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   1 <html><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8"><title>Wykonane zgodnie z licencją Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets V1.79.1"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="pl" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Wykonane zgodnie z licencją Creative Commons</h1></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Paul</span> <span class="surname">Stacey</span></h3></div><div class="author"><h3 class="author"><span class="firstname">Sarah Hinchliff</span> <span class="surname">Pearson</span></h3></div></div></div><div><p class="copyright">Copyright © 2017 Creative Commons</p></div><div><div class="legalnotice"><a name="idm18"></a><p>
   2     Ta książka jest wydana zgodnie z licencją CC BY-SA co oznacza, że można ją
   3 kopiować, rozpowszechniać ponownie, remiksować, przekształcać i tworzyć nowe
   4 teksty na podstawie jej zawartości — w dowolnym celu, nawet komercyjnie, pod
   5 warunkiem, że załączone zostaną odpowiednie podziękowania, udostępniony
   6 zostanie odsyłacz do licencji i wskazane zostaną zmiany (jeśli zostały
   7 wprowadzone). Jeśli remiksujesz, przekształcasz lub wykorzystujesz ten
   8 materiał, musisz go rozpowszechniać na tej samej licencji, co
   9 oryginał. Szczegóły licencji: <a class="ulink" href="http://creativecommons.org/licenses/by-sa/4.0/" target="_top">http://creativecommons.org/licenses/by-sa/4.0/</a>
  10   </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>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>Spis treści</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Przedmowa</a></span></dt><dt><span class="preface"><a href="#introduction">Wprowadzenie</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. The Big Picture</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. Jak może być zrobione na licencji Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. Licencje Creative Commons</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. The Case Studies</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliography</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Acknowledgments</a></span></dt></dl></div><div class="list-of-figures"><p><b>Spis rysunków</b></p><dl><dt>1.1. <a href="#fig-1">Enterprise engagement with commons, state and market.</a></dt><dt>1.2. <a href="#fig-2">Four aspects of resource management</a></dt><dt>1.3. <a href="#fig-3">How the market, commons and state concieve of resources.</a></dt><dt>1.4. <a href="#fig-4">In preindustrialized society.</a></dt><dt>1.5. <a href="#fig-5">The commons is gradually superseded by the state.</a></dt><dt>1.6. <a href="#fig-6">How the market, the state and the commons look today.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Przedmowa</h1></div></div></div><p>
  18     Trzy lata temu, jak tylko otrzymałem najwyższe stanowisko zarządzające w
  19 Creative Commons (ang. Chief Executive Officer — CEO), spotkałem się z Cory
  20 Doctorow w barze hotelu Gladstone w Toronto. Jako jeden z najbardziej
  21 znanych zwolenników CC — jako zwolennik, który również zrobił karierę jako
  22 pisarz, dzielący się swoją pracą z innymi za pomocą CC — powiedziałem mu, że
  23 sądzę, iż CC odegrały pewną rolę w zdefiniowaniu i pogłębianiu modeli
  24 otwartego biznesu. Cory Doctorow uprzejmie nie zgodził się ze mną, nazywając
  25 prowadzenie opłacalnych modeli biznesowych, zgodnych z CC, mianem
  26 <span class="quote">„<span class="quote">fałszywego tropu (ang. red herring).</span>”</span>)
  27   </p><p>
  28     W pewien sposób, miał całkowitą rację — ci, którzy coś robią zgodnie z
  29 Creative Commons, mają ukryte motywy, jak to Paul Stacey wyjaśnia w tej
  30 książce: <span class="quote">„<span class="quote">Bez względu na status prawny, wszyscy oni mają do spełnienia
  31 misję społeczną. Ich głównym powodem bycia jest uczynić świat miejscem
  32 lepszym do życia, a nie wyłącznie do osiągania korzyści. Pieniądze są
  33 środkami do osiągania celów społecznych, a nie celem samym w sobie.</span>”</span>
  34   </p><p>
  35     Sarah Hinchliff Pearson, w studium przypadku o Cory Doctorow, cytuje słowa z
  36 jego książki <span class="quote">„<span class="quote">Information Doesn’t Want to Be Free:</span>”</span>
  37 <span class="quote">„<span class="quote">Wejście w dziedzinę sztuki tylko dlatego, aby stać się bogatym, jest
  38 jak kupno losu na loterię tylko w tym celu, aby się wzbogacić. To może
  39 zadziałać, ale przeważnie nie ma szans powodzenia. Chociaż, oczywiście, ktoś
  40 zawsze na loterii wygrywa.</span>”</span>
  41   </p><p>
  42     Obecnie, prawa autorskie są jak bilety na loterię — każdy ma jakieś prawa,
  43 lecz przeważnie nikt nie wygrywa. To, co nam zwykle nie mówią, to fakt, że
  44 jeśli podzielimy sie z innymi ludźmi swoją pracą — korzyści mogą być
  45 znaczące i długotrwałe. Ta książka jest wypełniona opowieściami tych, którzy
  46 podjęli o wiele większe ryzyko niż tylko zapłacenie kilku złotych za bilet
  47 na loterię — zamiast tego, odnieśli oni korzyści z przeforsowania swoich
  48 osobistych pasji, zgodnie z własnymi wartościami życiowymi.
  49   </p><p>
  50     A więc, ta książka nie jest o pieniądzach. Ale także: jest. Znajdowanie
  51 środków, aby tworzyć i dzielić się swoją pracą
  52 z innymi, często wymaga nakładów finansowych. Max Temkin, z Cards Against
  53 Humanity, ujął to w swoim studium przypadku następująco: <span class="quote">„<span class="quote">Nie robimy
  54 dowcipów i gier, aby robić pieniądze — robimy pieniądze, abyśmy mogli robić
  55 więcej dowcipów i gier.</span>”</span>
  56   </p><p>
  57     Creative Commons skupia się na budowaniu dynamicznego, powszechnego
  58 dziedzictwa, opartego na współpracy
  59 i wdzięczności. Centralnym punktem w naszej strategii jest stworzenie pola
  60 dla społecznej współpracy w różnych dziedzinach twórczości. Projekt tej
  61 książki został rozpoczęty właśnie dlatego, aby ukazać i wzmocnić wszystkie,
  62 wspomniane powyżej, aspekty naszej działalności. Projekt, prowadzony przez
  63 Paul'a i Sarah, powstał po to, aby określić i rozszerzyć najlepsze modele
  64 otwartego biznesu. Paul i Sarah okazali się idealnymi autorami do napisania
  65 książki Zrobione na licencji Creative Commons.
  66   </p><p>
  67     Paul marzy o przyszłości, w której nowe modele twórczości oraz innowacyności
  68 przezwyciężą nierówności i braki najgorszych obszarów kapitalizmu. Siłą
  69 napędową działań Paul'a są relacje międzyludzkie w społecznościach
  70 twórców. Posiada on szerokie horyzonty myślowe, które sprawiają, że jest o
  71 wiele lepszym, bardziej wnikliwym pedagogiem i badaczem, niż wiekszość
  72 podobnych mu ludzi, a także — uzdolnionym ogrodnikiem. Jego spokojny,
  73 zrównoważony głos i ton wypowiedzi sprawia, że potrafi swoją pasją
  74 zainspirować kolegów i społeczności lokalne.
  75   </p><p>
  76     Sarah jest najlepszym rodzajem prawnika — prawdziwym adwokatem, który wierzy
  77 w naturalne dobro tkwiące w każdym człowieku. Posiada też moc do
  78 kolektywnego działania, nakierowanego na przemianę świata na lepszy. Przez
  79 cały ubiegły rok byłem świadkiem heroicznych zmagań Sarah, zaangażowanej w
  80 kampanię polityczną, która nie do końca spełniła jej oczekiwania. Obecnie,
  81 Sarah jest jak nigdy dotąd zdeterminowana, aby żyć zgodnie ze swoimi
  82 wartościami życiowymi. Zawsze mogę liczyć na Sarah i jestem przekonany, że
  83 potrafi ona przeforsować każde działanie Creative Commons skupione na jednym
  84 celu — uczynić rzecz główną, rzeczą faktycznie główną. Sarah jest kobietą
  85 bystrą, praktyczną, zorientowaną na szczegóły. W moim zespole nie ma nikogo,
  86 z kim mógłbym tak przyjemnie debatować o wielu różnych sprawach.
  87   </p><p>
  88     Jako współautorzy, Paul i Sarah doskonale się wzajemnie
  89 uzupełniają. Prowadzili badania, analizowali, dowodzili swoich racji i
  90 pracowali jako zespół, czasami razem, czasami osobno. Zagłębiali się w
  91 badania i pracę pisemną z pasją i zaciekawieniem, a także z głebokim
  92 szacunkiem do tego, co składa się na budowanie powszechnego dziedzictwa i
  93 współdzielenie go w skali ogólnoświatowej. Pozostawali otwarci na nowe idee,
  94 łacznie z taką możliwością, że ich wstępne teorie mogą wymagać
  95 przeorganizowania lub mogą okazać się całkowicie błędne. To była odważna
  96 postawa, która sprawiła, że książka stała się lepsza, bardziej wnikliwa i
  97 pożyteczna.
  98   </p><p>
  99     CC od samego początku chciała stworzyć ten projekt w oparciu o zasady i
 100 wartości otwartej współpracy. Książka została stworzona, sfinansowana,
 101 oparta na badaniach naukowych i napisana w sposób całkowicie otwarty. Jest
 102 współdzielona otwarcie na licencji CC BY-SA  — dla każdego, kto chce jej
 103 używać lub remiksować /modyfikować w oparciu o przypisane jej cechy,
 104 wynikające /zawarte w licencji. Jest to, sam w sobie, przykład otwartego
 105 modelu biznesowego.
 106   </p><p>
 107     Sarah organizowała i prowadziła kampanię na witrynie Kickstarter, generując
 108 podstawowe fundusze dla książki, przez cały sierpień 2015 roku. Pozostałe
 109 fundusze pochodziły od szlachetnych darczyńców CC i osoby /instytucje
 110 wspierające. Ostatecznie, projekt stał się najbardziej udanym projektem
 111 książkowym na Kickstarter, z rewelacyjnie wysoką liczbą ponad 1600
 112 darczyńców, z których większość to nowe osoby /instytucje wspierajace
 113 Creative Commons.
 114   </p><p>
 115     Paul i Sarah, przez cały czas realizacji projektu, pracowali całkowicie
 116 otwarcie: publikowali plany, szkice, studia przypadków i analizy;
 117 zaangażowali też do współpracy społeczności z całego świata, co okazało się
 118 bardzo pomocne przy pisaniu książki. Ponieważ opinie Sarah i Paul'a różniły
 119 się wobec niektórych spraw, w różny też sposób skupiali swoje
 120 zainteresowania, więc zdecydowali się na dwa odrębne, autorskie punkty
 121 widzenia, w wyniku których powstały dwa odrębne — choć nawzajem
 122 uzupełniające się — rozdziały książki. Tego rodzaju praca wymagała zarówno
 123 pokory jak i wzajemnego zaufania. Bez wątpienia — tego rodzaju działania
 124 przyczyniły się do wysokiej jakości książki i sukcesu wydawniczego «Made
 125 with Creative Commons».
 126   </p><p>
 127     Ci, którzy pracują i dzielą się swoją pracą z innymi, mając świadomość
 128 własnego wkładu w ogólnoświatowe dziedzictwo kulturowe, nie są zwykłymi
 129 twórcami. Tworząc w ten sposób — stają się częścią większej całości, o wiele
 130 większej niż oni sami. Przekazujac w darze owoce swojej pracy innym ludziom
 131 — zyskują ich wdzięczność i stają się częścią wspólnoty powszechnego
 132 dziedzictwa.
 133   </p><p>
 134     Jonathan Mann, którego profil jest ukazany w tej książce, codziennie pisze
 135 jedną piosenkę. Kiedy poprosiłam go, aby napisał piosenkę dla naszego
 136 Kickstarter'a (i zaoferowałam mu pomoc, jeśli „nasz” Kickstarter odniesie
 137 sukces), zgodził się natychmiast. Dlaczego zgodził się na to? Ponieważ
 138 podstawą dziedzictwa kulturowego jest współpraca, a wspólnota/społeczność
 139 jest wartością kluczową tego dziedzictwa; ponieważ licencje CC pomogły tak
 140 wielu ludziom dzielić się swoją twórczością, na tak wiele sposobów, z
 141 odbiorcami na całym świecie.
 142   </p><p>
 143     Sara pisze: <span class="quote">„<span class="quote">Prace nad Made with Creative Commons nabierają rozmachu,
 144 ponieważ wokół tego projektu jest budowana wspólnota celu. Może to oznaczać,
 145 że ta społeczność współpracuje nad stworzeniem czegoś nowego, lub że tworzy
 146 się zbiór ludzi podobnie myślących, wzajemnie się poznających, i
 147 „maszerujących” w rytm wspólnych zainteresowań i przekonań. Do pewnego
 148 stopnia, utożsamianie się z Made with Creative Commons niesie ze sobą
 149 element społeczny, pomagający łączyć się z ludźmi podobnie myślącymi,
 150 uznającymi — i kształtowanymi poprzez — wartości symbolizowane podczas
 151 używania CC</span>”</span>. Amanda Palmer, również przedstawicielka „muzycznego”
 152 profilu tej książki, mogłaby z pewnością od siebie dodać: <span class="quote">„<span class="quote">Nie ma
 153 bardziej satysfakcjonującej nagrody po osiagnięciu ostatecznego celu, niż
 154 usłyszenie od kogoś, że „[...] to, co ty robisz, ma dla mnie wartość
 155 wyjątkową”.</span>”</span>
 156   </p><p>
 157     To nie jest typowa książka biznesowa. Ci, którzy w niej szukają recepty lub
 158 „mapy drogowej”, mogą być rozczarowani. Lecz, ci, którzy szukają w niej
 159 tego, jak realizować cele społeczne, jak budować coś wielkiego poprzez
 160 wsþółpracę, jak dołączyć do wielkiej, stale rosnącej społeczności globalnej,
 161 z pewnością odniosą wiele korzyści z lektury książki. Zrobione na licencji
 162 Creative Commons oferuje zestaw wartości i zasad, mogących odmienić świat;
 163 udostępnia Tobie, czytelniku, narzędzia do eksploracji własnego biznesu, a
 164 także — dwa tuziny dawek „czystej inspiracji”.
 165   </p><p>
 166     Założyciel CC, Lawrence Lessig, w artykule <span class="quote">„<span class="quote">The Zones of
 167 Cyberspace</span>”</span> (Stanford Law Review, 1996) napisał: <span class="quote">„<span class="quote">[...]
 168 Cyberprzestrzeń jest miejscem. Tam żyją ludzie. Doświadczają oni różnego
 169 rodzaju rzeczy, których doświadczają też w realnym świecie. Niektórzy
 170 doświadczają więcej. Odczuwają to nie tylko jako pojedyncze osoby, grające w
 171 technicznie zaawansowane gry komputerowe; odczuwają to w grupach, w
 172 społecznościach, wśród obcych, wśród osób, których chcą poznać, i których
 173 czasami lubią.</span>”</span>
 174   </p><p>
 175     Jestem niezmiernie dumny, że Creative Commons jest w stanie opublikować tę
 176 książkę dla wielu społeczności, które chcemy poznać, i które chcemy
 177 polubić. Jestem wdzięczny Paulowi i Sarze za ich kreatywność i wnikliwość, a
 178 globalnym społecznościom za to, że pomogły nam przybliżyć tę książkę Tobie,
 179 drogi czytelniku. Jak często mówi członek zarządu CC, Johnathan Nightingale:
 180 <span class="quote">„<span class="quote">To wszystko zostało zrobione przez ludzi (ang. It's all made of
 181 people).</span>”</span>
 182   </p><p>
 183     To jest właśnie prawdziwa wartość rzeczy, które są Zrobione na licencji
 184 Creative Commons.
 185   </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}
 186     \textit{ Ryan Merkley, CEO, Creative Commons}
 187     \end{flushright}</td></tr></table></div></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="introduction"></a>Wprowadzenie</h1></div></div></div><p>
 188     Ta książka pokazuje światu — w niecodzienny sposób — że dzielenie się z
 189 innymi może być dobre dla biznesu.
 190   </p><p>
 191     Rozpoczęliśmy ten projekt, mając na celu zbadanie, w jaki sposób twórcy,
 192 organizacje i firmy zarabiają na tym, co robią, dzieląc się swoją pracą przy
 193 uzyciu licencji Creative Commons. Naszym celem nie była identyfikacja
 194 formuły, której używają modele biznesowe, chcieliśmy natomiast zebrać świeże
 195 idee i dynamiczne przykłady tego, co prowadzi do powstania nowych,
 196 innowacyjnych modeli i do pomagania innym w podążaniu za tym, co już
 197 działa. Na początku ustaliliśmy ramy pojęciowe dla naszych poszukiwań za
 198 pomocą znanych terminów biznesowych. Stworzyliśmy pusty
 199 <span class="quote">„<span class="quote">arkusz</span>”</span> modelu otwartego biznesu, interaktywne narzędzie
 200 online, które może pomóc ludziom zaprojektować i przeanalizować ich własny
 201 model biznesu.
 202   </p><p>
 203     Through the generous funding of Kickstarter backers, we set about this
 204 project first by identifying and selecting a diverse group of creators,
 205 organizations, and businesses who use Creative Commons in an integral
 206 way—what we call being Made with Creative Commons. We interviewed them and
 207 wrote up their stories. We analyzed what we heard and dug deep into the
 208 literature.
 209   </p><p>
 210     Ale kiedy prowadziliśmy nasze badania, wydarzyło się coś
 211 interesującego. Nasz początkowy sposób kadrowania pracy nie pasował do
 212 historii, które słyszeliśmy.
 213   </p><p>
 214     Those we interviewed were not typical businesses selling to consumers and
 215 seeking to maximize profits and the bottom line.  Instead, they were sharing
 216 to make the world a better place, creating relationships and community
 217 around the works being shared, and generating revenue not for unlimited
 218 growth but to sustain the operation.
 219   </p><p>
 220     They often didn’t like hearing what they do described as an open business
 221 model. Their endeavor was something more than that.  Something
 222 different. Something that generates not just economic value but social and
 223 cultural value. Something that involves human connection. Being Made with
 224 Creative Commons is not <span class="quote">„<span class="quote">business as usual.</span>”</span>
 225   </p><p>
 226     We had to rethink the way we conceived of this project. And it didn’t happen
 227 overnight. From the fall of 2015 through 2016, we documented our thoughts in
 228 blog posts on Medium and with regular updates to our Kickstarter backers. We
 229 shared drafts of case studies and analysis with our Kickstarter cocreators,
 230 who provided invaluable edits, feedback, and advice. Our thinking changed
 231 dramatically over the course of a year and a half.
 232   </p><p>
 233     Throughout the process, the two of us have often had very different ways of
 234 understanding and describing what we were learning. Learning from each other
 235 has been one of the great joys of this work, and, we hope, something that
 236 has made the final product much richer than it ever could have been if
 237 either of us undertook this project alone.  We have preserved our voices
 238 throughout, and you’ll be able to sense our different but complementary
 239 approaches as you read through our different sections.
 240   </p><p>
 241     While we recommend that you read the book from start to finish, each section
 242 reads more or less independently. The book is structured into two main
 243 parts.
 244   </p><p>
 245     Part one, the overview, begins with a big-picture framework written by
 246 Paul. He provides some historical context for the digital commons,
 247 describing the three ways society has managed resources and shared
 248 wealth—the commons, the market, and the state. He advocates for thinking
 249 beyond business and market terms and eloquently makes the case for sharing
 250 and enlarging the digital commons.
 251   </p><p>
 252     The overview continues with Sarah’s chapter, as she considers what it means
 253 to be successfully Made with Creative Commons. While making money is one
 254 piece of the pie, there is also a set of public-minded values and the kind
 255 of human connections that make sharing truly meaningful. This section
 256 outlines the ways the creators, organizations, and businesses we interviewed
 257 bring in revenue, how they further the public interest and live out their
 258 values, and how they foster connections with the people with whom they
 259 share.
 260   </p><p>
 261     And to end part one, we have a short section that explains the different
 262 Creative Commons licenses. We talk about the misconception that the more
 263 restrictive licenses—the ones that are closest to the all-rights-reserved
 264 model of traditional copyright—are the only ways to make money.
 265   </p><p>
 266     Part two of the book is made up of the twenty-four stories of the creators,
 267 businesses, and organizations we interviewed. While both of us participated
 268 in the interviews, we divided up the writing of these profiles.
 269   </p><p>
 270     Of course, we are pleased to make the book available using a Creative
 271 Commons Attribution-ShareAlike license. Please copy, distribute, translate,
 272 localize, and build upon this work.
 273   </p><p>
 274     Writing this book has transformed and inspired us. The way we now look at
 275 and think about what it means to be Made with Creative Commons has
 276 irrevocably changed. We hope this book inspires you and your enterprise to
 277 use Creative Commons and in so doing contribute to the transformation of our
 278 economy and world for the better.
 279   </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}
 280     \textit{ Paul and Sarah }
 281     \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Część I. The Big Picture</h1></div></div></div><div class="toc"><p><b>Spis treści</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. Jak może być zrobione na licencji Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. Licencje Creative Commons</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>Rozdział 1. The New World of Digital Commons</h2></div></div></div><div class="toc"><p><b>Spis treści</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">The Commons, the Market, and the State</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">The Four Aspects of a Resource</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">A Short History of the Commons</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">The Digital Revolution</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">Narodziny Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">The Changing Market</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefits of the Digital Commons</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Our Case Studies</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
 282     \textit{ Paul Stacey}
 283     \end{flushright}</td></tr></table></div><p>
 284       Jonathan Rowe eloquently describes the commons as <span class="quote">„<span class="quote">the air and oceans,
 285 the web of species, wilderness and flowing water—all are parts of the
 286 commons. So are language and knowledge, sidewalks and public squares, the
 287 stories of childhood and the processes of democracy. Some parts of the
 288 commons are gifts of nature, others the product of human endeavor. Some are
 289 new, such as the Internet; others are as ancient as soil and
 290 calligraphy.</span>”</span><a href="#ftn.idm112" class="footnote" name="idm112"><sup class="footnote">[1]</sup></a>
 291     </p><p>
 292       In Made with Creative Commons, we focus on our current era of digital
 293 commons, a commons of human-produced works. This commons cuts across a broad
 294 range of areas including cultural heritage, education, research, technology,
 295 art, design, literature, entertainment, business, and data. Human-produced
 296 works in all these areas are increasingly digital. The Internet is a kind of
 297 global, digital commons. The individuals, organizations, and businesses we
 298 profile in our case studies use Creative Commons to share their resources
 299 online over the Internet.
 300     </p><p>
 301       The commons is not just about shared resources, however. It’s also about the
 302 social practices and values that manage them. A resource is a noun, but to
 303 common—to put the resource into the commons—is a verb.<a href="#ftn.idm116" class="footnote" name="idm116"><sup class="footnote">[2]</sup></a> The creators, organizations, and businesses we
 304 profile are all engaged with commoning. Their use of Creative Commons
 305 involves them in the social practice of commoning, managing resources in a
 306 collective manner with a community of users.<a href="#ftn.idm118" class="footnote" name="idm118"><sup class="footnote">[3]</sup></a> Commoning is guided by a set of values and norms that balance the
 307 costs and benefits of the enterprise with those of the community. Special
 308 regard is given to equitable access, use, and sustainability.
 309     </p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-commons-the-market-and-the-state"></a>The Commons, the Market, and the State</h2></div></div></div><p>
 310         Historically, there have been three ways to manage resources and share
 311 wealth: the commons (managed collectively), the state (i.e., the
 312 government), and the market—with the last two being the dominant forms
 313 today.<a href="#ftn.idm123" class="footnote" name="idm123"><sup class="footnote">[4]</sup></a>
 314       </p><p>
 315         The organizations and businesses in our case studies are unique in the way
 316 they participate in the commons while still engaging with the market and/or
 317 state. The extent of engagement with market or state varies. Some operate
 318 primarily as a commons with minimal or no reliance on the market or
 319 state.<a href="#ftn.idm126" class="footnote" name="idm126"><sup class="footnote">[5]</sup></a> Others are very much a part of
 320 the market or state, depending on them for financial sustainability. All
 321 operate as hybrids, blending the norms of the commons with those of the
 322 market or state.
 323       </p><p>
 324         Fig. <a class="xref" href="#fig-1" title="Rysunek 1.1. Enterprise engagement with commons, state and market.">1.1</a> is a depiction of how
 325 an enterprise can have varying levels of engagement with commons, state, and
 326 market.
 327       </p><p>
 328         Some of our case studies are simply commons and market enterprises with
 329 little or no engagement with the state. A depiction of those case studies
 330 would show the state sphere as tiny or even absent. Other case studies are
 331 primarily market-based with only a small engagement with the commons. A
 332 depiction of those case studies would show the market sphere as large and
 333 the commons sphere as small. The extent to which an enterprise sees itself
 334 as being primarily of one type or another affects the balance of norms by
 335 which they operate.
 336       </p><p>
 337         All our case studies generate money as a means of livelihood and
 338 sustainability. Money is primarily of the market. Finding ways to generate
 339 revenue while holding true to the core values of the commons (usually
 340 expressed in mission statements) is challenging. To manage interaction and
 341 engagement between the commons and the market requires a deft touch, a
 342 strong sense of values, and the ability to blend the best of both.
 343       </p><p>
 344         The state has an important role to play in fostering the use and adoption of
 345 the commons. State programs and funding can deliberately contribute to and
 346 build the commons. Beyond money, laws and regulations regarding property,
 347 copyright, business, and finance can all be designed to foster the commons.
 348       </p><div class="figure"><a name="fig-1"></a><p class="title"><b>Rysunek 1.1. Enterprise engagement with commons, state and market.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000008000000045C30360249076453E6.png" width="100%" alt="Enterprise engagement with commons, state and market."></td></tr></table></div></div></div><br class="figure-break"><p>
 349         It’s helpful to understand how the commons, market, and state manage
 350 resources differently, and not just for those who consider themselves
 351 primarily as a commons. For businesses or governmental organizations who
 352 want to engage in and use the commons, knowing how the commons operates will
 353 help them understand how best to do so. Participating in and using the
 354 commons the same way you do the market or state is not a strategy for
 355 success.
 356       </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>
 357         As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework
 358 for analyzing how natural resources are managed in a commons.<a href="#ftn.idm144" class="footnote" name="idm144"><sup class="footnote">[6]</sup></a> Her framework considered things like the
 359 biophysical characteristics of common resources, the community’s actors and
 360 the interactions that take place between them, rules-in-use, and
 361 outcomes. That framework has been simplified and generalized to apply to the
 362 commons, the market, and the state for this chapter.
 363       </p><p>
 364         To compare and contrast the ways in which the commons, market, and state
 365 work, let’s consider four aspects of resource management: resource
 366 characteristics, the people involved and the process they use, the norms and
 367 rules they develop to govern use, and finally actual resource use along with
 368 outcomes of that use (see Fig. <a class="xref" href="#fig-2" title="Rysunek 1.2. Four aspects of resource management">1.2</a>).
 369       </p><div class="figure"><a name="fig-2"></a><p class="title"><b>Rysunek 1.2. Four aspects of resource management</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png" width="100%" alt="Four aspects of resource management"></td></tr></table></div></div></div><br class="figure-break"><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="characteristics"></a>Characteristics</h3></div></div></div><p>
 370           Resources have particular characteristics or attributes that affect the way
 371 they can be used. Some resources are natural; others are human
 372 produced. And—significantly for today’s commons—resources can be physical or
 373 digital, which affects a resource’s inherent potential.
 374         </p><p>
 375           Physical resources exist in limited supply. If I have a physical resource
 376 and give it to you, I no longer have it.  When a resource is removed and
 377 used, the supply becomes scarce or depleted. Scarcity can result in
 378 competing rivalry for the resource. Made with Creative Commons enterprises
 379 are usually digitally based but some of our case studies also produce
 380 resources in physical form. The costs of producing and distributing a
 381 physical good usually require them to engage with the market.
 382         </p><p>
 383           Physical resources are depletable, exclusive, and rivalrous.  Digital
 384 resources, on the other hand, are nondepletable, nonexclusive, and
 385 nonrivalrous. If I share a digital resource with you, we both have the
 386 resource. Giving it to you does not mean I no longer have it. Digital
 387 resources can be infinitely stored, copied, and distributed without becoming
 388 depleted, and at close to zero cost. Abundance rather than scarcity is an
 389 inherent characteristic of digital resources.
 390         </p><p>
 391           The nondepletable, nonexclusive, and nonrivalrous nature of digital
 392 resources means the rules and norms for managing them can (and ought to) be
 393 different from how physical resources are managed. However, this is not
 394 always the case. Digital resources are frequently made artificially
 395 scarce. Placing digital resources in the commons makes them free and
 396 abundant.
 397         </p><p>
 398           Our case studies frequently manage hybrid resources, which start out as
 399 digital with the possibility of being made into a physical resource. The
 400 digital file of a book can be printed on paper and made into a physical
 401 book. A computer-rendered design for furniture can be physically
 402 manufactured in wood.  This conversion from digital to physical invariably
 403 has costs.  Often the digital resources are managed in a free and open way,
 404 but money is charged to convert a digital resource into a physical one.
 405         </p><p>
 406           Beyond this idea of physical versus digital, the commons, market, and state
 407 conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="Rysunek 1.3. How the market, commons and state concieve of resources.">1.3</a>). The market sees resources as private goods—commodities
 408 for sale—from which value is extracted. The state sees resources as public
 409 goods that provide value to state citizens. The commons sees resources as
 410 common goods, providing a common wealth extending beyond state boundaries,
 411 to be passed on in undiminished or enhanced form to future generations.
 412         </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>
 413           In the commons, the market, and the state, different people and processes
 414 are used to manage resources. The processes used define both who has a say
 415 and how a resource is managed.
 416         </p><p>
 417           In the state, a government of elected officials is responsible for managing
 418 resources on behalf of the public. The citizens who produce and use those
 419 resources are not directly involved; instead, that responsibility is given
 420 over to the government.  State ministries and departments staffed with
 421 public servants set budgets, implement programs, and manage resources based
 422 on government priorities and procedures.
 423         </p><p>
 424           In the market, the people involved are producers, buyers, sellers, and
 425 consumers. Businesses act as intermediaries between those who produce
 426 resources and those who consume or use them. Market processes seek to
 427 extract as much monetary value from resources as possible. In the market,
 428 resources are managed as commodities, frequently mass-produced, and sold to
 429 consumers on the basis of a cash transaction.
 430         </p><p>
 431           In contrast to the state and market, resources in a commons are managed more
 432 directly by the people involved.<a href="#ftn.idm171" class="footnote" name="idm171"><sup class="footnote">[7]</sup></a>
 433 Creators of human produced resources can put them in the commons by personal
 434 choice. No permission from state or market is required. Anyone can
 435 participate in the commons and determine for themselves the extent to which
 436 they want to be involved—as a contributor, user, or manager. The people
 437 involved include not only those who create and use resources but those
 438 affected by outcome of use. Who you are affects your say, actions you can
 439 take, and extent of decision making. In the commons, the community as a
 440 whole manages the resources.  Resources put into the commons using Creative
 441 Commons require users to give the original creator credit. Knowing the
 442 person behind a resource makes the commons less anonymous and more personal.
 443         </p><div class="figure"><a name="fig-3"></a><p class="title"><b>Rysunek 1.3. How the market, commons and state concieve of resources.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png" width="100%" alt="How the market, commons and state concieve of resources."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="norms-and-rules"></a>Norms and rules</h3></div></div></div><p>
 444           The social interactions between people, and the processes used by the state,
 445 market, and commons, evolve social norms and rules. These norms and rules
 446 define permissions, allocate entitlements, and resolve disputes.
 447         </p><p>
 448           State authority is governed by national constitutions. Norms related to
 449 priorities and decision making are defined by elected officials and
 450 parliamentary procedures. State rules are expressed through policies,
 451 regulations, and laws. The state influences the norms and rules of the
 452 market and commons through the rules it passes.
 453         </p><p>
 454           Market norms are influenced by economics and competition for scarce
 455 resources. Market rules follow property, business, and financial laws
 456 defined by the state.
 457         </p><p>
 458           As with the market, a commons can be influenced by state policies,
 459 regulations, and laws. But the norms and rules of a commons are largely
 460 defined by the community. They weigh individual costs and benefits against
 461 the costs and benefits to the whole community. Consideration is given not
 462 just to economic efficiency but also to equity and
 463 sustainability.<a href="#ftn.idm186" class="footnote" name="idm186"><sup class="footnote">[8]</sup></a>
 464         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="goals"></a>Goals</h3></div></div></div><p>
 465           The combination of the aspects we’ve discussed so far—the resource’s
 466 inherent characteristics, people and processes, and norms and rules—shape
 467 how resources are used. Use is also influenced by the different goals the
 468 state, market, and commons have.
 469         </p><p>
 470           In the market, the focus is on maximizing the utility of a resource. What we
 471 pay for the goods we consume is seen as an objective measure of the utility
 472 they provide. The goal then becomes maximizing total monetary value in the
 473 economy.<a href="#ftn.idm192" class="footnote" name="idm192"><sup class="footnote">[9]</sup></a> Units consumed translates to
 474 sales, revenue, profit, and growth, and these are all ways to measure goals
 475 of the market.
 476         </p><p>
 477           The state aims to use and manage resources in a way that balances the
 478 economy with the social and cultural needs of its citizens. Health care,
 479 education, jobs, the environment, transportation, security, heritage, and
 480 justice are all facets of a healthy society, and the state applies its
 481 resources toward these aims. State goals are reflected in quality of life
 482 measures.
 483         </p><p>
 484           In the commons, the goal is maximizing access, equity, distribution,
 485 participation, innovation, and sustainability.  You can measure success by
 486 looking at how many people access and use a resource; how users are
 487 distributed across gender, income, and location; if a community to extend
 488 and enhance the resources is being formed; and if the resources are being
 489 used in innovative ways for personal and social good.
 490         </p><p>
 491           As hybrid combinations of the commons with the market or state, the success
 492 and sustainability of all our case study enterprises depends on their
 493 ability to strategically utilize and balance these different aspects of
 494 managing resources.
 495         </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>
 496         Using the commons to manage resources is part of a long historical
 497 continuum. However, in contemporary society, the market and the state
 498 dominate the discourse on how resources are best managed. Rarely is the
 499 commons even considered as an option. The commons has largely disappeared
 500 from consciousness and consideration. There are no news reports or speeches
 501 about the commons.
 502       </p><p>
 503         But the more than 1.1 billion resources licensed with Creative Commons
 504 around the world are indications of a grassroots move toward the
 505 commons. The commons is making a resurgence. To understand the resilience of
 506 the commons and its current renewal, it’s helpful to know something of its
 507 history.
 508       </p><p>
 509         For centuries, indigenous people and preindustrialized societies managed
 510 resources, including water, food, firewood, irrigation, fish, wild game, and
 511 many other things collectively as a commons.<a href="#ftn.idm203" class="footnote" name="idm203"><sup class="footnote">[10]</sup></a> There was no market, no global economy. The state in the form of
 512 rulers influenced the commons but by no means controlled it. Direct social
 513 participation in a commons was the primary way in which resources were
 514 managed and needs met. (Fig. <a class="xref" href="#fig-4" title="Rysunek 1.4. In preindustrialized society.">1.4</a>
 515 illustrates the commons in relation to the state and the market.)
 516       </p><div class="figure"><a name="fig-4"></a><p class="title"><b>Rysunek 1.4. In preindustrialized society.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005153EACBD62F00F6BA9.png" width="100%" alt="In preindustrialized society."></td></tr></table></div></div></div><br class="figure-break"><p>
 517         This is followed by a long history of the state (a monarchy or ruler) taking
 518 over the commons for their own purposes. This is called enclosure of the
 519 commons.<a href="#ftn.idm214" class="footnote" name="idm214"><sup class="footnote">[11]</sup></a> In olden days,
 520 <span class="quote">„<span class="quote">commoners</span>”</span> were evicted from the land, fences and hedges
 521 erected, laws passed, and security set up to forbid access.<a href="#ftn.idm217" class="footnote" name="idm217"><sup class="footnote">[12]</sup></a> Gradually, resources became the property of the
 522 state and the state became the primary means by which resources were
 523 managed. (See Fig. <a class="xref" href="#fig-5" title="Rysunek 1.5. The commons is gradually superseded by the state.">1.5</a>).
 524       </p><p>
 525         Holdings of land, water, and game were distributed to ruling family and
 526 political appointees. Commoners displaced from the land migrated to
 527 cities. With the emergence of the industrial revolution, land and resources
 528 became commodities sold to businesses to support production. Monarchies
 529 evolved into elected parliaments. Commoners became labourers earning money
 530 operating the machinery of industry. Financial, business, and property laws
 531 were revised by governments to support markets, growth, and
 532 productivity. Over time ready access to market produced goods resulted in a
 533 rising standard of living, improved health, and education. Fig. <a class="xref" href="#fig-6" title="Rysunek 1.6. How the market, the state and the commons look today.">1.6</a> shows how today the market is the
 534 primary means by which resources are managed.
 535       </p><div class="figure"><a name="fig-5"></a><p class="title"><b>Rysunek 1.5. The commons is gradually superseded by the state.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005150F069409C1CC12F0.png" width="100%" alt="The commons is gradually superseded by the state."></td></tr></table></div></div></div><br class="figure-break"><p>
 536         However, the world today is going through turbulent times. The benefits of
 537 the market have been offset by unequal distribution and overexploitation.
 538       </p><p>
 539         Overexploitation was the topic of Garrett Hardin’s influential essay
 540 <span class="quote">„<span class="quote">The Tragedy of the Commons,</span>”</span> published in Science in
 541 1968. Hardin argues that everyone in a commons seeks to maximize personal
 542 gain and will continue to do so even when the limits of the commons are
 543 reached. The commons is then tragically depleted to the point where it can
 544 no longer support anyone. Hardin’s essay became widely accepted as an
 545 economic truism and a justification for private property and free markets.
 546       </p><p>
 547         However, there is one serious flaw with Hardin’s <span class="quote">„<span class="quote">The Tragedy of the
 548 Commons</span>”</span>—it’s fiction. Hardin did not actually study how real commons
 549 work. Elinor Ostrom won the 2009 Nobel Prize in economics for her work
 550 studying different commons all around the world. Ostrom’s work shows that
 551 natural resource commons can be successfully managed by local communities
 552 without any regulation by central authorities or without privatization.
