for
6866 music, a model that’s based on trust.
6867       </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>
6868           The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia
6869 and its sister projects. Founded in 2003 in the U.S.
6870         </p><p>
6871           <a class="ulink" href="http://wikimediafoundation.org" target="_top">http://wikimediafoundation.org</a>
6872         </p><p><span class="strong"><strong>Revenue model</strong></span>: donations
6873         </p><p><span class="strong"><strong>Interview date</strong></span>: December 18, 2015
6874         </p><p><span class="strong"><strong>Interviewees</strong></span>: Luis Villa, former Chief
6875 Officer of Community Engagement, and Stephen LaPorte, legal counsel
6876         </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}
6877     \textit{
6878           Profile written by Sarah Hinchliff Pearson
6879         }
6880     \end{flushright}</td></tr></table></div><p>
6881         Nearly every person with an online presence knows Wikipedia.
6882       </p><p>
6883         In many ways, it is the preeminent open project: The online encyclopedia is
6884 created entirely by volunteers. Anyone in the world can edit the
6885 articles. All of the content is available for free to anyone online. All of
6886 the content is released under a Creative Commons license that enables people
6887 to reuse and adapt it for any purpose.
6888       </p><p>
6889         As of December 2016, there were more than forty-two million articles in the
6890 295 language editions of the online encyclopedia, according to—what
6891 else?—the Wikipedia article about Wikipedia.
6892       </p><p>
6893         The Wikimedia Foundation is a U.S.-based nonprofit organization that owns
6894 the Wikipedia domain name and hosts the site, along with many other related
6895 sites like Wikidata and Wikimedia Commons. The foundation employs about two
6896 hundred and eighty people, who all work to support the projects it
6897 hosts. But the true heart of Wikipedia and its sister projects is its
6898 community. The numbers of people in the community are variable, but about
6899 seventy-five thousand volunteers edit and improve Wikipedia articles every
6900 month. Volunteers are organized in a variety of ways across the globe,
6901 including formal Wikimedia chapters (mostly national), groups focused on a
6902 particular theme, user groups, and many thousands who are not connected to a
6903 particular organization.
6904       </p><p>
6905         As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">„<span class="quote">There is a common
6906 saying that Wikipedia works in practice but not in theory.</span>“</span> While it
6907 undoubtedly has its challenges and flaws, Wikipedia and its sister projects
6908 are a striking testament to the power of human collaboration.
6909       </p><p>
6910         Because of its extraordinary breadth and scope, it does feel a bit like a
6911 unicorn. Indeed, there is nothing else like Wikipedia. Still, much of what
6912 makes the projects successful—community, transparency, a strong mission,
6913 trust—are consistent with what it takes to be successfully Made with
6914 Creative Commons more generally. With Wikipedia, everything just happens at
6915 an unprecedented scale.
6916       </p><p>
6917         The story of Wikipedia has been told many times. For our purposes, it is
6918 enough to know the experiment started in 2001 at a small scale, inspired by
6919 the crazy notion that perhaps a truly open, collaborative project could
6920 create something meaningful.  At this point, Wikipedia is so ubiquitous and
6921 ingrained in our digital lives that the fact of its existence seems less
6922 remarkable. But outside of software, Wikipedia is perhaps the single most
6923 stunning example of successful community cocreation.  Every day, seven
6924 thousand new articles are created on Wikipedia, and nearly fifteen thousand
6925 edits are made every hour.
6926       </p><p>
6927         The nature of the content the community creates is ideal for asynchronous
6928 cocreation. <span class="quote">„<span class="quote">An encyclopedia is something where incremental community
6929 improvement really works,</span>“</span> Luis Villa, former Chief Officer of
6930 Community Engagement, told us. The rules and processes that govern
6931 cocreation on Wikipedia and its sister projects are all community-driven and
6932 vary by language edition. There are entire books written on the intricacies
6933 of their systems, but generally speaking, there are very few exceptions to
6934 the rule that anyone can edit any article, even without an account on their
6935 system. The extensive peer-review process includes elaborate systems to
6936 resolve disputes, methods for managing particularly controversial subject
6937 areas, talk pages explaining decisions, and much, much more. The Wikimedia
6938 Foundation’s decision to leave governance of the projects to the community
6939 is very deliberate. <span class="quote">„<span class="quote">We look at the things that the community can do
6940 well, and we want to let them do those things,</span>“</span> Stephen told
6941 us. Instead, the foundation focuses its time and resources on what the
6942 community cannot do as effectively, like the software engineering that
6943 supports the technical infrastructure of the sites. In 2015-16, about half
6944 of the foundation’s budget went to direct support for the Wikimedia sites.
6945       </p><p>
6946         Some of that is directed at servers and general IT support, but the
6947 foundation also invests a significant amount on architecture designed to
6948 help the site function as effectively as possible.  <span class="quote">„<span class="quote">There is a
6949 constantly evolving system to keep the balance in place to avoid Wikipedia
6950 becoming the world’s biggest graffiti wall,</span>“</span> Luis said. Depending on
6951 how you measure it, somewhere between 90 to 98 percent of edits to Wikipedia
6952 are positive. Some portion of that success is attributable to the tools
6953 Wikimedia has in place to try to incentivize good actors.  <span class="quote">„<span class="quote">The secret
6954 to having any healthy community is bringing back the right people,</span>“</span>
6955 Luis said. <span class="quote">„<span class="quote">Vandals tend to get bored and go away. That is partially
6956 our model working, and partially just human nature.</span>“</span> Most of the
6957 time, people want to do the right thing.
6958       </p><p>
6959         Wikipedia not only relies on good behavior within its community and on its
6960 sites, but also by everyone else once the content leaves Wikipedia. All of
6961 the text of Wikipedia is available under an Attribution-ShareAlike license
6962 (CC BY-SA), which means it can be used for any purpose and modified so long
6963 as credit is given and anything new is shared back with the public under the
6964 same license. In theory, that means anyone can copy the content and start a
6965 new Wikipedia. But as Stephen explained, <span class="quote">„<span class="quote">Being open has only made
6966 Wikipedia bigger and stronger.  The desire to protect is not always what is
6967 best for everyone.</span>“</span>
6968       </p><p>
6969         Of course, the primary reason no one has successfully co-opted Wikipedia is
6970 that copycat efforts do not have the Wikipedia community to sustain what
6971 they do. Wikipedia is not simply a source of up-to-the-minute content on
6972 every given topic—it is also a global patchwork of humans working together
6973 in a million different ways, in a million different capacities, for a
6974 million different reasons. While many have tried to guess what makes
6975 Wikipedia work as well it does, the fact is there is no single
6976 explanation. <span class="quote">„<span class="quote">In a movement as large as ours, there is an incredible
6977 diversity of motivations,</span>“</span> Stephen said. For example, there is one
6978 editor of the English Wikipedia edition who has corrected a single
6979 grammatical error in articles more than forty-eight thousand
6980 times.<a href="#ftn.idm2145" class="footnote" name="idm2145"><sup class="footnote">[154]</sup></a> Only a fraction of Wikipedia
6981 users are also editors.  But editing is not the only way to contribute to
6982 Wikipedia.  <span class="quote">„<span class="quote">Some donate text, some donate images, some donate
6983 financially,</span>“</span> Stephen told us. <span class="quote">„<span class="quote">They are all
6984 contributors.</span>“</span>
6985       </p><p>
6986         But the vast majority of us who use Wikipedia are not contributors; we are
6987 passive readers. The Wikimedia Foundation survives primarily on individual
6988 donations, with about $15 as the average. Because Wikipedia is one of the
6989 ten most popular websites in terms of total page views, donations from a
6990 small portion of that audience can translate into a lot of money. In the
6991 2015-16 fiscal year, they received more than $77 million from more than five
6992 million donors.