 553 Government and privatization are not the only two choices. There is a third
 554 way: management by the people, where those that are directly impacted are
 555 directly involved. With natural resources, there is a regional locality. The
 556 people in the region are the most familiar with the natural resource, have
 557 the most direct relationship and history with it, and are therefore best
 558 situated to manage it. Ostrom’s approach to the governance of natural
 559 resources broke with convention; she recognized the importance of the
 560 commons as an alternative to the market or state for solving problems of
 561 collective action.<a href="#ftn.idm234" class="footnote" name="idm234"><sup class="footnote">[13]</sup></a>
 562       </p><p>
 563         Hardin failed to consider the actual social dynamic of the commons. His
 564 model assumed that people in the commons act autonomously, out of pure
 565 self-interest, without interaction or consideration of others. But as Ostrom
 566 found, in reality, managing common resources together forms a community and
 567 encourages discourse. This naturally generates norms and rules that help
 568 people work collectively and ensure a sustainable commons. Paradoxically,
 569 while Hardin’s essay is called The Tragedy of the Commons it might more
 570 accurately be titled The Tragedy of the Market.
 571       </p><p>
 572         Hardin’s story is based on the premise of depletable resources.  Economists
 573 have focused almost exclusively on scarcity-based markets. Very little is
 574 known about how abundance works.<a href="#ftn.idm239" class="footnote" name="idm239"><sup class="footnote">[14]</sup></a> The
 575 emergence of information technology and the Internet has led to an explosion
 576 in digital resources and new means of sharing and distribution. Digital
 577 resources can never be depleted. An absence of a theory or model for how
 578 abundance works, however, has led the market to make digital resources
 579 artificially scarce and makes it possible for the usual market norms and
 580 rules to be applied.
 581       </p><p>
 582         When it comes to use of state funds to create digital goods, however, there
 583 is really no justification for artificial scarcity. The norm for state
 584 funded digital works should be that they are freely and openly available to
 585 the public that paid for them.
 586       </p><div class="figure"><a name="fig-6"></a><p class="title"><b>Rysunek 1.6. How the market, the state and the commons look today.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C400000515F1CAA15B223F6BAF.png" width="100%" alt="How the market, the state and the commons look today."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-digital-revolution"></a>The Digital Revolution</h2></div></div></div><p>
 587         In the early days of computing, programmers and developers learned from each
 588 other by sharing software. In the 1980s, the free-software movement codified
 589 this practice of sharing into a set of principles and freedoms:
 590       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
 591             The freedom to run a software program as you wish, for any purpose.
 592           </p></li><li class="listitem"><p>
 593             The freedom to study how a software program works (because access to the
 594 source code has been freely given), and change it so it does your computing
 595 as you wish.
 596           </p></li><li class="listitem"><p>
 597             The freedom to redistribute copies.
 598           </p></li><li class="listitem"><p>
 599             The freedom to distribute copies of your modified versions to
 600 others.<a href="#ftn.idm262" class="footnote" name="idm262"><sup class="footnote">[15]</sup></a>
 601           </p></li></ul></div><p>
 602         These principles and freedoms constitute a set of norms and rules that
 603 typify a digital commons.
 604       </p><p>
 605         In the late 1990s, to make the sharing of source code and collaboration more
 606 appealing to companies, the open-source-software initiative converted these
 607 principles into licenses and standards for managing access to and
 608 distribution of software. The benefits of open source—such as reliability,
 609 scalability, and quality verified by independent peer review—became widely
 610 recognized and accepted. Customers liked the way open source gave them
 611 control without being locked into a closed, proprietary technology. Free and
 612 open-source software also generated a network effect where the value of a
 613 product or service increases with the number of people using it.<a href="#ftn.idm268" class="footnote" name="idm268"><sup class="footnote">[16]</sup></a> The dramatic growth of the Internet itself owes
 614 much to the fact that nobody has a proprietary lock on core Internet
 615 protocols.
 616       </p><p>
 617         While open-source software functions as a commons, many businesses and
 618 markets did build up around it. Business models based on the licenses and
 619 standards of open-source software evolved alongside organizations that
 620 managed software code on principles of abundance rather than scarcity. Eric
 621 Raymond’s essay <span class="quote">„<span class="quote">The Magic Cauldron</span>”</span> does a great job of
 622 analyzing the economics and business models associated with open-source
 623 software.<a href="#ftn.idm273" class="footnote" name="idm273"><sup class="footnote">[17]</sup></a> These models can provide
 624 examples of sustainable approaches for those Made with Creative Commons.
 625       </p><p>
 626         It isn’t just about an abundant availability of digital assets but also
 627 about abundance of participation. The growth of personal computing,
 628 information technology, and the Internet made it possible for mass
 629 participation in producing creative works and distributing them. Photos,
 630 books, music, and many other forms of digital content could now be readily
 631 created and distributed by almost anyone. Despite this potential for
 632 abundance, by default these digital works are governed by copyright
 633 laws. Under copyright, a digital work is the property of the creator, and by
 634 law others are excluded from accessing and using it without the creator’s
 635 permission.
 636       </p><p>
 637         But people like to share. One of the ways we define ourselves is by sharing
 638 valuable and entertaining content. Doing so grows and nourishes
 639 relationships, seeks to change opinions, encourages action, and informs
 640 others about who we are and what we care about. Sharing lets us feel more
 641 involved with the world.<a href="#ftn.idm279" class="footnote" name="idm279"><sup class="footnote">[18]</sup></a>
 642       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-birth-of-creative-commons"></a>Narodziny Creative Commons</h2></div></div></div><p>
 643         In 2001, Creative Commons was created as a nonprofit to support all those
 644 who wanted to share digital content. A suite of Creative Commons licenses
 645 was modeled on those of open-source software but for use with digital
 646 content rather than software code. The licenses give everyone from
 647 individual creators to large companies and institutions a simple,
 648 standardized way to grant copyright permissions to their creative work.
 649       </p><p>
 650         Creative Commons licenses have a three-layer design. The norms and rules of
 651 each license are first expressed in full legal language as used by
 652 lawyers. This layer is called the legal code. But since most creators and
 653 users are not lawyers, the licenses also have a commons deed, expressing the
 654 permissions in plain language, which regular people can read and quickly
 655 understand. It acts as a user-friendly interface to the legal-code layer
 656 beneath. The third layer is the machine-readable one, making it easy for the
 657 Web to know a work is Creative Commons–licensed by expressing permissions in
 658 a way that software systems, search engines, and other kinds of technology
 659 can understand.<a href="#ftn.idm286" class="footnote" name="idm286"><sup class="footnote">[19]</sup></a> Taken together, these
 660 three layers ensure creators, users, and even the Web itself understand the
 661 norms and rules associated with digital content in a commons.
 662       </p><p>
 663         In 2015, there were over one billion Creative Commons licensed works in a
 664 global commons. These works were viewed online 136 billion times. People are
 665 using Creative Commons licenses all around the world, in thirty-four
 666 languages. These resources include photos, artwork, research articles in
 667 journals, educational resources, music and other audio tracks, and videos.
 668       </p><p>
 669         Individual artists, photographers, musicians, and filmmakers use Creative
 670 Commons, but so do museums, governments, creative industries, manufacturers,
 671 and publishers. Millions of websites use CC licenses, including major
 672 platforms like Wikipedia and Flickr and smaller ones like blogs.<a href="#ftn.idm292" class="footnote" name="idm292"><sup class="footnote">[20]</sup></a> Users of Creative Commons are diverse and cut
 673 across many different sectors. (Our case studies were chosen to reflect that
 674 diversity.)
 675       </p><p>
 676         Some see Creative Commons as a way to share a gift with others, a way of
 677 getting known, or a way to provide social benefit.  Others are simply
 678 committed to the norms associated with a commons. And for some,
 679 participation has been spurred by the free-culture movement, a social
 680 movement that promotes the freedom to distribute and modify creative
 681 works. The free-culture movement sees a commons as providing significant
 682 benefits compared to restrictive copyright laws. This ethos of free exchange
 683 in a commons aligns the free-culture movement with the free and open-source
 684 software movement.
 685       </p><p>
 686         Over time, Creative Commons has spawned a range of open movements, including
 687 open educational resources, open access, open science, and open data. The
 688 goal in every case has been to democratize participation and share digital
 689 resources at no cost, with legal permissions for anyone to freely access,
 690 use, and modify.
 691       </p><p>
 692         The state is increasingly involved in supporting open movements.  The Open
 693 Government Partnership was launched in 2011 to provide an international
 694 platform for governments to become more open, accountable, and responsive to
 695 citizens. Since then, it has grown from eight participating countries to
 696 seventy.<a href="#ftn.idm298" class="footnote" name="idm298"><sup class="footnote">[21]</sup></a> In all these countries,
 697 government and civil society are working together to develop and implement
 698 ambitious open-government reforms. Governments are increasingly adopting
 699 Creative Commons to ensure works funded with taxpayer dollars are open and
 700 free to the public that paid for them.
 701       </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>
 702         Today’s market is largely driven by global capitalism. Law and financial
 703 systems are structured to support extraction, privatization, and corporate
 704 growth. A perception that the market is more efficient than the state has
 705 led to continual privatization of many public natural resources, utilities,
 706 services, and infrastructures.<a href="#ftn.idm305" class="footnote" name="idm305"><sup class="footnote">[22]</sup></a> While
 707 this system has been highly efficient at generating consumerism and the
 708 growth of gross domestic product, the impact on human well-being has been
 709 mixed. Offsetting rising living standards and improvements to health and
 710 education are ever-increasing wealth inequality, social inequality, poverty,
 711 deterioration of our natural environment, and breakdowns of
 712 democracy.<a href="#ftn.idm307" class="footnote" name="idm307"><sup class="footnote">[23]</sup></a>
 713       </p><p>
 714         In light of these challenges there is a growing recognition that GDP growth
 715 should not be an end in itself, that development needs to be socially and
 716 economically inclusive, that environmental sustainability is a requirement
 717 not an option, and that we need to better balance the market, state and
 718 community.<a href="#ftn.idm310" class="footnote" name="idm310"><sup class="footnote">[24]</sup></a>
 719       </p><p>
 720         These realizations have led to a resurgence of interest in the commons as a
 721 means of enabling that balance. City governments like Bologna, Italy, are
 722 collaborating with their citizens to put in place regulations for the care
 723 and regeneration of urban commons.<a href="#ftn.idm315" class="footnote" name="idm315"><sup class="footnote">[25]</sup></a>
 724 Seoul and Amsterdam call themselves <span class="quote">„<span class="quote">sharing cities,</span>”</span> looking
 725 to make sustainable and more efficient use of scarce resources. They see
 726 sharing as a way to improve the use of public spaces, mobility, social
 727 cohesion, and safety.<a href="#ftn.idm319" class="footnote" name="idm319"><sup class="footnote">[26]</sup></a>
 728       </p><p>
 729         The market itself has taken an interest in the sharing economy, with
 730 businesses like Airbnb providing a peer-to-peer marketplace for short-term
 731 lodging and Uber providing a platform for ride sharing. However, Airbnb and
 732 Uber are still largely operating under the usual norms and rules of the
 733 market, making them less like a commons and more like a traditional business
 734 seeking financial gain. Much of the sharing economy is not about the commons
 735 or building an alternative to a corporate-driven market economy; it’s about
 736 extending the deregulated free market into new areas of our
 737 lives.<a href="#ftn.idm324" class="footnote" name="idm324"><sup class="footnote">[27]</sup></a> While none of the people we
 738 interviewed for our case studies would describe themselves as part of the
 739 sharing economy, there are in fact some significant parallels. Both the
 740 sharing economy and the commons make better use of asset capacity. The
 741 sharing economy sees personal residents and cars as having latent spare
 742 capacity with rental value. The equitable access of the commons broadens and
 743 diversifies the number of people who can use and derive value from an asset.
 744       </p><p>
 745         One way Made with Creative Commons case studies differ from those of the
 746 sharing economy is their focus on digital resources. Digital resources
 747 function under different economic rules than physical ones. In a world where
 748 prices always seem to go up, information technology is an
 749 anomaly. Computer-processing power, storage, and bandwidth are all rapidly
 750 increasing, but rather than costs going up, costs are coming down. Digital
 751 technologies are getting faster, better, and cheaper. The cost of anything
 752 built on these technologies will always go down until it is close to
 753 zero.<a href="#ftn.idm327" class="footnote" name="idm327"><sup class="footnote">[28]</sup></a>
 754       </p><p>
 755         Those that are Made with Creative Commons are looking to leverage the unique
 756 inherent characteristics of digital resources, including lowering costs. The
 757 use of digital-rights-management technologies in the form of locks,
 758 passwords, and controls to prevent digital goods from being accessed,
 759 changed, replicated, and distributed is minimal or nonexistent. Instead,
 760 Creative Commons licenses are used to put digital content out in the
 761 commons, taking advantage of the unique economics associated with being
 762 digital. The aim is to see digital resources used as widely and by as many
 763 people as possible. Maximizing access and participation is a common goal.
 764 They aim for abundance over scarcity.
 765       </p><p>
 766         The incremental cost of storing, copying, and distributing digital goods is
 767 next to zero, making abundance possible. But imagining a market based on
 768 abundance rather than scarcity is so alien to the way we conceive of
 769 economic theory and practice that we struggle to do so.<a href="#ftn.idm331" class="footnote" name="idm331"><sup class="footnote">[29]</sup></a> Those that are Made with Creative Commons are each
 770 pioneering in this new landscape, devising their own economic models and
 771 practice.
 772       </p><p>
 773         Some are looking to minimize their interactions with the market and operate
 774 as autonomously as possible. Others are operating largely as a business
 775 within the existing rules and norms of the market. And still others are
 776 looking to change the norms and rules by which the market operates.
 777       </p><p>
 778         For an ordinary corporation, making social benefit a part of its operations
 779 is difficult, as it’s legally required to make decisions that financially
 780 benefit stockholders. But new forms of business are emerging. There are
 781 benefit corporations and social enterprises, which broaden their business
 782 goals from making a profit to making a positive impact on society, workers,
 783 the community, and the environment.<a href="#ftn.idm335" class="footnote" name="idm335"><sup class="footnote">[30]</sup></a>
 784 Community-owned businesses, worker-owned businesses, cooperatives, guilds,
 785 and other organizational forms offer alternatives to the traditional
 786 corporation. Collectively, these alternative market entities are changing
 787 the rules and norms of the market.<a href="#ftn.idm337" class="footnote" name="idm337"><sup class="footnote">[31]</sup></a>
 788       </p><p><span class="quote">„<span class="quote">A book on open business models</span>”</span> is how we described it in this
 789 book’s Kickstarter campaign. We used a handbook called Business Model
 790 Generation as our reference for defining just what a business model
 791 is. Developed over nine years using an <span class="quote">„<span class="quote">open process</span>”</span> involving
 792 470 coauthors from forty-five countries, it is useful as a framework for
 793 talking about business models.<a href="#ftn.idm342" class="footnote" name="idm342"><sup class="footnote">[32]</sup></a>
 794       </p><p>
 795         It contains a <span class="quote">„<span class="quote">business model canvas,</span>”</span> which conceives of a
 796 business model as having nine building blocks.<a href="#ftn.idm347" class="footnote" name="idm347"><sup class="footnote">[33]</sup></a> This blank canvas can serve as a tool for anyone to design their
 797 own business model. We remixed this business model canvas into an open
 798 business model canvas, adding three more building blocks relevant to hybrid
 799 market, commons enterprises: social good, Creative Commons license, and
 800 <span class="quote">„<span class="quote">type of open environment that the business fits
 801 in.</span>”</span><a href="#ftn.idm351" class="footnote" name="idm351"><sup class="footnote">[34]</sup></a> This enhanced canvas proved
 802 useful when we analyzed businesses and helped start-ups plan their economic
 803 model.
 804       </p><p>
 805         In our case study interviews, many expressed discomfort over describing
 806 themselves as an open business model—the term business model suggested
 807 primarily being situated in the market.  Where you sit on the
 808 commons-to-market spectrum affects the extent to which you see yourself as a
 809 business in the market.  The more central to the mission shared resources
 810 and commons values are, the less comfort there is in describing yourself, or
 811 depicting what you do, as a business. Not all who have endeavors Made with
 812 Creative Commons use business speak; for some the process has been
 813 experimental, emergent, and organic rather than carefully planned using a
 814 predefined model.
 815       </p><p>
 816         The creators, businesses, and organizations we profile all engage with the
 817 market to generate revenue in some way. The ways in which this is done vary
 818 widely. Donations, pay what you can, memberships, <span class="quote">„<span class="quote">digital for free
 819 but physical for a fee,</span>”</span> crowdfunding, matchmaking, value-add
 820 services, patrons . . . the list goes on and on. (Initial description of how
 821 to earn revenue available through reference note. For latest thinking see
 822 How to Bring In Money in the next section.)<a href="#ftn.idm359" class="footnote" name="idm359"><sup class="footnote">[35]</sup></a> There is no single magic bullet, and each endeavor has devised ways
 823 that work for them. Most make use of more than one way. Diversifying revenue
 824 streams lowers risk and provides multiple paths to sustainability.
 825       </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>
 826         While it may be clear why commons-based organizations want to interact and
 827 engage with the market (they need money to survive), it may be less obvious
 828 why the market would engage with the commons. The digital commons offers
 829 many benefits.
 830       </p><p>
 831         The commons speeds dissemination. The free flow of resources in the commons
 832 offers tremendous economies of scale. Distribution is decentralized, with
 833 all those in the commons empowered to share the resources they have access
 834 to. Those that are Made with Creative Commons have a reduced need for sales
 835 or marketing. Decentralized distribution amplifies supply and know-how.
 836       </p><p>
 837         The commons ensures access to all. The market has traditionally operated by
 838 putting resources behind a paywall requiring payment first before
 839 access. The commons puts resources in the open, providing access up front
 840 without payment. Those that are Made with Creative Commons make little or no
 841 use of digital rights management (DRM) to manage resources. Not using DRM
 842 frees them of the costs of acquiring DRM technology and staff resources to
 843 engage in the punitive practices associated with restricting access. The way
 844 the commons provides access to everyone levels the playing field and
 845 promotes inclusiveness, equity, and fairness.
 846       </p><p>
 847         The commons maximizes participation. Resources in the commons can be used
 848 and contributed to by everyone. Using the resources of others, contributing
 849 your own, and mixing yours with others to create new works are all dynamic
 850 forms of participation made possible by the commons. Being Made with
 851 Creative Commons means you’re engaging as many users with your resources as
 852 possible.  Users are also authoring, editing, remixing, curating,
 853 localizing, translating, and distributing. The commons makes it possible for
 854 people to directly participate in culture, knowledge building, and even
 855 democracy, and many other socially beneficial practices.
 856       </p><p>
 857         The commons spurs innovation. Resources in the hands of more people who can
 858 use them leads to new ideas. The way commons resources can be modified,
 859 customized, and improved results in derivative works never imagined by the
 860 original creator. Some endeavors that are Made with Creative Commons
 861 deliberately encourage users to take the resources being shared and innovate
 862 them. Doing so moves research and development (R&amp;D) from being solely
 863 inside the organization to being in the community.<a href="#ftn.idm370" class="footnote" name="idm370"><sup class="footnote">[36]</sup></a> Community-based innovation will keep an
 864 organization or business on its toes. It must continue to contribute new
 865 ideas, absorb and build on top of the innovations of others, and steward the
 866 resources and the relationship with the community.
 867       </p><p>
 868         The commons boosts reach and impact. The digital commons is
 869 global. Resources may be created for a local or regional need, but they go
 870 far and wide generating a global impact. In the digital world, there are no
 871 borders between countries. When you are Made with Creative Commons, you are
 872 often local and global at the same time: Digital designs being globally
 873 distributed but made and manufactured locally. Digital books or music being
 874 globally distributed but readings and concerts performed locally. The
 875 digital commons magnifies impact by connecting creators to those who use and
 876 build on their work both locally and globally.
 877       </p><p>
 878         The commons is generative. Instead of extracting value, the commons adds
 879 value. Digitized resources persist without becoming depleted, and through
 880 use are improved, personalized, and localized. Each use adds value. The
 881 market focuses on generating value for the business and the customer. The
 882 commons generates value for a broader range of beneficiaries including the
 883 business, the customer, the creator, the public, and the commons itself. The
 884 generative nature of the commons means that it is more cost-effective and
 885 produces a greater return on investment.  Value is not just measured in
 886 financial terms. Each new resource added to the commons provides value to
 887 the public and contributes to the overall value of the commons.
 888       </p><p>
 889         The commons brings people together for a common cause. The commons vests
 890 people directly with the responsibility to manage the resources for the
 891 common good. The costs and benefits for the individual are balanced with the
 892 costs and benefits for the community and for future generations. Resources
 893 are not anonymous or mass produced. Their provenance is known and
 894 acknowledged through attribution and other means. Those that are Made with
 895 Creative Commons generate awareness and reputation based on their
 896 contributions to the commons. The reach, impact, and sustainability of those
 897 contributions rest largely on their ability to forge relationships and
 898 connections with those who use and improve them. By functioning on the basis
 899 of social engagement, not monetary exchange, the commons unifies people.
 900       </p><p>
 901         The benefits of the commons are many. When these benefits align with the
 902 goals of individuals, communities, businesses in the market, or state
 903 enterprises, choosing to manage resources as a commons ought to be the
 904 option of choice.
 905       </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>
 906         The creators, organizations, and businesses in our case studies operate as
 907 nonprofits, for-profits, and social enterprises.  Regardless of legal
 908 status, they all have a social mission.  Their primary reason for being is
 909 to make the world a better place, not to profit. Money is a means to a
 910 social end, not the end itself. They factor public interest into decisions,
 911 behavior, and practices. Transparency and trust are really important. Impact
 912 and success are measured against social aims expressed in mission
 913 statements, and are not just about the financial bottom line.
 914       </p><p>
 915         The case studies are based on the narratives told to us by founders and key
 916 staff. Instead of solely using financials as the measure of success and
 917 sustainability, they emphasized their mission, practices, and means by which
 918 they measure success.  Metrics of success are a blend of how social goals
 919 are being met and how sustainable the enterprise is.
 920       </p><p>
 921         Our case studies are diverse, ranging from publishing to education and
 922 manufacturing. All of the organizations, businesses, and creators in the
 923 case studies produce digital resources. Those resources exist in many forms
 924 including books, designs, songs, research, data, cultural works, education
 925 materials, graphic icons, and video. Some are digital representations of
 926 physical resources. Others are born digital but can be made into physical
 927 resources.
 928       </p><p>
 929         They are creating new resources, or using the resources of others, or mixing
 930 existing resources together to make something new. They, and their audience,
 931 all play a direct, participatory role in managing those resources, including
 932 their preservation, curation, distribution, and enhancement. Access and
 933 participation is open to all regardless of monetary means.
 934       </p><p>
 935         And as users of Creative Commons licenses, they are automatically part of a
 936 global community. The new digital commons is global. Those we profiled come
 937 from nearly every continent in the world. To build and interact within this
 938 global community is conducive to success.
 939       </p><p>
 940         Creative Commons licenses may express legal rules around the use of
 941 resources in a commons, but success in the commons requires more than
 942 following the letter of the law and acquiring financial means. Over and over
 943 we heard in our interviews how success and sustainability are tied to a set
 944 of beliefs, values, and principles that underlie their actions: Give more
 945 than you take. Be open and inclusive. Add value. Make visible what you are
 946 using from the commons, what you are adding, and what you are
 947 monetizing. Maximize abundance. Give attribution. Express gratitude. Develop
 948 trust; don’t exploit. Build relationship and community. Be
 949 transparent. Defend the commons.
 950       </p><p>
 951         The new digital commons is here to stay. Made With Creative Commons case
 952 studies show how it’s possible to be part of this commons while still
 953 functioning within market and state systems.  The commons generates benefits
 954 neither the market nor state can achieve on their own. Rather than the
 955 market or state dominating as primary means of resource management, a more
 956 balanced alternative is possible.
 957       </p><p>
 958         Enterprise use of Creative Commons has only just begun. The case studies in
 959 this book are merely starting points. Each is changing and evolving over
 960 time. Many more are joining and inventing new models. This overview aims to
 961 provide a framework and language for thinking and talking about the new
 962 digital commons. The remaining sections go deeper providing further guidance
 963 and insights on how it works.
 964       </p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm112" class="footnote"><p><a href="#idm112" class="para"><sup class="para">[1] </sup></a>
 965           Jonathan Rowe, Our Common Wealth (San Francisco: Berrett-Koehler, 2013), 14.
 966         </p></div><div id="ftn.idm116" class="footnote"><p><a href="#idm116" class="para"><sup class="para">[2] </sup></a>
 967           David Bollier, Think Like a Commoner: A Short Introduction to the Life of
 968 the Commons (Gabriola Island, BC: New Society, 2014), 176.
 969         </p></div><div id="ftn.idm118" class="footnote"><p><a href="#idm118" class="para"><sup class="para">[3] </sup></a>
 970           Ibid., 15.
 971         </p></div><div id="ftn.idm123" class="footnote"><p><a href="#idm123" class="para"><sup class="para">[4] </sup></a>
 972             Ibid., 145.
 973           </p></div><div id="ftn.idm126" class="footnote"><p><a href="#idm126" class="para"><sup class="para">[5] </sup></a>
 974             Ibid., 175.
 975           </p></div><div id="ftn.idm144" class="footnote"><p><a href="#idm144" class="para"><sup class="para">[6] </sup></a>
 976             Daniel H. Cole, <span class="quote">„<span class="quote">Learning from Lin: Lessons and Cautions from the
 977 Natural Commons for the Knowledge Commons,</span>”</span> in Governing Knowledge
 978 Commons, eds. Brett M. Frischmann, Michael J. Madison, and Katherine J.
 979 Strandburg (New York: Oxford University Press, 2014), 53.
 980           </p></div><div id="ftn.idm171" class="footnote"><p><a href="#idm171" class="para"><sup class="para">[7] </sup></a>
 981               Max Haiven, Crises of Imagination, Crises of Power: Capitalism, Creativity
 982 and the Commons (New York: Zed Books, 2014), 93.
 983             </p></div><div id="ftn.idm186" class="footnote"><p><a href="#idm186" class="para"><sup class="para">[8] </sup></a>
 984               Bollier, Think Like a Commoner, 175.
 985             </p></div><div id="ftn.idm192" class="footnote"><p><a href="#idm192" class="para"><sup class="para">[9] </sup></a>
 986               Joshua Farley and Ida Kubiszewski, <span class="quote">„<span class="quote">The Economics of Information in a
 987 Post-Carbon Economy,</span>”</span> in Free Knowledge: Confronting the
 988 Commodification of Human Discovery, eds. Patricia W. Elliott and Daryl
 989 H. Hepting (Regina, SK: University of Regina Press, 2015), 201–4.
 990             </p></div><div id="ftn.idm203" class="footnote"><p><a href="#idm203" class="para"><sup class="para">[10] </sup></a>
 991             Rowe, Our Common Wealth, 19; and Heather Menzies, Reclaiming the Commons for
 992 the Common Good: A Memoir and Manifesto (Gabriola Island, BC: New Society,
 993 2014), 42–43.
 994           </p></div><div id="ftn.idm214" class="footnote"><p><a href="#idm214" class="para"><sup class="para">[11] </sup></a>
 995             Bollier, Think Like a Commoner, 55–78.
 996           </p></div><div id="ftn.idm217" class="footnote"><p><a href="#idm217" class="para"><sup class="para">[12] </sup></a>
 997             Fritjof Capra and Ugo Mattei, The Ecology of Law: Toward a Legal System in
 998 Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57;
 999 and Bollier, Think Like a Commoner, 88.
1000           </p></div><div id="ftn.idm234" class="footnote"><p><a href="#idm234" class="para"><sup class="para">[13] </sup></a>
1001             Brett M. Frischmann, Michael J. Madison, and Katherine J.  Strandburg,
1002 <span class="quote">„<span class="quote">Governing Knowledge Commons,</span>”</span> in Frischmann, Madison, and
1003 Strandburg Governing Knowledge Commons, 12.
1004           </p></div><div id="ftn.idm239" class="footnote"><p><a href="#idm239" class="para"><sup class="para">[14] </sup></a>
1005             Farley and Kubiszewski, <span class="quote">„<span class="quote">Economics of Information,</span>”</span> in Elliott
1006 and Hepting, Free Knowledge, 203.
1007           </p></div><div id="ftn.idm262" class="footnote"><p><a href="#idm262" class="para"><sup class="para">[15] </sup></a><span class="quote">„<span class="quote">What Is Free Software?</span>”</span> GNU Operating System, the Free
1008 Software Foundation’s Licensing and Compliance Lab, accessed December 30,
1009 2016, <a class="ulink" href="http://www.gnu.org/philosophy/free-sw" target="_top">http://www.gnu.org/philosophy/free-sw</a>.
1010               </p></div><div id="ftn.idm268" class="footnote"><p><a href="#idm268" class="para"><sup class="para">[16] </sup></a>
1011             Wikipedia, s.v. <span class="quote">„<span class="quote">Open-source software,</span>”</span> last modified November
1012 22, 2016.
1013           </p></div><div id="ftn.idm273" class="footnote"><p><a href="#idm273" class="para"><sup class="para">[17] </sup></a>
1014             Eric S. Raymond, <span class="quote">„<span class="quote">The Magic Cauldron,</span>”</span> in The Cathedral and the
1015 Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary,
1016 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>.
1017           </p></div><div id="ftn.idm279" class="footnote"><p><a href="#idm279" class="para"><sup class="para">[18] </sup></a>
1018             New York Times Customer Insight Group, The Psychology of Sharing: Why Do
1019 People Share Online? (New York: New York Times Customer Insight Group,
1020 2011), <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
1021           </p></div><div id="ftn.idm286" class="footnote"><p><a href="#idm286" class="para"><sup class="para">[19] </sup></a><span class="quote">„<span class="quote">Licensing Considerations,</span>”</span> Creative Commons, accessed December
1022 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>.
1023           </p></div><div id="ftn.idm292" class="footnote"><p><a href="#idm292" class="para"><sup class="para">[20] </sup></a>
1024             Creative Commons, 2015 State of the Commons (Mountain View, CA: Creative
1025 Commons, 2015), <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
1026           </p></div><div id="ftn.idm298" class="footnote"><p><a href="#idm298" class="para"><sup class="para">[21] </sup></a>
1027             Wikipedia, s.v. <span class="quote">„<span class="quote">Open Government Partnership,</span>”</span> last modified
1028 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>.
1029           </p></div><div id="ftn.idm305" class="footnote"><p><a href="#idm305" class="para"><sup class="para">[22] </sup></a>
1030             Capra and Mattei, Ecology of Law, 114.
1031           </p></div><div id="ftn.idm307" class="footnote"><p><a href="#idm307" class="para"><sup class="para">[23] </sup></a>
1032             Ibid., 116.
1033           </p></div><div id="ftn.idm310" class="footnote"><p><a href="#idm310" class="para"><sup class="para">[24] </sup></a>
1034             The Swedish International Development Cooperation Agency, <span class="quote">„<span class="quote">Stockholm
1035 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>
1036           </p></div><div id="ftn.idm315" class="footnote"><p><a href="#idm315" class="para"><sup class="para">[25] </sup></a>
1037             City of Bologna, Regulation on Collaboration between Citizens and the City
1038 for the Care and Regeneration of Urban Commons, trans. LabGov (LABoratory
1039 for the GOVernance of Commons) (Bologna, Italy: City of Bologna, 2014),
1040 <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>.
1041           </p></div><div id="ftn.idm319" class="footnote"><p><a href="#idm319" class="para"><sup class="para">[26] </sup></a>
1042             The Seoul Sharing City website is <a class="ulink" href="http://english.sharehub.kr" target="_top">http://english.sharehub.kr</a>;
1043 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>.
1044           </p></div><div id="ftn.idm324" class="footnote"><p><a href="#idm324" class="para"><sup class="para">[27] </sup></a>
1045             Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
1046 Books, 2015), 42.
1047           </p></div><div id="ftn.idm327" class="footnote"><p><a href="#idm327" class="para"><sup class="para">[28] </sup></a>
1048             Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
1049 Something for Nothing, Reprint with new preface.  (New York: Hyperion,
1050 2010), 78.
1051           </p></div><div id="ftn.idm331" class="footnote"><p><a href="#idm331" class="para"><sup class="para">[29] </sup></a>
1052             Jeremy Rifkin, The Zero Marginal Cost Society: The Internet of Things, the
1053 Collaborative Commons, and the Eclipse of Capitalism (New York: Palgrave
1054 Macmillan, 2014), 273.
1055           </p></div><div id="ftn.idm335" class="footnote"><p><a href="#idm335" class="para"><sup class="para">[30] </sup></a>
1056             Gar Alperovitz, What Then Must We Do? Straight Talk about the Next American
1057 Revolution: Democratizing Wealth and Building a Community-Sustaining Economy
1058 from the Ground Up (White River Junction, VT: Chelsea Green, 2013), 39.
1059           </p></div><div id="ftn.idm337" class="footnote"><p><a href="#idm337" class="para"><sup class="para">[31] </sup></a>
1060             Marjorie Kelly, Owning Our Future: The Emerging Ownership Revolution;
1061 Journeys to a Generative Economy (San Francisco: Berrett-Koehler, 2012),
1062 8–9.
1063           </p></div><div id="ftn.idm342" class="footnote"><p><a href="#idm342" class="para"><sup class="para">[32] </sup></a>
1064             Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
1065 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>.
1066           </p></div><div id="ftn.idm347" class="footnote"><p><a href="#idm347" class="para"><sup class="para">[33] </sup></a>
1067             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>.
1068           </p></div><div id="ftn.idm351" class="footnote"><p><a href="#idm351" class="para"><sup class="para">[34] </sup></a>
1069             We’ve made the <span class="quote">„<span class="quote">Open Business Model Canvas,</span>”</span> designed by the
1070 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>.
1071 You can also find the accompanying Open Business Model Canvas Questions at
1072 <a class="ulink" href="http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit" target="_top">http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit</a>.
1073           </p></div><div id="ftn.idm359" class="footnote"><p><a href="#idm359" class="para"><sup class="para">[35] </sup></a>
1074             A more comprehensive list of revenue streams is available in this post I
1075 wrote on Medium on March 6, 2016. <span class="quote">„<span class="quote">What Is an Open Business Model and
1076 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>.
1077           </p></div><div id="ftn.idm370" class="footnote"><p><a href="#idm370" class="para"><sup class="para">[36] </sup></a>
1078             Henry Chesbrough, Open Innovation: The New Imperative for Creating and
1079 Profiting from Technology (Boston: Harvard Business Review Press, 2006),
1080 31–44.
1081           </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="how-to-be-made-with-creative-commons"></a>Rozdział 2. Jak może być zrobione na licencji Creative Commons</h2></div></div></div><div class="toc"><p><b>Spis treści</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Zero: Getting Discovered</a></span></dt><dt><span class="sect1"><a href="#making-money">Making Money</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Making Human Connections</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
1082     \textit{ Sarah Hinchliff Pearson}
1083     \end{flushright}</td></tr></table></div><p>
1084       When we began this project in August 2015, we set out to write a book about
1085 business models that involve Creative Commons licenses in some significant
1086 way—what we call being Made with Creative Commons. With the help of our
1087 Kickstarter backers, we chose twenty-four endeavors from all around the
1088 world that are Made with Creative Commons. The mix is diverse, from an
1089 individual musician to a university-textbook publisher to an electronics
1090 manufacturer.  Some make their own content and share under Creative Commons
1091 licensing. Others are platforms for CC-licensed creative work made by
1092 others. Many sit somewhere in between, both using and contributing creative
1093 work that’s shared with the public. Like all who use the licenses, these
1094 endeavors share their work—whether it’s open data or furniture designs—in a
1095 way that enables the public not only to access it but also to make use of
1096 it.
1097     </p><p>
1098       We analyzed the revenue models, customer segments, and value propositions of
1099 each endeavor. We searched for ways that putting their content under
1100 Creative Commons licenses helped boost sales or increase reach. Using
1101 traditional measures of economic success, we tried to map these business
1102 models in a way that meaningfully incorporated the impact of Creative
1103 Commons. In our interviews, we dug into the motivations, the role of CC
1104 licenses, modes of revenue generation, definitions of success.
1105     </p><p>
1106       In fairly short order, we realized the book we set out to write was quite
1107 different from the one that was revealing itself in our interviews and
1108 research.
1109     </p><p>
1110       It isn’t that we were wrong to think you can make money while using Creative
1111 Commons licenses. In many instances, CC can help make you more money. Nor
1112 were we wrong that there are business models out there that others who want
1113 to use CC licensing as part of their livelihood or business could
1114 replicate. What we didn’t realize was just how misguided it would be to
1115 write a book about being Made with Creative Commons using only a business
1116 lens.
1117     </p><p>
1118       According to the seminal handbook Business Model Generation, a business
1119 model <span class="quote">„<span class="quote">describes the rationale of how an organization creates,
1120 delivers, and captures value.</span>”</span><a href="#ftn.idm397" class="footnote" name="idm397"><sup class="footnote">[37]</sup></a>
1121 Thinking about sharing in terms of creating and capturing value always felt
1122 inappropriately transactional and out of place, something we heard time and
1123 time again in our interviews. And as Cory Doctorow told us in our interview
1124 with him, <span class="quote">„<span class="quote">Business model can mean anything you want it to
1125 mean.</span>”</span>
1126     </p><p>
1127       Eventually, we got it. Being Made with Creative Commons is more than a
1128 business model. While we will talk about specific revenue models as one
1129 piece of our analysis (and in more detail in the case studies), we scrapped
1130 that as our guiding rubric for the book.
1131     </p><p>
1132       Admittedly, it took me a long time to get there. When Paul and I divided up
1133 our writing after finishing the research, my charge was to distill
1134 everything we learned from the case studies and write up the practical
1135 lessons and takeaways. I spent months trying to jam what we learned into the
1136 business-model box, convinced there must be some formula for the way things
1137 interacted. But there is no formula. You’ll probably have to discard that
1138 way of thinking before you read any further.
1139     </p><p>
1140       In every interview, we started from the same simple questions.  Amid all the
1141 diversity among the creators, organizations, and businesses we profiled,
1142 there was one constant. Being Made with Creative Commons may be good for
1143 business, but that is not why they do it. Sharing work with Creative Commons
1144 is, at its core, a moral decision. The commercial and other self-interested
1145 benefits are secondary. Most decided to use CC licenses first and found a
1146 revenue model later. This was our first hint that writing a book solely
1147 about the impact of sharing on business might be a little off track.
1148     </p><p>
1149       But we also started to realize something about what it means to be Made with
1150 Creative Commons. When people talked to us about how and why they used CC,
1151 it was clear that it meant something more than using a copyright license. It
1152 also represented a set of values.  There is symbolism behind using CC, and
1153 that symbolism has many layers.
1154     </p><p>
1155       At one level, being Made with Creative Commons expresses an affinity for the
1156 value of Creative Commons. While there are many different flavors of CC
1157 licenses and nearly infinite ways to be Made with Creative Commons, the
1158 basic value system is rooted in a fundamental belief that knowledge and
1159 creativity are building blocks of our culture rather than just commodities
1160 from which to extract market value. These values reflect a belief that the
1161 common good should always be part of the equation when we determine how to
1162 regulate our cultural outputs. They reflect a belief that everyone has
1163 something to contribute, and that no one can own our shared culture. They
1164 reflect a belief in the promise of sharing.
1165     </p><p>
1166       Whether the public makes use of the opportunity to copy and adapt your work,
1167 sharing with a Creative Commons license is a symbol of how you want to
1168 interact with the people who consume your work.  Whenever you create
1169 something, <span class="quote">„<span class="quote">all rights reserved</span>”</span> under copyright is automatic,
1170 so the copyright symbol (©) on the work does not necessarily come across as
1171 a marker of distrust or excessive protectionism. But using a CC license can
1172 be a symbol of the opposite—of wanting a real human relationship, rather
1173 than an impersonal market transaction. It leaves open the possibility of
1174 connection.
1175     </p><p>
1176       Being Made with Creative Commons not only demonstrates values connected to
1177 CC and sharing. It also demonstrates that something other than profit drives
1178 what you do. In our interviews, we always asked what success looked like for
1179 them. It was stunning how rarely money was mentioned. Most have a deeper
1180 purpose and a different vision of success.
1181     </p><p>
1182       The driving motivation varies depending on the type of endeavor.  For
1183 individual creators, it is most often about personal inspiration. In some
1184 ways, this is nothing new. As Doctorow has written, <span class="quote">„<span class="quote">Creators usually
1185 start doing what they do for love.</span>”</span><a href="#ftn.idm411" class="footnote" name="idm411"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC license, that
1186 dynamic is even more pronounced. Similarly, for technological innovators, it
1187 is often less about creating a specific new thing that will make you rich
1188 and more about solving a specific problem you have. The creators of Arduino
1189 told us that the key question when creating something is <span class="quote">„<span class="quote">Do you as
1190 the creator want to use it? It has to have personal use and meaning.</span>”</span>
1191     </p><p>
1192       Many that are Made with Creative Commons have an express social mission that
1193 underpins everything they do. In many cases, sharing with Creative Commons
1194 expressly advances that social mission, and using the licenses can be the
1195 difference between legitimacy and hypocrisy. Noun Project co-founder Edward
1196 Boatman told us they could not have stated their social mission of sharing
1197 with a straight face if they weren’t willing to show the world that it was
1198 OK to share their content using a Creative Commons license.
1199     </p><p>
1200       This dynamic is probably one reason why there are so many nonprofit examples
1201 of being Made with Creative Commons. The content is the result of a labor of
1202 love or a tool to drive social change, and money is like gas in the car,
1203 something that you need to keep going but not an end in itself. Being Made
1204 with Creative Commons is a different vision of a business or livelihood,
1205 where profit is not paramount, and producing social good and human
1206 connection are integral to success.
1207     </p><p>
1208       Even if profit isn’t the end goal, you have to bring in money to be
1209 successfully Made with Creative Commons. At a bare minimum, you have to make
1210 enough money to keep the lights on.
1211     </p><p>
1212       The costs of doing business vary widely for those made with CC, but there is
1213 generally a much lower threshold for sustainability than there used to be
1214 for any creative endeavor. Digital technology has made it easier than ever
1215 to create, and easier than ever to distribute. As Doctorow put it in his
1216 book Information Doesn’t Want to Be Free, <span class="quote">„<span class="quote">If analog dollars have
1217 turned into digital dimes (as the critics of ad-supported media have it),
1218 there is the fact that it’s possible to run a business that gets the same
1219 amount of advertising as its forebears at a fraction of the price.</span>”</span>
1220     </p><p>
1221       Some creation costs are the same as they always were. It takes the same
1222 amount of time and money to write a peer-reviewed journal article or paint a
1223 painting. Technology can’t change that. But other costs are dramatically
1224 reduced by technology, particularly in production-heavy domains like
1225 filmmaking.<a href="#ftn.idm420" class="footnote" name="idm420"><sup class="footnote">[39]</sup></a> CC-licensed content and
1226 content in the public domain, as well as the work of volunteer
1227 collaborators, can also dramatically reduce costs if they’re being used as
1228 resources to create something new. And, of course, there is the reality that
1229 some content would be created whether or not the creator is paid because it
1230 is a labor of love.
1231     </p><p>
1232       Distributing content is almost universally cheaper than ever. Once content
1233 is created, the costs to distribute copies digitally are essentially
1234 zero.<a href="#ftn.idm423" class="footnote" name="idm423"><sup class="footnote">[40]</sup></a> The costs to distribute physical
1235 copies are still significant, but lower than they have been
1236 historically. And it is now much easier to print and distribute physical
1237 copies on-demand, which also reduces costs. Depending on the endeavor, there
1238 can be a whole host of other possible expenses like marketing and promotion,
1239 and even expenses associated with the various ways money is being made, like
1240 touring or custom training.
1241     </p><p>
1242       It’s important to recognize that the biggest impact of technology on
1243 creative endeavors is that creators can now foot the costs of creation and
1244 distribution themselves. People now often have a direct route to their
1245 potential public without necessarily needing intermediaries like record
1246 labels and book publishers. Doctorow wrote, <span class="quote">„<span class="quote">If you’re a creator who
1247 never got the time of day from one of the great imperial powers, this is
1248 your time. Where once you had no means of reaching an audience without the
1249 assistance of the industry-dominating megacompanies, now you have hundreds
1250 of ways to do it without them.</span>”</span><a href="#ftn.idm427" class="footnote" name="idm427"><sup class="footnote">[41]</sup></a>
1251 Previously, distribution of creative work involved the costs associated with
1252 sustaining a monolithic entity, now creators can do the work
1253 themselves. That means the financial needs of creative endeavors can be a
1254 lot more modest.
1255     </p><p>
1256       Whether for an individual creator or a larger endeavor, it usually isn’t
1257 enough to break even if you want to make what you’re doing a livelihood. You
1258 need to build in some support for the general operation. This extra bit
1259 looks different for everyone, but importantly, in nearly all cases for those
1260 Made with Creative Commons, the definition of <span class="quote">„<span class="quote">enough money</span>”</span>
1261 looks a lot different than it does in the world of venture capital and stock
1262 options. It is more about sustainability and less about unlimited growth and
1263 profit. SparkFun founder Nathan Seidle told us, <span class="quote">„<span class="quote">Business model is a
1264 really grandiose word for it. It is really just about keeping the operation
1265 going day to day.</span>”</span>
1266     </p><p>
1267       This book is a testament to the notion that it is possible to make money
1268 while using CC licenses and CC-licensed content, but we are still very much
1269 at an experimental stage. The creators, organizations, and businesses we
1270 profile in this book are blazing the trail and adapting in real time as they
1271 pursue this new way of operating.
1272     </p><p>
1273       There are, however, plenty of ways in which CC licensing can be good for
1274 business in fairly predictable ways. The first is how it helps solve
1275 <span class="quote">„<span class="quote">problem zero.</span>”</span>
1276     </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>
1277         Once you create or collect your content, the next step is finding users,
1278 customers, fans—in other words, your people. As Amanda Palmer wrote,
1279 <span class="quote">„<span class="quote">It has to start with the art. The songs had to touch people
1280 initially, and mean something, for anything to work at
1281 all.</span>”</span><a href="#ftn.idm439" class="footnote" name="idm439"><sup class="footnote">[42]</sup></a> There isn’t any magic to
1282 finding your people, and there is certainly no formula. Your work has to
1283 connect with people and offer them some artistic and/or utilitarian
1284 value. In some ways, this is easier than ever. Online we are not limited by
1285 shelf space, so there is room for every obscure interest, taste, and need
1286 imaginable. This is what Chris Anderson dubbed the Long Tail, where
1287 consumption becomes less about mainstream mass <span class="quote">„<span class="quote">hits</span>”</span> and more
1288 about micromarkets for every particular niche. As Anderson wrote, <span class="quote">„<span class="quote">We
1289 are all different, with different wants and needs, and the Internet now has
1290 a place for all of them in the way that physical markets did
1291 not.</span>”</span><a href="#ftn.idm443" class="footnote" name="idm443"><sup class="footnote">[43]</sup></a> We are no longer limited
1292 to what appeals to the masses.
1293       </p><p>
1294         While finding <span class="quote">„<span class="quote">your people</span>”</span> online is theoretically easier than
1295 in the analog world, as a practical matter it can still be difficult to
1296 actually get noticed. The Internet is a firehose of content, one that only
1297 grows larger by the minute.  As a content creator, not only are you
1298 competing for attention against more content creators than ever before, you
1299 are competing against creativity generated outside the market as
1300 well.<a href="#ftn.idm447" class="footnote" name="idm447"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">„<span class="quote">The
1301 greatest change of the past decade has been the shift in time people spend
1302 consuming amateur content instead of professional
1303 content.</span>”</span><a href="#ftn.idm450" class="footnote" name="idm450"><sup class="footnote">[45]</sup></a> To top it all off, you
1304 have to compete against the rest of their lives, too—<span class="quote">„<span class="quote">friends, family,
1305 music playlists, soccer games, and nights on the town.</span>”</span><a href="#ftn.idm453" class="footnote" name="idm453"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
1306 right people.
1307       </p><p>
1308         When you come to the Internet armed with an all-rights-reserved mentality
1309 from the start, you are often restricting access to your work before there
1310 is even any demand for it. In many cases, requiring payment for your work is
1311 part of the traditional copyright system. Even a tiny cost has a big effect
1312 on demand.  It’s called the penny gap—the large difference in demand between
1313 something that is available at the price of one cent versus the price of
1314 zero.<a href="#ftn.idm456" class="footnote" name="idm456"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
1315 charge money for your content. It simply means you need to recognize the
1316 effect that doing so will have on demand. The same principle applies to
1317 restricting access to copy the work. If your problem is how to get
1318 discovered and find <span class="quote">„<span class="quote">your people,</span>”</span> prohibiting people from
1319 copying your work and sharing it with others is counterproductive.
1320       </p><p>
1321         Of course, it’s not that being discovered by people who like your work will
1322 make you rich—far from it. But as Cory Doctorow says, <span class="quote">„<span class="quote">Recognition is
1323 one of many necessary preconditions for artistic
1324 success.</span>”</span><a href="#ftn.idm461" class="footnote" name="idm461"><sup class="footnote">[48]</sup></a>
1325       </p><p>
1326         Choosing not to spend time and energy restricting access to your work and
1327 policing infringement also builds goodwill. Lumen Learning, a for-profit
1328 company that publishes online educational materials, made an early decision
1329 not to prevent students from accessing their content, even in the form of a
1330 tiny paywall, because it would negatively impact student success in a way
1331 that would undermine the social mission behind what they do. They believe
1332 this decision has generated an immense amount of goodwill within the
1333 community.
1334       </p><p>
1335         It is not just that restricting access to your work may undermine your
1336 social mission. It also may alienate the people who most value your creative
1337 work. If people like your work, their natural instinct will be to share it
1338 with others. But as David Bollier wrote, <span class="quote">„<span class="quote">Our natural human impulses
1339 to imitate and share—the essence of culture—have been
1340 criminalized.</span>”</span><a href="#ftn.idm466" class="footnote" name="idm466"><sup class="footnote">[49]</sup></a>
1341       </p><p>
1342         The fact that copying can carry criminal penalties undoubtedly deters
1343 copying it, but copying with the click of a button is too easy and
1344 convenient to ever fully stop it. Try as the copyright industry might to
1345 persuade us otherwise, copying a copyrighted work just doesn’t feel like
1346 stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
1347 creative work has no impact on anyone else’s ability to make use of it.
1348       </p><p>
1349         If you take some amount of copying and sharing your work as a given, you can
1350 invest your time and resources elsewhere, rather than wasting them on
1351 playing a cat and mouse game with people who want to copy and share your
1352 work. Lizzy Jongma from the Rijksmuseum said, <span class="quote">„<span class="quote">We could spend a lot of
1353 money trying to protect works, but people are going to do it anyway. And
1354 they will use bad-quality versions.</span>”</span> Instead, they started releasing
1355 high-resolution digital copies of their collection into the public domain
1356 and making them available for free on their website. For them, sharing was a
1357 form of quality control over the copies that were inevitably being shared
1358 online. Doing this meant forgoing the revenue they previously got from
1359 selling digital images. But Lizzy says that was a small price to pay for all
1360 of the opportunities that sharing unlocked for them.
1361       </p><p>
1362         Being Made with Creative Commons means you stop thinking about ways to
1363 artificially make your content scarce, and instead leverage it as the
1364 potentially abundant resource it is.<a href="#ftn.idm472" class="footnote" name="idm472"><sup class="footnote">[50]</sup></a>
1365 When you see information abundance as a feature, not a bug, you start
1366 thinking about the ways to use the idling capacity of your content to your
1367 advantage. As my friend and colleague Eric Steuer once said, <span class="quote">„<span class="quote">Using CC
1368 licenses shows you get the Internet.</span>”</span>
1369       </p><p>
1370         Cory Doctorow says it costs him nothing when other people make copies of his
1371 work, and it opens the possibility that he might get something in
1372 return.<a href="#ftn.idm476" class="footnote" name="idm476"><sup class="footnote">[51]</sup></a> Similarly, the makers of the
1373 Arduino boards knew it was impossible to stop people from copying their
1374 hardware, so they decided not to even try and instead look for the benefits
1375 of being open. For them, the result is one of the most ubiquitous pieces of
1376 hardware in the world, with a thriving online community of tinkerers and
1377 innovators that have done things with their work they never could have done
1378 otherwise.
1379       </p><p>
1380         There are all kinds of way to leverage the power of sharing and remix to
1381 your benefit. Here are a few.
1382       </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>
1383           Putting a Creative Commons license on your content won’t make it
1384 automatically go viral, but eliminating legal barriers to copying the work
1385 certainly can’t hurt the chances that your work will be shared. The CC
1386 license symbolizes that sharing is welcome. It can act as a little tap on
1387 the shoulder to those who come across the work—a nudge to copy the work if
1388 they have any inkling of doing so. All things being equal, if one piece of
1389 content has a sign that says Share and the other says Don’t Share (which is
1390 what <span class="quote">„<span class="quote">©</span>”</span> means), which do you think people are more likely to
1391 share?
1392         </p><p>
1393           The Conversation is an online news site with in-depth articles written by
1394 academics who are experts on particular topics. All of the articles are
1395 CC-licensed, and they are copied and reshared on other sites by design. This
1396 proliferating effect, which they track, is a central part of the value to
1397 their academic authors who want to reach as many readers as possible.
1398         </p><p>
1399           The idea that more eyeballs equates with more success is a form of the max
1400 strategy, adopted by Google and other technology companies. According to
1401 Google’s Eric Schmidt, the idea is simple: <span class="quote">„<span class="quote">Take whatever it is you
1402 are doing and do it at the max in terms of distribution. The other way of
1403 saying this is that since marginal cost of distribution is free, you might
1404 as well put things everywhere.</span>”</span><a href="#ftn.idm486" class="footnote" name="idm486"><sup class="footnote">[52]</sup></a>
1405 This strategy is what often motivates companies to make their products and
1406 services free (i.e., no cost), but the same logic applies to making content
1407 freely shareable. Because CC-licensed content is free (as in cost) and can
1408 be freely copied, CC licensing makes it even more accessible and likely to
1409 spread.
1410         </p><p>
1411           If you are successful in reaching more users, readers, listeners, or other
1412 consumers of your work, you can start to benefit from the bandwagon
1413 effect. The simple fact that there are other people consuming or following
1414 your work spurs others to want to do the same.<a href="#ftn.idm489" class="footnote" name="idm489"><sup class="footnote">[53]</sup></a> This is, in part, because we simply have a tendency to engage in
1415 herd behavior, but it is also because a large following is at least a
1416 partial indicator of quality or usefulness.<a href="#ftn.idm491" class="footnote" name="idm491"><sup class="footnote">[54]</sup></a>
1417         </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>
1418           Every Creative Commons license requires that credit be given to the author,
1419 and that reusers supply a link back to the original source of the
1420 material. CC0, not a license but a tool used to put work in the public
1421 domain, does not make attribution a legal requirement, but many communities
1422 still give credit as a matter of best practices and social norms. In fact,
1423 it is social norms, rather than the threat of legal enforcement, that most
1424 often motivate people to provide attribution and otherwise comply with the
1425 CC license terms anyway. This is the mark of any well-functioning community,
1426 within both the marketplace and the society at large.<a href="#ftn.idm496" class="footnote" name="idm496"><sup class="footnote">[55]</sup></a> CC licenses reflect a set of wishes on the part of
1427 creators, and in the vast majority of circumstances, people are naturally
1428 inclined to follow those wishes. This is particularly the case for something
1429 as straightforward and consistent with basic notions of fairness as
1430 providing credit.
1431         </p><p>
1432           The fact that the name of the creator follows a CC-licensed work makes the
1433 licenses an important means to develop a reputation or, in corporate speak,
1434 a brand. The drive to associate your name with your work is not just based
1435 on commercial motivations, it is fundamental to authorship.  Knowledge
1436 Unlatched is a nonprofit that helps to subsidize the print production of
1437 CC-licensed academic texts by pooling contributions from libraries around
1438 the United States. The CEO, Frances Pinter, says that the Creative Commons
1439 license on the works has a huge value to authors because reputation is the
1440 most important currency for academics. Sharing with CC is a way of having
1441 the most people see and cite your work.
1442         </p><p>
1443           Attribution can be about more than just receiving credit. It can also be
1444 about establishing provenance. People naturally want to know where content
1445 came from—the source of a work is sometimes just as interesting as the work
1446 itself. Opendesk is a platform for furniture designers to share their
1447 designs.  Consumers who like those designs can then get matched with local
1448 makers who turn the designs into real-life furniture.  The fact that I,
1449 sitting in the middle of the United States, can pick out a design created by
1450 a designer in Tokyo and then use a maker within my own community to
1451 transform the design into something tangible is part of the power of their
1452 platform. The provenance of the design is a special part of the product.
1453         </p><p>
1454           Knowing the source of a work is also critical to ensuring its
1455 credibility. Just as a trademark is designed to give consumers a way to
1456 identify the source and quality of a particular good and service, knowing
1457 the author of a work gives the public a way to assess its credibility. In a
1458 time when online discourse is plagued with misinformation, being a trusted
1459 information source is more valuable than ever.
1460         </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>
1461           As we will cover in more detail later, many endeavors that are Made with
1462 Creative Commons make money by providing a product or service other than the
1463 CC-licensed work. Sometimes that other product or service is completely
1464 unrelated to the CC content. Other times it’s a physical copy or live
1465 performance of the CC content. In all cases, the CC content can attract
1466 people to your other product or service.
1467         </p><p>
1468           Knowledge Unlatched’s Pinter told us she has seen time and again how
1469 offering CC-licensed content—that is, digitally for free—actually increases
1470 sales of the printed goods because it functions as a marketing tool. We see
1471 this phenomenon regularly with famous artwork. The Mona Lisa is likely the
1472 most recognizable painting on the planet. Its ubiquity has the effect of
1473 catalyzing interest in seeing the painting in person, and in owning physical
1474 goods with the image. Abundant copies of the content often entice more
1475 demand, not blunt it.  Another example came with the advent of the
1476 radio. Although the music industry did not see it coming (and fought it!),
1477 free music on the radio functioned as advertising for the paid version
1478 people bought in music stores.<a href="#ftn.idm506" class="footnote" name="idm506"><sup class="footnote">[56]</sup></a> Free can
1479 be a form of promotion.
1480         </p><p>
1481           In some cases, endeavors that are Made with Creative Commons do not even
1482 need dedicated marketing teams or marketing budgets. Cards Against Humanity
1483 is a CC-licensed card game available as a free download. And because of this
1484 (thanks to the CC license on the game), the creators say it is one of the
1485 best-marketed games in the world, and they have never spent a dime on
1486 marketing. The textbook publisher OpenStax has also avoided hiring a
1487 marketing team. Their products are free, or cheaper to buy in the case of
1488 physical copies, which makes them much more attractive to students who then
1489 demand them from their universities. They also partner with service
1490 providers who build atop the CC-licensed content and, in turn, spend money
1491 and resources marketing those services (and by extension, the OpenStax
1492 textbooks).
1493         </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>
1494           The great promise of Creative Commons licensing is that it signifies an
1495 embrace of remix culture. Indeed, this is the great promise of digital
1496 technology. The Internet opened up a whole new world of possibilities for
1497 public participation in creative work.
1498         </p><p>
1499           Four of the six CC licenses enable reusers to take apart, build upon, or
1500 otherwise adapt the work. Depending on the context, adaptation can mean
1501 wildly different things—translating, updating, localizing, improving,
1502 transforming. It enables a work to be customized for particular needs, uses,
1503 people, and communities, which is another distinct value to offer the
1504 public.<a href="#ftn.idm513" class="footnote" name="idm513"><sup class="footnote">[57]</sup></a> Adaptation is more game
1505 changing in some contexts than others. With educational materials, the
1506 ability to customize and update the content is critically important for its
1507 usefulness. For photography, the ability to adapt a photo is less important.
1508         </p><p>
1509           This is a way to counteract a potential downside of the abundance of free
1510 and open content described above. As Anderson wrote in Free, <span class="quote">„<span class="quote">People
1511 often don’t care as much about things they don’t pay for, and as a result
1512 they don’t think as much about how they consume them.</span>”</span><a href="#ftn.idm517" class="footnote" name="idm517"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
1513 penny for something changes our perception of that thing, then surely the
1514 act of remixing it enhances our perception exponentially.<a href="#ftn.idm519" class="footnote" name="idm519"><sup class="footnote">[59]</sup></a> We know that people will pay more for products they
1515 had a part in creating.<a href="#ftn.idm521" class="footnote" name="idm521"><sup class="footnote">[60]</sup></a> And we know
1516 that creating something, no matter what quality, brings with it a type of
1517 creative satisfaction that can never be replaced by consuming something
1518 created by someone else.<a href="#ftn.idm523" class="footnote" name="idm523"><sup class="footnote">[61]</sup></a>
1519         </p><p>
1520           Actively engaging with the content helps us avoid the type of aimless
1521 consumption that anyone who has absentmindedly scrolled through their
1522 social-media feeds for an hour knows all too well. In his book, Cognitive
1523 Surplus, Clay Shirky says, <span class="quote">„<span class="quote">To participate is to act as if your
1524 presence matters, as if, when you see something or hear something, your
1525 response is part of the event.</span>”</span><a href="#ftn.idm527" class="footnote" name="idm527"><sup class="footnote">[62]</sup></a>
1526 Opening the door to your content can get people more deeply tied to your
1527 work.
1528         </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>
1529           Operating under a traditional copyright regime usually means operating under
1530 the rules of establishment players in the media. Business strategies that
1531 are embedded in the traditional copyright system, like using digital rights
1532 management (DRM) and signing exclusivity contracts, can tie the hands of
1533 creators, often at the expense of the creator’s best interest.<a href="#ftn.idm532" class="footnote" name="idm532"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
1534 function without those barriers and, in many cases, use the increased
1535 openness as a competitive advantage. David Harris from OpenStax said they
1536 specifically pursue strategies they know that traditional publishers
1537 cannot. <span class="quote">„<span class="quote">Don’t go into a market and play by the incumbent
1538 rules,</span>”</span> David said.  <span class="quote">„<span class="quote">Change the rules of engagement.</span>”</span>
1539         </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>
1540         Like any moneymaking endeavor, those that are Made with Creative Commons
1541 have to generate some type of value for their audience or
1542 customers. Sometimes that value is subsidized by funders who are not
1543 actually beneficiaries of that value. Funders, whether philanthropic
1544 institutions, governments, or concerned individuals, provide money to the
1545 organization out of a sense of pure altruism. This is the way traditional
1546 nonprofit funding operates.<a href="#ftn.idm539" class="footnote" name="idm539"><sup class="footnote">[64]</sup></a> But in many
1547 cases, the revenue streams used by endeavors that are Made with Creative
1548 Commons are directly tied to the value they generate, where the recipient is
1549 paying for the value they receive like any standard market transaction. In
1550 still other cases, rather than the quid pro quo exchange of money for value
1551 that typically drives market transactions, the recipient gives money out of
1552 a sense of reciprocity.
1553       </p><p>
1554         Most who are Made with Creative Commons use a variety of methods to bring in
1555 revenue, some market-based and some not. One common strategy is using grant
1556 funding for content creation when research-and-development costs are
1557 particularly high, and then finding a different revenue stream (or streams)
1558 for ongoing expenses. As Shirky wrote, <span class="quote">„<span class="quote">The trick is in knowing when
1559 markets are an optimal way of organizing interactions and when they are
1560 not.</span>”</span><a href="#ftn.idm545" class="footnote" name="idm545"><sup class="footnote">[65]</sup></a>
1561       </p><p>
1562         Our case studies explore in more detail the various revenue-generating
1563 mechanisms used by the creators, organizations, and businesses we
1564 interviewed. There is nuance hidden within the specific ways each of them
1565 makes money, so it is a bit dangerous to generalize too much about what we
1566 learned.  Nonetheless, zooming out and viewing things from a higher level of
1567 abstraction can be instructive.
1568       </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>
1569           In the market, the central question when determining how to bring in revenue
1570 is what value people are willing to pay for.<a href="#ftn.idm551" class="footnote" name="idm551"><sup class="footnote">[66]</sup></a> By definition, if you are Made with Creative Commons, the content
1571 you provide is available for free and not a market commodity. Like the
1572 ubiquitous freemium business model, any possible market transaction with a
1573 consumer of your content has to be based on some added value you
1574 provide.<a href="#ftn.idm553" class="footnote" name="idm553"><sup class="footnote">[67]</sup></a>
1575         </p><p>
1576           In many ways, this is the way of the future for all content-driven
1577 endeavors. In the market, value lives in things that are scarce. Because the
1578 Internet makes a universe of content available to all of us for free, it is
1579 difficult to get people to pay for content online. The struggling newspaper
1580 industry is a testament to this fact. This is compounded by the fact that at
1581 least some amount of copying is probably inevitable. That means you may end
1582 up competing with free versions of your own content, whether you condone it
1583 or not.<a href="#ftn.idm556" class="footnote" name="idm556"><sup class="footnote">[68]</sup></a> If people can easily find your
1584 content for free, getting people to buy it will be difficult, particularly
1585 in a context where access to content is more important than owning it. In
1586 Free, Anderson wrote, <span class="quote">„<span class="quote">Copyright protection schemes, whether coded
1587 into either law or software, are simply holding up a price against the force
1588 of gravity.</span>”</span>
1589         </p><p>
1590           Of course, this doesn’t mean that content-driven endeavors have no future in
1591 the traditional marketplace. In Free, Anderson explains how when one product
1592 or service becomes free, as information and content largely have in the
1593 digital age, other things become more valuable. <span class="quote">„<span class="quote">Every abundance
1594 creates a new scarcity,</span>”</span> he wrote. You just have to find some way
1595 other than the content to provide value to your audience or customers. As
1596 Anderson says, <span class="quote">„<span class="quote">It’s easy to compete with Free: simply offer something
1597 better or at least different from the free version.</span>”</span><a href="#ftn.idm562" class="footnote" name="idm562"><sup class="footnote">[69]</sup></a>
1598         </p><p>
1599           In light of this reality, in some ways endeavors that are Made with Creative
1600 Commons are at a level playing field with all content-based endeavors in the
1601 digital age. In fact, they may even have an advantage because they can use
1602 the abundance of content to derive revenue from something scarce. They can
1603 also benefit from the goodwill that stems from the values behind being Made
1604 with Creative Commons.
1605         </p><p>
1606           For content creators and distributors, there are nearly infinite ways to
1607 provide value to the consumers of your work, above and beyond the value that
1608 lives within your free digital content. Often, the CC-licensed content
1609 functions as a marketing tool for the paid product or service.
1610         </p><p>
1611           Here are the most common high-level categories.
1612         </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
1613 <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1614           In this age of information abundance, we don’t lack for content. The trick
1615 is finding content that matches our needs and wants, so customized services
1616 are particularly valuable.  As Anderson wrote, <span class="quote">„<span class="quote">Commodity information
1617 (everybody gets the same version) wants to be free. Customized information
1618 (you get something unique and meaningful to you)  wants to be
1619 expensive.</span>”</span><a href="#ftn.idm572" class="footnote" name="idm572"><sup class="footnote">[70]</sup></a> This can be anything
1620 from the artistic and cultural consulting services provided by Ártica to the
1621 custom-song business of Jonathan <span class="quote">„<span class="quote">Song-A-Day</span>”</span> Mann.
1622         </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>
1623           In his book about maker culture, Anderson characterizes this model as giving
1624 away the bits and selling the atoms (where bits refers to digital content
1625 and atoms refer to a physical object).<a href="#ftn.idm579" class="footnote" name="idm579"><sup class="footnote">[71]</sup></a>
1626 This is particularly successful in domains where the digital version of the
1627 content isn’t as valuable as the analog version, like book publishing where
1628 a significant subset of people still prefer reading something they can hold
1629 in their hands. Or in domains where the content isn’t useful until it is in
1630 physical form, like furniture designs. In those situations, a significant
1631 portion of consumers will pay for the convenience of having someone else put
1632 the physical version together for them. Some endeavors squeeze even more out
1633 of this revenue stream by using a Creative Commons license that only allows
1634 noncommercial uses, which means no one else can sell physical copies of
1635 their work in competition with them. This strategy of reserving commercial
1636 rights can be particularly important for items like books, where every
1637 printed copy of the same work is likely to be the same quality, so it is
1638 harder to differentiate one publishing service from another. On the other
1639 hand, for items like furniture or electronics, the provider of the physical
1640 goods can compete with other providers of the same works based on quality,
1641 service, or other traditional business principles.
1642         </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>
1643           As anyone who has ever gone to a concert will tell you, experiencing
1644 creativity in person is a completely different experience from consuming a
1645 digital copy on your own. Far from acting as a substitute for face-to-face
1646 interaction, CC-licensed content can actually create demand for the
1647 in-person version of experience. You can see this effect when people go view
1648 original art in person or pay to attend a talk or training course.
1649         </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>
1650           In many cases, people who like your work will pay for products demonstrating
1651 a connection to your work. As a child of the 1980s, I can personally attest
1652 to the power of a good concert T-shirt. This can also be an important
1653 revenue stream for museums and galleries.
1654         </p><p>
1655           Sometimes the way to find a market-based revenue stream is by providing
1656 value to people other than those who consume your CC-licensed content. In
1657 these revenue streams, the free content is being subsidized by an entirely
1658 different category of people or businesses. Often, those people or
1659 businesses are paying to access your main audience. The fact that the
1660 content is free increases the size of the audience, which in turn makes the
1661 offer more valuable to the paying customers. This is a variation of a
1662 traditional business model built on free called multi-sided
1663 platforms.<a href="#ftn.idm590" class="footnote" name="idm590"><sup class="footnote">[72]</sup></a> Access to your audience
1664 isn’t the only thing people are willing to pay for—there are other services
1665 you can provide as well.
1666         </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>
1667           The traditional model of subsidizing free content is advertising. In this
1668 version of multi-sided platforms, advertisers pay for the opportunity to
1669 reach the set of eyeballs the content creators provide in the form of their
1670 audience.<a href="#ftn.idm596" class="footnote" name="idm596"><sup class="footnote">[73]</sup></a> The Internet has made this
1671 model more difficult because the number of potential channels available to
1672 reach those eyeballs has become essentially infinite.<a href="#ftn.idm598" class="footnote" name="idm598"><sup class="footnote">[74]</sup></a> Nonetheless, it remains a viable revenue stream for
1673 many content creators, including those who are Made with Creative
1674 Commons. Often, instead of paying to display advertising, the advertiser
1675 pays to be an official sponsor of particular content or projects, or of the
1676 overall endeavor.
1677         </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>
1678           Another type of multisided platform is where the content creators themselves
1679 pay to be featured on the platform.  Obviously, this revenue stream is only
1680 available to those who rely on work created, at least in part, by
1681 others. The most well-known version of this model is the
1682 <span class="quote">„<span class="quote">author-processing charge</span>”</span> of open-access journals like those
1683 published by the Public Library of Science, but there are other
1684 variations. The Conversation is primarily funded by a university-membership
1685 model, where universities pay to have their faculties participate as writers
1686 of the content on the Conversation website.
1687         </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>
1688           This is a version of a traditional business model based on brokering
1689 transactions between parties.<a href="#ftn.idm609" class="footnote" name="idm609"><sup class="footnote">[75]</sup></a> Curation
1690 is an important element of this model.  Platforms like the Noun Project add
1691 value by wading through CC-licensed content to curate a high-quality set and
1692 then derive revenue when creators of that content make transactions with
1693 customers. Other platforms make money when service providers transact with
1694 their customers; for example, Opendesk makes money every time someone on
1695 their site pays a maker to make furniture based on one of the designs on the
1696 platform.
1697         </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>
1698           As mentioned above, endeavors can make money by providing customized
1699 services to their users. Platforms can undertake a variation of this service
1700 model directed at the creators that provide the content they feature. The
1701 data platforms Figure.NZ and Figshare both capitalize on this model by
1702 providing paid tools to help their users make the data they contribute to
1703 the platform more discoverable and reusable.
1704         </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>
1705           Finally, some that are Made with Creative Commons make money by selling use
1706 of their trademarks. Well known brands that consumers associate with
1707 quality, credibility, or even an ethos can license that trademark to
1708 companies that want to take advantage of that goodwill. By definition,
1709 trademarks are scarce because they represent a particular source of a good
1710 or service. Charging for the ability to use that trademark is a way of
1711 deriving revenue from something scarce while taking advantage of the
1712 abundance of CC content.
1713         </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>
1714           Even if we set aside grant funding, we found that the traditional economic
1715 framework of understanding the market failed to fully capture the ways the
1716 endeavors we analyzed were making money. It was not simply about monetizing
1717 scarcity.
1718         </p><p>
1719           Rather than devising a scheme to get people to pay money in exchange for
1720 some direct value provided to them, many of the revenue streams were more
1721 about providing value, building a relationship, and then eventually finding
1722 some money that flows back out of a sense of reciprocity. While some look
1723 like traditional nonprofit funding models, they aren’t charity. The endeavor
1724 exchange value with people, just not necessarily synchronously or in a way
1725 that requires that those values be equal. As David Bollier wrote in Think
1726 Like a Commoner, <span class="quote">„<span class="quote">There is no self-serving calculation of whether the
1727 value given and received is strictly equal.</span>”</span>
1728         </p><p>
1729           This should be a familiar dynamic—it is the way you deal with your friends
1730 and family. We give without regard for what and when we will get back. David
1731 Bollier wrote, <span class="quote">„<span class="quote">Reciprocal social exchange lies at the heart of human
1732 identity, community and culture. It is a vital brain function that helps the
1733 human species survive and evolve.</span>”</span>
1734         </p><p>
1735           What is rare is to incorporate this sort of relationship into an endeavor
1736 that also engages with the market.<a href="#ftn.idm627" class="footnote" name="idm627"><sup class="footnote">[76]</sup></a> We
1737 almost can’t help but think of relationships in the market as being centered
1738 on an even-steven exchange of value.<a href="#ftn.idm629" class="footnote" name="idm629"><sup class="footnote">[77]</sup></a>
1739         </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
1740 <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
1741           While memberships and donations are traditional nonprofit funding models, in
1742 the Made with Creative Commons context, they are directly tied to the
1743 reciprocal relationship that is cultivated with the beneficiaries of their
1744 work. The bigger the pool of those receiving value from the content, the
1745 more likely this strategy will work, given that only a small percentage of
1746 people are likely to contribute. Since using CC licenses can grease the
1747 wheels for content to reach more people, this strategy can be more effective
1748 for endeavors that are Made with Creative Commons. The greater the argument
1749 that the content is a public good or that the entire endeavor is furthering
1750 a social mission, the more likely this strategy is to succeed.
1751         </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>
1752           In the pay-what-you-want model, the beneficiary of Creative Commons content
1753 is invited to give—at any amount they can and feel is appropriate, based on
1754 the public and personal value they feel is generated by the open
1755 content. Critically, these models are not touted as <span class="quote">„<span class="quote">buying</span>”</span>
1756 something free.  They are similar to a tip jar. People make financial
1757 contributions as an act of gratitude. These models capitalize on the fact
1758 that we are naturally inclined to give money for things we value in the
1759 marketplace, even in situations where we could find a way to get it for
1760 free.
1761         </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>
1762           Crowdfunding models are based on recouping the costs of creating and
1763 distributing content before the content is created. If the endeavor is Made
1764 with Creative Commons, anyone who wants the work in question could simply
1765 wait until it’s created and then access it for free. That means, for this
1766 model to work, people have to care about more than just receiving the
1767 work. They have to want you to succeed. Amanda Palmer credits the success of
1768 her crowdfunding on Kickstarter and Patreon to the years she spent building
1769 her community and creating a connection with her fans. She wrote in The Art
1770 of Asking, <span class="quote">„<span class="quote">Good art is made, good art is shared, help is offered,
1771 ears are bent, emotions are exchanged, the compost of real, deep connection
1772 is sprayed all over the fields. Then one day, the artist steps up and asks
1773 for something. And if the ground has been fertilized enough, the audience
1774 says, without hesitation: of course.</span>”</span>
1775         </p><p>
1776           Other types of crowdfunding rely on a sense of responsibility that a
1777 particular community may feel. Knowledge Unlatched pools funds from major
1778 U.S. libraries to subsidize CC-licensed academic work that will be, by
1779 definition, available to everyone for free. Libraries with bigger budgets
1780 tend to give more out of a sense of commitment to the library community and
1781 to the idea of open access generally.