6993       </p><p>
6994         The foundation has a fund-raising team that works year-round to raise money,
6995 but the bulk of their revenue comes in during the December campaign in
6996 Australia, Canada, Ireland, New Zealand, the United Kingdom, and the United
6997 States. They engage in extensive user testing and research to maximize the
6998 reach of their fund-raising campaigns. Their basic fund-raising message is
6999 simple: We provide our readers and the world immense value, so give
7000 back. Every little bit helps. With enough eyeballs, they are right.
7001       </p><p>
7002         The vision of the Wikimedia Foundation is a world in which every single
7003 human being can freely share in the sum of all knowledge.  They work to
7004 realize this vision by empowering people around the globe to create
7005 educational content made freely available under an open license or in the
7006 public domain. Stephen and Luis said the mission, which is rooted in the
7007 same philosophy behind Creative Commons, drives everything the foundation
7008 does.
7009       </p><p>
7010         The philosophy behind the endeavor also enables the foundation to be
7011 financially sustainable. It instills trust in their readership, which is
7012 critical for a revenue strategy that relies on reader donations. It also
7013 instills trust in their community.
7014       </p><p>
7015         Any given edit on Wikipedia could be motivated by nearly an infinite number
7016 of reasons. But the social mission of the project is what binds the global
7017 community together.  <span class="quote">„<span class="quote">Wikipedia is an example of how a mission can
7018 motivate an entire movement,</span>“</span> Stephen told us.
7019       </p><p>
7020         Of course, what results from that movement is one of the Internet’s great
7021 public resources. <span class="quote">„<span class="quote">The Internet has a lot of businesses and stores,
7022 but it is missing the digital equivalent of parks and open public
7023 spaces,</span>“</span> Stephen said. <span class="quote">„<span class="quote">Wikipedia has found a way to be that
7024 open public space.</span>“</span>
7025       </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>
7026       Alperovitz, Gar. What Then Must We Do? Straight Talk about the Next American
7027 Revolution; Democratizing Wealth and Building a Community-Sustaining Economy
7028 from the Ground Up. White River Junction, VT: Chelsea Green, 2013.
7029     </p><p>
7030       Anderson, Chris. Free: How Today’s Smartest Businesses Profit by Giving
7031 Something for Nothing, reprint with new preface. New York: Hyperion, 2010.
7032     </p><p>
7033       ———. Makers: The New Industrial Revolution. New York: Signal, 2012.
7034     </p><p>
7035       Ariely, Dan. Predictably Irrational: The Hidden Forces That Shape Our
7036 Decisions. Rev. ed. New York: Harper Perennial, 2010.
7037     </p><p>
7038       Bacon, Jono. The Art of Community. 2nd ed. Sebastopol, CA: O’Reilly Media,
7039 2012.
7040     </p><p>
7041       Benkler, Yochai. The Wealth of Networks: How Social Production Transforms
7042 Markets and Freedom. New Haven: Yale University Press, 2006.  <a class="ulink" href="http://www.benkler.org/Benkler_Wealth_Of_Networks.pdf" target="_top">http://www.benkler.org/Benkler_Wealth_Of_Networks.pdf</a> (licensed
7043 under CC BY-NC-SA).
7044     </p><p>
7045       Benyayer, Louis-David, ed. Open Models: Business Models of the Open
7046 Economy. Cachan, France: Without Model, 2016.  <a class="ulink" href="http://www.slideshare.net/WithoutModel/open-models-book-64463892" target="_top">http://www.slideshare.net/WithoutModel/open-models-book-64463892</a>
7047 (licensed under CC BY-SA).
7048     </p><p>
7049       Bollier, David. Commoning as a Transformative Social Paradigm.  Paper
7050 commissioned by the Next Systems Project. Washington, DC: Democracy
7051 Collaborative, 2016.  <a class="ulink" href="http://thenextsystem.org/commoning-as-a-transformative-social-paradigm/" target="_top">http://thenextsystem.org/commoning-as-a-transformative-social-paradigm/</a>.
7052     </p><p>
7053       ———. Think Like a Commoner: A Short Introduction to the Life of the
7054 Commons. Gabriola Island, BC: New Society, 2014.
7055     </p><p>
7056       Bollier, David, and Pat Conaty. Democratic Money and Capital for the
7057 Commons: Strategies for Transforming Neoliberal Finance through
7058 Commons-Based Alternatives. A report on a Commons Strategies Group Workshop
7059 in cooperation with the Heinrich Böll Foundation, Berlin, Germany, 2015.
7060 <a class="ulink" href="http://bollier.org/democratic-money-and-capital-commons-report-pdf" target="_top">http://bollier.org/democratic-money-and-capital-commons-report-pdf</a>.
7061 For more information, see <a class="ulink" href="http://bollier.org/blog/democratic-money-and-capital-commons" target="_top">http://bollier.org/blog/democratic-money-and-capital-commons</a>.
7062     </p><p>
7063       Bollier, David, and Silke Helfrich, eds. The Wealth of the Commons: A World
7064 Beyond Market and State. Amherst, MA: Levellers Press, 2012.
7065     </p><p>
7066       Botsman, Rachel, and Roo Rogers. What’s Mine Is Yours: The Rise of
7067 Collaborative Consumption. New York: Harper Business, 2010.
7068     </p><p>
7069       Boyle, James. The Public Domain: Enclosing the Commons of the Mind. New
7070 Haven: Yale University Press, 2008.
7071     </p><p><a class="ulink" href="http://www.thepublicdomain.org/download/" target="_top">http://www.thepublicdomain.org/download/</a> (licensed under CC
7072 BY-NC-SA).
7073     </p><p>
7074       Capra, Fritjof, and Ugo Mattei. The Ecology of Law: Toward a Legal System in
7075 Tune with Nature and Community. Oakland, CA: Berrett-Koehler, 2015.
7076     </p><p>
7077       Chesbrough, Henry. Open Business Models: How to Thrive in the New Innovation
7078 Landscape. Boston: Harvard Business School Press, 2006.
7079     </p><p>
7080       ———. Open Innovation: The New Imperative for Creating and Profiting from
7081 Technology. Boston: Harvard Business Review Press, 2006.
7082     </p><p>
7083       City of Bologna. Regulation on Collaboration between Citizens and the City
7084 for the Care and Regeneration of Urban Commons.  Translated by LabGov
7085 (LABoratory for the GOVernance of Commons).  Bologna, Italy: City of
7086 Bologna, 2014).  <a class="ulink" href="http://www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf" target="_top">http://www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf</a>.