1782         </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>
1783         Regardless of how they made money, in our interviews, we repeatedly heard
1784 language like <span class="quote">„<span class="quote">persuading people to buy</span>”</span> and <span class="quote">„<span class="quote">inviting
1785 people to pay.</span>”</span> We heard it even in connection with revenue streams
1786 that sit squarely within the market. Cory Doctorow told us, <span class="quote">„<span class="quote">I have to
1787 convince my readers that the right thing to do is to pay me.</span>”</span> The
1788 founders of the for-profit company Lumen Learning showed us the letter they
1789 send to those who opt not to pay for the services they provide in connection
1790 with their CC-licensed educational content. It isn’t a cease-and-desist
1791 letter; it’s an invitation to pay because it’s the right thing to do. This
1792 sort of behavior toward what could be considered nonpaying customers is
1793 largely unheard of in the traditional marketplace. But it seems to be part
1794 of the fabric of being Made with Creative Commons.
1795       </p><p>
1796         Nearly every endeavor we profiled relied, at least in part, on people being
1797 invested in what they do. The closer the Creative Commons content is to
1798 being <span class="quote">„<span class="quote">the product,</span>”</span> the more pronounced this dynamic has to
1799 be. Rather than simply selling a product or service, they are making
1800 ideological, personal, and creative connections with the people who value
1801 what they do.
1802       </p><p>
1803         It took me a very long time to see how this avoidance of thinking about what
1804 they do in pure market terms was deeply tied to being Made with Creative
1805 Commons.
1806       </p><p>
1807         I came to the research with preconceived notions about what Creative Commons
1808 is and what it means to be Made with Creative Commons. It turned out I was
1809 wrong on so many counts.
1810       </p><p>
1811         Obviously, being Made with Creative Commons means using Creative Commons
1812 licenses. That much I knew. But in our interviews, people spoke of so much
1813 more than copyright permissions when they explained how sharing fit into
1814 what they do. I was thinking about sharing too narrowly, and as a result, I
1815 was missing vast swaths of the meaning packed within Creative
1816 Commons. Rather than parsing the specific and narrow role of the copyright
1817 license in the equation, it is important not to disaggregate the rest of
1818 what comes with sharing. You have to widen the lens.
1819       </p><p>
1820         Being Made with Creative Commons is not just about the simple act of
1821 licensing a copyrighted work under a set of standardized terms, but also
1822 about community, social good, contributing ideas, expressing a value system,
1823 working together. These components of sharing are hard to cultivate if you
1824 think about what you do in purely market terms. Decent social behavior isn’t
1825 as intuitive when we are doing something that involves monetary exchange. It
1826 takes a conscious effort to foster the context for real sharing, based not
1827 strictly on impersonal market exchange, but on connections with the people
1828 with whom you share—connections with you, with your work, with your values,
1829 with each other.
1830       </p><p>
1831         The rest of this section will explore some of the common strategies that
1832 creators, companies, and organizations use to remind us that there are
1833 humans behind every creative endeavor.  To remind us we have obligations to
1834 each other. To remind us what sharing really looks like.
1835       </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-human"></a>Be human</h3></div></div></div><p>
1836           Humans are social animals, which means we are naturally inclined to treat
1837 each other well.<a href="#ftn.idm662" class="footnote" name="idm662"><sup class="footnote">[78]</sup></a> But the further
1838 removed we are from the person with whom we are interacting, the less caring
1839 our behavior will be. While the Internet has democratized cultural
1840 production, increased access to knowledge, and connected us in extraordinary
1841 ways, it can also make it easy forget we are dealing with another human.
1842         </p><p>
1843           To counteract the anonymous and impersonal tendencies of how we operate
1844 online, individual creators and corporations who use Creative Commons
1845 licenses work to demonstrate their humanity. For some, this means pouring
1846 their lives out on the page. For others, it means showing their creative
1847 process, giving a glimpse into how they do what they do. As writer Austin
1848 Kleon wrote, <span class="quote">„<span class="quote">Our work doesn’t speak for itself.  Human beings want to
1849 know where things came from, how they were made, and who made them. The
1850 stories you tell about the work you do have a huge effect on how people feel
1851 and what they understand about your work, and how people feel and what they
1852 understand about your work affects how they value it.</span>”</span><a href="#ftn.idm666" class="footnote" name="idm666"><sup class="footnote">[79]</sup></a>
1853         </p><p>
1854           A critical component to doing this effectively is not worrying about being a
1855 <span class="quote">„<span class="quote">brand.</span>”</span> That means not being afraid to be vulnerable. Amanda
1856 Palmer says, <span class="quote">„<span class="quote">When you’re afraid of someone’s judgment, you can’t
1857 connect with them. You’re too preoccupied with the task of impressing
1858 them.</span>”</span> Not everyone is suited to live life as an open book like
1859 Palmer, and that’s OK. There are a lot of ways to be human. The trick is
1860 just avoiding pretense and the temptation to artificially craft an
1861 image. People don’t just want the glossy version of you. They can’t relate
1862 to it, at least not in a meaningful way.
1863         </p><p>
1864           This advice is probably even more important for businesses and organizations
1865 because we instinctively conceive of them as nonhuman (though in the United
1866 States, corporations are people!). When corporations and organizations make
1867 the people behind them more apparent, it reminds people that they are
1868 dealing with something other than an anonymous corporate entity. In
1869 business-speak, this is about <span class="quote">„<span class="quote">humanizing your interactions</span>”</span>
1870 with the public.<a href="#ftn.idm673" class="footnote" name="idm673"><sup class="footnote">[80]</sup></a> But it can’t be a
1871 gimmick. You can’t fake being human.
1872         </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>
1873           Transparency helps people understand who you are and why you do what you do,
1874 but it also inspires trust. Max Temkin of Cards Against Humanity told us,
1875 <span class="quote">„<span class="quote">One of the most surprising things you can do in capitalism is just be
1876 honest with people.</span>”</span> That means sharing the good and the bad.  As
1877 Amanda Palmer wrote, <span class="quote">„<span class="quote">You can fix almost anything by authentically
1878 communicating.</span>”</span><a href="#ftn.idm680" class="footnote" name="idm680"><sup class="footnote">[81]</sup></a> It isn’t about
1879 trying to satisfy everyone or trying to sugarcoat mistakes or bad news, but
1880 instead about explaining your rationale and then being prepared to defend it
1881 when people are critical.<a href="#ftn.idm682" class="footnote" name="idm682"><sup class="footnote">[82]</sup></a>
1882         </p><p>
1883           Being accountable does not mean operating on consensus.  According to James
1884 Surowiecki, consensus-driven groups tend to resort to
1885 lowest-common-denominator solutions and avoid the sort of candid exchange of
1886 ideas that cultivates healthy collaboration.<a href="#ftn.idm685" class="footnote" name="idm685"><sup class="footnote">[83]</sup></a> Instead, it can be as simple as asking for input and then giving
1887 context and explanation about decisions you make, even if soliciting
1888 feedback and inviting discourse is time-consuming. If you don’t go through
1889 the effort to actually respond to the input you receive, it can be worse
1890 than not inviting input in the first place.<a href="#ftn.idm687" class="footnote" name="idm687"><sup class="footnote">[84]</sup></a> But when you get it right, it can guarantee the type of diversity
1891 of thought that helps endeavors excel. And it is another way to get people
1892 involved and invested in what you do.
1893         </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>
1894           Traditional economics assumes people make decisions based solely on their
1895 own economic self-interest.<a href="#ftn.idm692" class="footnote" name="idm692"><sup class="footnote">[85]</sup></a> Any
1896 relatively introspective human knows this is a fiction—we are much more
1897 complicated beings with a whole range of needs, emotions, and
1898 motivations. In fact, we are hardwired to work together and ensure
1899 fairness.<a href="#ftn.idm694" class="footnote" name="idm694"><sup class="footnote">[86]</sup></a> Being Made with Creative
1900 Commons requires an assumption that people will largely act on those social
1901 motivations, motivations that would be considered <span class="quote">„<span class="quote">irrational</span>”</span>
1902 in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">„<span class="quote">It is
1903 best to ignore people who try to scare you about free riding. That fear is
1904 based on a very shallow view of what motivates human behavior.</span>”</span> There
1905 will always be people who will act in purely selfish ways, but endeavors
1906 that are Made with Creative Commons design for the good actors.
1907         </p><p>
1908           The assumption that people will largely do the right thing can be a
1909 self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">„<span class="quote">Systems
1910 that assume people will act in ways that create public goods, and that give
1911 them opportunities and rewards for doing so, often let them work together
1912 better than neoclassical economics would predict.</span>”</span><a href="#ftn.idm700" class="footnote" name="idm700"><sup class="footnote">[87]</sup></a> When we acknowledge that people are often motivated
1913 by something other than financial self-interest, we design our endeavors in
1914 ways that encourage and accentuate our social instincts.
1915         </p><p>
1916           Rather than trying to exert control over people’s behavior, this mode of
1917 operating requires a certain level of trust. We might not realize it, but
1918 our daily lives are already built on trust. As Surowiecki wrote in The
1919 Wisdom of Crowds, <span class="quote">„<span class="quote">It’s impossible for a society to rely on law alone
1920 to make sure citizens act honestly and responsibly. And it’s impossible for
1921 any organization to rely on contracts alone to make sure that its managers
1922 and workers live up to their obligation.</span>”</span> Instead, we largely trust
1923 that people—mostly strangers—will do what they are supposed to
1924 do.<a href="#ftn.idm704" class="footnote" name="idm704"><sup class="footnote">[88]</sup></a> And most often, they do.
1925         </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>
1926           For creators, treating people as humans means not treating them like
1927 fans. As Kleon says, <span class="quote">„<span class="quote">If you want fans, you have to be a fan
1928 first.</span>”</span><a href="#ftn.idm710" class="footnote" name="idm710"><sup class="footnote">[89]</sup></a> Even if you happen to be
1929 one of the few to reach celebrity levels of fame, you are better off
1930 remembering that the people who follow your work are human, too. Cory
1931 Doctorow makes a point to answer every single email someone sends him.
1932 Amanda Palmer spends vast quantities of time going online to communicate
1933 with her public, making a point to listen just as much as she
1934 talks.<a href="#ftn.idm712" class="footnote" name="idm712"><sup class="footnote">[90]</sup></a>
1935         </p><p>
1936           The same idea goes for businesses and organizations. Rather than automating
1937 its customer service, the music platform Tribe of Noise makes a point to
1938 ensure its employees have personal, one-on-one interaction with users.
1939         </p><p>
1940           When we treat people like humans, they typically return the gift in
1941 kind. It’s called karma. But social relationships are fragile. It is all too
1942 easy to destroy them if you make the mistake of treating people as anonymous
1943 customers or free labor.<a href="#ftn.idm716" class="footnote" name="idm716"><sup class="footnote">[91]</sup></a> Platforms that
1944 rely on content from contributors are especially at risk of creating an
1945 exploitative dynamic. It is important to find ways to acknowledge and pay
1946 back the value that contributors generate. That does not mean you can solve
1947 this problem by simply paying contributors for their time or
1948 contributions. As soon as we introduce money into a relationship—at least
1949 when it takes a form of paying monetary value in exchange for other value—it
1950 can dramatically change the dynamic.<a href="#ftn.idm718" class="footnote" name="idm718"><sup class="footnote">[92]</sup></a>
1951         </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>
1952           Being Made with Creative Commons makes a statement about who you are and
1953 what you do. The symbolism is powerful. Using Creative Commons licenses
1954 demonstrates adherence to a particular belief system, which generates
1955 goodwill and connects like-minded people to your work. Sometimes people will
1956 be drawn to endeavors that are Made with Creative Commons as a way of
1957 demonstrating their own commitment to the Creative Commons value system,
1958 akin to a political statement. Other times people will identify and feel
1959 connected with an endeavor’s separate social mission. Often both.
1960         </p><p>
1961           The expression of your values doesn’t have to be implicit. In fact, many of
1962 the people we interviewed talked about how important it is to state your
1963 guiding principles up front.  Lumen Learning attributes a lot of their
1964 success to having been outspoken about the fundamental values that guide
1965 what they do. As a for-profit company, they think their expressed commitment
1966 to low-income students and open licensing has been critical to their
1967 credibility in the OER (open educational resources) community in which they
1968 operate.
1969         </p><p>
1970           When your end goal is not about making a profit, people trust that you
1971 aren’t just trying to extract value for your own gain. People notice when
1972 you have a sense of purpose that transcends your own
1973 self-interest.<a href="#ftn.idm725" class="footnote" name="idm725"><sup class="footnote">[93]</sup></a> It attracts committed
1974 employees, motivates contributors, and builds trust.
1975         </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>
1976           Endeavors that are Made with Creative Commons thrive when community is built
1977 around what they do. This may mean a community collaborating together to
1978 create something new, or it may simply be a collection of like-minded people
1979 who get to know each other and rally around common interests or
1980 beliefs.<a href="#ftn.idm730" class="footnote" name="idm730"><sup class="footnote">[94]</sup></a> To a certain extent, simply
1981 being Made with Creative Commons automatically brings with it some element
1982 of community, by helping connect you to like-minded others who recognize and
1983 are drawn to the values symbolized by using CC.
1984         </p><p>
1985           To be sustainable, though, you have to work to nurture community. People
1986 have to care—about you and each other. One critical piece to this is
1987 fostering a sense of belonging. As Jono Bacon writes in The Art of
1988 Community, <span class="quote">„<span class="quote">If there is no belonging, there is no community.</span>”</span>
1989 For Amanda Palmer and her band, that meant creating an accepting and
1990 inclusive environment where people felt a part of their <span class="quote">„<span class="quote">weird little
1991 family.</span>”</span><a href="#ftn.idm735" class="footnote" name="idm735"><sup class="footnote">[95]</sup></a> For organizations like
1992 Red Hat, that means connecting around common beliefs or goals. As the CEO
1993 Jim Whitehurst wrote in The Open Organization, <span class="quote">„<span class="quote">Tapping into passion
1994 is especially important in building the kinds of participative communities
1995 that drive open organizations.</span>”</span><a href="#ftn.idm738" class="footnote" name="idm738"><sup class="footnote">[96]</sup></a>
1996         </p><p>
1997           Communities that collaborate together take deliberate planning. Surowiecki
1998 wrote, <span class="quote">„<span class="quote">It takes a lot of work to put the group together. It’s
1999 difficult to ensure that people are working in the group’s interest and not
2000 in their own. And when there’s a lack of trust between the members of the
2001 group (which isn’t surprising given that they don’t really know each other),
2002 considerable energy is wasted trying to determine each other’s bona
2003 fides.</span>”</span><a href="#ftn.idm742" class="footnote" name="idm742"><sup class="footnote">[97]</sup></a> Building true community
2004 requires giving people within the community the power to create or influence
2005 the rules that govern the community.<a href="#ftn.idm744" class="footnote" name="idm744"><sup class="footnote">[98]</sup></a> If
2006 the rules are created and imposed in a top-down manner, people feel like
2007 they don’t have a voice, which in turn leads to disengagement.
2008         </p><p>
2009           Community takes work, but working together, or even simply being connected
2010 around common interests or values, is in many ways what sharing is about.
2011         </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>
2012           Conventional wisdom in the marketplace dictates that people should try to
2013 extract as much money as possible from resources. This is essentially what
2014 defines so much of the so-called sharing economy. In an article on the
2015 Harvard Business Review website called <span class="quote">„<span class="quote">The Sharing Economy Isn’t
2016 about Sharing at All,</span>”</span> authors Giana Eckhardt and Fleura Bardhi
2017 explained how the anonymous market-driven trans-actions in most
2018 sharing-economy businesses are purely about monetizing access.<a href="#ftn.idm751" class="footnote" name="idm751"><sup class="footnote">[99]</sup></a> As Lisa Gansky put it in her book The Mesh, the
2019 primary strategy of the sharing economy is to sell the same product multiple
2020 times, by selling access rather than ownership.<a href="#ftn.idm755" class="footnote" name="idm755"><sup class="footnote">[100]</sup></a> That is not sharing.
2021         </p><p>
2022           Sharing requires adding as much or more value to the ecosystem than you
2023 take. You can’t simply treat open content as a free pool of resources from
2024 which to extract value. Part of giving back to the ecosystem is contributing
2025 content back to the public under CC licenses. But it doesn’t have to just be
2026 about creating content; it can be about adding value in other ways.  The
2027 social blogging platform Medium provides value to its community by
2028 incentivizing good behavior, and the result is an online space with
2029 remarkably high-quality user-generated content and limited
2030 trolling.<a href="#ftn.idm758" class="footnote" name="idm758"><sup class="footnote">[101]</sup></a> Opendesk contributes to its
2031 community by committing to help its designers make money, in part by
2032 actively curating and displaying their work on its platform effectively.
2033         </p><p>
2034           In all cases, it is important to openly acknowledge the amount of value you
2035 add versus that which you draw on that was created by others. Being
2036 transparent about this builds credibility and shows you are a contributing
2037 player in the commons. When your endeavor is making money, that also means
2038 apportioning financial compensation in a way that reflects the value
2039 contributed by others, providing more to contributors when the value they
2040 add outweighs the value provided by you.
2041         </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>
2042           Thanks to the Internet, we can tap into the talents and expertise of people
2043 around the globe. Chris Anderson calls it the Long Tail of
2044 talent.<a href="#ftn.idm766" class="footnote" name="idm766"><sup class="footnote">[102]</sup></a> But to make collaboration work,
2045 the group has to be effective at what it is doing, and the people within the
2046 group have to find satisfaction from being involved.<a href="#ftn.idm768" class="footnote" name="idm768"><sup class="footnote">[103]</sup></a> This is easier to facilitate for some types of
2047 creative work than it is for others. Groups tied together online collaborate
2048 best when people can work independently and asynchronously, and particularly
2049 for larger groups with loose ties, when contributors can make simple
2050 improvements without a particularly heavy time commitment.<a href="#ftn.idm770" class="footnote" name="idm770"><sup class="footnote">[104]</sup></a>
2051         </p><p>
2052           As the success of Wikipedia demonstrates, editing an online encyclopedia is
2053 exactly the sort of activity that is perfect for massive co-creation because
2054 small, incremental edits made by a diverse range of people acting on their
2055 own are immensely valuable in the aggregate. Those same sorts of small
2056 contributions would be less useful for many other types of creative work,
2057 and people are inherently less motivated to contribute when it doesn’t
2058 appear that their efforts will make much of a difference.<a href="#ftn.idm773" class="footnote" name="idm773"><sup class="footnote">[105]</sup></a>
2059         </p><p>
2060           It is easy to romanticize the opportunities for global cocreation made
2061 possible by the Internet, and, indeed, the successful examples of it are
2062 truly incredible and inspiring.  But in a wide range of
2063 circumstances—perhaps more often than not—community cocreation is not part
2064 of the equation, even within endeavors built on CC content. Shirky wrote,
2065 <span class="quote">„<span class="quote">Sometimes the value of professional work trumps the value of amateur
2066 sharing or a feeling of belonging.<a href="#ftn.idm777" class="footnote" name="idm777"><sup class="footnote">[106]</sup></a> The
2067 textbook publisher OpenStax, which distributes all of its material for free
2068 under CC licensing, is an example of this dynamic. Rather than tapping the
2069 community to help cocreate their college textbooks, they invest a
2070 significant amount of time and money to develop professional content. For
2071 individual creators, where the creative work is the basis for what they do,
2072 community cocreation is only rarely a part of the picture. Even musician
2073 Amanda Palmer, who is famous for her openness and involvement with her fans,
2074 said,</span>”</span>The only department where I wasn’t open to input was the
2075 writing, the music itself."<a href="#ftn.idm779" class="footnote" name="idm779"><sup class="footnote">[107]</sup></a>
2076         </p><p>
2077           While we tend to immediately think of cocreation and remixing when we hear
2078 the word collaboration, you can also involve others in your creative process
2079 in more informal ways, by sharing half-baked ideas and early drafts, and
2080 interacting with the public to incubate ideas and get feedback. So-called
2081 <span class="quote">„<span class="quote">making in public</span>”</span> opens the door to letting people feel more
2082 invested in your creative work.<a href="#ftn.idm783" class="footnote" name="idm783"><sup class="footnote">[108]</sup></a> And it
2083 shows a nonterritorial approach to ideas and information. Stephen Covey (of
2084 The 7 Habits of Highly Effective People fame) calls this the abundance
2085 mentality—treating ideas like something plentiful—and it can create an
2086 environment where collaboration flourishes.<a href="#ftn.idm785" class="footnote" name="idm785"><sup class="footnote">[109]</sup></a>
2087         </p><p>
2088           There is no one way to involve people in what you do. They key is finding a
2089 way for people to contribute on their terms, compelled by their own
2090 motivations.<a href="#ftn.idm788" class="footnote" name="idm788"><sup class="footnote">[110]</sup></a> What that looks like
2091 varies wildly depending on the project. Not every endeavor that is Made with
2092 Creative Commons can be Wikipedia, but every endeavor can find ways to
2093 invite the public into what they do. The goal for any form of collaboration
2094 is to move away from thinking of consumers as passive recipients of your
2095 content and transition them into active participants.<a href="#ftn.idm790" class="footnote" name="idm790"><sup class="footnote">[111]</sup></a>
2096         </p></div></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm397" class="footnote"><p><a href="#idm397" class="para"><sup class="para">[37] </sup></a>
2097           Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
2098 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>.
2099         </p></div><div id="ftn.idm411" class="footnote"><p><a href="#idm411" class="para"><sup class="para">[38] </sup></a>
2100           Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
2101 Age (San Francisco, CA: McSweeney’s, 2014) 68.
2102         </p></div><div id="ftn.idm420" class="footnote"><p><a href="#idm420" class="para"><sup class="para">[39] </sup></a>
2103           Ibid., 55.
2104         </p></div><div id="ftn.idm423" class="footnote"><p><a href="#idm423" class="para"><sup class="para">[40] </sup></a>
2105           Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
2106 Something for Nothing, reprint with new preface (New York: Hyperion, 2010),
2107 224.
2108         </p></div><div id="ftn.idm427" class="footnote"><p><a href="#idm427" class="para"><sup class="para">[41] </sup></a>
2109           Doctorow, Information Doesn’t Want to Be Free, 44.
2110         </p></div><div id="ftn.idm439" class="footnote"><p><a href="#idm439" class="para"><sup class="para">[42] </sup></a>
2111             Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let
2112 People Help (New York: Grand Central, 2014), 121.
2113           </p></div><div id="ftn.idm443" class="footnote"><p><a href="#idm443" class="para"><sup class="para">[43] </sup></a>
2114             Chris Anderson, Makers: The New Industrial Revolution (New York: Signal,
2115 2012), 64.
2116           </p></div><div id="ftn.idm447" class="footnote"><p><a href="#idm447" class="para"><sup class="para">[44] </sup></a>
2117             David Bollier, Think Like a Commoner: A Short Introduction to the Life of
2118 the Commons (Gabriola Island, BC: New Society, 2014), 70.
2119           </p></div><div id="ftn.idm450" class="footnote"><p><a href="#idm450" class="para"><sup class="para">[45] </sup></a>
2120             Anderson, Makers, 66.
2121           </p></div><div id="ftn.idm453" class="footnote"><p><a href="#idm453" class="para"><sup class="para">[46] </sup></a>
2122             Bryan Kramer, Shareology: How Sharing Is Powering the Human Economy (New
2123 York: Morgan James, 2016), 10.
2124           </p></div><div id="ftn.idm456" class="footnote"><p><a href="#idm456" class="para"><sup class="para">[47] </sup></a>
2125             Anderson, Free, 62.
2126           </p></div><div id="ftn.idm461" class="footnote"><p><a href="#idm461" class="para"><sup class="para">[48] </sup></a>
2127             Doctorow, Information Doesn’t Want to Be Free, 38.
2128           </p></div><div id="ftn.idm466" class="footnote"><p><a href="#idm466" class="para"><sup class="para">[49] </sup></a>
2129             Bollier, Think Like a Commoner, 68.
2130           </p></div><div id="ftn.idm472" class="footnote"><p><a href="#idm472" class="para"><sup class="para">[50] </sup></a>
2131             Anderson, Free, 86.
2132           </p></div><div id="ftn.idm476" class="footnote"><p><a href="#idm476" class="para"><sup class="para">[51] </sup></a>
2133             Doctorow, Information Doesn’t Want to Be Free, 144.
2134           </p></div><div id="ftn.idm486" class="footnote"><p><a href="#idm486" class="para"><sup class="para">[52] </sup></a>
2135               Anderson, Free, 123.
2136             </p></div><div id="ftn.idm489" class="footnote"><p><a href="#idm489" class="para"><sup class="para">[53] </sup></a>
2137               Ibid., 132.
2138             </p></div><div id="ftn.idm491" class="footnote"><p><a href="#idm491" class="para"><sup class="para">[54] </sup></a>
2139               Ibid., 70.
2140             </p></div><div id="ftn.idm496" class="footnote"><p><a href="#idm496" class="para"><sup class="para">[55] </sup></a>
2141               James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005),
2142 124. Surowiecki says, <span class="quote">„<span class="quote">The measure of success of laws and contracts is
2143 how rarely they are invoked.</span>”</span>
2144             </p></div><div id="ftn.idm506" class="footnote"><p><a href="#idm506" class="para"><sup class="para">[56] </sup></a>
2145               Anderson, Free, 44.
2146             </p></div><div id="ftn.idm513" class="footnote"><p><a href="#idm513" class="para"><sup class="para">[57] </sup></a>
2147               Osterwalder and Pigneur, Business Model Generation, 23.
2148             </p></div><div id="ftn.idm517" class="footnote"><p><a href="#idm517" class="para"><sup class="para">[58] </sup></a>
2149               Anderson, Free, 67.
2150             </p></div><div id="ftn.idm519" class="footnote"><p><a href="#idm519" class="para"><sup class="para">[59] </sup></a>
2151               Ibid., 58.
2152             </p></div><div id="ftn.idm521" class="footnote"><p><a href="#idm521" class="para"><sup class="para">[60] </sup></a>
2153               Anderson, Makers, 71.
2154             </p></div><div id="ftn.idm523" class="footnote"><p><a href="#idm523" class="para"><sup class="para">[61] </sup></a>
2155               Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into
2156 Collaborators (London: Penguin Books, 2010), 78.
2157             </p></div><div id="ftn.idm527" class="footnote"><p><a href="#idm527" class="para"><sup class="para">[62] </sup></a>
2158               Ibid., 21.
2159             </p></div><div id="ftn.idm532" class="footnote"><p><a href="#idm532" class="para"><sup class="para">[63] </sup></a>
2160               Doctorow, Information Doesn’t Want to Be Free, 43.
2161             </p></div><div id="ftn.idm539" class="footnote"><p><a href="#idm539" class="para"><sup class="para">[64] </sup></a>
2162             William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">„<span class="quote">Ten
2163 Nonprofit Funding Models,</span>”</span> Stanford Social Innovation Review, Spring
2164 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>.
2165           </p></div><div id="ftn.idm545" class="footnote"><p><a href="#idm545" class="para"><sup class="para">[65] </sup></a>
2166             Shirky, Cognitive Surplus, 111.
2167           </p></div><div id="ftn.idm551" class="footnote"><p><a href="#idm551" class="para"><sup class="para">[66] </sup></a>
2168               Osterwalder and Pigneur, Business Model Generation, 30.
2169             </p></div><div id="ftn.idm553" class="footnote"><p><a href="#idm553" class="para"><sup class="para">[67] </sup></a>
2170               Jim Whitehurst, The Open Organization: Igniting Passion and Performance
2171 (Boston: Harvard Business Review Press, 2015), 202.
2172             </p></div><div id="ftn.idm556" class="footnote"><p><a href="#idm556" class="para"><sup class="para">[68] </sup></a>
2173               Anderson, Free, 71.
2174             </p></div><div id="ftn.idm562" class="footnote"><p><a href="#idm562" class="para"><sup class="para">[69] </sup></a>
2175               Ibid., 231.
2176             </p></div><div id="ftn.idm572" class="footnote"><p><a href="#idm572" class="para"><sup class="para">[70] </sup></a>
2177               Ibid., 97.
2178             </p></div><div id="ftn.idm579" class="footnote"><p><a href="#idm579" class="para"><sup class="para">[71] </sup></a>
2179               Anderson, Makers, 107.
2180             </p></div><div id="ftn.idm590" class="footnote"><p><a href="#idm590" class="para"><sup class="para">[72] </sup></a>
2181               Osterwalder and Pigneur, Business Model Generation, 89.
2182             </p></div><div id="ftn.idm596" class="footnote"><p><a href="#idm596" class="para"><sup class="para">[73] </sup></a>
2183               Ibid., 92.
2184             </p></div><div id="ftn.idm598" class="footnote"><p><a href="#idm598" class="para"><sup class="para">[74] </sup></a>
2185               Anderson, Free, 142.
2186             </p></div><div id="ftn.idm609" class="footnote"><p><a href="#idm609" class="para"><sup class="para">[75] </sup></a>
2187               Osterwalder and Pigneur, Business Model Generation, 32.
2188             </p></div><div id="ftn.idm627" class="footnote"><p><a href="#idm627" class="para"><sup class="para">[76] </sup></a>
2189               Bollier, Think Like a Commoner, 150.
2190             </p></div><div id="ftn.idm629" class="footnote"><p><a href="#idm629" class="para"><sup class="para">[77] </sup></a>
2191               Ibid., 134.
2192             </p></div><div id="ftn.idm662" class="footnote"><p><a href="#idm662" class="para"><sup class="para">[78] </sup></a>
2193               Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our
2194 Decisions, rev. ed. (New York: Harper Perennial, 2010), 109.
2195             </p></div><div id="ftn.idm666" class="footnote"><p><a href="#idm666" class="para"><sup class="para">[79] </sup></a>
2196               Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and Get
2197 Discovered (New York: Workman, 2014), 93.
2198             </p></div><div id="ftn.idm673" class="footnote"><p><a href="#idm673" class="para"><sup class="para">[80] </sup></a>
2199               Kramer, Shareology, 76.
2200             </p></div><div id="ftn.idm680" class="footnote"><p><a href="#idm680" class="para"><sup class="para">[81] </sup></a>
2201               Palmer, Art of Asking, 252.
2202             </p></div><div id="ftn.idm682" class="footnote"><p><a href="#idm682" class="para"><sup class="para">[82] </sup></a>
2203               Whitehurst, Open Organization, 145.
2204             </p></div><div id="ftn.idm685" class="footnote"><p><a href="#idm685" class="para"><sup class="para">[83] </sup></a>
2205               Surowiecki, Wisdom of Crowds, 203.
2206             </p></div><div id="ftn.idm687" class="footnote"><p><a href="#idm687" class="para"><sup class="para">[84] </sup></a>
2207               Whitehurst, Open Organization, 80.
2208             </p></div><div id="ftn.idm692" class="footnote"><p><a href="#idm692" class="para"><sup class="para">[85] </sup></a>
2209               Bollier, Think Like a Commoner, 25.
2210             </p></div><div id="ftn.idm694" class="footnote"><p><a href="#idm694" class="para"><sup class="para">[86] </sup></a>
2211               Ibid., 31.
2212             </p></div><div id="ftn.idm700" class="footnote"><p><a href="#idm700" class="para"><sup class="para">[87] </sup></a>
2213               Shirky, Cognitive Surplus, 112.
2214             </p></div><div id="ftn.idm704" class="footnote"><p><a href="#idm704" class="para"><sup class="para">[88] </sup></a>
2215               Surowiecki, Wisdom of Crowds, 124.
2216             </p></div><div id="ftn.idm710" class="footnote"><p><a href="#idm710" class="para"><sup class="para">[89] </sup></a>
2217               Kleon, Show Your Work, 127.
2218             </p></div><div id="ftn.idm712" class="footnote"><p><a href="#idm712" class="para"><sup class="para">[90] </sup></a>
2219               Palmer, Art of Asking, 121.
2220             </p></div><div id="ftn.idm716" class="footnote"><p><a href="#idm716" class="para"><sup class="para">[91] </sup></a>
2221               Ariely, Predictably Irrational, 87.
2222             </p></div><div id="ftn.idm718" class="footnote"><p><a href="#idm718" class="para"><sup class="para">[92] </sup></a>
2223               Ibid., 105.
2224             </p></div><div id="ftn.idm725" class="footnote"><p><a href="#idm725" class="para"><sup class="para">[93] </sup></a>
2225               Ibid., 36.
2226             </p></div><div id="ftn.idm730" class="footnote"><p><a href="#idm730" class="para"><sup class="para">[94] </sup></a>
2227               Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
2228 2012), 36.
2229             </p></div><div id="ftn.idm735" class="footnote"><p><a href="#idm735" class="para"><sup class="para">[95] </sup></a>
2230               Palmer, Art of Asking, 98.
2231             </p></div><div id="ftn.idm738" class="footnote"><p><a href="#idm738" class="para"><sup class="para">[96] </sup></a>
2232               Whitehurst, Open Organization, 34.
2233             </p></div><div id="ftn.idm742" class="footnote"><p><a href="#idm742" class="para"><sup class="para">[97] </sup></a>
2234               Surowiecki, Wisdom of Crowds, 200.
2235             </p></div><div id="ftn.idm744" class="footnote"><p><a href="#idm744" class="para"><sup class="para">[98] </sup></a>
2236               Bollier, Think Like a Commoner, 29.
2237             </p></div><div id="ftn.idm751" class="footnote"><p><a href="#idm751" class="para"><sup class="para">[99] </sup></a>
2238               Giana Eckhardt and Fleura Bardhi, <span class="quote">„<span class="quote">The Sharing Economy Isn’t about
2239 Sharing at All,</span>”</span> Harvard Business Review (website), January 28, 2015,
2240 <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>.
2241             </p></div><div id="ftn.idm755" class="footnote"><p><a href="#idm755" class="para"><sup class="para">[100] </sup></a>
2242               Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with
2243 new epilogue (New York: Portfolio, 2012).
2244             </p></div><div id="ftn.idm758" class="footnote"><p><a href="#idm758" class="para"><sup class="para">[101] </sup></a>
2245               David Lee, <span class="quote">„<span class="quote">Inside Medium: An Attempt to Bring Civility to the
2246 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>.
2247             </p></div><div id="ftn.idm766" class="footnote"><p><a href="#idm766" class="para"><sup class="para">[102] </sup></a>
2248               Anderson, Makers, 148.
2249             </p></div><div id="ftn.idm768" class="footnote"><p><a href="#idm768" class="para"><sup class="para">[103] </sup></a>
2250               Shirky, Cognitive Surplus, 164.
2251             </p></div><div id="ftn.idm770" class="footnote"><p><a href="#idm770" class="para"><sup class="para">[104] </sup></a>
2252               Whitehurst, foreword to Open Organization.
2253             </p></div><div id="ftn.idm773" class="footnote"><p><a href="#idm773" class="para"><sup class="para">[105] </sup></a>
2254               Shirky, Cognitive Surplus, 144.
2255             </p></div><div id="ftn.idm777" class="footnote"><p><a href="#idm777" class="para"><sup class="para">[106] </sup></a>
2256               Ibid., 154.
2257             </p></div><div id="ftn.idm779" class="footnote"><p><a href="#idm779" class="para"><sup class="para">[107] </sup></a>
2258               Palmer, Art of Asking, 163.
2259             </p></div><div id="ftn.idm783" class="footnote"><p><a href="#idm783" class="para"><sup class="para">[108] </sup></a>
2260               Anderson, Makers, 173.
2261             </p></div><div id="ftn.idm785" class="footnote"><p><a href="#idm785" class="para"><sup class="para">[109] </sup></a>
2262               Tom Kelley and David Kelley, Creative Confidence: Unleashing the Potential
2263 within Us All (New York: Crown, 2013), 82.
2264             </p></div><div id="ftn.idm788" class="footnote"><p><a href="#idm788" class="para"><sup class="para">[110] </sup></a>
2265               Whitehurst, foreword to Open Organization.
2266             </p></div><div id="ftn.idm790" class="footnote"><p><a href="#idm790" class="para"><sup class="para">[111] </sup></a>
2267               Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
2268 Collaborative Consumption (New York: Harper Business, 2010), 188.
2269             </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>Rozdział 3. Licencje Creative Commons</h2></div></div></div><p>
2270       All of the Creative Commons licenses grant a basic set of permissions. At a
2271 minimum, a CC- licensed work can be copied and shared in its original form
2272 for noncommercial purposes so long as attribution is given to the
2273 creator. There are six licenses in the CC license suite that build on that
2274 basic set of permissions, ranging from the most restrictive (allowing only
2275 those basic permissions to share unmodified copies for noncommercial
2276 purposes)  to the most permissive (reusers can do anything they want with
2277 the work, even for commercial purposes, as long as they give the creator
2278 credit). The licenses are built on copyright and do not cover other types of
2279 rights that creators might have in their works, like patents or trademarks.
2280     </p><p>
2281       Here are the six licenses:
2282     </p><p>
2283         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D83BF99FC0821C489.png" width="40.0%"></span>
2284       </p><p>
2285       The Attribution license (CC BY) lets others distribute, remix, tweak, and
2286 build upon your work, even commercially, as long as they credit you for the
2287 original creation. This is the most accommodating of licenses
2288 offered. Recommended for maximum dissemination and use of licensed
2289 materials.
2290     </p><p>
2291         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DFD3592CB17C4EC38.png" width="40.0%"></span>
2292       </p><p>
2293       The Attribution-Share-Alike license (CC BY-SA) lets others remix, tweak, and
2294 build upon your work, even for commercial purposes, as long as they credit
2295 you and license their new creations under identical terms. This license is
2296 often compared to <span class="quote">„<span class="quote">copyleft</span>”</span> free and open source software
2297 licenses.  All new works based on yours will carry the same license, so any
2298 derivatives will also allow commercial use.
2299     </p><p>
2300         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D254882DE24793FEA.png" width="40.0%"></span>
2301       </p><p>
2302       The Attribution-NoDerivs license (CC BY-ND) allows for redistribution,
2303 commercial and noncommercial, as long as it is passed along unchanged with
2304 credit to you.
2305     </p><p>
2306         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png" width="40.0%"></span>
2307       </p><p>
2308       The Attribution-NonCommercial license (CC BY-NC) lets others remix, tweak,
2309 and build upon your work noncommercially. Although their new works must also
2310 acknowledge you, they don’t have to license their derivative works on the
2311 same terms.
2312     </p><p>
2313         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D16DA603376395620.png" width="40.0%"></span>
2314       </p><p>
2315       The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA)  lets others
2316 remix, tweak, and build upon your work noncommercially, as long as they
2317 credit you and license their new creations under the same terms.
2318     </p><p>
2319         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DC3FEF92B21310965.png" width="40.0%"></span>
2320       </p><p>
2321       The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most
2322 restrictive of our six main licenses, only allowing others to download your
2323 works and share them with others as long as they credit you, but they can’t
2324 change them or use them commercially.