7087     </p><p>
7088       Cole, Daniel H. <span class="quote">„<span class="quote">Learning from Lin: Lessons and Cautions from the
7089 Natural Commons for the Knowledge Commons.</span>“</span> Chap.  2 in Frischmann,
7090 Madison, and Strandburg, Governing Knowledge Commons.
7091     </p><p>
7092       Creative Commons. 2015 State of the Commons. Mountain View, CA: Creative
7093 Commons, 2015.  <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
7094     </p><p>
7095       Doctorow, Cory. Information Doesn’t Want to Be Free: Laws for the Internet
7096 Age. San Francisco: McSweeney’s, 2014.
7097     </p><p>
7098       Eckhardt, Giana, and Fleura Bardhi. <span class="quote">„<span class="quote">The Sharing Economy Isn’t about
7099 Sharing at All.</span>“</span> Harvard Business Review, January 28, 2015.  <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>.
7100     </p><p>
7101       Elliott, Patricia W., and Daryl H. Hepting, eds. (2015). Free Knowledge:
7102 Confronting the Commodification of Human Discovery.  Regina, SK: University
7103 of Regina Press, 2015.  <a class="ulink" href="http://uofrpress.ca/publications/Free-Knowledge" target="_top">http://uofrpress.ca/publications/Free-Knowledge</a> (licensed under CC
7104 BY-NC-ND).
7105     </p><p>
7106       Eyal, Nir. Hooked: How to Build Habit-Forming Products. With Ryan
7107 Hoover. New York: Portfolio, 2014.
7108     </p><p>
7109       Farley, Joshua, and Ida Kubiszewski. <span class="quote">„<span class="quote">The Economics of Information in
7110 a Post-Carbon Economy.</span>“</span> Chap. 11 in Elliott and Hepting, Free
7111 Knowledge.
7112     </p><p>
7113       Foster, William Landes, Peter Kim, and Barbara Christiansen.  <span class="quote">„<span class="quote">Ten
7114 Nonprofit Funding Models.</span>“</span> Stanford Social Innovation Review, Spring
7115 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>.
7116     </p><p>
7117       Frischmann, Brett M. Infrastructure: The Social Value of Shared
7118 Resources. New York: Oxford University Press, 2012.
7119     </p><p>
7120       Frischmann, Brett M., Michael J. Madison, and Katherine J.  Strandburg,
7121 eds. Governing Knowledge Commons. New York: Oxford University Press, 2014.
7122     </p><p>
7123       Frischmann, Brett M., Michael J. Madison, and Katherine J.
7124 Strandburg. <span class="quote">„<span class="quote">Governing Knowledge Commons.</span>“</span> Chap. 1 in
7125 Frischmann, Madison, and Strandburg, Governing Knowledge Commons.
7126     </p><p>
7127       Gansky, Lisa. The Mesh: Why the Future of Business Is Sharing.  Reprint with
7128 new epilogue. New York: Portfolio, 2012.
7129     </p><p>
7130       Grant, Adam. Give and Take: Why Helping Others Drives Our Success.  New
7131 York: Viking, 2013.
7132     </p><p>
7133       Haiven, Max. Crises of Imagination, Crises of Power: Capitalism, Creativity
7134 and the Commons. New York: Zed Books, 2014.
7135     </p><p>
7136       Harris, Malcom, ed. Share or Die: Voices of the Get Lost Generation in the
7137 Age of Crisis. With Neal Gorenflo. Gabriola Island, BC: New Society, 2012.
7138     </p><p>
7139       Hermida, Alfred. Tell Everyone: Why We Share and Why It Matters.  Toronto:
7140 Doubleday Canada, 2014.
7141     </p><p>
7142       Hyde, Lewis. Common as Air: Revolution, Art, and Ownership. New York:
7143 Farrar, Straus and Giroux, 2010.
7144     </p><p>
7145       ———. The Gift: Creativity and the Artist in the Modern World. 2nd Vintage
7146 Books edition. New York: Vintage Books, 2007.
7147     </p><p>
7148       Kelley, Tom, and David Kelley. Creative Confidence: Unleashing the Potential
7149 within Us All. New York: Crown, 2013.
7150     </p><p>
7151       Kelly, Marjorie. Owning Our Future: The Emerging Ownership Revolution;
7152 Journeys to a Generative Economy. San Francisco: Berrett-Koehler, 2012.
7153     </p><p>
7154       Kleon, Austin. Show Your Work: 10 Ways to Share Your Creativity and Get
7155 Discovered. New York: Workman, 2014.
7156     </p><p>
7157       ———. Steal Like an Artist: 10 Things Nobody Told You about Being
7158 Creative. New York: Workman, 2012.
7159     </p><p>
7160       Kramer, Bryan. Shareology: How Sharing Is Powering the Human Economy. New
7161 York: Morgan James, 2016.
7162     </p><p>
7163       Lee, David. <span class="quote">„<span class="quote">Inside Medium: An Attempt to Bring Civility to the
7164 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>
7165     </p><p>
7166       Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid
7167 Economy. New York: Penguin Press, 2008.
7168     </p><p>
7169       Menzies, Heather. Reclaiming the Commons for the Common Good: A Memoir and
7170 Manifesto. Gabriola Island, BC: New Society, 2014.
7171     </p><p>
7172       Mason, Paul. Postcapitalism: A Guide to Our Future. New York: Farrar, Straus
7173 and Giroux, 2015.
7174     </p><p>
7175       New York Times Customer Insight Group. The Psychology of Sharing: Why Do
7176 People Share Online? New York: New York Times Customer Insight Group, 2011.
7177 <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
7178     </p><p>
7179       Osterwalder, Alex, and Yves Pigneur. Business Model Generation.  Hoboken,
7180 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>.
7181     </p><p>
7182       Osterwalder, Alex, Yves Pigneur, Greg Bernarda, and Adam Smith.  Value
7183 Proposition Design. Hoboken, NJ: John Wiley and Sons, 2014.  A preview of
7184 the book is available at <a class="ulink" href="http://strategyzer.com/books/value-proposition-design" target="_top">http://strategyzer.com/books/value-proposition-design</a>.
7185     </p><p>
7186       Palmer, Amanda. The Art of Asking: Or How I Learned to Stop Worrying and Let
7187 People Help. New York: Grand Central, 2014.
7188     </p><p>
7189       Pekel, Joris. Democratising the Rijksmuseum: Why Did the Rijksmuseum Make
7190 Available Their Highest Quality Material without Restrictions, and What Are
7191 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>
7192 (licensed under CC BY-SA).
7193     </p><p>
7194       Ramos, José Maria, ed. The City as Commons: A Policy Reader.  Melbourne,
7195 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>
7196 (licensed under CC BY-NC-ND).
7197     </p><p>
7198       Raymond, Eric S. The Cathedral and the Bazaar: Musings on Linux and Open
7199 Source by an Accidental Revolutionary.  Rev. ed. Sebastopol, CA: O’Reilly
7200 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>.