2325     </p><p>
2326       In addition to these six licenses, Creative Commons has two public-domain
2327 tools—one for creators and the other for those who manage collections of
2328 existing works by authors whose terms of copyright have expired:
2329     </p><p>
2330         <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008DBE3414994CD27786.png" width="40.0%"></span>
2331       </p><p>
2332       CC0 enables authors and copyright owners to dedicate their works to the
2333 worldwide public domain (<span class="quote">„<span class="quote">no rights reserved</span>”</span>).
2334     </p><p>
2335         <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008D36DCD649C5B1411F.png" width="40.0%"></span>
2336       </p><p>
2337       The Creative Commons Public Domain Mark facilitates the labeling and
2338 discovery of works that are already free of known copyright restrictions.
2339     </p><p>
2340       In our case studies, some use just one Creative Commons license, others use
2341 several. Attribution (found in thirteen case studies)  and
2342 Attribution-ShareAlike (found in eight studies) were the most common, with
2343 the other licenses coming up in four or so case studies, including the
2344 public-domain tool CC0. Some of the organizations we profiled offer both
2345 digital content and software: by using open-source-software licenses for the
2346 software code and Creative Commons licenses for digital content, they
2347 amplify their involvement with and commitment to sharing.
2348     </p><p>
2349       There is a popular misconception that the three NonCommercial licenses
2350 offered by CC are the only options for those who want to make money off
2351 their work. As we hope this book makes clear, there are many ways to make
2352 endeavors that are Made with Creative Commons sustainable. Reserving
2353 commercial rights is only one of those ways. It is certainly true that a
2354 license that allows others to make commercial use of your work (CC BY, CC
2355 BY-SA, and CC BY-ND) forecloses some traditional revenue streams. If you
2356 apply an Attribution (CC BY) license to your book, you can’t force a film
2357 company to pay you royalties if they turn your book into a feature-length
2358 film, or prevent another company from selling physical copies of your work.
2359     </p><p>
2360       The decision to choose a NonCommercial and/or NoDerivs license comes down to
2361 how much you need to retain control over the creative work. The
2362 NonCommercial and NoDerivs licenses are ways of reserving some significant
2363 portion of the exclusive bundle of rights that copyright grants to
2364 creators. In some cases, reserving those rights is important to how you
2365 bring in revenue. In other cases, creators use a NonCommercial or NoDerivs
2366 license because they can’t give up on the dream of hitting the creative
2367 jackpot.  The music platform Tribe of Noise told us the NonCommercial
2368 licenses were popular among their users because people still held out the
2369 dream of having a major record label discover their work.
2370     </p><p>
2371       Other times the decision to use a more restrictive license is due to a
2372 concern about the integrity of the work. For example, the nonprofit
2373 TeachAIDS uses a NoDerivs license for its educational materials because the
2374 medical subject matter is particularly important to get right.
2375     </p><p>
2376       There is no one right way. The NonCommercial and NoDerivs restrictions
2377 reflect the values and preferences of creators about how their creative work
2378 should be reused, just as the ShareAlike license reflects a different set of
2379 values, one that is less about controlling access to their own work and more
2380 about ensuring that whatever gets created with their work is available to
2381 all on the same terms. Since the beginning of the commons, people have been
2382 setting up structures that helped regulate the way in which shared resources
2383 were used. The CC licenses are an attempt to standardize norms across all
2384 domains.
2385     </p><p>
2386       Note
2387     </p><p>
2388       For more about the licenses including examples and tips on sharing your work
2389 in the digital commons, start with the Creative Commons page called
2390 <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>.
2391     </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Część II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
2392     The twenty-four case studies in this section were chosen from hundreds of
2393 nominations received from Kickstarter backers, Creative Commons staff, and
2394 the global Creative Commons community. We selected eighty potential
2395 candidates that represented a mix of industries, content types, revenue
2396 streams, and parts of the world.  Twelve of the case studies were selected
2397 from that group based on votes cast by Kickstarter backers, and the other
2398 twelve were selected by us.
2399   </p><p>
2400     We did background research and conducted interviews for each case study,
2401 based on the same set of basic questions about the endeavor.  The idea for
2402 each case study is to tell the story about the endeavor and the role sharing
2403 plays within it, largely the way in which it was told to us by those we
2404 interviewed.
2405   </p><div class="toc"><p><b>Spis treści</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>Rozdział 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
2406         Arduino is a for-profit open-source electronics platform and computer
2407 hardware and software company. Founded in 2005 in Italy.
2408       </p><p>
2409           <a class="ulink" href="http://www.arduino.cc" target="_top">http://www.arduino.cc</a>
2410         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
2411 copies (sales of boards, modules, shields, and kits), licensing a trademark
2412 (fees paid by those who want to sell Arduino products using their name)
2413       </p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
2414       </p><p><span class="strong"><strong>Interviewees</strong></span>: David Cuartielles and Tom
2415 Igoe, cofounders
2416       </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}
2417     \textit{
2418         Profile written by Paul Stacey
2419       }
2420     \end{flushright}</td></tr></table></div><p>
2421       In 2005, at the Interaction Design Institute Ivrea in northern Italy,
2422 teachers and students needed an easy way to use electronics and programming
2423 to quickly prototype design ideas. As musicians, artists, and designers,
2424 they needed a platform that didn’t require engineering expertise. A group of
2425 teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe,
2426 Gianluca Martino, and David Mellis, built a platform that combined different
2427 open technologies. They called it Arduino. The platform integrated software,
2428 hardware, microcontrollers, and electronics. All aspects of the platform
2429 were openly licensed: hardware designs and documentation with the
2430 Attribution-Share-Alike license (CC BY-SA), and software with the GNU
2431 General Public License.
2432     </p><p>
2433       Arduino boards are able to read inputs—light on a sensor, a finger on a
2434 button, or a Twitter message—and turn it into outputs—activating a motor,
2435 turning on an LED, publishing something online. You send a set of
2436 instructions to the microcontroller on the board by using the Arduino
2437 programming language and Arduino software (based on a piece of open-source
2438 software called Processing, a programming tool used to make visual art).
2439     </p><p><span class="quote">„<span class="quote">The reasons for making Arduino open source are complicated,</span>”</span>
2440 Tom says. Partly it was about supporting flexibility. The open-source nature
2441 of Arduino empowers users to modify it and create a lot of different
2442 variations, adding on top of what the founders build. David says this
2443 <span class="quote">„<span class="quote">ended up strengthening the platform far beyond what we had even
2444 thought of building.</span>”</span>
2445     </p><p>
2446       For Tom another factor was the impending closure of the Ivrea design
2447 school. He’d seen other organizations close their doors and all their work
2448 and research just disappear. Open-sourcing ensured that Arduino would
2449 outlive the Ivrea closure. Persistence is one thing Tom really likes about
2450 open source. If key people leave, or a company shuts down, an open-source
2451 product lives on. In Tom’s view, <span class="quote">„<span class="quote">Open sourcing makes it easier to
2452 trust a product.</span>”</span>
2453     </p><p>
2454       With the school closing, David and some of the other Arduino founders
2455 started a consulting firm and multidisciplinary design studio they called
2456 Tinker, in London. Tinker designed products and services that bridged the
2457 digital and the physical, and they taught people how to use new technologies
2458 in creative ways.  Revenue from Tinker was invested in sustaining and
2459 enhancing Arduino.
2460     </p><p>
2461       For Tom, part of Arduino’s success is because the founders made themselves
2462 the first customer of their product. They made products they themselves
2463 personally wanted. It was a matter of <span class="quote">„<span class="quote">I need this thing,</span>”</span> not
2464 <span class="quote">„<span class="quote">If we make this, we’ll make a lot of money.</span>”</span> Tom notes that
2465 being your own first customer makes you more confident and convincing at
2466 selling your product.
2467     </p><p>
2468       Arduino’s business model has evolved over time—and Tom says model is a
2469 grandiose term for it. Originally, they just wanted to make a few boards and
2470 get them out into the world. They started out with two hundred boards, sold
2471 them, and made a little profit. They used that to make another thousand,
2472 which generated enough revenue to make five thousand. In the early days,
2473 they simply tried to generate enough funding to keep the venture going day
2474 to day. When they hit the ten thousand mark, they started to think about
2475 Arduino as a company. By then it was clear you can open-source the design
2476 but still manufacture the physical product. As long as it’s a quality
2477 product and sold at a reasonable price, people will buy it.
2478     </p><p>
2479       Arduino now has a worldwide community of makers—students, hobbyists,
2480 artists, programmers, and professionals. Arduino provides a wiki called
2481 Playground (a wiki is where all users can edit and add pages, contributing
2482 to and benefiting from collective research). People share code, circuit
2483 diagrams, tutorials, DIY instructions, and tips and tricks, and show off
2484 their projects. In addition, there’s a multilanguage discussion forum where
2485 users can get help using Arduino, discuss topics like robotics, and make
2486 suggestions for new Arduino product designs. As of January 2017, 324,928
2487 members had made 2,989,489 posts on 379,044 topics. The worldwide community
2488 of makers has contributed an incredible amount of accessible knowledge
2489 helpful to novices and experts alike.
2490     </p><p>
2491       Transitioning Arduino from a project to a company was a big step.  Other
2492 businesses who made boards were charging a lot of money for them. Arduino
2493 wanted to make theirs available at a low price to people across a wide range
2494 of industries. As with any business, pricing was key. They wanted prices
2495 that would get lots of customers but were also high enough to sustain the
2496 business.
2497     </p><p>
2498       For a business, getting to the end of the year and not being in the red is a
2499 success. Arduino may have an open-licensing strategy, but they are still a
2500 business, and all the things needed to successfully run one still
2501 apply. David says, <span class="quote">„<span class="quote">If you do those other things well, sharing things
2502 in an open-source way can only help you.</span>”</span>
2503     </p><p>
2504       While openly licensing the designs, documentation, and software ensures
2505 longevity, it does have risks. There’s a possibility that others will create
2506 knockoffs, clones, and copies. The CC BY-SA license means anyone can produce
2507 copies of their boards, redesign them, and even sell boards that copy the
2508 design. They don’t have to pay a license fee to Arduino or even ask
2509 permission. However, if they republish the design of the board, they have to
2510 give attribution to Arduino. If they change the design, they must release
2511 the new design using the same Creative Commons license to ensure that the
2512 new version is equally free and open.
2513     </p><p>
2514       Tom and David say that a lot of people have built companies off of Arduino,
2515 with dozens of Arduino derivatives out there. But in contrast to closed
2516 business models that can wring money out of the system over many years
2517 because there is no competition, Arduino founders saw competition as keeping
2518 them honest, and aimed for an environment of collaboration. A benefit of
2519 open over closed is the many new ideas and designs others have contributed
2520 back to the Arduino ecosystem, ideas and designs that Arduino and the
2521 Arduino community use and incorporate into new products.
2522     </p><p>
2523       Over time, the range of Arduino products has diversified, changing and
2524 adapting to new needs and challenges. In addition to simple entry level
2525 boards, new products have been added ranging from enhanced boards that
2526 provide advanced functionality and faster performance, to boards for
2527 creating Internet of Things applications, wearables, and 3-D printing. The
2528 full range of official Arduino products includes boards, modules (a smaller
2529 form-factor of classic boards), shields (elements that can be plugged onto a
2530 board to give it extra features), and kits.<a href="#ftn.idm885" class="footnote" name="idm885"><sup class="footnote">[112]</sup></a>
2531     </p><p>
2532       Arduino’s focus is on high-quality boards, well-designed support materials,
2533 and the building of community; this focus is one of the keys to their
2534 success. And being open lets you build a real community. David says
2535 Arduino’s community is a big strength and something that really does
2536 matter—in his words, <span class="quote">„<span class="quote">It’s good business.</span>”</span> When they started,
2537 the Arduino team had almost entirely no idea how to build a community. They
2538 started by conducting numerous workshops, working directly with people using
2539 the platform to make sure the hardware and software worked the way it was
2540 meant to work and solved people’s problems. The community grew organically
2541 from there.
2542     </p><p>
2543       A key decision for Arduino was trademarking the name. The founders needed a
2544 way to guarantee to people that they were buying a quality product from a
2545 company committed to open-source values and knowledge sharing. Trademarking
2546 the Arduino name and logo expresses that guarantee and helps customers
2547 easily identify their products, and the products sanctioned by them. If
2548 others want to sell boards using the Arduino name and logo, they have to pay
2549 a small fee to Arduino. This allows Arduino to scale up manufacturing and
2550 distribution while at the same time ensuring the Arduino brand isn’t hurt by
2551 low-quality copies.
2552     </p><p>
2553       Current official manufacturers are Smart Projects in Italy, SparkFun in the
2554 United States, and Dog Hunter in Taiwan/China.  These are the only
2555 manufacturers that are allowed to use the Arduino logo on their
2556 boards. Trademarking their brand provided the founders with a way to protect
2557 Arduino, build it out further, and fund software and tutorial
2558 development. The trademark-licensing fee for the brand became Arduino’s
2559 revenue-generating model.
2560     </p><p>
2561       How far to open things up wasn’t always something the founders perfectly
2562 agreed on. David, who was always one to advocate for opening things up more,
2563 had some fears about protecting the Arduino name, thinking people would be
2564 mad if they policed their brand. There was some early backlash with a
2565 project called Freeduino, but overall, trademarking and branding has been a
2566 critical tool for Arduino.
2567     </p><p>
2568       David encourages people and businesses to start by sharing everything as a
2569 default strategy, and then think about whether there is anything that really
2570 needs to be protected and why. There are lots of good reasons to not open up
2571 certain elements. This strategy of sharing everything is certainly the
2572 complete opposite of how today’s world operates, where nothing is
2573 shared. Tom suggests a business formalize which elements are based on open
2574 sharing and which are closed. An Arduino blog post from 2013 entitled
2575 <span class="quote">„<span class="quote">Send In the Clones,</span>”</span> by one of the founders Massimo Banzi,
2576 does a great job of explaining the full complexities of how trademarking
2577 their brand has played out, distinguishing between official boards and those
2578 that are clones, derivatives, compatibles, and counterfeits.<a href="#ftn.idm895" class="footnote" name="idm895"><sup class="footnote">[113]</sup></a>
2579     </p><p>
2580       For David, an exciting aspect of Arduino is the way lots of people can use
2581 it to adapt technology in many different ways. Technology is always making
2582 more things possible but doesn’t always focus on making it easy to use and
2583 adapt. This is where Arduino steps in.  Arduino’s goal is <span class="quote">„<span class="quote">making
2584 things that help other people make things.</span>”</span>
2585     </p><p>
2586       Arduino has been hugely successful in making technology and electronics
2587 reach a larger audience. For Tom, Arduino has been about <span class="quote">„<span class="quote">the
2588 democratization of technology.</span>”</span> Tom sees Arduino’s open-source
2589 strategy as helping the world get over the idea that technology has to be
2590 protected. Tom says, <span class="quote">„<span class="quote">Technology is a literacy everyone should
2591 learn.</span>”</span>
2592     </p><p>
2593       Ultimately, for Arduino, going open has been good business—good for product
2594 development, good for distribution, good for pricing, and good for
2595 manufacturing.
2596     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm885" class="footnote"><p><a href="#idm885" class="para"><sup class="para">[112] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm895" class="footnote"><p><a href="#idm895" class="para"><sup class="para">[113] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>Rozdział 5. Ártica</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
2597         Ártica provides online courses and consulting services focused on how to use
2598 digital technology to share knowledge and enable collaboration in arts and
2599 culture. Founded in 2011 in Uruguay.
2600       </p><p>
2601           <a class="ulink" href="http://www.articaonline.com" target="_top">http://www.articaonline.com</a>
2602         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
2603 services
2604       </p><p><span class="strong"><strong>Interview date</strong></span>: March 9, 2016
2605       </p><p><span class="strong"><strong>Interviewees</strong></span>: Mariana Fossatti and Jorge
2606 Gemetto, cofounders
2607       </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}
2608     \textit{
2609         Profile written by Sarah Hinchliff Pearson
2610       }
2611     \end{flushright}</td></tr></table></div><p>
2612       The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
2613 ultimate example of DIY. Not only are they successful entrepreneurs, the
2614 niche in which their small business operates is essentially one they built
2615 themselves.
2616     </p><p>
2617       Their dream jobs didn’t exist, so they created them.
2618     </p><p>
2619       In 2011, Mariana was a sociologist working for an international organization
2620 to develop research and online education about rural-development
2621 issues. Jorge was a psychologist, also working in online education. Both
2622 were bloggers and heavy users of social media, and both had a passion for
2623 arts and culture. They decided to take their skills in digital technology
2624 and online learning and apply them to a topic area they loved. They launched
2625 Ártica, an online business that provides education and consulting for people
2626 and institutions creating artistic and cultural projects on the Internet.
2627     </p><p>
2628       Ártica feels like a uniquely twenty-first century business. The small
2629 company has a global online presence with no physical offices. Jorge and
2630 Mariana live in Uruguay, and the other two full-time employees, who Jorge
2631 and Mariana have never actually met in person, live in Spain. They started
2632 by creating a MOOC (massive open online course) about remix culture and
2633 collaboration in the arts, which gave them a direct way to reach an
2634 international audience, attracting students from across Latin America and
2635 Spain.  In other words, it is the classic Internet story of being able to
2636 directly tap into an audience without relying upon gatekeepers or
2637 intermediaries.
2638     </p><p>
2639       Ártica offers personalized education and consulting services, and helps
2640 clients implement projects. All of these services are customized. They call
2641 it an <span class="quote">„<span class="quote">artisan</span>”</span> process because of the time and effort it takes
2642 to adapt their work for the particular needs of students and
2643 clients. <span class="quote">„<span class="quote">Each student or client is paying for a specific solution to
2644 his or her problems and questions,</span>”</span> Mariana said. Rather than sell
2645 access to their content, they provide it for free and charge for the
2646 personalized services.
2647     </p><p>
2648       When they started, they offered a smaller number of courses designed to
2649 attract large audiences. <span class="quote">„<span class="quote">Over the years, we realized that online
2650 communities are more specific than we thought,</span>”</span> Mariana said. Ártica
2651 now provides more options for classes and has lower enrollment in each
2652 course. This means they can provide more attention to individual students
2653 and offer classes on more specialized topics.
2654     </p><p>
2655       Online courses are their biggest revenue stream, but they also do more than
2656 a dozen consulting projects each year, ranging from digitization to event
2657 planning to marketing campaigns. Some are significant in scope, particularly
2658 when they work with cultural institutions, and some are smaller projects
2659 commissioned by individual artists.
2660     </p><p>
2661       Ártica also seeks out public and private funding for specific
2662 projects. Sometimes, even if they are unsuccessful in subsidizing a project
2663 like a new course or e-book, they will go ahead because they believe in
2664 it. They take the stance that every new project leads them to something new,
2665 every new resource they create opens new doors.
2666     </p><p>
2667       Ártica relies heavily on their free Creative Commons–licensed content to
2668 attract new students and clients. Everything they create—online education,
2669 blog posts, videos—is published under an Attribution-ShareAlike license (CC
2670 BY-SA). <span class="quote">„<span class="quote">We use a ShareAlike license because we want to give the
2671 greatest freedom to our students and readers, and we also want that freedom
2672 to be viral,</span>”</span> Jorge said. For them, giving others the right to reuse
2673 and remix their content is a fundamental value. <span class="quote">„<span class="quote">How can you offer an
2674 online educational service without giving permission to download, make and
2675 keep copies, or print the educational resources?</span>”</span> Jorge
2676 said. <span class="quote">„<span class="quote">If we want to do the best for our students—those who trust in
2677 us to the point that they are willing to pay online without face-to-face
2678 contact—we have to offer them a fair and ethical agreement.</span>”</span>
2679     </p><p>
2680       They also believe sharing their ideas and expertise openly helps them build
2681 their reputation and visibility. People often share and cite their work. A
2682 few years ago, a publisher even picked up one of their e-books and
2683 distributed printed copies. Ártica views reuse of their work as a way to
2684 open up new opportunities for their business.
2685     </p><p>
2686       This belief that openness creates new opportunities reflects another
2687 belief—in serendipity. When describing their process for creating content,
2688 they spoke of all of the spontaneous and organic ways they find
2689 inspiration. <span class="quote">„<span class="quote">Sometimes, the collaborative process starts with a
2690 conversation between us, or with friends from other projects,</span>”</span> Jorge
2691 said. <span class="quote">„<span class="quote">That can be the first step for a new blog post or another
2692 simple piece of content, which can evolve to a more complex product in the
2693 future, like a course or a book.</span>”</span>
2694     </p><p>
2695       Rather than planning their work in advance, they let their creative process
2696 be dynamic. <span class="quote">„<span class="quote">This doesn’t mean that we don’t need to work hard in
2697 order to get good professional results, but the design process is more
2698 flexible,</span>”</span> Jorge said. They share early and often, and they adjust
2699 based on what they learn, always exploring and testing new ideas and ways of
2700 operating. In many ways, for them, the process is just as important as the
2701 final product.
2702     </p><p>
2703       People and relationships are also just as important, sometimes
2704 more. <span class="quote">„<span class="quote">In the educational and cultural business, it is more important
2705 to pay attention to people and process, rather than content or specific
2706 formats or materials,</span>”</span> Mariana said.  <span class="quote">„<span class="quote">Materials and content
2707 are fluid. The important thing is the relationships.</span>”</span>
2708     </p><p>
2709       Ártica believes in the power of the network. They seek to make connections
2710 with people and institutions across the globe so they can learn from them
2711 and share their knowledge.
2712     </p><p>
2713       At the core of everything Ártica does is a set of values.  <span class="quote">„<span class="quote">Good
2714 content is not enough,</span>”</span> Jorge said. <span class="quote">„<span class="quote">We also think that it is
2715 very important to take a stand for some things in the cultural
2716 sector.</span>”</span> Mariana and Jorge are activists. They defend free culture
2717 (the movement promoting the freedom to modify and distribute creative work)
2718 and work to demonstrate the intersection between free culture and other
2719 social-justice movements. Their efforts to involve people in their work and
2720 enable artists and cultural institutions to better use technology are all
2721 tied closely to their belief system.  Ultimately, what drives their work is
2722 a mission to democratize art and culture.
2723     </p><p>
2724       Of course, Ártica also has to make enough money to cover its expenses. Human
2725 resources are, by far, their biggest expense. They tap a network of
2726 collaborators on a case-by-case basis and hire contractors for specific
2727 projects. Whenever possible, they draw from artistic and cultural resources
2728 in the commons, and they rely on free software. Their operation is small,
2729 efficient, and sustainable, and because of that, it is a success.
2730     </p><p><span class="quote">„<span class="quote">There are lots of people offering online courses,</span>”</span> Jorge
2731 said. <span class="quote">„<span class="quote">But it is easy to differentiate us. We have an approach that is
2732 very specific and personal.</span>”</span> Ártica’s model is rooted in the personal
2733 at every level. For Mariana and Jorge, success means doing what brings them
2734 personal meaning and purpose, and doing it sustainably and collaboratively.
2735     </p><p>
2736       In their work with younger artists, Mariana and Jorge try to emphasize that
2737 this model of success is just as valuable as the picture of success we get
2738 from the media. <span class="quote">„<span class="quote">If they seek only the traditional type of success,
2739 they will get frustrated,</span>”</span> Mariana said. <span class="quote">„<span class="quote">We try to show them
2740 another image of what it looks like.</span>”</span>
2741     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Rozdział 6. Blender Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
2742         The Blender Institute is an animation studio that creates 3-D films using
2743 Blender software. Founded in 2006 in the Netherlands.
2744       </p><p>
2745           <a class="ulink" href="http://www.blender.org" target="_top">http://www.blender.org</a>
2746         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
2747 (subscription-based), charging for physical copies, selling merchandise
2748       </p><p><span class="strong"><strong>Interview date</strong></span>: March 8, 2016
2749       </p><p><span class="strong"><strong>Interviewee</strong></span>: Francesco Siddi, production
2750 coordinator
2751       </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}
2752     \textit{
2753         Profile written by Sarah Hinchliff Pearson
2754       }
2755     \end{flushright}</td></tr></table></div><p>
2756       For Ton Roosendaal, the creator of Blender software and its related
2757 entities, sharing is practical. Making their 3-D content creation software
2758 available under a free software license has been integral to its development
2759 and popularity. Using that software to make movies that were licensed with
2760 Creative Commons pushed that development even further. Sharing enables
2761 people to participate and to interact with and build upon the technology and
2762 content they create in a way that benefits Blender and its community in
2763 concrete ways.
2764     </p><p>
2765       Each open-movie project Blender runs produces a host of openly licensed
2766 outputs, not just the final film itself but all of the source material as
2767 well. The creative process also enhances the development of the Blender
2768 software because the technical team responds directly to the needs of the
2769 film production team, creating tools and features that make their lives
2770 easier. And, of course, each project involves a long, rewarding process for
2771 the creative and technical community working together.
2772     </p><p>
2773       Rather than just talking about the theoretical benefits of sharing and free
2774 culture, Ton is very much about doing and making free culture. Blender’s
2775 production coordinator Francesco Siddi told us, <span class="quote">„<span class="quote">Ton believes if you
2776 don’t make content using your tools, then you’re not doing anything.</span>”</span>
2777     </p><p>
2778       Blender’s history begins in the late 1990s, when Ton created the Blender
2779 software. Originally, the software was an in-house resource for his
2780 animation studio based in the Netherlands.  Investors became interested in
2781 the software, so he began marketing the software to the public, offering a
2782 free version in addition to a paid version. Sales were disappointing, and
2783 his investors gave up on the endeavor in the early 2000s. He made a deal
2784 with investors—if he could raise enough money, he could then make the
2785 Blender software available under the GNU General Public License.
2786     </p><p>
2787       This was long before Kickstarter and other online crowdfunding sites
2788 existed, but Ton ran his own version of a crowdfunding campaign and quickly
2789 raised the money he needed. The Blender software became freely available for
2790 anyone to use. Simply applying the General Public License to the software,
2791 however, was not enough to create a thriving community around it. Francesco
2792 told us, <span class="quote">„<span class="quote">Software of this complexity relies on people and their
2793 vision of how people work together. Ton is a fantastic community builder and
2794 manager, and he put a lot of work into fostering a community of developers
2795 so that the project could live.</span>”</span>
2796     </p><p>
2797       Like any successful free and open-source software project, Blender developed
2798 quickly because the community could make fixes and
2799 improvements. <span class="quote">„<span class="quote">Software should be free and open to hack,</span>”</span>
2800 Francesco said. <span class="quote">„<span class="quote">Otherwise, everyone is doing the same thing in the
2801 dark for ten years.</span>”</span> Ton set up the Blender Foundation to oversee and
2802 steward the software development and maintenance.
2803     </p><p>
2804       After a few years, Ton began looking for new ways to push development of the
2805 software. He came up with the idea of creating CC-licensed films using the
2806 Blender software. Ton put a call online for all interested and skilled
2807 artists. Francesco said the idea was to get the best artists available, put
2808 them in a building together with the best developers, and have them work
2809 together.  They would not only produce high-quality openly licensed content,
2810 they would improve the Blender software in the process.
2811     </p><p>
2812       They turned to crowdfunding to subsidize the costs of the project.  They had
2813 about twenty people working full-time for six to ten months, so the costs
2814 were significant. Francesco said that when their crowdfunding campaign
2815 succeeded, people were astounded.  <span class="quote">„<span class="quote">The idea that making money was
2816 possible by producing CC-licensed material was mind-blowing to
2817 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
2818 believe it.</span>»</span></span>”</span>
2819     </p><p>
2820       The first film, which was released in 2006, was an experiment. It was so
2821 successful that Ton decided to set up the Blender Institute, an entity
2822 dedicated to hosting open-movie projects. The Blender Institute’s next
2823 project was an even bigger success. The film, Big Buck Bunny, went viral,
2824 and its animated characters were picked up by marketers.
2825     </p><p>
2826       Francesco said that, over time, the Blender Institute projects have gotten
2827 bigger and more prominent. That means the filmmaking process has become more
2828 complex, combining technical experts and artists who focus on
2829 storytelling. Francesco says the process is almost on an industrial scale
2830 because of the number of moving parts. This requires a lot of specialized
2831 assistance, but the Blender Institute has no problem finding the talent it
2832 needs to help on projects. <span class="quote">„<span class="quote">Blender hardly does any recruiting for
2833 film projects because the talent emerges naturally,</span>”</span> Francesco
2834 said. <span class="quote">„<span class="quote">So many people want to work with us, and we can’t always hire
2835 them because of budget constraints.</span>”</span>
2836     </p><p>
2837       Blender has had a lot of success raising money from its community over the
2838 years. In many ways, the pitch has gotten easier to make.  Not only is
2839 crowdfunding simply more familiar to the public, but people know and trust
2840 Blender to deliver, and Ton has developed a reputation as an effective
2841 community leader and visionary for their work. <span class="quote">„<span class="quote">There is a whole
2842 community who sees and understands the benefit of these projects,</span>”</span>
2843 Francesco said.
2844     </p><p>
2845       While these benefits of each open-movie project make a compelling pitch for
2846 crowdfunding campaigns, Francesco told us the Blender Institute has found
2847 some limitations in the standard crowdfunding model where you propose a
2848 specific project and ask for funding.  <span class="quote">„<span class="quote">Once a project is over,
2849 everyone goes home,</span>”</span> he said. <span class="quote">„<span class="quote">It is great fun, but then it
2850 ends. That is a problem.</span>”</span>
2851     </p><p>
2852       To make their work more sustainable, they needed a way to receive ongoing
2853 support rather than on a project-by-project basis. Their solution is Blender
2854 Cloud, a subscription-style crowdfunding model akin to the online
2855 crowdfunding platform, Patreon. For about ten euros each month, subscribers
2856 get access to download everything the Blender Institute produces—software,
2857 art, training, and more.  All of the assets are available under an
2858 Attribution license (CC BY) or placed in the public domain (CC0), but they
2859 are initially made available only to subscribers. Blender Cloud enables
2860 subscribers to follow Blender’s movie projects as they develop, sharing
2861 detailed information and content used in the creative process. Blender Cloud
2862 also has extensive training materials and libraries of characters and other
2863 assets used in various projects.
2864     </p><p>
2865       The continuous financial support provided by Blender Cloud subsidizes five
2866 to six full-time employees at the Blender Institute. Francesco says their
2867 goal is to grow their subscriber base. <span class="quote">„<span class="quote">This is our freedom,</span>”</span>
2868 he told us, <span class="quote">„<span class="quote">and for artists, freedom is everything.</span>”</span>
2869     </p><p>
2870       Blender Cloud is the primary revenue stream of the Blender Institute. The
2871 Blender Foundation is funded primarily by donations, and that money goes
2872 toward software development and maintenance. The revenue streams of the
2873 Institute and Foundation are deliberately kept separate. Blender also has
2874 other revenue streams, such as the Blender Store, where people can purchase
2875 DVDs, T-shirts, and other Blender products.
2876     </p><p>
2877       Ton has worked on projects relating to his Blender software for nearly
2878 twenty years. Throughout most of that time, he has been committed to making
2879 the software and the content produced with the software free and
2880 open. Selling a license has never been part of the business model.
2881     </p><p>
2882       Since 2006, he has been making films available along with all of their
2883 source material. He says he has hardly ever seen people stepping into
2884 Blender’s shoes and trying to make money off of their content. Ton believes
2885 this is because the true value of what they do is in the creative and
2886 production process. <span class="quote">„<span class="quote">Even when you share everything, all your original
2887 sources, it still takes a lot of talent, skills, time, and budget to
2888 reproduce what you did,</span>”</span> Ton said.
2889     </p><p>
2890       For Ton and Blender, it all comes back to doing.
2891     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Rozdział 7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
2892         Cards Against Humanity is a private, for-profit company that makes a popular
2893 party game by the same name. Founded in 2011 in the U.S.
2894       </p><p>
2895           <a class="ulink" href="http://www.cardsagainsthumanity.com" target="_top">http://www.cardsagainsthumanity.com</a>
2896         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
2897 copies
2898       </p><p><span class="strong"><strong>Interview date</strong></span>: February 3, 2016
2899       </p><p><span class="strong"><strong>Interviewee</strong></span>: Max Temkin, cofounder
2900       </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}
2901     \textit{
2902         Profile written by Sarah Hinchliff Pearson
2903       }
2904     \end{flushright}</td></tr></table></div><p>
2905       If you ask cofounder Max Temkin, there is nothing particularly interesting
2906 about the Cards Against Humanity business model.  <span class="quote">„<span class="quote">We make a
2907 product. We sell it for money. Then we spend less money than we
2908 make,</span>”</span> Max said.
2909     </p><p>
2910       He is right. Cards Against Humanity is a simple party game, modeled after
2911 the game Apples to Apples. To play, one player asks a question or
2912 fill-in-the-blank statement from a black card, and the other players submit
2913 their funniest white card in response.  The catch is that all of the cards
2914 are filled with crude, gruesome, and otherwise awful things. For the right
2915 kind of people (<span class="quote">„<span class="quote">horrible people,</span>”</span> according to Cards Against
2916 Humanity advertising), this makes for a hilarious and fun game.
2917     </p><p>
2918       The revenue model is simple. Physical copies of the game are sold for a
2919 profit. And it works. At the time of this writing, Cards Against Humanity is
2920 the number-one best-selling item out of all toys and games on Amazon. There
2921 are official expansion packs available, and several official themed packs
2922 and international editions as well.
2923     </p><p>
2924       But Cards Against Humanity is also available for free. Anyone can download a
2925 digital version of the game on the Cards Against Humanity website. More than
2926 one million people have downloaded the game since the company began tracking
2927 the numbers.
2928     </p><p>
2929       The game is available under an Attribution-NonCommercial-ShareAlike license
2930 (CC BY-NC-SA). That means, in addition to copying the game, anyone can
2931 create new versions of the game as long as they make it available under the
2932 same noncommercial terms. The ability to adapt the game is like an entire
2933 new game unto itself.
2934     </p><p>
2935       All together, these factors—the crass tone of the game and company, the free
2936 download, the openness to fans remixing the game—give the game a massive
2937 cult following.
2938     </p><p>
2939       Their success is not the result of a grand plan. Instead, Cards Against
2940 Humanity was the last in a long line of games and comedy projects that Max
2941 Temkin and his friends put together for their own amusement. As Max tells
2942 the story, they made the game so they could play it themselves on New Year’s
2943 Eve because they were too nerdy to be invited to other parties. The game was
2944 a hit, so they decided to put it up online as a free PDF. People started
2945 asking if they could pay to have the game printed for them, and eventually
2946 they decided to run a Kickstarter to fund the printing.  They set their
2947 Kickstarter goal at $4,000—and raised $15,000. The game was officially
2948 released in May 2011.
2949     </p><p>
2950       The game caught on quickly, and it has only grown more popular over
2951 time. Max says the eight founders never had a meeting where they decided to
2952 make it an ongoing business. <span class="quote">„<span class="quote">It kind of just happened,</span>”</span> he
2953 said.
2954     </p><p>
2955       But this tale of a <span class="quote">„<span class="quote">happy accident</span>”</span> belies marketing
2956 genius. Just like the game, the Cards Against Humanity brand is irreverent
2957 and memorable. It is hard to forget a company that calls the FAQ on their
2958 website <span class="quote">„<span class="quote">Your dumb questions.</span>”</span>
2959     </p><p>
2960       Like most quality satire, however, there is more to the joke than vulgarity
2961 and shock value. The company’s marketing efforts around Black Friday
2962 illustrate this particularly well. For those outside the United States,
2963 Black Friday is the term for the day after the Thanksgiving holiday, the
2964 biggest shopping day of the year. It is an incredibly important day for
2965 Cards Against Humanity, like it is for all U.S. retailers. Max said they
2966 struggled with what to do on Black Friday because they didn’t want to
2967 support what he called the <span class="quote">„<span class="quote">orgy of consumerism</span>”</span> the day has
2968 become, particularly since it follows a day that is about being grateful for
2969 what you have. In 2013, after deliberating, they decided to have an
2970 Everything Costs $5 More sale.
2971     </p><p><span class="quote">„<span class="quote">We sweated it out the night before Black Friday, wondering if our
2972 fans were going to hate us for it,</span>”</span> he said.  <span class="quote">„<span class="quote">But it made us
2973 laugh so we went with it. People totally caught the joke.</span>”</span>
2974     </p><p>
2975       This sort of bold transparency delights the media, but more importantly, it
2976 engages their fans. <span class="quote">„<span class="quote">One of the most surprising things you can do in
2977 capitalism is just be honest with people,</span>”</span> Max said. <span class="quote">„<span class="quote">It shocks
2978 people that there is transparency about what you are doing.</span>”</span>
2979     </p><p>
2980       Max also likened it to a grand improv scene. <span class="quote">„<span class="quote">If we do something a
2981 little subversive and unexpected, the public wants to be a part of the
2982 joke.</span>”</span> One year they did a Give Cards Against Humanity $5 event,
2983 where people literally paid them five dollars for no reason. Their fans
2984 wanted to make the joke funnier by making it successful. They made $70,000
2985 in a single day.
2986     </p><p>
2987       This remarkable trust they have in their customers is what inspired their
2988 decision to apply a Creative Commons license to the game. Trusting your
2989 customers to reuse and remix your work requires a leap of faith. Cards
2990 Against Humanity obviously isn’t afraid of doing the unexpected, but there
2991 are lines even they do not want to cross. Before applying the license, Max
2992 said they worried that some fans would adapt the game to include all of the
2993 jokes they intentionally never made because they crossed that
2994 line. <span class="quote">„<span class="quote">It happened, and the world didn’t end,</span>”</span> Max
2995 said. <span class="quote">„<span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
2996 times over because there are so many benefits.</span>”</span>
2997     </p><p>
2998       Any successful product inspires its biggest fans to create remixes of it,
2999 but unsanctioned adaptations are more likely to fly under the radar. The
3000 Creative Commons license gives fans of Cards Against Humanity the freedom to
3001 run with the game and copy, adapt, and promote their creations openly. Today
3002 there are thousands of fan expansions of the game.