7201     </p><p>
7202       Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous
7203 Innovation to Create Radically Successful Businesses.  New York: Crown
7204 Business, 2011.
7205     </p><p>
7206       Rifkin, Jeremy. The Zero Marginal Cost Society: The Internet of Things, the
7207 Collaborative Commons, and the Eclipse of Capitalism.  New York: Palgrave
7208 Macmillan, 2014.
7209     </p><p>
7210       Rowe, Jonathan. Our Common Wealth. San Francisco: Berrett-Koehler, 2013.
7211     </p><p>
7212       Rushkoff, Douglas. Throwing Rocks at the Google Bus: How Growth Became the
7213 Enemy of Prosperity. New York: Portfolio, 2016.
7214     </p><p>
7215       Sandel, Michael J. What Money Can’t Buy: The Moral Limits of Markets. New
7216 York: Farrar, Straus and Giroux, 2012.
7217     </p><p>
7218       Shirky, Clay. Cognitive Surplus: How Technology Makes Consumers into
7219 Collaborators. London, England: Penguin Books, 2010.
7220     </p><p>
7221       Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New York: OR
7222 Books, 2015.
7223     </p><p>
7224       Stephany, Alex. The Business of Sharing: Making in the New Sharing
7225 Economy. New York: Palgrave Macmillan, 2015.
7226     </p><p>
7227       Stepper, John. Working Out Loud: For a Better Career and Life. New York:
7228 Ikigai Press, 2015.
7229     </p><p>
7230       Sull, Donald, and Kathleen M. Eisenhardt. Simple Rules: How to Thrive in a
7231 Complex World. Boston: Houghton Mifflin Harcourt, 2015.
7232     </p><p>
7233       Sundararajan, Arun. The Sharing Economy: The End of Employment and the Rise
7234 of Crowd-Based Capitalism. Cambridge, MA: MIT Press, 2016.
7235     </p><p>
7236       Surowiecki, James. The Wisdom of Crowds. New York: Anchor Books, 2005.
7237     </p><p>
7238       Tapscott, Don, and Alex Tapscott. Blockchain Revolution: How the Technology
7239 Behind Bitcoin Is Changing Money, Business, and the World. Toronto:
7240 Portfolio, 2016.
7241     </p><p>
7242       Tharp, Twyla. The Creative Habit: Learn It and Use It for Life.  With Mark
7243 Reiter. New York: Simon and Schuster, 2006.
7244     </p><p>
7245       Tkacz, Nathaniel. Wikipedia and the Politics of Openness. Chicago:
7246 University of Chicago Press, 2015.
7247     </p><p>
7248       Van Abel, Bass, Lucas Evers, Roel Klaassen, and Peter Troxler, eds. Open
7249 Design Now: Why Design Cannot Remain Exclusive.  Amsterdam: BIS Publishers,
7250 with Creative Commons Netherlands; Premsela, the Netherlands Institute for
7251 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).
7252     </p><p>
7253       Van den Hoff, Ronald. Mastering the Global Transition on Our Way to Society
7254 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).
7255     </p><p>
7256       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
7257 BY-NC-ND).
7258     </p><p>
7259       Whitehurst, Jim. The Open Organization: Igniting Passion and
7260 Performance. Boston: Harvard Business Review Press, 2015.
7261     </p>\chapter*{<title>Acknowledgments</title>}\addcontentsline{toc}{chapter}{<title>Acknowledgments</title>}<p>
7262       We extend special thanks to Creative Commons CEO Ryan Merkley, the Creative
7263 Commons Board, and all of our Creative Commons colleagues for
7264 enthusiastically supporting our work. Special gratitude to the William and
7265 Flora Hewlett Foundation for the initial seed funding that got us started on
7266 this project.
7267     </p><p>
7268       Huge appreciation to all the Made with Creative Commons interviewees for
7269 sharing their stories with us. You make the commons come alive. Thanks for
7270 the inspiration.
7271     </p><p>
7272       We interviewed more than the twenty-four organizations profiled in this
7273 book. We extend special thanks to Gooru, OERu, Sage Bionetworks, and Medium
7274 for sharing their stories with us. While not featured as case studies in
7275 this book, you all are equally interesting, and we encourage our readers to
7276 visit your sites and explore your work.
7277     </p><p>
7278       This book was made possible by the generous support of 1,687 Kickstarter
7279 backers listed below. We especially acknowledge our many Kickstarter
7280 co-editors who read early drafts of our work and provided invaluable
7281 feedback. Heartfelt thanks to all of you.