3003     </p><p>
3004       Max said, <span class="quote">„<span class="quote">CC was a no-brainer for us because it gets the most people
3005 involved. Making the game free and available under a CC license led to the
3006 unbelievable situation where we are one of the best-marketed games in the
3007 world, and we have never spent a dime on marketing.</span>”</span>
3008     </p><p>
3009       Of course, there are limits to what the company allows its customers to do
3010 with the game. They chose the Attribution-NonCommercial-ShareAlike license
3011 because it restricts people from using the game to make money. It also
3012 requires that adaptations of the game be made available under the same
3013 licensing terms if they are shared publicly. Cards Against Humanity also
3014 polices its brand. <span class="quote">„<span class="quote">We feel like we’re the only ones who can use our
3015 brand and our game and make money off of it,</span>”</span> Max said. About 99.9
3016 percent of the time, they just send an email to those making commercial use
3017 of the game, and that is the end of it. There have only been a handful of
3018 instances where they had to get a lawyer involved.
3019     </p><p>
3020       Just as there is more than meets the eye to the Cards Against Humanity
3021 business model, the same can be said of the game itself.  To be playable,
3022 every white card has to work syntactically with enough black cards. The
3023 eight creators invest an incredible amount of work into creating new cards
3024 for the game. <span class="quote">„<span class="quote">We have daylong arguments about commas,</span>”</span> Max
3025 said. <span class="quote">„<span class="quote">The slacker tone of the cards gives people the impression that
3026 it is easy to write them, but it is actually a lot of work and
3027 quibbling.</span>”</span>
3028     </p><p>
3029       That means cocreation with their fans really doesn’t work. The company has a
3030 submission mechanism on their website, and they get thousands of
3031 suggestions, but it is very rare that a submitted card is adopted. Instead,
3032 the eight initial creators remain the primary authors of expansion decks and
3033 other new products released by the company. Interestingly, the creativity of
3034 their customer base is really only an asset to the company once their
3035 original work is created and published when people make their own
3036 adaptations of the game.
3037     </p><p>
3038       For all of their success, the creators of Cards Against Humanity are only
3039 partially motivated by money. Max says they have always been interested in
3040 the Walt Disney philosophy of financial success. <span class="quote">„<span class="quote">We don’t make jokes
3041 and games to make money—we make money so we can make more jokes and
3042 games,</span>”</span> he said.
3043     </p><p>
3044       In fact, the company has given more than $4 million to various charities and
3045 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
3046 have other interests and hobbies. We are passionate about other things going
3047 on in our lives. A lot of the activism we have done comes out of us taking
3048 things from the rest of our lives and channeling some of the excitement from
3049 the game into it.</span>”</span>
3050     </p><p>
3051       Seeing money as fuel rather than the ultimate goal is what has enabled them
3052 to embrace Creative Commons licensing without reservation. CC licensing
3053 ended up being a savvy marketing move for the company, but nonetheless,
3054 giving up exclusive control of your work necessarily means giving up some
3055 opportunities to extract more money from customers.
3056     </p><p><span class="quote">„<span class="quote">It’s not right for everyone to release everything under CC
3057 licensing,</span>”</span> Max said. <span class="quote">„<span class="quote">If your only goal is to make a lot of
3058 money, then CC is not best strategy. This kind of business model, though,
3059 speaks to your values, and who you are and why you’re making things.</span>”</span>
3060     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Rozdział 8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3061         The Conversation is an independent source of news, sourced from the academic
3062 and research community and delivered direct to the public over the
3063 Internet. Founded in 2011 in Australia.
3064       </p><p>
3065           <a class="ulink" href="http://theconversation.com" target="_top">http://theconversation.com</a>
3066         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
3067 (universities pay membership fees to have their faculties serve as writers),
3068 grant funding
3069       </p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
3070       </p><p><span class="strong"><strong>Interviewee</strong></span>: Andrew Jaspan, founder
3071       </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}
3072     \textit{
3073         Profile written by Paul Stacey
3074       }
3075     \end{flushright}</td></tr></table></div><p>
3076       Andrew Jaspan spent years as an editor of major newspapers including the
3077 Observer in London, the Sunday Herald in Glasgow, and the Age in Melbourne,
3078 Australia. He experienced firsthand the decline of newspapers, including the
3079 collapse of revenues, layoffs, and the constant pressure to reduce
3080 costs. After he left the Age in 2005, his concern for the future journalism
3081 didn’t go away. Andrew made a commitment to come up with an alternative
3082 model.
3083     </p><p>
3084       Around the time he left his job as editor of the Melbourne Age, Andrew
3085 wondered where citizens would get news grounded in fact and evidence rather
3086 than opinion or ideology. He believed there was still an appetite for
3087 journalism with depth and substance but was concerned about the increasing
3088 focus on the sensational and sexy.
3089     </p><p>
3090       While at the Age, he’d become friends with a vice-chancellor of a university
3091 in Melbourne who encouraged him to talk to smart people across campus—an
3092 astrophysicist, a Nobel laureate, earth scientists, economists . . . These
3093 were the kind of smart people he wished were more involved in informing the
3094 world about what is going on and correcting the errors that appear in
3095 media. However, they were reluctant to engage with mass media. Often,
3096 journalists didn’t understand what they said, or unilaterally chose what
3097 aspect of a story to tell, putting out a version that these people felt was
3098 wrong or mischaracterized. Newspapers want to attract a mass
3099 audience. Scholars want to communicate serious news, findings, and
3100 insights. It’s not a perfect match. Universities are massive repositories of
3101 knowledge, research, wisdom, and expertise. But a lot of that stays behind a
3102 wall of their own making—there are the walled garden and ivory tower
3103 metaphors, and in more literal terms, the paywall. Broadly speaking,
3104 universities are part of society but disconnected from it. They are an
3105 enormous public resource but not that good at presenting their expertise to
3106 the wider public.
3107     </p><p>
3108       Andrew believed he could to help connect academics back into the public
3109 arena, and maybe help society find solutions to big problems. He thought
3110 about pairing professional editors with university and research experts,
3111 working one-on-one to refine everything from story structure to headline,
3112 captions, and quotes.  The editors could help turn something that is
3113 academic into something understandable and readable. And this would be a key
3114 difference from traditional journalism—the subject matter expert would get a
3115 chance to check the article and give final approval before it is
3116 published. Compare this with reporters just picking and choosing the quotes
3117 and writing whatever they want.
3118     </p><p>
3119       The people he spoke to liked this idea, and Andrew embarked on raising money
3120 and support with the help of the Commonwealth Scientific and Industrial
3121 Research Organisation (CSIRO), the University of Melbourne, Monash
3122 University, the University of Technology Sydney, and the University of
3123 Western Australia. These founding partners saw the value of an independent
3124 information channel that would also showcase the talent and knowledge of the
3125 university and research sector. With their help, in 2011, the Conversation,
3126 was launched as an independent news site in Australia. Everything published
3127 in the Conversation is openly licensed with Creative Commons.
3128     </p><p>
3129       The Conversation is founded on the belief that underpinning a functioning
3130 democracy is access to independent, high-quality, informative
3131 journalism. The Conversation’s aim is for people to have a better
3132 understanding of current affairs and complex issues—and hopefully a better
3133 quality of public discourse. The Conversation sees itself as a source of
3134 trusted information dedicated to the public good. Their core mission is
3135 simple: to provide readers with a reliable source of evidence-based
3136 information.
3137     </p><p>
3138       Andrew worked hard to reinvent a methodology for creating reliable, credible
3139 content. He introduced strict new working practices, a charter, and codes of
3140 conduct.<a href="#ftn.idm1076" class="footnote" name="idm1076"><sup class="footnote">[114]</sup></a> These include fully disclosing
3141 who every author is (with their relevant expertise); who is funding their
3142 research; and if there are any potential or real conflicts of interest. Also
3143 important is where the content originates, and even though it comes from the
3144 university and research community, it still needs to be fully disclosed. The
3145 Conversation does not sit behind a paywall. Andrew believes access to
3146 information is an issue of equality—everyone should have access, like access
3147 to clean water.  The Conversation is committed to an open and free
3148 Internet.  Everyone should have free access to their content, and be able to
3149 share it or republish it.
3150     </p><p>
3151       Creative Commons help with these goals; articles are published with the
3152 Attribution- NoDerivs license (CC BY-ND). They’re freely available for
3153 others to republish elsewhere as long as attribution is given and the
3154 content is not edited. Over five years, more than twenty-two thousand sites
3155 have republished their content. The Conversation website gets about 2.9
3156 million unique views per month, but through republication they have
3157 thirty-five million readers. This couldn’t have been done without the
3158 Creative Commons license, and in Andrew’s view, Creative Commons is central
3159 to everything the Conversation does.
3160     </p><p>
3161       When readers come across the Conversation, they seem to like what they find
3162 and recommend it to their friends, peers, and networks.  Readership has
3163 grown primarily through word of mouth. While they don’t have sales and
3164 marketing, they do promote their work through social media (including
3165 Twitter and Facebook), and by being an accredited supplier to Google News.
3166     </p><p>
3167       It’s usual for the founders of any company to ask themselves what kind of
3168 company it should be. It quickly became clear to the founders of the
3169 Conversation that they wanted to create a public good rather than make money
3170 off of information. Most media companies are working to aggregate as many
3171 eyeballs as possible and sell ads. The Conversation founders didn’t want
3172 this model. It takes no advertising and is a not-for-profit venture.
3173     </p><p>
3174       There are now different editions of the Conversation for Africa, the United
3175 Kingdom, France, and the United States, in addition to the one for
3176 Australia. All five editions have their own editorial mastheads, advisory
3177 boards, and content. The Conversation’s global virtual newsroom has roughly
3178 ninety staff working with thirty-five thousand academics from over sixteen
3179 hundred universities around the world. The Conversation would like to be
3180 working with university scholars from even more parts of the world.
3181     </p><p>
3182       Additionally, each edition has its own set of founding partners, strategic
3183 partners, and funders. They’ve received funding from foundations,
3184 corporates, institutions, and individual donations, but the Conversation is
3185 shifting toward paid memberships by universities and research institutions
3186 to sustain operations. This would safeguard the current service and help
3187 improve coverage and features.
3188     </p><p>
3189       When professors from member universities write an article, there is some
3190 branding of the university associated with the article. On the Conversation
3191 website, paying university members are listed as <span class="quote">„<span class="quote">members and
3192 funders.</span>”</span> Early participants may be designated as <span class="quote">„<span class="quote">founding
3193 members,</span>”</span> with seats on the editorial advisory board.
3194     </p><p>
3195       Academics are not paid for their contributions, but they get free editing
3196 from a professional (four to five hours per piece, on average). They also
3197 get access to a large audience. Every author and member university has
3198 access to a special analytics dashboard where they can check the reach of an
3199 article. The metrics include what people are tweeting, the comments,
3200 countries the readership represents, where the article is being republished,
3201 and the number of readers per article.
3202     </p><p>
3203       The Conversation plans to expand the dashboard to show not just reach but
3204 impact. This tracks activities, behaviors, and events that occurred as a
3205 result of publication, including things like a scholar being asked to go on
3206 a show to discuss their piece, give a talk at a conference, collaborate,
3207 submit a journal paper, and consult a company on a topic.
3208     </p><p>
3209       These reach and impact metrics show the benefits of membership.  With the
3210 Conversation, universities can engage with the public and show why they’re
3211 of value.
3212     </p><p>
3213       With its tagline, <span class="quote">„<span class="quote">Academic Rigor, Journalistic Flair,</span>”</span> the
3214 Conversation represents a new form of journalism that contributes to a more
3215 informed citizenry and improved democracy around the world. Its open
3216 business model and use of Creative Commons show how it’s possible to
3217 generate both a public good and operational revenue at the same time.
3218     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1076" class="footnote"><p><a href="#idm1076" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>Rozdział 9. Cory Doctorow</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3219         Cory Doctorow is a science fiction writer, activist, blogger, and
3220 journalist. Based in the U.S.
3221       </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>
3222       </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
3223 copies (book sales), pay-what-you-want, selling translation rights to books
3224       </p><p><span class="strong"><strong>Interview date</strong></span>: January 12, 2016
3225       </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}
3226     \textit{
3227         Profile written by Sarah Hinchliff Pearson
3228       }
3229     \end{flushright}</td></tr></table></div><p>
3230       Cory Doctorow hates the term <span class="quote">„<span class="quote">business model,</span>”</span> and he is
3231 adamant that he is not a brand. <span class="quote">„<span class="quote">To me, branding is the idea that you
3232 can take a thing that has certain qualities, remove the qualities, and go on
3233 selling it,</span>”</span> he said. <span class="quote">„<span class="quote">I’m not out there trying to figure out
3234 how to be a brand. I’m doing this thing that animates me to work crazy
3235 insane hours because it’s the most important thing I know how to do.</span>”</span>
3236     </p><p>
3237       Cory calls himself an entrepreneur. He likes to say his success came from
3238 making stuff people happened to like and then getting out of the way of them
3239 sharing it.
3240     </p><p>
3241       He is a science fiction writer, activist, blogger, and journalist.
3242 Beginning with his first novel, Down and Out in the Magic Kingdom, in 2003,
3243 his work has been published under a Creative Commons license. Cory is
3244 coeditor of the popular CC-licensed site Boing Boing, where he writes about
3245 technology, politics, and intellectual property. He has also written several
3246 nonfiction books, including the most recent Information Doesn’t Want to Be
3247 Free, about the ways in which creators can make a living in the Internet
3248 age.
3249     </p><p>
3250       Cory primarily makes money by selling physical books, but he also takes on
3251 paid speaking gigs and is experimenting with pay-what-you-want models for
3252 his work.
3253     </p><p>
3254       While Cory’s extensive body of fiction work has a large following, he is
3255 just as well known for his activism. He is an outspoken opponent of
3256 restrictive copyright and digital-rights-management (DRM) technology used to
3257 lock up content because he thinks both undermine creators and the public
3258 interest. He is currently a special adviser at the Electronic Frontier
3259 Foundation, where he is involved in a lawsuit challenging the U.S. law that
3260 protects DRM.  Cory says his political work doesn’t directly make him money,
3261 but if he gave it up, he thinks he would lose credibility and, more
3262 importantly, lose the drive that propels him to create. <span class="quote">„<span class="quote">My political
3263 work is a different expression of the same artistic-political urge,</span>”</span>
3264 he said. <span class="quote">„<span class="quote">I have this suspicion that if I gave up the things that
3265 didn’t make me money, the genuineness would leach out of what I do, and the
3266 quality that causes people to like what I do would be gone.</span>”</span>
3267     </p><p>
3268       Cory has been financially successful, but money is not his primary
3269 motivation. At the start of his book Information Doesn’t Want to Be Free, he
3270 stresses how important it is not to become an artist if your goal is to get
3271 rich. <span class="quote">„<span class="quote">Entering the arts because you want to get rich is like buying
3272 lottery tickets because you want to get rich,</span>”</span> he wrote. <span class="quote">„<span class="quote">It
3273 might work, but it almost certainly won’t. Though, of course, someone always
3274 wins the lottery.</span>”</span> He acknowledges that he is one of the lucky few to
3275 <span class="quote">„<span class="quote">make it,</span>”</span> but he says he would be writing no matter
3276 what. <span class="quote">„<span class="quote">I am compelled to write,</span>”</span> he wrote.  <span class="quote">„<span class="quote">Long before
3277 I wrote to keep myself fed and sheltered, I was writing to keep myself
3278 sane.</span>”</span>
3279     </p><p>
3280       Just as money is not his primary motivation to create, money is not his
3281 primary motivation to share. For Cory, sharing his work with Creative
3282 Commons is a moral imperative. <span class="quote">„<span class="quote">It felt morally right,</span>”</span> he said
3283 of his decision to adopt Creative Commons licenses. <span class="quote">„<span class="quote">I felt like I
3284 wasn’t contributing to the culture of surveillance and censorship that has
3285 been created to try to stop copying.</span>”</span> In other words, using CC
3286 licenses symbolizes his worldview.
3287     </p><p>
3288       He also feels like there is a solid commercial basis for licensing his work
3289 with Creative Commons. While he acknowledges he hasn’t been able to do a
3290 controlled experiment to compare the commercial benefits of licensing with
3291 CC against reserving all rights, he thinks he has sold more books using a CC
3292 license than he would have without it. Cory says his goal is to convince
3293 people they should pay him for his work. <span class="quote">„<span class="quote">I started by not calling
3294 them thieves,</span>”</span> he said.
3295     </p><p>
3296       Cory started using CC licenses soon after they were first created.  At the
3297 time his first novel came out, he says the science fiction genre was overrun
3298 with people scanning and downloading books without permission. When he and
3299 his publisher took a closer look at who was doing that sort of thing online,
3300 they realized it looked a lot like book promotion. <span class="quote">„<span class="quote">I knew there was a
3301 relationship between having enthusiastic readers and having a successful
3302 career as a writer,</span>”</span> he said. <span class="quote">„<span class="quote">At the time, it took eighty
3303 hours to OCR a book, which is a big effort. I decided to spare them the time
3304 and energy, and give them the book for free in a format destined to
3305 spread.</span>”</span>
3306     </p><p>
3307       Cory admits the stakes were pretty low for him when he first adopted
3308 Creative Commons licenses. He only had to sell two thousand copies of his
3309 book to break even. People often said he was only able to use CC licenses
3310 successfully at that time because he was just starting out. Now they say he
3311 can only do it because he is an established author.
3312     </p><p>
3313       The bottom line, Cory says, is that no one has found a way to prevent people
3314 from copying the stuff they like. Rather than fighting the tide, Cory makes
3315 his work intrinsically shareable.  <span class="quote">„<span class="quote">Getting the hell out of the way
3316 for people who want to share their love of you with other people sounds
3317 obvious, but it’s remarkable how many people don’t do it,</span>”</span> he said.
3318     </p><p>
3319       Making his work available under Creative Commons licenses enables him to
3320 view his biggest fans as his ambassadors. <span class="quote">„<span class="quote">Being open to fan activity
3321 makes you part of the conversation about what fans do with your work and how
3322 they interact with it,</span>”</span> he said.  Cory’s own website routinely
3323 highlights cool things his audience has done with his work. Unlike
3324 corporations like Disney that tend to have a hands-off relationship with
3325 their fan activity, he has a symbiotic relationship with his
3326 audience. <span class="quote">„<span class="quote">Engaging with your audience can’t guarantee you
3327 success,</span>”</span> he said.  <span class="quote">„<span class="quote">And Disney is an example of being able to
3328 remain aloof and still being the most successful company in the creative
3329 industry in history. But I figure my likelihood of being Disney is pretty
3330 slim, so I should take all the help I can get.</span>”</span>
3331     </p><p>
3332       His first book was published under the most restrictive Creative Commons
3333 license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND).  It allows only
3334 verbatim copying for noncommercial purposes. His later work is published
3335 under the Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA), which
3336 gives people the right to adapt his work for noncommercial purposes but only
3337 if they share it back under the same license terms. Before releasing his
3338 work under a CC license that allows adaptations, he always sells the right
3339 to translate the book to other languages to a commercial publisher first. He
3340 wants to reach new potential buyers in other parts of the world, and he
3341 thinks it is more difficult to get people to pay for translations if there
3342 are fan translations already available for free.
3343     </p><p>
3344       In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
3345 to thinking like a dandelion. Dandelions produce thousands of seeds each
3346 spring, and they are blown into the air going in every direction. The
3347 strategy is to maximize the number of blind chances the dandelion has for
3348 continuing its genetic line. Similarly, he says there are lots of people out
3349 there who may want to buy creative work or compensate authors for it in some
3350 other way. <span class="quote">„<span class="quote">The more places your work can find itself, the greater the
3351 likelihood that it will find one of those would-be customers in some
3352 unsuspected crack in the metaphorical pavement,</span>”</span> he wrote. <span class="quote">„<span class="quote">The
3353 copies that others make of my work cost me nothing, and present the
3354 possibility that I’ll get something.</span>”</span>
3355     </p><p>
3356       Applying a CC license to his work increases the chances it will be shared
3357 more widely around the Web. He avoids DRM—and openly opposes the
3358 practice—for similar reasons. DRM has the effect of tying a work to a
3359 particular platform. This digital lock, in turn, strips the authors of
3360 control over their own work and hands that control over to the platform. He
3361 calls it Cory’s First Law: <span class="quote">„<span class="quote">Anytime someone puts a lock on something
3362 that belongs to you and won’t give you the key, that lock isn’t there for
3363 your benefit.</span>”</span>
3364     </p><p>
3365       Cory operates under the premise that artists benefit when there are more,
3366 rather than fewer, places where people can access their work. The Internet
3367 has opened up those avenues, but DRM is designed to limit them. <span class="quote">„<span class="quote">On
3368 the one hand, we can credibly make our work available to a widely dispersed
3369 audience,</span>”</span> he said. <span class="quote">„<span class="quote">On the other hand, the intermediaries we
3370 historically sold to are making it harder to go around them.</span>”</span> Cory
3371 continually looks for ways to reach his audience without relying upon major
3372 platforms that will try to take control over his work.
3373     </p><p>
3374       Cory says his e-book sales have been lower than those of his competitors,
3375 and he attributes some of that to the CC license making the work available
3376 for free. But he believes people are willing to pay for content they like,
3377 even when it is available for free, as long as it is easy to do. He was
3378 extremely successful using Humble Bundle, a platform that allows people to
3379 pay what they want for DRM-free versions of a bundle of a particular
3380 creator’s work. He is planning to try his own pay-what-you-want experiment
3381 soon.
3382     </p><p>
3383       Fans are particularly willing to pay when they feel personally connected to
3384 the artist. Cory works hard to create that personal connection. One way he
3385 does this is by personally answering every single email he gets. <span class="quote">„<span class="quote">If
3386 you look at the history of artists, most die in penury,</span>”</span> he
3387 said. <span class="quote">„<span class="quote">That reality means that for artists, we have to find ways to
3388 support ourselves when public tastes shift, when copyright stops producing.
3389 Future-proofing your artistic career in many ways means figuring out how to
3390 stay connected to those people who have been touched by your work.</span>”</span>
3391     </p><p>
3392       Cory’s realism about the difficulty of making a living in the arts does not
3393 reflect pessimism about the Internet age. Instead, he says the fact that it
3394 is hard to make a living as an artist is nothing new. What is new, he writes
3395 in his book, <span class="quote">„<span class="quote">is how many ways there are to make things, and to get
3396 them into other people’s hands and minds.</span>”</span>
3397     </p><p>
3398       It has never been easier to think like a dandelion.
3399     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Rozdział 10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3400         Figshare is a for-profit company offering an online repository where
3401 researchers can preserve and share the output of their research, including
3402 figures, data sets, images, and videos.  Founded in 2011 in the UK.
3403       </p><p>
3404           <a class="ulink" href="http://figshare.com" target="_top">http://figshare.com</a>
3405         </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
3406 services to creators
3407       </p><p><span class="strong"><strong>Interview date</strong></span>: January 28, 2016
3408       </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Hahnel, founder
3409       </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}
3410     \textit{
3411         Profile written by Paul Stacey
3412       }
3413     \end{flushright}</td></tr></table></div><p>
3414       Figshare’s mission is to change the face of academic publishing through
3415 improved dissemination, discoverability, and reusability of scholarly
3416 research. Figshare is a repository where users can make all the output of
3417 their research available—from posters and presentations to data sets and
3418 code—in a way that’s easy to discover, cite, and share. Users can upload any
3419 file format, which can then be previewed in a Web browser. Research output
3420 is disseminated in a way that the current scholarly-publishing model does
3421 not allow.
3422     </p><p>
3423       Figshare founder Mark Hahnel often gets asked: How do you make money? How do
3424 we know you’ll be here in five years? Can you, as a for-profit venture, be
3425 trusted? Answers have evolved over time.
3426     </p><p>
3427       Mark traces the origins of Figshare back to when he was a graduate student
3428 getting his PhD in stem cell biology. His research involved working with
3429 videos of stem cells in motion. However, when he went to publish his
3430 research, there was no way for him to also publish the videos, figures,
3431 graphs, and data sets. This was frustrating. Mark believed publishing his
3432 complete research would lead to more citations and be better for his career.
3433     </p><p>
3434       Mark does not consider himself an advanced software programmer.
3435 Fortunately, things like cloud-based computing and wikis had become
3436 mainstream, and he believed it ought to be possible to put all his research
3437 online and share it with anyone. So he began working on a solution.
3438     </p><p>
3439       There were two key needs: licenses to make the data citable, and persistent
3440 identifiers— URL links that always point back to the original object
3441 ensuring the research is citable for the long term.
3442     </p><p>
3443       Mark chose Digital Object Identifiers (DOIs) to meet the need for a
3444 persistent identifier. In the DOI system, an object’s metadata is stored as
3445 a series of numbers in the DOI name. Referring to an object by its DOI is
3446 more stable than referring to it by its URL, because the location of an
3447 object (the web page or URL) can often change. Mark partnered with DataCite
3448 for the provision of DOIs for research data.
3449     </p><p>
3450       As for licenses, Mark chose Creative Commons. The open-access and
3451 open-science communities were already using and recommending Creative
3452 Commons. Based on what was happening in those communities and Mark’s
3453 dialogue with peers, he went with CC0 (in the public domain) for data sets
3454 and CC BY (Attribution) for figures, videos, and data sets.
3455     </p><p>
3456       So Mark began using DOIs and Creative Commons for his own research work. He
3457 had a science blog where he wrote about it and made all his data
3458 open. People started commenting on his blog that they wanted to do the
3459 same. So he opened it up for them to use, too.
3460     </p><p>
3461       People liked the interface and simple upload process. People started asking
3462 if they could also share theses, grant proposals, and code. Inclusion of
3463 code raised new licensing issues, as Creative Commons licenses are not used
3464 for software. To allow the sharing of software code, Mark chose the MIT
3465 license, but GNU and Apache licenses can also be used.
3466     </p><p>
3467       Mark sought investment to make this into a scalable product. After a few
3468 unsuccessful funding pitches, UK-based Digital Science expressed interest
3469 but insisted on a more viable business model.  They made an initial
3470 investment, and together they came up with a freemium-like business model.
3471     </p><p>
3472       Under the freemium model, academics upload their research to Figshare for
3473 storage and sharing for free. Each research object is licensed with Creative
3474 Commons and receives a DOI link. The premium option charges researchers a
3475 fee for gigabytes of private storage space, and for private online space
3476 designed for a set number of research collaborators, which is ideal for
3477 larger teams and geographically dispersed research groups. Figshare sums up
3478 its value proposition to researchers as <span class="quote">„<span class="quote">You retain ownership.  You
3479 license it. You get credit. We just make sure it persists.</span>”</span>
3480     </p><p>
3481       In January 2012, Figshare was launched. (The fig in Figshare stands for
3482 figures.) Using investment funds, Mark made significant improvements to
3483 Figshare. For example, researchers could quickly preview their research
3484 files within a browser without having to download them first or require
3485 third-party software. Journals who were still largely publishing articles as
3486 static noninteractive PDFs became interested in having Figshare provide that
3487 functionality for them.
3488     </p><p>
3489       Figshare diversified its business model to include services for
3490 journals. Figshare began hosting large amounts of data for the journals’
3491 online articles. This additional data improved the quality of the
3492 articles. Outsourcing this service to Figshare freed publishers from having
3493 to develop this functionality as part of their own
3494 infrastructure. Figshare-hosted data also provides a link back to the
3495 article, generating additional click-through and readership—a benefit to
3496 both journal publishers and researchers.  Figshare now provides
3497 research-data infrastructure for a wide variety of publishers including
3498 Wiley, Springer Nature, PLOS, and Taylor and Francis, to name a few, and has
3499 convinced them to use Creative Commons licenses for the data.
3500     </p><p>
3501       Governments allocate significant public funds to research. In parallel with
3502 the launch of Figshare, governments around the world began requesting the
3503 research they fund be open and accessible.  They mandated that researchers
3504 and academic institutions better manage and disseminate their research
3505 outputs. Institutions looking to comply with this new mandate became
3506 interested in Figshare. Figshare once again diversified its business model,
3507 adding services for institutions.
3508     </p><p>
3509       Figshare now offers a range of fee-based services to institutions, including
3510 their own minibranded Figshare space (called Figshare for Institutions) that
3511 securely hosts research data of institutions in the cloud. Services include
3512 not just hosting but data metrics, data dissemination, and user-group
3513 administration.  Figshare’s workflow, and the services they offer for
3514 institutions, take into account the needs of librarians and administrators,
3515 as well as of the researchers.
3516     </p><p>
3517       As with researchers and publishers, Fig-share encouraged institutions to
3518 share their research with CC BY (Attribution) and their data with CC0 (into
3519 the public domain). Funders who require researchers and institutions to use
3520 open licensing believe in the social responsibilities and benefits of making
3521 research accessible to all. Publishing research in this open way has come to
3522 be called open access. But not all funders specify CC BY; some institutions
3523 want to offer their researchers a choice, including less permissive licenses
3524 like CC BY-NC (Attribution-NonCommercial), CC BY-SA
3525 (Attribution-ShareAlike), or CC BY-ND (Attribution-NoDerivs).
3526     </p><p>
3527       For Mark this created a conflict. On the one hand, the principles and
3528 benefits of open science are at the heart of Figshare, and Mark believes CC
3529 BY is the best license for this. On the other hand, institutions were saying
3530 they wouldn’t use Figshare unless it offered a choice in licenses. He
3531 initially refused to offer anything beyond CC0 and CC BY, but after seeing
3532 an open-source CERN project offer all Creative Commons licenses without any
3533 negative repercussions, he decided to follow suit.
3534     </p><p>
3535       Mark is thinking of doing a Figshare study that tracks research
3536 dissemination according to Creative Commons license, and gathering metrics
3537 on views, citations, and downloads. You could see which license generates
3538 the biggest impact. If the data showed that CC BY is more impactful, Mark
3539 believes more and more researchers and institutions will make it their
3540 license of choice.
3541     </p><p>
3542       Figshare has an Application Programming Interface (API) that makes it
3543 possible for data to be pulled from Figshare and used in other
3544 applications. As an example, Mark shared a Figshare data set showing the
3545 journal subscriptions that higher-education institutions in the United
3546 Kingdom paid to ten major publishers.<a href="#ftn.idm1184" class="footnote" name="idm1184"><sup class="footnote">[115]</sup></a>
3547 Figshare’s API enables that data to be pulled into an app developed by a
3548 completely different researcher that converts the data into a visually
3549 interesting graph, which any viewer can alter by changing any of the
3550 variables.<a href="#ftn.idm1187" class="footnote" name="idm1187"><sup class="footnote">[116]</sup></a>
3551     </p><p>
3552       The free version of Figshare has built a community of academics, who through
3553 word of mouth and presentations have promoted and spread awareness of
3554 Figshare. To amplify and reward the community, Figshare established an
3555 Advisor program, providing those who promoted Figshare with hoodies and
3556 T-shirts, early access to new features, and travel expenses when they gave
3557 presentations outside of their area. These Advisors also helped Mark on what
3558 license to use for software code and whether to offer universities an option
3559 of using Creative Commons licenses.
3560     </p><p>
3561       Mark says his success is partly about being in the right place at the right
3562 time. He also believes that the diversification of Figshare’s model over
3563 time has been key to success. Figshare now offers a comprehensive set of
3564 services to researchers, publishers, and institutions.<a href="#ftn.idm1192" class="footnote" name="idm1192"><sup class="footnote">[117]</sup></a> If he had relied solely on revenue from premium
3565 subscriptions, he believes Figshare would have struggled. In Figshare’s
3566 early days, their primary users were early-career and late-career
3567 academics. It has only been because funders mandated open licensing that
3568 Figshare is now being used by the mainstream.
3569     </p><p>
3570       Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
3571 800,000–plus user uploads, 2 million–plus articles, 500,000-plus
3572 collections, and 5,000–plus projects. Sixty percent of their traffic comes
3573 from Google. A sister company called Altmetric tracks the use of Figshare by
3574 others, including Wikipedia and news sources.
3575     </p><p>
3576       Figshare uses the revenue it generates from the premium subscribers, journal
3577 publishers, and institutions to fund and expand what it can offer to
3578 researchers for free. Figshare has publicly stuck to its principles—keeping
3579 the free service free and requiring the use of CC BY and CC0 from the
3580 start—and from Mark’s perspective, this is why people trust Figshare. Mark
3581 sees new competitors coming forward who are just in it for money. If
3582 Figshare was only in it for the money, they wouldn’t care about offering a
3583 free version. Figshare’s principles and advocacy for openness are a key
3584 differentiator. Going forward, Mark sees Figshare not only as supporting
3585 open access to research but also enabling people to collaborate and make new
3586 discoveries.
3587     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1184" class="footnote"><p><a href="#idm1184" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1187" class="footnote"><p><a href="#idm1187" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&amp;inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&amp;inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1192" class="footnote"><p><a href="#idm1192" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>Rozdział 11. Figure.NZ</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3588         Figure.NZ is a nonprofit charity that makes an online data platform designed
3589 to make data reusable and easy to understand.  Founded in 2012 in New
3590 Zealand.
3591       </p><p>
3592           <a class="ulink" href="http://figure.nz" target="_top">http://figure.nz</a>
3593         </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
3594 services to creators, donations, sponsorships
3595       </p><p><span class="strong"><strong>Interview date</strong></span>: May 3, 2016
3596       </p><p><span class="strong"><strong>Interviewee</strong></span>: Lillian Grace, founder
3597       </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}
3598     \textit{
3599         Profile written by Paul Stacey
3600       }
3601     \end{flushright}</td></tr></table></div><p>
3602       In the paper Harnessing the Economic and Social Power of Data presented at
3603 the New Zealand Data Futures Forum in 2014,<a href="#ftn.idm1211" class="footnote" name="idm1211"><sup class="footnote">[118]</sup></a> Figure.NZ founder Lillian Grace said there are thousands of
3604 valuable and relevant data sets freely available to us right now, but most
3605 people don’t use them. She used to think this meant people didn’t care about
3606 being informed, but she’s come to see that she was wrong. Almost everyone
3607 wants to be informed about issues that matter—not only to them, but also to
3608 their families, their communities, their businesses, and their country.  But
3609 there’s a big difference between availability and accessibility of
3610 information. Data is spread across thousands of sites and is held within
3611 databases and spreadsheets that require both time and skill to engage
3612 with. To use data when making a decision, you have to know what specific
3613 question to ask, identify a source that has collected the data, and
3614 manipulate complex tools to extract and visualize the information within the
3615 data set.  Lillian established Figure.NZ to make data truly accessible to
3616 all, with a specific focus on New Zealand.
3617     </p><p>
3618       Lillian had the idea for Figure.NZ in February 2012 while working for the
3619 New Zealand Institute, a think tank concerned with improving economic
3620 prosperity, social well-being, environmental quality, and environmental
3621 productivity for New Zealand and New Zealanders. While giving talks to
3622 community and business groups, Lillian realized <span class="quote">„<span class="quote">every single issue we
3623 addressed would have been easier to deal with if more people understood the
3624 basic facts.</span>”</span> But understanding the basic facts sometimes requires
3625 data and research that you often have to pay for.
3626     </p><p>
3627       Lillian began to imagine a website that lifted data up to a visual form that
3628 could be easily understood and freely accessed.  Initially launched as Wiki
3629 New Zealand, the original idea was that people could contribute their data
3630 and visuals via a wiki.  However, few people had graphs that could be used
3631 and shared, and there were no standards or consistency around the data and
3632 the visuals. Realizing the wiki model wasn’t working, Lillian brought the
3633 process of data aggregation, curation, and visual presentation in-house, and
3634 invested in the technology to help automate some of it. Wiki New Zealand
3635 became Figure.NZ, and efforts were reoriented toward providing services to
3636 those wanting to open their data and present it visually.
3637     </p><p>
3638       Here’s how it works. Figure.NZ sources data from other organizations,
3639 including corporations, public repositories, government departments, and
3640 academics. Figure.NZ imports and extracts that data, and then validates and
3641 standardizes it—all with a strong eye on what will be best for users. They
3642 then make the data available in a series of standardized forms, both human-
3643 and machine-readable, with rich metadata about the sources, the licenses,
3644 and data types. Figure.NZ has a chart-designing tool that makes simple bar,
3645 line, and area graphs from any data source.  The graphs are posted to the
3646 Figure.NZ website, and they can also be exported in a variety of formats for
3647 print or online use.  Figure.NZ makes its data and graphs available using
3648 the Attribution (CC BY) license. This allows others to reuse, revise, remix,
3649 and redistribute Figure.NZ data and graphs as long as they give attribution
3650 to the original source and to Figure.NZ.
3651     </p><p>
3652       Lillian characterizes the initial decision to use Creative Commons as
3653 naively fortunate. It was first recommended to her by a colleague. Lillian
3654 spent time looking at what Creative Commons offered and thought it looked
3655 good, was clear, and made common sense. It was easy to use and easy for
3656 others to understand. Over time, she’s come to realize just how fortunate
3657 and important that decision turned out to be. New Zealand’s government has
3658 an open-access and licensing framework called NZGOAL, which provides
3659 guidance for agencies when they release copyrighted and noncopyrighted work
3660 and material.<a href="#ftn.idm1219" class="footnote" name="idm1219"><sup class="footnote">[119]</sup></a> It aims to standardize
3661 the licensing of works with government copyright and how they can be reused,
3662 and it does this with Creative Commons licenses. As a result, 98 percent of
3663 all government-agency data is Creative Commons licensed, fitting in nicely
3664 with Figure.NZ’s decision.
3665     </p><p>
3666       Lillian thinks current ideas of what a business is are relatively new, only
3667 a hundred years old or so. She’s convinced that twenty years from now, we
3668 will see new and different models for business.  Figure.NZ is set up as a
3669 nonprofit charity. It is purpose-driven but also strives to pay people well
3670 and thinks like a business.  Lillian sees the charity-nonprofit status as an
3671 essential element for the mission and purpose of Figure.NZ. She believes
3672 Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
3673 nonprofit status assures people who have data and people who want to use it
3674 that they can rely on Figure.NZ’s motives. People see them as a trusted
3675 wrangler and source.
3676     </p><p>
3677       Although Figure.NZ is a social enterprise that openly licenses their data
3678 and graphs for everyone to use for free, they have taken care not to be
3679 perceived as a free service all around the table. Lillian believes hundreds
3680 of millions of dollars are spent by the government and organizations to
3681 collect data. However, very little money is spent on taking that data and
3682 making it accessible, understandable, and useful for decision making.
3683 Government uses some of the data for policy, but Lillian believes that it is
3684 underutilized and the potential value is much larger.  Figure.NZ is focused
3685 on solving that problem. They believe a portion of money allocated to
3686 collecting data should go into making sure that data is useful and generates
3687 value. If the government wants citizens to understand why certain decisions
3688 are being made and to be more aware about what the government is doing, why
3689 not transform the data it collects into easily understood visuals? It could
3690 even become a way for a government or any organization to differentiate,
3691 market, and brand itself.