7282     </p><p>
7283       Co-editor Kickstarter backers (alphabetically by first name): Abraham
7284 Taherivand, Alan Graham, Alfredo Louro, Anatoly Volynets, Aurora Thornton,
7285 Austin Tolentino, Ben Sheridan, Benedikt Foit, Benjamin Costantini, Bernd
7286 Nurnberger, Bernhard Seefeld, Bethanye Blount, Bradford Benn, Bryan Mock,
7287 Carmen Garcia Wiedenhoeft, Carolyn Hinchliff, Casey Milford, Cat Cooper,
7288 Chip McIntosh, Chris Thorne, Chris Weber, Chutika Udomsinn, Claire Wardle,
7289 Claudia Cristiani, Cody Allard, Colleen Cressman, Craig Thomler, Creative
7290 Commons Uruguay, Curt McNamara, Dan Parson, Daniel Dominguez, Daniel Morado,
7291 Darius Irvin, Dave Taillefer, David Lewis, David Mikula, David Varnes, David
7292 Wiley, Deborah Nas, Diderik van Wingerden, Dirk Kiefer, Dom Lane, Domi
7293 Enders, Douglas Van Houweling, Dylan Field, Einar Joergensen, Elad Wieder,
7294 Elie Calhoun, Erika Reid, Evtim Papushev, Fauxton Software, Felix
7295 Maximiliano Obes, Ferdies Food Lab, Gatien de Broucker, Gaurav Kapil, Gavin
7296 Romig-Koch, George Baier IV, George De Bruin, Gianpaolo Rando, Glenn Otis
7297 Brown, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Hamish MacEwan,
7298 Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James Cloos, Jamie
7299 Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo, Jay M
7300 Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme
7301 Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
7302 Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
7303 Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos
7304 Belair, Justin Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie
7305 Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova, Kristoffer Steen,
7306 Kyle Simpson, Laurie Racine, Leonardo Bueno Postacchini, Leticia Britos
7307 Cavagnaro, Livia Leskovec, Louis-David Benyayer, Maik Schmalstich, Mairi
7308 Thomson, Marcia Hofmann, Maria Liberman, Marino Hernandez, Mario R. Hemsley,
7309 MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black,
7310 Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
7311 Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha Batic, Mike
7312 Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall
7313 McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman,
7314 Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
7315 Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny
7316 Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv
7317 Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones,
7318 Robert Thompson, Ronald van den Hoff, Rusi Popov, Ryan Merkley, S Searle,
7319 Salomon Riedo, Samuel A. Rebelsky, Samuel Tait, Sarah McGovern, Scott
7320 Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio,
7321 Simon Law, Solomon Simon, Stefano Guidotti, Subhendu Ghosh, Susan Chun,
7322 Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent,
7323 Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
7324 Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh,
7325 William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque,
7326 Yancey Strickler
7327     </p><p>
7328       All other Kickstarter backers (alphabetically by first name): A.  Lee, Aaron
7329 C. Rathbun, Aaron Stubbs, Aaron Suggs, Abdul Razak Manaf, Abraham
7330 Taherivand, Adam Croom, Adam Finer, Adam Hansen, Adam Morris, Adam Procter,
7331 Adam Quirk, Adam Rory Porter, Adam Simmons, Adam Tinworth, Adam Zimmerman,
7332 Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al Sweigart, Alain
7333 Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert
7334 O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
7335 Blood, Alex C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown,
7336 Alexander Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar,
7337 Alexander Neumann, Alexander Plaum, Alexander Wendland, Alexandre
7338 Rafalovitch, Alexey Volkow, Alexi Wheeler, Alexis Sevault, Alfredo Louro,
7339 Ali Sternburg, Alicia Gibb &amp; Lunchbox Electronics, Alison Link, Alison
7340 Pentecost, Alistair Boettiger, Alistair Walder, Alix Bernier, Allan
7341 Callaghan, Allen Riddell, Allison Breland Crotwell, Allison Jane Smith,
7342 Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
7343 Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
7344 Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen,
7345 Andre Wallace, Andrea Bagnacani, Andrea Pepe, Andrea Pigato, Andreas
7346 Jagelund, Andres Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew
7347 Hearse, Andrew Matangi, Andrew R McHugh, Andrew Tam, Andrew Turvey, Andrew
7348 Walsh, Andrew Wilson, Andrey Novoseltsev, Andy McGhee, Andy Reeve, Andy
7349 Woods, Angela Brett, Angeliki Kapoglou, Angus Keenan, Anne-Marie Scott,
7350 Antero Garcia, Antoine Authier, Antoine Michard, Anton Kurkin, Anton
7351 Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
7352 publishing, April Johnson, Aria F.  Chernik, Ariane Allan, Ariel Katz,
7353 Arithmomaniac, Arnaud Tessier, Arnim Sommer, Ashima Bawa, Ashley Elsdon,
7354 Athanassios Diacakis, Aurora Thornton, Aurore Chavet Henry, Austin
7355 Hartzheim, Austin Tolentino, Avner Shanan, Axel Pettersson, Axel
7356 Stieglbauer, Ay Okpokam, Barb Bartkowiak, Barbara Lindsey, Barry Dayton,
7357 Bastian Hougaard, Ben Chad, Ben Doherty, Ben Hansen, Ben Nuttall, Ben
7358 Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin Costantini,
7359 Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
7360 Bernardo Miguel Antunes, Bernd Nurnberger, Bernhard Seefeld, Beth Gis, Beth
7361 Tillinghast, Bethanye Blount, Bill Bonwitt, Bill Browne, Bill Keaggy, Bill
7362 Maiden, Bill Rafferty, Bill Scanlon, Bill Shields, Bill Slankard, BJ Becker,
7363 Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
7364 Sprotte Kofod, Bob Doran, Bob Recny, Bob Stuart, Bonnie Chiu, Boris Mindzak,
7365 Boriss Lariushin, Borjan Tchakaloff, Brad Kik, Braden Hassett, Bradford
7366 Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka
7367 Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel,
7368 Brett Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian
7369 S. Weis, Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke
7370 Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno Girin, Bryan
7371 Mock, Bryant Durrell, Bryce Barbato, Buzz Technology Limited, Byung-Geun
7372 Jeon, C. Glen Williams, C. L. Couch, Cable Green, Callum Gare, Cameron
7373 Callahan, Cameron Colby Thomson, Cameron Mulder, Camille Bissuel / Nylnook,
7374 Candace Robertson, Carl Morris, Carl Perry, Carl Rigney, Carles Mateu,
7375 Carlos Correa Loyola, Carlos Solis, Carmen Garcia Wiedenhoeft, Carol Long,
7376 Carol marquardsen, Caroline Calomme, Caroline Mailloux, Carolyn Hinchliff,
7377 Carolyn Rude, Carrie Cousins, Carrie Watkins, Casey Hunt, Casey Milford,
7378 Casey Powell Shorthouse, Cat Cooper, Cecilie Maria, Cedric Howe, Cefn Hoile,
7379 @ShrimpingIt, Celia Muller, Ces Keller, Chad Anderson, Charles Butler,
7380 Charles Carstensen, Charles Chi Thoi Le, Charles Kobbe, Charles S. Tritt,
7381 Charles Stanhope, Charlotte Ong-Wisener, Chealsye Bowley, Chelle Destefano,
7382 Chenpang Chou, Cheryl Corte, Cheryl Todd, Chip Dickerson, Chip McIntosh,
7383 Chris Bannister, Chris Betcher, Chris Coleman, Chris Conway, Chris Foote
7384 (Spike), Chris Hurst, Chris Mitchell, Chris Muscat Azzopardi, Chris
7385 Niewiarowski, Chris Opperwall, Chris Stieha, Chris Thorne, Chris Weber,
7386 Chris Woolfrey, Chris Zabriskie, Christi Reid, Christian Holzberger,
7387 Christian Schubert, Christian Sheehy, Christian Thibault, Christian Villum,
7388 Christian Wachter, Christina Bennett, Christine Henry, Christine Rico,
7389 Christopher Burrows, Christopher Chan, Christopher Clay, Christopher Harris,
7390 Christopher Opiah, Christopher Swenson, Christos Keramitsis, Chuck Roslof,
7391 Chutika Udomsinn, Claire Wardle, Clare Forrest, Claudia Cristiani, Claudio
7392 Gallo, Claudio Ruiz, Clayton Dewey, Clement Delort, Cliff Church, Clint
7393 Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
7394 Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie
7395 Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
7396 Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney,
7397 Craig Thomler, Creative Commons Uruguay, Crina Kienle, Cristiano Gozzini,
7398 Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei,
7399 Dagmar M. Meyer, Dan Mcalister, Dan Mohr, Dan Parson, Dana Freeman, Dana
7400 Ospina, Dani Leviss, Daniel Bustamante, Daniel Demmel, Daniel Dominguez,
7401 Daniel Dultz, Daniel Gallant, Daniel Kossmann, Daniel Kruse, Daniel Morado,
7402 Daniel Morgan, Daniel Pimley, Daniel Sabo, Daniel Sobey, Daniel Stein,
7403 Daniel Wildt, Daniele Prati, Danielle Moss, Danny Mendoza, Dario
7404 Taraborelli, Darius Irvin, Darius Whelan, Darla Anderson, Dasha Brezinova,
7405 Dave Ainscough, Dave Bull, Dave Crosby, Dave Eagle, Dave Moskovitz, Dave
7406 Neeteson, Dave Taillefer, Dave Witzel, David Bailey, David Cheung, David
7407 Eriksson, David Gallagher, David H. Bronke, David Hartley, David Hellam,
7408 David Hood, David Hunter, David jlaietta, David Lewis, David Mason, David
7409 Mcconville, David Mikula, David Nelson, David Orban, David Parry, David
7410 Spira, David T. Kindler, David Varnes, David Wiley, David Wormley, Deborah
7411 Nas, Denis Jean, dennis straub, Dennis Whittle, Denver Gingerich, Derek
7412 Slater, Devon Cooke, Diana Pasek-Atkinson, Diane Johnston Graves, Diane K.
7413 Kovacs, Diane Trout, Diderik van Wingerden, Diego Cuevas, Diego De La Cruz,
7414 Dimitrie Grigorescu, Dina Marie Rodriguez, Dinah Fabela, Dirk Haun, Dirk
7415 Kiefer, Dirk Loop, DJ Fusion - FuseBox Radio Broadcast, Dom jurkewitz, Dom
7416 Lane, Domi Enders, Domingo Gallardo, Dominic de Haas, Dominique Karadjian,
7417 Dongpo Deng, Donnovan Knight, Door de Flines, Doug Fitzpatrick, Doug Hoover,
7418 Douglas Craver, Douglas Van Camp, Douglas Van Houweling, Dr. Braddlee, Drew
7419 Spencer, Duncan Sample, Durand D’souza, Dylan Field, E C Humphries, Eamon
7420 Caddigan, Earleen Smith, Eden Sarid, Eden Spodek, Eduardo Belinchon, Eduardo
7421 Castro, Edwin Vandam, Einar Joergensen, Ejnar Brendsdal, Elad Wieder, Elar
7422 Haljas, Elena Valhalla, Eli Doran, Elias Bouchi, Elie Calhoun, Elizabeth
7423 Holloway, Ellen Buecher, Ellen Kaye- Cheveldayoff, Elli Verhulst, Elroy
7424 Fernandes, Emery Hurst Mikel, Emily Catedral, Enrique Mandujano R., Eric
7425 Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric Hellman, Eric
7426 Steuer, Erica Fletcher, Erik Hedman, Erik Lindholm Bundgaard, Erika Reid,
7427 Erin Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan Bousse, Erwin
7428 Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan Tangman, Evonne
7429 Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton Software, Felix
7430 Deierlein, Felix Gebauer, Felix Maximiliano Obes, Felix Schmidt, Felix
7431 Zephyr Hsiao, Ferdies Food Lab, Fernand Deschambault, Filipe Rodrigues,
7432 Filippo Toso, Fiona MacAlister, fiona.mac.uk, Floor Scheffer, Florent
7433 Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot Games,
7434 Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois Grey,
7435 François Gros, François Pelletier, Fred Benenson, Frédéric Abella, Frédéric
7436 Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel Staples,
7437 Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath, Gary
7438 Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de
7439 Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George
7440 Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman,
7441 Geronimo de la Lama, Gianpaolo Rando, Gil Stendig, Gino Cingolani Trucco,
7442 Giovanna Sala, Glen Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives
7443 Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman,
7444 Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg
7445 Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
7446 Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho
7447 Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
7448 Sønderland, Hamid Larbi, Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de
7449 Raad, Hans Vd Horst, Harold van Ingen, Harold Watson, Harry Chapman, Harry
7450 Kaczka, Harry Torque, Hayden Glass, Hayley Rosenblum, Heather Leson, Helen
7451 Crisp, Helen Michaud, Helen Qubain, Helle Rekdal Schønemann, Henrique Flach
7452 Latorre Moreno, Henry Finn, Henry Kaiser, Henry Lahore, Henry Steingieser,
7453 Hermann Paar, Hillary Miller, Hironori Kuriaki, Holly Dykes, Holly Lyne,
7454 Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
7455 Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider,
7456 Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah
7457 Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek
7458 Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
7459 Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach,
7460 James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James
7461 Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol,
7462 Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park,
7463 Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason E.
7464 Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy Bear
7465 Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne, Jean-Philippe
7466 Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff De Cagna, Jeff
7467 Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff Rasalla, Jeff Ski
7468 Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen Garcia, Jens Erat,
7469 Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell, Jeremy Sabo, Jeremy
7470 Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret, Jessica Dickinson
7471 Goodman, Jessica Litman, Jessica Mackay, Jessy Kate Schingler, Jesús Longás
7472 Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim O’Flaherty, Jim Pellegrini,
7473 Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo Allum, Joachim Brandon LeBlanc,
7474 Joachim Pileborg, Joachim von Goetz, Joakim Bang Larsen, Joan Rieu, Joanna
7475 Penn, João Almeida, Jochen Muetsch, Jodi Sandfort, Joe Cardillo, Joe
7476 Carpita, Joe Moross, Joerg Fricke, Johan Adda, Johan Meeusen, Johannes