3692     </p><p>
3693       Figure.NZ spends a lot of time seeking to understand the motivations of data
3694 collectors and to identify the channels where it can provide value. Every
3695 part of their business model has been focused on who is going to get value
3696 from the data and visuals.
3697     </p><p>
3698       Figure.NZ has multiple lines of business. They provide commercial services
3699 to organizations that want their data publicly available and want to use
3700 Figure.NZ as their publishing platform. People who want to publish open data
3701 appreciate Figure.NZ’s ability to do it faster, more easily, and better than
3702 they can. Customers are encouraged to help their users find, use, and make
3703 things from the data they make available on Figure.NZ’s website. Customers
3704 control what is released and the license terms (although Figure.NZ
3705 encourages Creative Commons licensing). Figure.NZ also serves customers who
3706 want a specific collection of charts created—for example, for their website
3707 or annual report. Charging the organizations that want to make their data
3708 available enables Figure.NZ to provide their site free to all users, to
3709 truly democratize data.
3710     </p><p>
3711       Lillian notes that the current state of most data is terrible and often not
3712 well understood by the people who have it. This sometimes makes it difficult
3713 for customers and Figure.NZ to figure out what it would cost to import,
3714 standardize, and display that data in a useful way. To deal with this,
3715 Figure.NZ uses <span class="quote">„<span class="quote">high-trust contracts,</span>”</span> where customers allocate
3716 a certain budget to the task that Figure.NZ is then free to draw from, as
3717 long as Figure.NZ frequently reports on what they’ve produced so the
3718 customer can determine the value for money. This strategy has helped build
3719 trust and transparency about the level of effort associated with doing work
3720 that has never been done before.
3721     </p><p>
3722       A second line of business is what Figure.NZ calls partners. ASB Bank and
3723 Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
3724 example, with their support Figure.NZ has been able to create Business
3725 Figures, a special way for businesses to find useful data without having to
3726 know what questions to ask.<a href="#ftn.idm1229" class="footnote" name="idm1229"><sup class="footnote">[120]</sup></a>
3727     </p><p>
3728       Figure.NZ also has patrons.<a href="#ftn.idm1233" class="footnote" name="idm1233"><sup class="footnote">[121]</sup></a> Patrons
3729 donate to topic areas they care about, directly enabling Figure.NZ to get
3730 data together to flesh out those areas. Patrons do not direct what data is
3731 included or excluded.
3732     </p><p>
3733       Figure.NZ also accepts philanthropic donations, which are used to provide
3734 more content, extend technology, and improve services, or are targeted to
3735 fund a specific effort or provide in-kind support.  As a charity, donations
3736 are tax deductible.
3737     </p><p>
3738       Figure.NZ has morphed and grown over time. With data aggregation, curation,
3739 and visualizing services all in-house, Figure.NZ has developed a deep
3740 expertise in taking random styles of data, standardizing it, and making it
3741 useful. Lillian realized that Figure.NZ could easily become a warehouse of
3742 seventy people doing data. But for Lillian, growth isn’t always good. In her
3743 view, bigger often means less effective. Lillian set artificial constraints
3744 on growth, forcing the organization to think differently and be more
3745 efficient. Rather than in-house growth, they are growing and building
3746 external relationships.
3747     </p><p>
3748       Figure.NZ’s website displays visuals and data associated with a wide range
3749 of categories including crime, economy, education, employment, energy,
3750 environment, health, information and communications technology, industry,
3751 tourism, and many others. A search function helps users find tables and
3752 graphs. Figure.NZ does not provide analysis or interpretation of the data or
3753 visuals.  Their goal is to teach people how to think, not think for them.
3754 Figure.NZ wants to create intuitive experiences, not user manuals.
3755     </p><p>
3756       Figure.NZ believes data and visuals should be useful. They provide their
3757 customers with a data collection template and teach them why it’s important
3758 and how to use it. They’ve begun putting more emphasis on tracking what
3759 users of their website want. They also get requests from social media and
3760 through email for them to share data for a specific topic—for example, can
3761 you share data for water quality? If they have the data, they respond
3762 quickly; if they don’t, they try and identify the organizations that would
3763 have that data and forge a relationship so they can be included on
3764 Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
3765 people to be curious about, access, and interpret data on topics they are
3766 interested in.
3767     </p><p>
3768       Lillian has a deep and profound vision for Figure.NZ that goes well beyond
3769 simply providing open-data services. She says things are different now. "We
3770 used to live in a world where it was really hard to share information
3771 widely. And in that world, the best future was created by having a few great
3772 leaders who essentially had access to the information and made decisions on
3773 behalf of others, whether it was on behalf of a country or companies.
3774     </p><p>
3775       "But now we live in a world where it’s really easy to share information
3776 widely and also to communicate widely. In the world we live in now, the best
3777 future is the one where everyone can make well-informed decisions.
3778     </p><p>
3779       "The use of numbers and data as a way of making well-informed decisions is
3780 one of the areas where there is the biggest gaps. We don’t really use
3781 numbers as a part of our thinking and part of our understanding yet.
3782     </p><p>
3783       "Part of the reason is the way data is spread across hundreds of sites. In
3784 addition, for the most part, deep thinking based on data is constrained to
3785 experts because most people don’t have data literacy. There once was a time
3786 when many citizens in society couldn’t read or write. However, as a society,
3787 we’ve now come to believe that reading and writing skills should be
3788 something all citizens have. We haven’t yet adopted a similar belief around
3789 numbers and data literacy. We largely still believe that only a few
3790 specially trained people can analyze and think with numbers.
3791     </p><p>
3792       "Figure.NZ may be the first organization to assert that everyone can use
3793 numbers in their thinking, and it’s built a technological platform along
3794 with trust and a network of relationships to make that possible. What you
3795 can see on Figure.NZ are tens of thousands of graphs, maps, and data.
3796     </p><p>
3797         <span class="quote">„<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
3798 analyze what they see around them. A way to be thoughtful and informed about
3799 society. A means of engaging in conversation and shaping decision making
3800 that transcends personal experience.  The long-term value and impact is
3801 almost impossible to measure, but the goal is to help citizens gain
3802 understanding and work together in more informed ways to shape the
3803 future.</span>”</span>
3804       </p><p>
3805       Lillian sees Figure.NZ’s model as having global potential. But for now,
3806 their focus is completely on making Figure.NZ work in New Zealand and to get
3807 the <span class="quote">„<span class="quote">network effect</span>”</span>— users dramatically increasing value for
3808 themselves and for others through use of their service. Creative Commons is
3809 core to making the network effect possible.
3810     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1211" class="footnote"><p><a href="#idm1211" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1219" class="footnote"><p><a href="#idm1219" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1229" class="footnote"><p><a href="#idm1229" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1233" class="footnote"><p><a href="#idm1233" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>Rozdział 12. Knowledge Unlatched</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3811         Knowledge Unlatched is a not-for-profit community interest company that
3812 brings libraries together to pool funds to publish open-access
3813 books. Founded in 2012 in the UK.
3814       </p><p>
3815           <a class="ulink" href="http://knowledgeunlatched.org" target="_top">http://knowledgeunlatched.org</a>
3816         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding (specialized)
3817       </p><p><span class="strong"><strong>Interview date</strong></span>: February 26, 2016
3818       </p><p><span class="strong"><strong>Interviewee</strong></span>: Frances Pinter, founder
3819       </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}
3820     \textit{
3821         Profile written by Paul Stacey
3822       }
3823     \end{flushright}</td></tr></table></div><p>
3824       The serial entrepreneur Dr. Frances Pinter has been at the forefront of
3825 innovation in the publishing industry for nearly forty years. She founded
3826 the UK-based Knowledge Unlatched with a mission to enable open access to
3827 scholarly books. For Frances, the current scholarly- book-publishing system
3828 is not working for anyone, and especially not for monographs in the
3829 humanities and social sciences. Knowledge Unlatched is committed to changing
3830 this and has been working with libraries to create a sustainable alternative
3831 model for publishing scholarly books, sharing the cost of making monographs
3832 (released under a Creative Commons license)  and savings costs over the long
3833 term. Since its launch, Knowledge Unlatched has received several awards,
3834 including the IFLA/Brill Open Access award in 2014 and a Curtin University
3835 Commercial Innovation Award for Innovation in Education in 2015.
3836     </p><p>
3837       Dr. Pinter has been in academic publishing most of her career.  About ten
3838 years ago, she became acquainted with the Creative Commons founder Lawrence
3839 Lessig and got interested in Creative Commons as a tool for both protecting
3840 content online and distributing it free to users.
3841     </p><p>
3842       Not long after, she ran a project in Africa convincing publishers in Uganda
3843 and South Africa to put some of their content online for free using a
3844 Creative Commons license and to see what happened to print sales. Sales went
3845 up, not down.
3846     </p><p>
3847       In 2008, Bloomsbury Academic, a new imprint of Bloomsbury Publishing in the
3848 United Kingdom, appointed her its founding publisher in London. As part of
3849 the launch, Frances convinced Bloomsbury to differentiate themselves by
3850 putting out monographs for free online under a Creative Commons license
3851 (BY-NC or BY-NC-ND, i.e., Attribution-NonCommercial or
3852 Attribution-NonCommercial-NoDerivs). This was seen as risky, as the biggest
3853 cost for publishers is getting a book to the stage where it can be
3854 printed. If everyone read the online book for free, there would be no
3855 print-book sales at all, and the costs associated with getting the book to
3856 print would be lost.  Surprisingly, Bloomsbury found that sales of the print
3857 versions of these books were 10 to 20 percent higher than normal. Frances
3858 found it intriguing that the Creative Commons–licensed free online book acts
3859 as a marketing vehicle for the print format.
3860     </p><p>
3861       Frances began to look at customer interest in the three forms of the book:
3862 1) the Creative Commons–licensed free online book in PDF form, 2) the
3863 printed book, and 3) a digital version of the book on an aggregator platform
3864 with enhanced features. She thought of this as the <span class="quote">„<span class="quote">ice cream
3865 model</span>”</span>: the free PDF was vanilla ice cream, the printed book was an
3866 ice cream cone, and the enhanced e-book was an ice cream sundae.
3867     </p><p>
3868       After a while, Frances had an epiphany—what if there was a way to get
3869 libraries to underwrite the costs of making these books up until they’re
3870 ready be printed, in other words, cover the fixed costs of getting to the
3871 first digital copy? Then you could either bring down the cost of the printed
3872 book, or do a whole bunch of interesting things with the printed book and
3873 e-book—the ice cream cone or sundae part of the model.
3874     </p><p>
3875       This idea is similar to the article-processing charge some open-access
3876 journals charge researchers to cover publishing costs.  Frances began to
3877 imagine a coalition of libraries paying for the prepress costs—a
3878 <span class="quote">„<span class="quote">book-processing charge</span>”</span>—and providing everyone in the world
3879 with an open-access version of the books released under a Creative Commons
3880 license.
3881     </p><p>
3882       This idea really took hold in her mind. She didn’t really have a name for it
3883 but began talking about it and making presentations to see if there was
3884 interest. The more she talked about it, the more people agreed it had
3885 appeal. She offered a bottle of champagne to anyone who could come up with a
3886 good name for the idea. Her husband came up with Knowledge Unlatched, and
3887 after two years of generating interest, she decided to move forward and
3888 launch a community interest company (a UK term for not-for-profit social
3889 enterprises) in 2012.
3890     </p><p>
3891       She describes the business model in a paper called Knowledge Unlatched:
3892 Toward an Open and Networked Future for Academic Publishing:
3893     </p><div class="orderedlist"><ol class="orderedlist compact" type="1"><li class="listitem"><p>
3894           Publishers offer titles for sale reflecting origination costs only via
3895 Knowledge Unlatched.
3896         </p></li><li class="listitem"><p>
3897           Individual libraries select titles either as individual titles or as
3898 collections (as they do from library suppliers now).
3899         </p></li><li class="listitem"><p>
3900           Their selections are sent to Knowledge Unlatched specifying the titles to be
3901 purchased at the stated price(s).
3902         </p></li><li class="listitem"><p>
3903           The price, called a Title Fee (set by publishers and negotiated by Knowledge
3904 Unlatched), is paid to publishers to cover the fixed costs of publishing
3905 each of the titles that were selected by a minimum number of libraries to
3906 cover the Title Fee.
3907         </p></li><li class="listitem"><p>
3908           Publishers make the selected titles available Open Access (on a Creative
3909 Commons or similar open license) and are then paid the Title Fee which is
3910 the total collected from the libraries.
3911         </p></li><li class="listitem"><p>
3912           Publishers make print copies, e-Pub, and other digital versions of selected
3913 titles available to member libraries at a discount that reflects their
3914 contribution to the Title Fee and incentivizes membership.<a href="#ftn.idm1286" class="footnote" name="idm1286"><sup class="footnote">[122]</sup></a>
3915         </p></li></ol></div><p>
3916       The first round of this model resulted in a collection of twenty-eight
3917 current titles from thirteen recognized scholarly publishers being
3918 unlatched. The target was to have two hundred libraries participate. The
3919 cost of the package per library was capped at $1,680, which was an average
3920 price of sixty dollars per book, but in the end they had nearly three
3921 hundred libraries sharing the costs, and the price per book came in at just
3922 under forty-three dollars.
3923     </p><p>
3924       The open-access, Creative Commons versions of these twenty-eight books are
3925 still available online.<a href="#ftn.idm1291" class="footnote" name="idm1291"><sup class="footnote">[123]</sup></a> Most books have
3926 been licensed with CC BY-NC or CC BY-NC-ND. Authors are the copyright
3927 holder, not the publisher, and negotiate choice of license as part of the
3928 publishing agreement.  Frances has found that most authors want to retain
3929 control over the commercial and remix use of their work. Publishers list the
3930 book in their catalogs, and the noncommercial restriction in the Creative
3931 Commons license ensures authors continue to get royalties on sales of
3932 physical copies.
3933     </p><p>
3934       There are three cost variables to consider for each round: the overall cost
3935 incurred by the publishers, total cost for each library to acquire all the
3936 books, and the individual price per book. The fee publishers charge for each
3937 title is a fixed charge, and Knowledge Unlatched calculates the total amount
3938 for all the books being unlatched at a time. The cost of an order for each
3939 library is capped at a maximum based on a minimum number of libraries
3940 participating. If the number of participating libraries exceeds the minimum,
3941 then the cost of the order and the price per book go down for each library.
3942     </p><p>
3943       The second round, recently completed, unlatched seventy-eight books from
3944 twenty-six publishers. For this round, Frances was experimenting with the
3945 size and shape of the offerings. Books were being bundled into eight small
3946 packages separated by subject (including Anthropology, History, Literature,
3947 Media and Communications, and Politics), of around ten books per package.
3948 Three hundred libraries around the world have to commit to at least six of
3949 the eight packages to enable unlatching. The average cost per book was just
3950 under fifty dollars. The unlatching process took roughly ten months. It
3951 started with a call to publishers for titles, followed by having a library
3952 task force select the titles, getting authors’ permissions, getting the
3953 libraries to pledge, billing the libraries, and finally, unlatching.
3954     </p><p>
3955       The longest part of the whole process is getting libraries to pledge and
3956 commit funds. It takes about five months, as library buy-in has to fit
3957 within acquisition cycles, budget cycles, and library-committee meetings.
3958     </p><p>
3959       Knowledge Unlatched informs and recruits libraries through social media,
3960 mailing lists, listservs, and library associations. Of the three hundred
3961 libraries that participated in the first round, 80 percent are also
3962 participating in the second round, and there are an additional eighty new
3963 libraries taking part. Knowledge Unlatched is also working not just with
3964 individual libraries but also library consortia, which has been getting even
3965 more libraries involved.
3966     </p><p>
3967       Knowledge Unlatched is scaling up, offering 150 new titles in the second
3968 half of 2016. It will also offer backlist titles, and in 2017 will start to
3969 make journals open access too.
3970     </p><p>
3971       Knowledge Unlatched deliberately chose monographs as the initial type of
3972 book to unlatch. Monographs are foundational and important, but also
3973 problematic to keep going in the standard closed publishing model.
3974     </p><p>
3975       The cost for the publisher to get to a first digital copy of a monograph is
3976 $5,000 to $50,000. A good one costs in the $10,000 to $15,000
3977 range. Monographs typically don’t sell a lot of copies. A publisher who in
3978 the past sold three thousand copies now typically sells only three
3979 hundred. That makes unlatching monographs a low risk for publishers. For the
3980 first round, it took five months to get thirteen publishers. For the second
3981 round, it took one month to get twenty-six.
3982     </p><p>
3983       Authors don’t generally make a lot of royalties from monographs.  Royalties
3984 range from zero dollars to 5 to 10 percent of receipts.  The value to the
3985 author is the awareness it brings to them; when their book is being read, it
3986 increases their reputation. Open access through unlatching generates many
3987 more downloads and therefore awareness. (On the Knowledge Unlatched website,
3988 you can find interviews with the twenty-eight round-one authors describing
3989 their experience and the benefits of taking part.)<a href="#ftn.idm1302" class="footnote" name="idm1302"><sup class="footnote">[124]</sup></a>
3990     </p><p>
3991       Library budgets are constantly being squeezed, partly due to the inflation
3992 of journal subscriptions. But even without budget constraints, academic
3993 libraries are moving away from buying physical copies. An academic library
3994 catalog entry is typically a URL to wherever the book is hosted. Or if they
3995 have enough electronic storage space, they may download the digital file
3996 into their digital repository. Only secondarily do they consider getting a
3997 print book, and if they do, they buy it separately from the digital version.
3998     </p><p>
3999       Knowledge Unlatched offers libraries a compelling economic argument. Many of
4000 the participating libraries would have bought a copy of the monograph
4001 anyway, but instead of paying $95 for a print copy or $150 for a digital
4002 multiple-use copy, they pay $50 to unlatch. It costs them less, and it opens
4003 the book to not just the participating libraries, but to the world.
4004     </p><p>
4005       Not only do the economics make sense, but there is very strong alignment
4006 with library mandates. The participating libraries pay less than they would
4007 have in the closed model, and the open-access book is available to all
4008 libraries. While this means nonparticipating libraries could be seen as free
4009 riders, in the library world, wealthy libraries are used to paying more than
4010 poor libraries and accept that part of their money should be spent to
4011 support open access. <span class="quote">„<span class="quote">Free ride</span>”</span> is more like community
4012 responsibility. By the end of March 2016, the round-one books had been
4013 downloaded nearly eighty thousand times in 175 countries.
4014     </p><p>
4015       For publishers, authors, and librarians, the Knowledge Unlatched model for
4016 monographs is a win-win-win.
4017     </p><p>
4018       In the first round, Knowledge Unlatched’s overheads were covered by
4019 grants. In the second round, they aim to demonstrate the model is
4020 sustainable. Libraries and publishers will each pay a 7.5 percent service
4021 charge that will go toward Knowledge Unlatched’s running costs. With plans
4022 to scale up in future rounds, Frances figures they can fully recover costs
4023 when they are unlatching two hundred books at a time. Moving forward,
4024 Knowledge Unlatched is making investments in technology and
4025 processes. Future plans include unlatching journals and older books.
4026     </p><p>
4027       Frances believes that Knowledge Unlatched is tapping into new ways of
4028 valuing academic content. It’s about considering how many people can find,
4029 access, and use your content without pay barriers. Knowledge Unlatched taps
4030 into the new possibilities and behaviors of the digital world. In the
4031 Knowledge Unlatched model, the content-creation process is exactly the same
4032 as it always has been, but the economics are different. For Frances,
4033 Knowledge Unlatched is connected to the past but moving into the future, an
4034 evolution rather than a revolution.
4035     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1286" class="footnote"><p><a href="#idm1286" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1291" class="footnote"><p><a href="#idm1291" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1302" class="footnote"><p><a href="#idm1302" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>Rozdział 13. Lumen Learning</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
4036         Lumen Learning is a for-profit company helping educational institutions use
4037 open educational resources (OER). Founded in 2013 in the U.S.
4038       </p><p>
4039           <a class="ulink" href="http://lumenlearning.com" target="_top">http://lumenlearning.com</a>
4040         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
4041 services, grant funding
4042       </p><p><span class="strong"><strong>Interview date</strong></span>: December 21, 2015
4043       </p><p><span class="strong"><strong>Interviewees</strong></span>: David Wiley and Kim Thanos,
4044 cofounders
4045       </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}
4046     \textit{
4047         Profile written by Paul Stacey
4048       }
4049     \end{flushright}</td></tr></table></div><p>
4050       Cofounded by open education visionary Dr. David Wiley and
4051 education-technology strategist Kim Thanos, Lumen Learning is dedicated to
4052 improving student success, bringing new ideas to pedagogy, and making
4053 education more affordable by facilitating adoption of open educational
4054 resources. In 2012, David and Kim partnered on a grant-funded project called
4055 the Kaleidoscope Open Course Initiative.<a href="#ftn.idm1326" class="footnote" name="idm1326"><sup class="footnote">[125]</sup></a> It involved a set of fully open general-education courses across
4056 eight colleges predominantly serving at-risk students, with goals to
4057 dramatically reduce textbook costs and collaborate to improve the courses to
4058 help students succeed. David and Kim exceeded those goals: the cost of the
4059 required textbooks, replaced with OER, decreased to zero dollars, and
4060 average student-success rates improved by 5 to 10 percent when compared with
4061 previous years. After a second round of funding, a total of more than
4062 twenty-five institutions participated in and benefited from this project. It
4063 was career changing for David and Kim to see the impact this initiative had
4064 on low-income students. David and Kim sought further funding from the Bill
4065 and Melinda Gates Foundation, who asked them to define a plan to scale their
4066 work in a financially sustainable way. That is when they decided to create
4067 Lumen Learning.
4068     </p><p>
4069       David and Kim went back and forth on whether it should be a nonprofit or
4070 for- profit. A nonprofit would make it a more comfortable fit with the
4071 education sector but meant they’d be constantly fund-raising and seeking
4072 grants from philanthropies.  Also, grants usually require money to be used
4073 in certain ways for specific deliverables. If you learn things along the way
4074 that change how you think the grant money should be used, there often isn’t
4075 a lot of flexibility to do so.
4076     </p><p>
4077       But as a for-profit, they’d have to convince educational institutions to pay
4078 for what Lumen had to offer. On the positive side, they’d have more control
4079 over what to do with the revenue and investment money; they could make
4080 decisions to invest the funds or use them differently based on the situation
4081 and shifting opportunities. In the end, they chose the for-profit status,
4082 with its different model for and approach to sustainability.
4083     </p><p>
4084       Right from the start, David and Kim positioned Lumen Learning as a way to
4085 help institutions engage in open educational resources, or OER. OER are
4086 teaching, learning, and research materials, in all different media, that
4087 reside in the public domain or are released under an open license that
4088 permits free use and repurposing by others.
4089     </p><p>
4090       Originally, Lumen did custom contracts for each institution. This was
4091 complicated and challenging to manage. However, through that process
4092 patterns emerged which allowed them to generalize a set of approaches and
4093 offerings. Today they don’t customize as much as they used to, and instead
4094 they tend to work with customers who can use their off-the-shelf
4095 options. Lumen finds that institutions and faculty are generally very good
4096 at seeing the value Lumen brings and are willing to pay for it. Serving
4097 disadvantaged learner populations has led Lumen to be very pragmatic; they
4098 describe what they offer in quantitative terms—with facts and figures—and in
4099 a way that is very student-focused. Lumen Learning helps colleges and
4100 universities—
4101     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4102           replace expensive textbooks in high-enrollment courses with OER;
4103         </p></li><li class="listitem"><p>
4104           provide enrolled students day one access to Lumen’s fully customizable OER
4105 course materials through the institution’s learning-management system;
4106         </p></li><li class="listitem"><p>
4107           measure improvements in student success with metrics like passing rates,
4108 persistence, and course completion; and
4109         </p></li><li class="listitem"><p>
4110           collaborate with faculty to make ongoing improvements to OER based on
4111 student success research.
4112         </p></li></ul></div><p>
4113       Lumen has developed a suite of open, Creative Commons–licensed courseware in
4114 more than sixty-five subjects. All courses are freely and publicly available
4115 right off their website. They can be copied and used by others as long as
4116 they provide attribution to Lumen Learning following the terms of the
4117 Creative Commons license.
4118     </p><p>
4119       Then there are three types of bundled services that cost money.  One option,
4120 which Lumen calls Candela courseware, offers integration with the
4121 institution’s learning-management system, technical and pedagogical support,
4122 and tracking of effectiveness.  Candela courseware costs institutions ten
4123 dollars per enrolled student.
4124     </p><p>
4125       A second option is Waymaker, which offers the services of Candela but adds
4126 personalized learning technologies, such as study plans, automated messages,
4127 and assessments, and helps instructors find and support the students who
4128 need it most. Waymaker courses cost twenty-five dollars per enrolled
4129 student.
4130     </p><p>
4131       The third and emerging line of business for Lumen is providing guidance and
4132 support for institutions and state systems that are pursuing the development
4133 of complete OER degrees. Often called Z-Degrees, these programs eliminate
4134 textbook costs for students in all courses that make up the degree (both
4135 required and elective)  by replacing commercial textbooks and other
4136 expensive resources with OER.
4137     </p><p>
4138       Lumen generates revenue by charging for their value-added tools and services
4139 on top of their free courses, just as solar-power companies provide the
4140 tools and services that help people use a free resource—sunlight. And
4141 Lumen’s business model focuses on getting the institutions to pay, not the
4142 students. With projects they did prior to Lumen, David and Kim learned that
4143 students who have access to all course materials from day one have greater
4144 success. If students had to pay, Lumen would have to restrict access to
4145 those who paid. Right from the start, their stance was that they would not
4146 put their content behind a paywall. Lumen invests zero dollars in
4147 technologies and processes for restricting access—no digital rights
4148 management, no time bombs. While this has been a challenge from a
4149 business-model perspective, from an open-access perspective, it has
4150 generated immense goodwill in the community.
4151     </p><p>
4152       In most cases, development of their courses is funded by the institution
4153 Lumen has a contract with. When creating new courses, Lumen typically works
4154 with the faculty who are teaching the new course. They’re often part of the
4155 institution paying Lumen, but sometimes Lumen has to expand the team and
4156 contract faculty from other institutions. First, the faculty identifies all
4157 of the course’s learning outcomes. Lumen then searches for, aggregates, and
4158 curates the best OER they can find that addresses those learning needs,
4159 which the faculty reviews.
4160     </p><p>
4161       Sometimes faculty like the existing OER but not the way it is presented. The
4162 open licensing of existing OER allows Lumen to pick and choose from images,
4163 videos, and other media to adapt and customize the course. Lumen creates new
4164 content as they discover gaps in existing OER. Test-bank items and feedback
4165 for students on their progress are areas where new content is frequently
4166 needed.  Once a course is created, Lumen puts it on their platform with all
4167 the attributions and links to the original sources intact, and any of
4168 Lumen’s new content is given an Attribution (CC BY) license.
4169     </p><p>
4170       Using only OER made them experience firsthand how complex it could be to mix
4171 differently licensed work together. A common strategy with OER is to place
4172 the Creative Commons license and attribution information in the website’s
4173 footer, which stays the same for all pages. This doesn’t quite work,
4174 however, when mixing different OER together.
4175     </p><p>
4176       Remixing OER often results in multiple attributions on every page of every
4177 course—text from one place, images from another, and videos from yet
4178 another. Some are licensed as Attribution (CC BY), others as
4179 Attribution-ShareAlike (CC BY-SA). If this information is put within the
4180 text of the course, faculty members sometimes try to edit it and students
4181 find it a distraction. Lumen dealt with this challenge by capturing the
4182 license and attribution information as metadata, and getting it to show up
4183 at the end of each page.
4184     </p><p>
4185       Lumen’s commitment to open licensing and helping low-income students has led
4186 to strong relationships with institutions, open-education enthusiasts, and
4187 grant funders. People in their network generously increase the visibility of
4188 Lumen through presentations, word of mouth, and referrals. Sometimes the
4189 number of general inquiries exceed Lumen’s sales capacity.
4190     </p><p>
4191       To manage demand and ensure the success of projects, their strategy is to be
4192 proactive and focus on what’s going on in higher education in different
4193 regions of the United States, watching out for things happening at the
4194 system level in a way that fits with what Lumen offers. A great example is
4195 the Virginia community college system, which is building out
4196 Z-Degrees. David and Kim say there are nine other U.S. states with similar
4197 system-level activity where Lumen is strategically focusing its
4198 efforts. Where there are projects that would require a lot of resources on
4199 Lumen’s part, they prioritize the ones that would impact the largest number
4200 of students.
4201     </p><p>
4202       As a business, Lumen is committed to openness. There are two core
4203 nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
4204 Commons licenses, for all the materials it creates; and day-one access for
4205 students. Having clear nonnegotiables allows them to then engage with the
4206 education community to solve for other challenges and work with institutions
4207 to identify new business models that achieve institution goals, while
4208 keeping Lumen healthy.
4209     </p><p>
4210       Openness also means that Lumen’s OER must necessarily be nonexclusive and
4211 nonrivalrous. This represents several big challenges for the business model:
4212 Why should you invest in creating something that people will be reluctant to
4213 pay for? How do you ensure that the investment the diverse education
4214 community makes in OER is not exploited? Lumen thinks we all need to be
4215 clear about how we are benefiting from and contributing to the open
4216 community.
4217     </p><p>
4218       In the OER sector, there are examples of corporations, and even
4219 institutions, acting as free riders. Some simply take and use open resources
4220 without paying anything or contributing anything back.  Others give back the
4221 minimum amount so they can save face.  Sustainability will require those
4222 using open resources to give back an amount that seems fair or even give
4223 back something that is generous.
4224     </p><p>
4225       Lumen does track institutions accessing and using their free content. They
4226 proactively contact those institutions, with an estimate of how much their
4227 students are saving and encouraging them to switch to a paid model. Lumen
4228 explains the advantages of the paid model: a more interactive relationship
4229 with Lumen; integration with the institution’s learning-management system; a
4230 guarantee of support for faculty and students; and future sustainability
4231 with funding supporting the evolution and improvement of the OER they are
4232 using.
4233     </p><p>
4234       Lumen works hard to be a good corporate citizen in the OER community. For
4235 David and Kim, a good corporate citizen gives more than they take, adds
4236 unique value, and is very transparent about what they are taking from
4237 community, what they are giving back, and what they are monetizing. Lumen
4238 believes these are the building blocks of a sustainable model and strives
4239 for a correct balance of all these factors.
4240     </p><p>
4241       Licensing all the content they produce with CC BY is a key part of giving
4242 more value than they take. They’ve also worked hard at finding the right
4243 structure for their value-add and how to package it in a way that is
4244 understandable and repeatable.
4245     </p><p>
4246       As of the fall 2016 term, Lumen had eighty-six different open courses,
4247 working relationships with ninety-two institutions, and more than
4248 seventy-five thousand student enrollments. Lumen received early start-up
4249 funding from the Bill and Melinda Gates Foundation, the Hewlett Foundation,
4250 and the Shuttleworth Foundation. Since then, Lumen has also attracted
4251 investment funding. Over the last three years, Lumen has been roughly 60
4252 percent grant funded, 20 percent revenue earned, and 20 percent funded with
4253 angel capital. Going forward, their strategy is to replace grant funding
4254 with revenue.
4255     </p><p>
4256       In creating Lumen Learning, David and Kim say they’ve landed on solutions
4257 they never imagined, and there is still a lot of learning taking place. For
4258 them, open business models are an emerging field where we are all learning
4259 through sharing. Their biggest recommendations for others wanting to pursue
4260 the open model are to make your commitment to open resources public, let
4261 people know where you stand, and don’t back away from it. It really is about
4262 trust.
4263     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1326" class="footnote"><p><a href="#idm1326" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>Rozdział 14. Jonathan Mann</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
4264         Jonathan Mann is a singer and songwriter who is most well known as the
4265 <span class="quote">„<span class="quote">Song A Day</span>”</span> guy. Based in the U.S.
4266       </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>
4267       </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
4268 services, pay-what-you-want, crowdfunding (subscription-based), charging for
4269 in-person version (speaking engagements and musical performances)
4270       </p><p><span class="strong"><strong>Interview date</strong></span>: February 22, 2016
4271       </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}
4272     \textit{
4273         Profile written by Sarah Hinchliff Pearson
4274       }
4275     \end{flushright}</td></tr></table></div><p>
4276       Jonathan Mann thinks of his business model as
4277 <span class="quote">„<span class="quote">hustling</span>”</span>—seizing nearly every opportunity he sees to make
4278 money. The bulk of his income comes from writing songs under commission for
4279 people and companies, but he has a wide variety of income sources. He has
4280 supporters on the crowdfunding site Patreon. He gets advertising revenue
4281 from YouTube and Bandcamp, where he posts all of his music. He gives paid
4282 speaking engagements about creativity and motivation. He has been hired by
4283 major conferences to write songs summarizing what speakers have said in the
4284 conference sessions.
4285     </p><p>
4286       His entrepreneurial spirit is coupled with a willingness to take action
4287 quickly. A perfect illustration of his ability to act fast happened in 2010,
4288 when he read that Apple was having a conference the following day to address
4289 a snafu related to the iPhone 4. He decided to write and post a song about
4290 the iPhone 4 that day, and the next day he got a call from the public
4291 relations people at Apple wanting to use and promote his video at the Apple
4292 conference. The song then went viral, and the experience landed him in Time
4293 magazine.
4294     </p><p>
4295       Jonathan’s successful <span class="quote">„<span class="quote">hustling</span>”</span> is also about old-fashioned
4296 persistence. He is currently in his eighth straight year of writing one song
4297 each day. He holds the Guinness World Record for consecutive daily
4298 songwriting, and he is widely known as the <span class="quote">„<span class="quote">song-a-day guy.</span>”</span>
4299     </p><p>
4300       He fell into this role by, naturally, seizing a random opportunity a friend
4301 alerted him to seven years ago—an event called Fun-A-Day, where people are
4302 supposed to create a piece of art every day for thirty-one days straight. He
4303 was in need of a new project, so he decided to give it a try by writing and
4304 posting a song each day.  He added a video component to the songs because he
4305 knew people were more likely to watch video online than simply listening to
4306 audio files.
4307     </p><p>
4308       He had a really good time doing the thirty-one-day challenge, so he decided
4309 to see if he could continue it for one year. He never stopped. He has
4310 written and posted a new song literally every day, seven days a week, since
4311 he began the project in 2009. When he isn’t writing songs that he is hired
4312 to write by clients, he writes songs about whatever is on his mind that
4313 day. His songs are catchy and mostly lighthearted, but they often contain at
4314 least an undercurrent of a deeper theme or meaning. Occasionally, they are
4315 extremely personal, like the song he cowrote with his exgirlfriend
4316 announcing their breakup. Rain or shine, in sickness or health, Jonathan
4317 posts and writes a song every day. If he is on a flight or otherwise
4318 incapable of getting Internet access in time to meet the deadline, he will
4319 prepare ahead and have someone else post the song for him.
4320     </p><p>
4321       Over time, the song-a-day gig became the basis of his livelihood.  In the
4322 beginning, he made money one of two ways. The first was by entering a wide
4323 variety of contests and winning a handful. The second was by having the
4324 occasional song and video go some varying degree of viral, which would bring
4325 more eyeballs and mean that there were more people wanting him to write
4326 songs for them. Today he earns most of his money this way.
4327     </p><p>
4328       His website explains his gig as <span class="quote">„<span class="quote">taking any message, from the super
4329 simple to the totally complicated, and conveying that message through a
4330 heartfelt, fun and quirky song.</span>”</span> He charges $500 to create a produced
4331 song and $300 for an acoustic song. He has been hired for product launches,
4332 weddings, conferences, and even Kickstarter campaigns like the one that
4333 funded the production of this book.
4334     </p><p>
4335       Jonathan can’t recall when exactly he first learned about Creative Commons,
4336 but he began applying CC licenses to his songs and videos as soon as he
4337 discovered the option. <span class="quote">„<span class="quote">CC seems like such a no-brainer,</span>”</span>
4338 Jonathan said. <span class="quote">„<span class="quote">I don’t understand how anything else would make
4339 sense. It seems like such an obvious thing that you would want your work to
4340 be able to be shared.</span>”</span>
4341     </p><p>
4342       His songs are essentially marketing for his services, so obviously the
4343 further his songs spread, the better. Using CC licenses helps grease the
4344 wheels, letting people know that Jonathan allows and encourages them to
4345 copy, interact with, and remix his music.  <span class="quote">„<span class="quote">If you let someone cover
4346 your song or remix it or use parts of it, that’s how music is supposed to
4347 work,</span>”</span> Jonathan said. <span class="quote">„<span class="quote">That is how music has worked since the
4348 beginning of time. Our me-me, mine-mine culture has undermined that.</span>”</span>
4349     </p><p>
4350       There are some people who cover his songs fairly regularly, and he would
4351 never shut that down. But he acknowledges there is a lot more he could do to
4352 build community. <span class="quote">„<span class="quote">There is all of this conventional wisdom about how
4353 to build an audience online, and I generally think I don’t do any of
4354 that,</span>”</span> Jonathan said.
4355     </p><p>
4356       He does have a fan community he cultivates on Bandcamp, but it isn’t his
4357 major focus. <span class="quote">„<span class="quote">I do have a core audience that has stuck around for a
4358 really long time, some even longer than I’ve been doing song-a-day,</span>”</span>
4359 he said. <span class="quote">„<span class="quote">There is also a transitional aspect that drop in and get
4360 what they need and then move on.</span>”</span> Focusing less on community building
4361 than other artists makes sense given Jonathan’s primary income source of
4362 writing custom songs for clients.
4363     </p><p>
4364       Jonathan recognizes what comes naturally to him and leverages those
4365 skills. Through the practice of daily songwriting, he realized he has a gift
4366 for distilling complicated subjects into simple concepts and putting them to
4367 music. In his song <span class="quote">„<span class="quote">How to Choose a Master Password,</span>”</span> Jonathan
4368 explained the process of creating a secure password in a silly, simple
4369 song. He was hired to write the song by a client who handed him a long
4370 technical blog post from which to draw the information. Like a good (and
4371 rare) journalist, he translated the technical concepts into something
4372 understandable.