7477 Förstner, Johannes Visintini, John Benfield, John Bevan, John C Patterson,
7478 John Crumrine, John Dimatos, John Feyler, John Huntsman, John Manoogian III,
7479 John Muller, John Ober, John Paul Blodgett, John Pearce, John Shale, John
7480 Sharp, John Simpson, John Sumser, John Weeks, John Wilbanks, John Worland,
7481 Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon Andersen, Jon Cohrs, Jon
7482 Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith, Jonas Öberg, Jonas
7483 Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan Holst, Jonathan Lin,
7484 Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg Schwarz, Jose Antonio
7485 Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph Sullivan, Joseph
7486 Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP Rangaswami, Juan Carlos
7487 Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo Marin Diaz, Judith
7488 Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter, Julia Devonshire,
7489 Julian Fietkau, Julie Harboe, Julien Brossoit, Julien Leroy, Juliet Chen,
7490 Julio Terra, Julius Mikkelä, Justin Christian, Justin Grimes, Justin Jones,
7491 Justin Szlasa, Justin Walsh, JustinChung.com, K. J. Przybylski, Kaloyan
7492 Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant, Kara Monroe, Karen Pe,
7493 Karl Jahn, Karl Jonsson, Karl Nelson, Kasia Zygmuntowicz, Kat Lim, Kate
7494 Chapman, Kate Stewart, Kathleen Beck, Kathleen Hanrahan, Kathryn Abuzzahab,
7495 Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie Lynn Daniels, Katie Meek,
7496 Katie Teague, Katrina Hennessy, Katriona Main, Kavan Antani, Keith Adams,
7497 Keith Berndtson, MD, Keith Luebke, Kellie Higginbottom, Ken Friis Larsen,
7498 Ken Haase, Ken Torbeck, Kendel Ratley, Kendra Byrne, Kerry Hicks, Kevin
7499 Brown, Kevin Coates, Kevin Flynn, Kevin Rumon, Kevin Shannon, Kevin Taylor,
7500 Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane l’Azin, Kianosh Pourian, Kiran
7501 Kadekoppa, Kit Walsh, Klaus Mickus, Konrad Rennert, Kris Kasianovitz,
7502 Kristian Lundquist, Kristin Buxton, Kristina Popova, Kristofer Bratt,
7503 Kristoffer Steen, Kumar McMillan, Kurt Whittemore, Kyle Pinches, Kyle
7504 Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry Garfield, Larry Singer,
7505 Lars Josephsen, Lars Klaeboe, Laura Anne Brown, Laura Billings, Laura
7506 Ferejohn, Lauren Pedersen, Laurence Gonsalves, Laurent Muchacho, Laurie
7507 Racine, Laurie Reynolds, Lawrence M. Schoen, Leandro Pangilinan, Leigh
7508 Verlandson, Lenka Gondolova, Leonardo Bueno Postacchini, leonardo menegola,
7509 Lesley Mitchell, Leslie Krumholz, Leticia Britos Cavagnaro, Levi Bostian,
7510 Leyla Acaroglu, Liisa Ummelas, Lilly Kashmir Marques, Lior Mazliah, Lisa
7511 Bjerke, Lisa Brewster, Lisa Canning, Lisa Cronin, Lisa Di Valentino,
7512 Lisandro Gaertner, Livia Leskovec, Liynn Worldlaw, Liz Berg, Liz White,
7513 Logan Cox, Loki Carbis, Lora Lynn, Lorna Prescott, Lou Yufan, Louie
7514 Amphlett, Louis-David Benyayer, Louise Denman, Luca Corsato, Luca Lesinigo,
7515 Luca Palli, Luca Pianigiani, Luca S.G. de Marinis, Lucas Lopez, Lukas
7516 Mathis, Luke Chamberlin, Luke Chesser, Luke Woodbury, Lulu Tang, Lydia
7517 Pintscher, M Alexander Jurkat, Maarten Sander, Macie J Klosowski, Magnus
7518 Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh, Maik Schmalstich, Maiken
7519 Håvarstein, Maira Sutton, Mairi Thomson, Mandy Wultsch, Manickkavasakam
7520 Rajasekar, Marc Bogonovich, Marc Harpster, Marc Martí, Marc Olivier Bastien,
7521 Marc Stober, Marc-André Martin, Marcel de Leeuwe, Marcel Hill, Marcia
7522 Hofmann, Marcin Olender, Marco Massarotto, Marco Montanari, Marco Morales,
7523 Marcos Medionegro, Marcus Bitzl, Marcus Norrgren, Margaret Gary, Mari
7524 Moreshead, Maria Liberman, Marielle Hsu, Marino Hernandez, Mario Lurig,
7525 Mario R. Hemsley, MD, Marissa Demers, Mark Chandler, Mark Cohen, Mark De
7526 Solla Price, Mark Gabby, Mark Gray, Mark Koudritsky, Mark Kupfer, Mark
7527 Lednor, Mark McGuire, Mark Moleda, Mark Mullen, Mark Murphy, Mark Perot,
7528 Mark Reeder, Mark Spickett, Mark Vincent Adams, Mark Waks, Mark Zuccarell
7529 II, Markus Deimann, Markus Jaritz, Markus Luethi, Marshal Miller, Marshall
7530 Warner, Martijn Arets, Martin Beaudoin, Martin Decky, Martin DeMello, Martin
7531 Humpolec, Martin Mayr, Martin Peck, Martin Sanchez, Martino Loco, Martti
7532 Remmelgas, Martyn Eggleton, Martyn Lewis, Mary Ellen Davis, Mary Heacock,
7533 Mary Hess, Mary Mi, Masahiro Takagi, Mason Du, Massimo V.A. Manzari, Mathias
7534 Bavay, Mathias Nicolajsen Kjærgaard, Matias Kruk, Matija Nalis, Matt Alcock,
7535 Matt Black, Matt Broach, Matt Hall, Matt Haughey, Matt Lee, Matt Plec, Matt
7536 Skoss, Matt Thompson, Matt Vance, Matt Wagstaff, Matteo Cocco, Matthew
7537 Bendert, Matthew Bergholt, Matthew Darlison, Matthew Epler, Matthew Hawken,
7538 Matthew Heimbecker, Matthew Orstad, Matthew Peterworth, Matthew Sheehy,
7539 Matthew Tucker, Adaptive Handy Apps, LLC, Mattias Axell, Max Green, Max
7540 Kossatz, Max lupo, Max Temkin, Max van Balgooy, Médéric Droz-dit-Busset,
7541 Megan Ingle, Megan Wacha, Meghan Finlayson, Melissa Aho, Melissa Sterry,
7542 Melle Funambuline, Menachem Goldstein, Micah Bridges, Michael Ailberto,
7543 Michael Anderson, Michael Andersson Skane, Michael C. Stewart, Michael
7544 Carroll, Michael Cavette, Michael Crees, Michael David Johas Teener, Michael
7545 Dennis Moore, Michael Freundt Karlsen, Michael Harries, Michael Hawel,
7546 Michael Lewis, Michael May, Michael Murphy, Michael Murvine, Michael
7547 Perkins, Michael Sauers, Michael St.Onge, Michael Stanford, Michael Stanley,
7548 Michael Underwood, Michael Weiss, Michael Wright, Michael-Andreas Kuttner,
7549 Michaela Voigt, Michal Rosenn, Michał Szymański, Michel Gallez, Michell
7550 Zappa, Michelle Heeyeon You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike
7551 Chelen, Mike Habicher, Mike Maloney, Mike Masnick, Mike McDaniel, Mike
7552 Pouraryan, Mike Sheldon, Mike Stop Continues, Mike Stringer, Mike
7553 Wittenstein, Mikkel Ovesen, Mikołaj Podlaszewski, Millie Gonzalez, Mindi
7554 Lovell, Mindy Lin, Mirko <span class="quote">„<span class="quote">Macro</span>“</span> Fichtner, Mitch Featherston,
7555 Mitchell Adams, Molika Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan
7556 Loomis, Moritz Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik,
7557 MD, Myk Pilgrim, Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC,
7558 Nah Wee Yang, Natalie Brown, Natalie Freed, Nathan D Howell, Nathan Massey,
7559 Nathan Miller, Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson,
7560 Nele Wollert, Neuchee Chang, Niall McDonagh, Niall Twohig, Nic McPhee,
7561 Nicholas Bentley, Nicholas Koran, Nicholas Norfolk, Nicholas Potter, Nick
7562 Bell, Nick Coghlan, Nick Isaacs, Nick M. Daly, Nick Vance, Nickolay
7563 Vedernikov, Nicky Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole
7564 Hickman, Niek Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie,
7565 Nikola Chernev, Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah
7566 Kardos-Fein, Noah Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer,
7567 O.P. Gobée, Ohad Mayblum, Olivia Wilson, Olivier De Doncker, Olivier
7568 Schulbaum, Olle Ahnve, Omar Kaminski, Omar Willey, OpenBuilds, Ove Ødegård,
7569 Øystein Kjærnet, Pablo López Soriano, Pablo Vasquez, Pacific Design, Paige
7570 Mackay, Papp István Péter, Paris Marx, Parker Higgins, Pasquale Borriello,
7571 Pat Allan, Pat Hawks, Pat Ludwig, Pat Sticks, Patricia Brennan, Patricia
7572 Rosnel, Patricia Wolf, Patrick Berry, Patrick Beseda, Patrick Hurley,
7573 Patrick M. Lozeau, Patrick McCabe, Patrick Nafarrete, Patrick Tanguay,
7574 Patrick von Hauff, Patrik Kernstock, Patti J Ryan, Paul A Golder, Paul and
7575 Iris Brest, Paul Bailey, Paul Bryan, Paul Bunkham, Paul Elosegui, Paul
7576 Hibbitts, Paul Jacobson, Paul Keller, Paul Rowe, Paul Timpson, Paul Walker,
7577 Pavel Dostál, Peeter Sällström Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny
7578 Pearson, Per Åström, Perry Jetter, Péter Fankhauser, Peter Hirtle, Peter
7579 Humphries, Peter Jenkins, Peter Langmar, Peter le Roux, Peter Marinari,
7580 Peter Mengelers, Peter O’Brien, Peter Pinch, Peter S.  Crosby, Peter Wells,
7581 Petr Fristedt, Petr Viktorin, Petronella Jeurissen, Phil Flickinger, Philip
7582 Chung, Philip Pangrac, Philip R. Skaggs Jr., Philip Young, Philippa Lorne
7583 Channer, Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan
7584 Pauwels, Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy
7585 Kirill, Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel
7586 Mercer, Rafael Scapin, Rafaela Kunz, Rain Doggerel, Raine Lourie, Rajiv
7587 Jhangiani, Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre,
7588 Raphaël Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca
7589 Godar, Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero,
7590 Rich McCue, Richard <span class="quote">„<span class="quote">TalkToMeGuy</span>“</span> Olson, Richard Best, Richard
7591 Blumberg, Richard Fannon, Richard Heying, Richard Karnesky, Richard Kelly,
7592 Richard Littauer, Richard Sobey, Richard White, Richard Winchell, Rik
7593 ToeWater, Rita Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley,
7594 Rob Bertholf, Rob Emanuele, Rob McAuliffe, Rob McKaughan, Rob Tillie, Rob
7595 Utter, Rob Vincent, Robert Gaffney, Robert Jones, Robert Kelly, Robert
7596 Lawlis, Robert McDonald, Robert Orzanna, Robert Paterson Hunter, Robert
7597 R. Daniel Jr., Robert Ryan-Silva, Robert Thompson, Robert Wagoner, Roberto
7598 Selvaggio, Robin DeRosa, Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon,
7599 Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
7600 Mari von Walthausen, Rolf Egstad, Rolf Schaller, Ron Zuijlen, Ronald
7601 Bissell, Ronald van den Hoff, Ronda Snow, Rory Landon Aronson, Ross Findlay,
7602 Ross Pruden, Ross Williams, Rowan Skewes, Roy Ivy III, Ruben Flores, Rupert
7603 Hitzenberger, Rusi Popov, Russ Antonucci, Russ Spollin, Russell Brand, Rute
7604 Correia, Ruth Ann Carpenter, Ruth White, Ryan Mentock, Ryan Merkley, Ryan
7605 Price, Ryan Sasaki, Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin
7606 Kenaid, Salomon Riedo, Sam Hokin, Sam Twidale, Samantha Levin,
7607 Samantha-Jayne Chapman, Samarth Agarwal, Sami Al-AbdRabbuh, Samuel
7608 A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
7609 Cersosimo, Samuel Tait, Sandra Fauconnier, Sandra Markus, Sandy Bjar, Sandy
7610 ONeil, Sang-Phil Ju, Sanjay Basu, Santiago Garcia, Sara Armstrong, Sara
7611 Lucca, Sara Rodriguez Marin, Sarah Brand, Sarah Cove, Sarah Curran, Sarah
7612 Gold, Sarah McGovern, Sarah Smith, Sarinee Achavanuntakul, Sasha Moss, Sasha
7613 VanHoven, Saul Gasca, Scott Abbott, Scott Akerman, Scott Beattie, Scott
7614 Bruinooge, Scott Conroy, Scott Gillespie, Scott Williams, Sean Anderson,
7615 Sean Johnson, Sean Lim, Sean Wickett, Seb Schmoller, Sebastiaan Bekker,
7616 Sebastiaan ter Burg, Sebastian Makowiecki, Sebastian Meyer, Sebastian
7617 Schweizer, Sebastian Sigloch, Sebastien Huchet, Seokwon Yang, Sergey
7618 Chernyshev, Sergey Storchay, Sergio Cardoso, Seth Drebitko, Seth Gover, Seth
7619 Lepore, Shannon Turner, Sharon Clapp, Shauna Redmond, Shawn Gaston, Shawn
7620 Martin, Shay Knohl, Shelby Hatfield, Sheldon (Vila) Widuch, Sheona Thomson,
7621 Si Jie, Sicco van Sas, Siena Oristaglio, Simon Glover, Simon John King,
7622 Simon Klose, Simon Law, Simon Linder, Simon Moffitt, Solomon Kahn, Solomon
7623 Simon, Soujanna Sarkar, Stanislav Trifonov, Stefan Dumont, Stefan Jansson,
7624 Stefan Langer, Stefan Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan
7625 Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
7626 Stephen Pearce, Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson,
7627 Steve Battle, Steve Fisches, Steve Fitzhugh, Steve Guen-gerich, Steve
7628 Ingram, Steve Kroy, Steve Midgley, Steve Rhine, Steven Kasprzyk, Steven
7629 Knudsen, Steven Melvin, Stig-Jørund B. Ö. Arnesen, Stuart Drewer, Stuart
7630 Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
7631 Susan R Grossman, Suzie Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle,
7632 Sylvain Chery, Sylvia Green, Sylvia van Bruggen, Szabolcs Berecz,
7633 T. L. Mason, Tanbir Baeg, Tanya Hart, Tara Tiger Brown, Tara Westover, Tarmo
7634 Toikkanen, Tasha Turner Lennhoff, Tathagat Varma, Ted Timmons, Tej Dhawan,
7635 Teresa Gonczy, Terry Hook, Theis Madsen, Theo M. Scholl, Theresa Bernardo,
7636 Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
7637 Chang, Thomas Hartman, Thomas Kent, Thomas Morgan, Thomas Philipp-Edmonds,
7638 Thomas Thrush, Thomas Werkmeister, Tieg Zaharia, Tieu Thuy Nguyen, Tim
7639 Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
7640 Timothy Arfsten, Timothy Hinchliff, Timothy Vollmer, Tina Coffman, Tisza
7641 Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
7642 Bamford, Tom Caswell, Tom Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom
7643 Merkli, Tom Merritt, Tom Myers, Tom Olijhoek, Tom Rubin, Tommaso De Benetti,
7644 Tommy Dahlen, Tony Ciak, Tony Nwachukwu, Torsten Skomp, Tracey Depellegrin,
7645 Tracey Henton, Tracey James, Traci Long DeForge, Trent Yarwood, Trevor
7646 Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
7647 Tyler Occhiogrosso, Udo Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum,
7648 Vaughan jenkins, Veethika Mishra, Vic King, Vickie Goode, Victor DePina,
7649 Victor Grigas, Victoria Klassen, Victorien Elvinger, VIGA Manufacture, Vikas
7650 Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
7651 Gentilini, Virginia Kopelman, Vitor Menezes, Vivian Marthell, Wayne
7652 Mackintosh, Wendy Keenan, Werner Wiethege, Wesley Derbyshire, Widar Hellwig,
7653 Willa Köerner, William Bettridge-Radford, William Jefferson, William
7654 Marshall, William Peter Nash, William Ray, William Robins, Willow Rosenberg,
7655 Winie Evers, Wolfgang Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier
7656 Moisant, Xueqi Li, Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian
7657 Sun, Yves Deruisseau, Zach Chandler, Zak Zebrowski, Zane Amiralis and Joshua
7658 de Haan, ZeMarmot Open Movie
7659     </p></div></body></html>