4373     </p><p>
4374       When he is hired by a client to write a song, he first asks them to send a
4375 list of talking points and other information they want to include in the
4376 song. He puts all of that into a text file and starts moving things around,
4377 cutting and pasting until the message starts to come together. The first
4378 thing he tries to do is grok the core message and develop the chorus. Then
4379 he looks for connections or parts he can make rhyme. The entire process
4380 really does resemble good journalism, but of course the final product of his
4381 work is a song rather than news. <span class="quote">„<span class="quote">There is something about being
4382 challenged and forced to take information that doesn’t seem like it should
4383 be sung about or doesn’t seem like it lends itself to a song,</span>”</span> he
4384 said. <span class="quote">„<span class="quote">I find that creative challenge really satisfying. I enjoy
4385 getting lost in that process.</span>”</span>
4386     </p><p>
4387       Jonathan admits that in an ideal world, he would exclusively write the music
4388 he wanted to write, rather than what clients hire him to write. But his
4389 business model is about capitalizing on his strengths as a songwriter, and
4390 he has found a way to keep it interesting for himself.
4391     </p><p>
4392       Jonathan uses nearly every tool possible to make money from his art, but he
4393 does have lines he won’t cross. He won’t write songs about things he
4394 fundamentally does not believe in, and there are times he has turned down
4395 jobs on principle. He also won’t stray too much from his natural
4396 style. <span class="quote">„<span class="quote">My style is silly, so I can’t really accommodate people who
4397 want something super serious,</span>”</span> Jonathan said. <span class="quote">„<span class="quote">I do what I do
4398 very easily, and it’s part of who I am.</span>”</span> Jonathan hasn’t gotten into
4399 writing commercials for the same reasons; he is best at using his own unique
4400 style rather than mimicking others.
4401     </p><p>
4402       Jonathan’s song-a-day commitment exemplifies the power of habit and
4403 grit. Conventional wisdom about creative productivity, including advice in
4404 books like the best-seller The Creative Habit by Twyla Tharp, routinely
4405 emphasizes the importance of ritual and action. No amount of planning can
4406 replace the value of simple practice and just doing. Jonathan Mann’s work is
4407 a living embodiment of these principles.
4408     </p><p>
4409       When he speaks about his work, he talks about how much the song-a-day
4410 process has changed him. Rather than seeing any given piece of work as
4411 precious and getting stuck on trying to make it perfect, he has become
4412 comfortable with just doing. If today’s song is a bust, tomorrow’s song
4413 might be better.
4414     </p><p>
4415       Jonathan seems to have this mentality about his career more generally. He is
4416 constantly experimenting with ways to make a living while sharing his work
4417 as widely as possible, seeing what sticks. While he has major
4418 accomplishments he is proud of, like being in the Guinness World Records or
4419 having his song used by Steve Jobs, he says he never truly feels successful.
4420     </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
4421 extent, a creative person is not ever going to feel completely satisfied
4422 because then so much of what drives you would be gone.</span>”</span>
4423     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Rozdział 15. Noun Project</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
4424         The Noun Project is a for-profit company offering an online platform to
4425 display visual icons from a global network of designers. Founded in 2010 in
4426 the U.S.
4427       </p><p>
4428           <a class="ulink" href="http://thenounproject.com" target="_top">http://thenounproject.com</a>
4429         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction
4430 fee, charging for custom services
4431       </p><p><span class="strong"><strong>Interview date</strong></span>: October 6, 2015
4432       </p><p><span class="strong"><strong>Interviewee</strong></span>: Edward Boatman, cofounder
4433       </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}
4434     \textit{
4435         Profile written by Paul Stacey
4436       }
4437     \end{flushright}</td></tr></table></div><p>
4438       The Noun Project creates and shares visual language. There are millions who
4439 use Noun Project symbols to simplify communication across borders,
4440 languages, and cultures.
4441     </p><p>
4442       The original idea for the Noun Project came to cofounder Edward Boatman
4443 while he was a student in architecture design school. He’d always done a lot
4444 of sketches and started to draw what used to fascinate him as a child, like
4445 trains, sequoias, and bulldozers.  He began thinking how great it would be
4446 if he had a simple image or small icon of every single object or concept on
4447 the planet.
4448     </p><p>
4449       When Edward went on to work at an architecture firm, he had to make a lot of
4450 presentation boards for clients. But finding high-quality sources for
4451 symbols and icons was difficult. He couldn’t find any website that could
4452 provide them. Perhaps his idea for creating a library of icons could
4453 actually help people in similar situations.
4454     </p><p>
4455       With his partner, Sofya Polyakov, he began collecting symbols for a website
4456 and writing a business plan. Inspiration came from the book Professor and
4457 the Madman, which chronicles the use of crowdsourcing to create the Oxford
4458 English Dictionary in 1870.  Edward began to imagine crowdsourcing icons and
4459 symbols from volunteer designers around the world.
4460     </p><p>
4461       Then Edward got laid off during the recession, which turned out to be a huge
4462 catalyst. He decided to give his idea a go, and in 2010 Edward and Sofya
4463 launched the Noun Project with a Kickstarter campaign, back when Kickstarter
4464 was in its infancy.<a href="#ftn.idm1429" class="footnote" name="idm1429"><sup class="footnote">[126]</sup></a> They thought it’d
4465 be a good way to introduce the global web community to their idea. Their
4466 goal was to raise $1,500, but in twenty days they got over $14,000. They
4467 realized their idea had the potential to be something much bigger.
4468     </p><p>
4469       They created a platform where symbols and icons could be uploaded, and
4470 Edward began recruiting talented designers to contribute their designs, a
4471 process he describes as a relatively easy sell. Lots of designers have old
4472 drawings just gathering <span class="quote">„<span class="quote">digital dust</span>”</span> on their hard
4473 drives. It’s easy to convince them to finally share them with the world.
4474     </p><p>
4475       The Noun Project currently has about seven thousand designers from around
4476 the world. But not all submissions are accepted. The Noun Project’s
4477 quality-review process means that only the best works become part of its
4478 collection. They make sure to provide encouraging, constructive feedback
4479 whenever they reject a piece of work, which maintains and builds the
4480 relationship they have with their global community of designers.
4481     </p><p>
4482       Creative Commons is an integral part of the Noun Project’s business model;
4483 this decision was inspired by Chris Anderson’s book Free: The Future of
4484 Radical Price, which introduced Edward to the idea that you could build a
4485 business model around free content.
4486     </p><p>
4487       Edward knew he wanted to offer a free visual language while still providing
4488 some protection and reward for its contributors. There is a tension between
4489 those two goals, but for Edward, Creative Commons licenses bring this
4490 idealism and business opportunity together elegantly. He chose the
4491 Attribution (CC BY) license, which means people can download the icons for
4492 free and modify them and even use them commercially. The requirement to give
4493 attribution to the original creator ensures that the creator can build a
4494 reputation and get global recognition for their work. And if they simply
4495 want to offer an icon that people can use without having to give credit,
4496 they can use CC0 to put the work into the public domain.
4497     </p><p>
4498       Noun Project’s business model and means of generating revenue have evolved
4499 significantly over time. Their initial plan was to sell T-shirts with the
4500 icons on it, which in retrospect Edward says was a horrible idea. They did
4501 get a lot of email from people saying they loved the icons but asking if
4502 they could pay a fee instead of giving attribution. Ad agencies (among
4503 others) wanted to keep marketing and presentation materials clean and free
4504 of attribution statements. For Edward, <span class="quote">„<span class="quote">That’s when our lightbulb went
4505 off.</span>”</span>
4506     </p><p>
4507       They asked their global network of designers whether they’d be open to
4508 receiving modest remuneration instead of attribution.  Designers saw it as a
4509 win-win. The idea that you could offer your designs for free and have a
4510 global audience and maybe even make some money was pretty exciting for most
4511 designers.
4512     </p><p>
4513       The Noun Project first adopted a model whereby using an icon without giving
4514 attribution would cost $1.99 per icon. The model’s second iteration added a
4515 subscription component, where there would be a monthly fee to access a
4516 certain number of icons—ten, fifty, a hundred, or five hundred. However,
4517 users didn’t like these hard-count options. They preferred to try out many
4518 similar icons to see which worked best before eventually choosing the one
4519 they wanted to use. So the Noun Project moved to an unlimited model, whereby
4520 users have unlimited access to the whole library for a flat monthly
4521 fee. This service is called NounPro and costs $9.99 per month. Edward says
4522 this model is working well—good for customers, good for creators, and good
4523 for the platform.
4524     </p><p>
4525       Customers then began asking for an application-programming interface (API),
4526 which would allow Noun Project icons and symbols to be directly accessed
4527 from within other applications. Edward knew that the icons and symbols would
4528 be valuable in a lot of different contexts and that they couldn’t possibly
4529 know all of them in advance, so they built an API with a lot of
4530 flexibility.  Knowing that most API applications would want to use the icons
4531 without giving attribution, the API was built with the aim of charging for
4532 its use. You can use what’s called the <span class="quote">„<span class="quote">Playground API</span>”</span> for
4533 free to test how it integrates with your application, but full
4534 implementation will require you to purchase the API Pro version.
4535     </p><p>
4536       The Noun Project shares revenue with its international designers.  For
4537 one-off purchases, the revenue is split 70 percent to the designer and 30
4538 percent to Noun Project.
4539     </p><p>
4540       The revenue from premium purchases (the subscription and API options) is
4541 split a little differently. At the end of each month, the total revenue from
4542 subscriptions is divided by Noun Project’s total number of downloads,
4543 resulting in a rate per download—for example, it could be $0.13 per download
4544 for that month. For each download, the revenue is split 40 percent to the
4545 designer and 60 percent to the Noun Project. (For API usage, it’s per use
4546 instead of per download.) Noun Project’s share is higher this time as it’s
4547 providing more service to the user.
4548     </p><p>
4549       The Noun Project tries to be completely transparent about their royalty
4550 structure.<a href="#ftn.idm1446" class="footnote" name="idm1446"><sup class="footnote">[127]</sup></a> They tend to over
4551 communicate with creators about it because building trust is the top
4552 priority.
4553     </p><p>
4554       For most creators, contributing to the Noun Project is not a full-time job
4555 but something they do on the side. Edward categorizes monthly earnings for
4556 creators into three broad categories: enough money to buy beer; enough to
4557 pay the bills; and most successful of all, enough to pay the rent.
4558     </p><p>
4559       Recently the Noun Project launched a new app called Lingo.  Designers can
4560 use Lingo to organize not just their Noun Project icons and symbols but also
4561 their photos, illustrations, UX designs, et cetera. You simply drag any
4562 visual item directly into Lingo to save it. Lingo also works for teams so
4563 people can share visuals with each other and search across their combined
4564 collections. Lingo is free for personal use. A pro version for $9.99 per
4565 month lets you add guests. A team version for $49.95 per month allows up to
4566 twenty-five team members to collaborate, and to view, use, edit, and add new
4567 assets to each other’s collections.  And if you subscribe to NounPro, you
4568 can access Noun Project from within Lingo.
4569     </p><p>
4570       The Noun Project gives a ton of value away for free. A very large percentage
4571 of their roughly one million members have a free account, but there are
4572 still lots of paid accounts coming from digital designers, advertising and
4573 design agencies, educators, and others who need to communicate ideas
4574 visually.
4575     </p><p>
4576       For Edward, <span class="quote">„<span class="quote">creating, sharing, and celebrating the world’s visual
4577 language</span>”</span> is the most important aspect of what they do; it’s their
4578 stated mission. It differentiates them from others who offer graphics,
4579 icons, or clip art.
4580     </p><p>
4581       Noun Project creators agree. When surveyed on why they participate in the
4582 Noun Project, this is how designers rank their reasons: 1)  to support the
4583 Noun Project mission, 2) to promote their own personal brand, and 3) to
4584 generate money. It’s striking to see that money comes third, and mission,
4585 first. If you want to engage a global network of contributors, it’s
4586 important to have a mission beyond making money.
4587     </p><p>
4588       In Edward’s view, Creative Commons is central to their mission of sharing
4589 and social good. Using Creative Commons makes the Noun Project’s mission
4590 genuine and has generated a lot of their initial traction and
4591 credibility. CC comes with a built-in community of users and fans.
4592     </p><p>
4593       Edward told us, <span class="quote">„<span class="quote">Don’t underestimate the power of a passionate
4594 community around your product or your business. They are going to go to bat
4595 for you when you’re getting ripped in the media. If you go down the road of
4596 choosing to work with Creative Commons, you’re taking the first step to
4597 building a great community and tapping into a really awesome community that
4598 comes with it. But you need to continue to foster that community through
4599 other initiatives and continue to nurture it.</span>”</span>
4600     </p><p>
4601       The Noun Project nurtures their creators’ second motivation—promoting a
4602 personal brand—by connecting every icon and symbol to the creator’s name and
4603 profile page; each profile features their full collection. Users can also
4604 search the icons by the creator’s name.
4605     </p><p>
4606       The Noun Project also builds community through Iconathons—hackathons for
4607 icons.<a href="#ftn.idm1460" class="footnote" name="idm1460"><sup class="footnote">[128]</sup></a> In partnership with a sponsoring
4608 organization, the Noun Project comes up with a theme (e.g., sustainable
4609 energy, food bank, guerrilla gardening, human rights) and a list of icons
4610 that are needed, which designers are invited to create at the event.  The
4611 results are vectorized, and added to the Noun Project using CC0 so they can
4612 be used by anyone for free.
4613     </p><p>
4614       Providing a free version of their product that satisfies a lot of their
4615 customers’ needs has actually enabled the Noun Project to build the paid
4616 version, using a service-oriented model. The Noun Project’s success lies in
4617 creating services and content that are a strategic mix of free and paid
4618 while staying true to their mission—creating, sharing, and celebrating the
4619 world’s visual language. Integrating Creative Commons into their model has
4620 been key to that goal.
4621     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1429" class="footnote"><p><a href="#idm1429" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1446" class="footnote"><p><a href="#idm1446" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1460" class="footnote"><p><a href="#idm1460" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>Rozdział 16. Open Data Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
4622         The Open Data Institute is an independent nonprofit that connects, equips,
4623 and inspires people around the world to innovate with data. Founded in 2012
4624 in the UK.
4625       </p><p>
4626           <a class="ulink" href="http://theodi.org" target="_top">http://theodi.org</a>
4627         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant and government
4628 funding, charging for custom services, donations
4629       </p><p><span class="strong"><strong>Interview date</strong></span>: November 11, 2015
4630       </p><p><span class="strong"><strong>Interviewee</strong></span>: Jeni Tennison, technical
4631 director
4632       </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}
4633     \textit{
4634         Profile written by Paul Stacey
4635       }
4636     \end{flushright}</td></tr></table></div><p>
4637       Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the
4638 London-based Open Data Institute (ODI) offers data-related training, events,
4639 consulting services, and research. For ODI, Creative Commons licenses are
4640 central to making their own business model and their customers’ open. CC BY
4641 (Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the
4642 public domain)  all play a critical role in ODI’s mission to help people
4643 around the world innovate with data.
4644     </p><p>
4645       Data underpins planning and decision making across all aspects of
4646 society. Weather data helps farmers know when to plant their crops, flight
4647 time data from airplane companies helps us plan our travel, data on local
4648 housing informs city planning. When this data is not only accurate and
4649 timely, but open and accessible, it opens up new possibilities. Open data
4650 can be a resource businesses use to build new products and services. It can
4651 help governments measure progress, improve efficiency, and target
4652 investments. It can help citizens improve their lives by better
4653 understanding what is happening around them.
4654     </p><p>
4655       The Open Data Institute’s 2012–17 business plan starts out by describing its
4656 vision to establish itself as a world-leading center and to research and be
4657 innovative with the opportunities created by the UK government’s open data
4658 policy. (The government was an early pioneer in open policy and open-data
4659 initiatives.) It goes on to say that the ODI wants to—
4660     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4661           demonstrate the commercial value of open government data and how open-data
4662 policies affect this;
4663         </p></li><li class="listitem"><p>
4664           develop the economic benefits case and business models for open data;
4665         </p></li><li class="listitem"><p>
4666           help UK businesses use open data; and
4667         </p></li><li class="listitem"><p>
4668           show how open data can improve public services.<a href="#ftn.idm1489" class="footnote" name="idm1489"><sup class="footnote">[129]</sup></a>
4669         </p></li></ul></div><p>
4670       ODI is very explicit about how it wants to make open business models, and
4671 defining what this means. Jeni Tennison, ODI’s technical director, puts it
4672 this way: <span class="quote">„<span class="quote">There is a whole ecosystem of open—open-source software,
4673 open government, open-access research—and a whole ecosystem of data. ODI’s
4674 work cuts across both, with an emphasis on where they overlap—with open
4675 data.</span>”</span> ODI’s particular focus is to show open data’s potential for
4676 revenue.
4677     </p><p>
4678       As an independent nonprofit, ODI secured £10 million over five years from
4679 the UK government via Innovate UK, an agency that promotes innovation in
4680 science and technology. For this funding, ODI has to secure matching funds
4681 from other sources, some of which were met through a $4.75-million
4682 investment from the Omidyar Network.
4683     </p><p>
4684       Jeni started out as a developer and technical architect for data.gov.uk, the
4685 UK government’s pioneering open-data initiative.  She helped make data sets
4686 from government departments available as open data. She joined ODI in 2012
4687 when it was just starting up, as one of six people. It now has a staff of
4688 about sixty.
4689     </p><p>
4690       ODI strives to have half its annual budget come from the core UK government
4691 and Omidyar grants, and the other half from project-based research and
4692 commercial work. In Jeni’s view, having this balance of revenue sources
4693 establishes some stability, but also keeps them motivated to go out and
4694 generate these matching funds in response to market needs.
4695     </p><p>
4696       On the commercial side, ODI generates funding through memberships, training,
4697 and advisory services.
4698     </p><p>
4699       You can join the ODI as an individual or commercial member.  Individual
4700 membership is pay-what-you-can, with options ranging from £1 to
4701 £100. Members receive a newsletter and related communications and a discount
4702 on ODI training courses and the annual summit, and they can display an
4703 ODI-supporter badge on their website. Commercial membership is divided into
4704 two tiers: small to medium size enterprises and nonprofits at £720 a year,
4705 and corporations and government organizations at £2,200 a year.  Commercial
4706 members have greater opportunities to connect and collaborate, explore the
4707 benefits of open data, and unlock new business opportunities. (All members
4708 are listed on their website.)<a href="#ftn.idm1499" class="footnote" name="idm1499"><sup class="footnote">[130]</sup></a>
4709     </p><p>
4710       ODI provides standardized open data training courses in which anyone can
4711 enroll. The initial idea was to offer an intensive and academically oriented
4712 diploma in open data, but it quickly became clear there was no market for
4713 that. Instead, they offered a five-day-long public training course, which
4714 has subsequently been reduced to three days; now the most popular course is
4715 one day long. The fee, in addition to the time commitment, can be a barrier
4716 for participation. Jeni says, <span class="quote">„<span class="quote">Most of the people who would be able to
4717 pay don’t know they need it. Most who know they need it can’t pay.</span>”</span>
4718 Public-sector organizations sometimes give vouchers to their employees so
4719 they can attend as a form of professional development.
4720     </p><p>
4721       ODI customizes training for clients as well, for which there is more
4722 demand. Custom training usually emerges through an established relationship
4723 with an organization. The training program is based on a definition of
4724 open-data knowledge as applicable to the organization and on the skills
4725 needed by their high-level executives, management, and technical staff. The
4726 training tends to generate high interest and commitment.
4727     </p><p>
4728       Education about open data is also a part of ODI’s annual summit event, where
4729 curated presentations and speakers showcase the work of ODI and its members
4730 across the entire ecosystem. Tickets to the summit are available to the
4731 public, and hundreds of people and organizations attend and participate. In
4732 2014, there were four thematic tracks and over 750 attendees.
4733     </p><p>
4734       In addition to memberships and training, ODI provides advisory services to
4735 help with technical-data support, technology development, change management,
4736 policies, and other areas. ODI has advised large commercial organizations,
4737 small businesses, and international governments; the focus at the moment is
4738 on government, but ODI is working to shift more toward commercial
4739 organizations.
4740     </p><p>
4741       On the commercial side, the following value propositions seem to resonate:
4742     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4743           Data-driven insights. Businesses need data from outside their business to
4744 get more insight. Businesses can generate value and more effectively pursue
4745 their own goals if they open up their own data too. Big data is a hot topic.
4746         </p></li><li class="listitem"><p>
4747           Open innovation. Many large-scale enterprises are aware they don’t innovate
4748 very well. One way they can innovate is to open up their data. ODI
4749 encourages them to do so even if it exposes problems and challenges. The key
4750 is to invite other people to help while still maintaining organizational
4751 autonomy.
4752         </p></li><li class="listitem"><p>
4753           Corporate social responsibility. While this resonates with businesses, ODI
4754 cautions against having it be the sole reason for making data open. If a
4755 business is just thinking about open data as a way to be transparent and
4756 accountable, they can miss out on efficiencies and opportunities.
4757         </p></li></ul></div><p>
4758       During their early years, ODI wanted to focus solely on the United
4759 Kingdom. But in their first year, large delegations of government visitors
4760 from over fifty countries wanted to learn more about the UK government’s
4761 open-data practices and how ODI saw that translating into economic
4762 value. They were contracted as a service provider to international
4763 governments, which prompted a need to set up international ODI
4764 <span class="quote">„<span class="quote">nodes.</span>”</span>
4765     </p><p>
4766       Nodes are franchises of the ODI at a regional or city level.  Hosted by
4767 existing (for-profit or not-for-profit) organizations, they operate locally
4768 but are part of the global network. Each ODI node adopts the charter, a set
4769 of guiding principles and rules under which ODI operates. They develop and
4770 deliver training, connect people and businesses through membership and
4771 events, and communicate open-data stories from their part of the
4772 world. There are twenty-seven different nodes across nineteen countries. ODI
4773 nodes are charged a small fee to be part of the network and to use the
4774 brand.
4775     </p><p>
4776       ODI also runs programs to help start-ups in the UK and across Europe develop
4777 a sustainable business around open data, offering mentoring, advice,
4778 training, and even office space.<a href="#ftn.idm1519" class="footnote" name="idm1519"><sup class="footnote">[131]</sup></a>
4779     </p><p>
4780       A big part of ODI’s business model revolves around community
4781 building. Memberships, training, summits, consulting services, nodes, and
4782 start-up programs create an ever-growing network of open-data users and
4783 leaders. (In fact, ODI even operates something called an Open Data Leaders
4784 Network.) For ODI, community is key to success. They devote significant time
4785 and effort to build it, not just online but through face-to-face events.
4786     </p><p>
4787       ODI has created an online tool that organizations can use to assess the
4788 legal, practical, technical, and social aspects of their open data. If it is
4789 of high quality, the organization can earn ODI’s Open Data Certificate, a
4790 globally recognized mark that signals that their open data is useful,
4791 reliable, accessible, discoverable, and supported.<a href="#ftn.idm1525" class="footnote" name="idm1525"><sup class="footnote">[132]</sup></a>
4792     </p><p>
4793       Separate from commercial activities, the ODI generates funding through
4794 research grants. Research includes looking at evidence on the impact of open
4795 data, development of open-data tools and standards, and how to deploy open
4796 data at scale.
4797     </p><p>
4798       Creative Commons 4.0 licenses cover database rights and ODI recommends CC
4799 BY, CC BY-SA, and CC0 for data releases. ODI encourages publishers of data
4800 to use Creative Commons licenses rather than creating new <span class="quote">„<span class="quote">open
4801 licenses</span>”</span> of their own.
4802     </p><p>
4803       For ODI, open is at the heart of what they do. They also release any
4804 software code they produce under open-source-software licenses, and
4805 publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
4806 to connect and equip people around the world so they can innovate with
4807 data. Disseminating stories, research, guidance, and code under an open
4808 license is essential for achieving that mission. It also demonstrates that
4809 it is perfectly possible to generate sustainable revenue streams that do not
4810 rely on restrictive licensing of content, data, or code.  People pay to have
4811 ODI experts provide training to them, not for the content of the training;
4812 people pay for the advice ODI gives them, not for the methodologies they
4813 use. Producing open content, data, and source code helps establish
4814 credibility and creates leads for the paid services that they
4815 offer. According to Jeni, <span class="quote">„<span class="quote">The biggest lesson we have learned is that
4816 it is completely possible to be open, get customers, and make money.</span>”</span>
4817     </p><p>
4818       To serve as evidence of a successful open business model and return on
4819 investment, ODI has a public dashboard of key performance indicators. Here
4820 are a few metrics as of April 27, 2016:
4821     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4822           Total amount of cash investments unlocked in direct investments in ODI,
4823 competition funding, direct contracts, and partnerships, and income that ODI
4824 nodes and ODI start-ups have generated since joining the ODI program: £44.5
4825 million
4826         </p></li><li class="listitem"><p>
4827           Total number of active members and nodes across the globe: 1,350
4828         </p></li><li class="listitem"><p>
4829           Total sales since ODI began: £7.44 million
4830         </p></li><li class="listitem"><p>
4831           Total number of unique people reached since ODI began, in person and online:
4832 2.2 million
4833         </p></li><li class="listitem"><p>
4834           Total Open Data Certificates created: 151,000
4835         </p></li><li class="listitem"><p>
4836           Total number of people trained by ODI and its nodes since ODI began:
4837 5,080<a href="#ftn.idm1547" class="footnote" name="idm1547"><sup class="footnote">[133]</sup></a>
4838         </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1489" class="footnote"><p><a href="#idm1489" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1499" class="footnote"><p><a href="#idm1499" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1519" class="footnote"><p><a href="#idm1519" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>; <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1525" class="footnote"><p><a href="#idm1525" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1547" class="footnote"><p><a href="#idm1547" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>Rozdział 17. OpenDesk</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
4839         Opendesk is a for-profit company offering an online platform that connects
4840 furniture designers around the world with customers and local makers who
4841 bring the designs to life.  Founded in 2014 in the UK.
4842       </p><p>
4843           <a class="ulink" href="http://www.opendesk.cc" target="_top">http://www.opendesk.cc</a>
4844         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
4845       </p><p><span class="strong"><strong>Interview date</strong></span>: November 4, 2015
4846       </p><p><span class="strong"><strong>Interviewees</strong></span>: Nick Ierodiaconou and Joni
4847 Steiner, cofounders
4848       </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}
4849     \textit{
4850         Profile written by Paul Stacey
4851       }
4852     \end{flushright}</td></tr></table></div><p>
4853       Opendesk is an online platform that connects furniture designers around the
4854 world not just with customers but also with local registered makers who
4855 bring the designs to life. Opendesk and the designer receive a portion of
4856 every sale that is made by a maker.
4857     </p><p>
4858       Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as
4859 architects together. They also made goods. Their first client was Mint
4860 Digital, who had an interest in open licensing. Nick and Joni were exploring
4861 digital fabrication, and Mint’s interest in open licensing got them to
4862 thinking how the open-source world may interact and apply to physical
4863 goods. They sought to design something for their client that was also
4864 reproducible. As they put it, they decided to <span class="quote">„<span class="quote">ship the recipe, but
4865 not the goods.</span>”</span> They created the design using software, put it under
4866 an open license, and had it manufactured locally near the client. This was
4867 the start of the idea for Opendesk. The idea for Wikihouse—another open
4868 project dedicated to accessible housing for all—started as discussions
4869 around the same table. The two projects ultimately went on separate paths,
4870 with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit
4871 company.
4872     </p><p>
4873       When Nick and Joni set out to create Opendesk, there were a lot of questions
4874 about the viability of distributed manufacturing. No one was doing it in a
4875 way that was even close to realistic or competitive. The design community
4876 had the intent, but fulfilling this vision was still a long way away.
4877     </p><p>
4878       And now this sector is emerging, and Nick and Joni are highly interested in
4879 the commercialization aspects of it. As part of coming up with a business
4880 model, they began investigating intellectual property and licensing
4881 options. It was a thorny space, especially for designs. Just what aspect of
4882 a design is copyrightable? What is patentable? How can allowing for digital
4883 sharing and distribution be balanced against the designer’s desire to still
4884 hold ownership? In the end, they decided there was no need to reinvent the
4885 wheel and settled on using Creative Commons.
4886     </p><p>
4887       When designing the Opendesk system, they had two goals. They wanted anyone,
4888 anywhere in the world, to be able to download designs so that they could be
4889 made locally, and they wanted a viable model that benefited designers when
4890 their designs were sold. Coming up with a business model was going to be
4891 complex.
4892     </p><p>
4893       They gave a lot of thought to three angles—the potential for social sharing,
4894 allowing designers to choose their license, and the impact these choices
4895 would have on the business model.
4896     </p><p>
4897       In support of social sharing, Opendesk actively advocates for (but doesn’t
4898 demand) open licensing. And Nick and Joni are agnostic about which Creative
4899 Commons license is used; it’s up to the designer. They can be proprietary or
4900 choose from the full suite of Creative Commons licenses, deciding for
4901 themselves how open or closed they want to be.
4902     </p><p>
4903       For the most part, designers love the idea of sharing content.  They
4904 understand that you get positive feedback when you’re attributed, what Nick
4905 and Joni called <span class="quote">„<span class="quote">reputational glow.</span>”</span> And Opendesk does an
4906 awesome job profiling the designers.<a href="#ftn.idm1573" class="footnote" name="idm1573"><sup class="footnote">[134]</sup></a>
4907     </p><p>
4908       While designers are largely OK with personal sharing, there is a concern
4909 that someone will take the design and manufacture the furniture in bulk,
4910 with the designer not getting any benefits. So most Opendesk designers
4911 choose the Attribution-NonCommercial license (CC BY-NC).
4912     </p><p>
4913       Anyone can download a design and make it themselves, provided it’s for
4914 noncommercial use — and there have been many, many downloads.  Or users can
4915 buy the product from Opendesk, or from a registered maker in Opendesk’s
4916 network, for on-demand personal fabrication.  The network of Opendesk makers
4917 currently is made up of those who do digital fabrication using a
4918 computer-controlled CNC (Computer Numeric Control) machining device that
4919 cuts shapes out of wooden sheets according to the specifications in the
4920 design file.
4921     </p><p>
4922       Makers benefit from being part of Opendesk’s network. Making furniture for
4923 local customers is paid work, and Opendesk generates business for them. Joni
4924 said, <span class="quote">„<span class="quote">Finding a whole network and community of makers was pretty easy
4925 because we built a site where people could write in about their
4926 capabilities. Building the community by learning from the maker community is
4927 how we have moved forward.</span>”</span> Opendesk now has relationships with
4928 hundreds of makers in countries all around the world.<a href="#ftn.idm1580" class="footnote" name="idm1580"><sup class="footnote">[135]</sup></a>
4929     </p><p>
4930       The makers are a critical part of the Opendesk business model.  Their model
4931 builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
4932 website:
4933     </p><p>
4934       When customers buy an Opendesk product directly from a registered maker,
4935 they pay:
4936     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4937           the manufacturing cost as set by the maker (this covers material and labour
4938 costs for the product to be manufactured and any extra assembly costs
4939 charged by the maker)
4940         </p></li><li class="listitem"><p>
4941           a design fee for the designer (a design fee that is paid to the designer
4942 every time their design is used)
4943         </p></li><li class="listitem"><p>
4944           a percentage fee to the Opendesk platform (this supports the infrastructure
4945 and ongoing development of the platform that helps us build out our
4946 marketplace)
4947         </p></li><li class="listitem"><p>
4948           a percentage fee to the channel through which the sale is made (at the
4949 moment this is Opendesk, but in the future we aim to open this up to
4950 third-party sellers who can sell Opendesk products through their own
4951 channels—this covers sales and marketing fees for the relevant channel)
4952         </p></li><li class="listitem"><p>
4953           a local delivery service charge (the delivery is typically charged by the
4954 maker, but in some cases may be paid to a third-party delivery partner)
4955         </p></li><li class="listitem"><p>
4956           charges for any additional services the customer chooses, such as on-site
4957 assembly (additional services are discretionary—in many cases makers will be
4958 happy to quote for assembly on-site and designers may offer bespoke design
4959 options)
4960         </p></li><li class="listitem"><p>
4961           local sales taxes (variable by customer and maker location)<a href="#ftn.idm1600" class="footnote" name="idm1600"><sup class="footnote">[136]</sup></a>
4962         </p></li></ul></div><p>
4963       They then go into detail how makers’ quotes are created:
4964     </p><p>
4965       When a customer wants to buy an Opendesk . . . they are provided with a
4966 transparent breakdown of fees including the manufacturing cost, design fee,
4967 Opendesk platform fee and channel fees. If a customer opts to buy by getting
4968 in touch directly with a registered local maker using a downloaded Opendesk
4969 file, the maker is responsible for ensuring the design fee, Opendesk
4970 platform fee and channel fees are included in any quote at the time of
4971 sale.  Percentage fees are always based on the underlying manufacturing cost
4972 and are typically apportioned as follows:
4973     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4974           manufacturing cost: fabrication, finishing and any other costs as set by the
4975 maker (excluding any services like delivery or on-site assembly)
4976         </p></li><li class="listitem"><p>
4977           design fee: 8 percent of the manufacturing cost
4978         </p></li><li class="listitem"><p>
4979           platform fee: 12 percent of the manufacturing cost
4980         </p></li><li class="listitem"><p>
4981           channel fee: 18 percent of the manufacturing cost
4982         </p></li><li class="listitem"><p>
4983           sales tax: as applicable (depends on product and location)
4984         </p></li></ul></div><p>
4985       Opendesk shares revenue with their community of designers.  According to
4986 Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
4987 percent is more generous, and providing a higher value to the designer.
4988     </p><p>
4989       The Opendesk website features stories of designers and makers.  Denis Fuzii
4990 published the design for the Valovi Chair from his studio in São Paulo. His
4991 designs have been downloaded over five thousand times in ninety-five
4992 countries. I.J. CNC Services is Ian Jinks, a professional maker based in the
4993 United Kingdom. Opendesk now makes up a large proportion of his business.
4994     </p><p>
4995       To manage resources and remain effective, Opendesk has so far focused on a
4996 very narrow niche—primarily office furniture of a certain simple aesthetic,
4997 which uses only one type of material and one manufacturing technique. This
4998 allows them to be more strategic and more disruptive in the market, by
4999 getting things to market quickly with competitive prices. It also reflects
5000 their vision of creating reproducible and functional pieces.
5001     </p><p>
5002       On their website, Opendesk describes what they do as <span class="quote">„<span class="quote">open
5003 making</span>”</span>: <span class="quote">„<span class="quote">Designers get a global distribution channel. Makers
5004 get profitable jobs and new customers. You get designer products without the
5005 designer price tag, a more social, eco-friendly alternative to
5006 mass-production and an affordable way to buy custom-made products.</span>”</span>
5007     </p><p>
5008       Nick and Joni say that customers like the fact that the furniture has a
5009 known provenance. People really like that their furniture was designed by a
5010 certain international designer but was made by a maker in their local
5011 community; it’s a great story to tell. It certainly sets apart Opendesk
5012 furniture from the usual mass-produced items from a store.
5013     </p><p>
5014       Nick and Joni are taking a community-based approach to define and evolve
5015 Opendesk and the <span class="quote">„<span class="quote">open making</span>”</span> business model.  They’re
5016 engaging thought leaders and practitioners to define this new movement. They
5017 have a separate Open Making site, which includes a manifesto, a field guide,
5018 and an invitation to get involved in the Open Making community.<a href="#ftn.idm1625" class="footnote" name="idm1625"><sup class="footnote">[137]</sup></a> People can submit ideas and discuss the principles
5019 and business practices they’d like to see used.
5020     </p><p>
5021       Nick and Joni talked a lot with us about intellectual property (IP) and
5022 commercialization. Many of their designers fear the idea that someone could
5023 take one of their design files and make and sell infinite number of pieces
5024 of furniture with it. As a consequence, most Opendesk designers choose the
5025 Attribution-NonCommercial license (CC BY-NC).
5026     </p><p>
5027       Opendesk established a set of principles for what their community considers
5028 commercial and noncommercial use. Their website states:
5029     </p><p>
5030       It is unambiguously commercial use when anyone:
5031     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5032           charges a fee or makes a profit when making an Opendesk
5033         </p></li><li class="listitem"><p>
5034           sells (or bases a commercial service on) an Opendesk
5035         </p></li></ul></div><p>
5036       It follows from this that noncommercial use is when you make an Opendesk
5037 yourself, with no intention to gain commercial advantage or monetary
5038 compensation. For example, these qualify as noncommercial:
5039     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5040           you are an individual with your own CNC machine, or access to a shared CNC
5041 machine, and will personally cut and make a few pieces of furniture yourself
5042         </p></li><li class="listitem"><p>
5043           you are a student (or teacher) and you use the design files for educational
5044 purposes or training (and do not intend to sell the resulting pieces)
5045         </p></li><li class="listitem"><p>
5046           you work for a charity and get furniture cut by volunteers, or by employees
5047 at a fab lab or maker space
5048         </p></li></ul></div><p>
5049       Whether or not people technically are doing things that implicate IP, Nick
5050 and Joni have found that people tend to comply with the wishes of creators
5051 out of a sense of fairness. They have found that behavioral economics can
5052 replace some of the thorny legal issues. In their business model, Nick and
5053 Joni are trying to suspend the focus on IP and build an open business model
5054 that works for all stakeholders—designers, channels, manufacturers, and
5055 customers. For them, the value Opendesk generates hangs off
5056 <span class="quote">„<span class="quote">open,</span>”</span> not IP.
5057     </p><p>
5058       The mission of Opendesk is about relocalizing manufacturing, which changes
5059 the way we think about how goods are made.  Commercialization is integral to
5060 their mission, and they’ve begun to focus on success metrics that track how
5061 many makers and designers are engaged through Opendesk in revenue-making
5062 work.
5063     </p><p>
5064       As a global platform for local making, Opendesk’s business model has been
5065 built on honesty, transparency, and inclusivity. As Nick and Joni describe
5066 it, they put ideas out there that get traction and then have faith in
5067 people.
5068     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1573" class="footnote"><p><a href="#idm1573" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1580" class="footnote"><p><a href="#idm1580" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1600" class="footnote"><p><a href="#idm1600" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1625" class="footnote"><p><a href="#idm1625" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>Rozdział 18. OpenStax</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
5069         OpenStax is a nonprofit that provides free, openly licensed textbooks for
5070 high-enrollment introductory college courses and Advanced Placement
5071 courses. Founded in 2012 in the U.S.
5072       </p><p>
5073           <a class="ulink" href="http://www.openstaxcollege.org" target="_top">http://www.openstaxcollege.org</a>
5074         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding, charging
5075 for custom services, charging for physical copies (textbook sales)
5076       </p><p><span class="strong"><strong>Interview date</strong></span>: December 16, 2015
5077       </p><p><span class="strong"><strong>Interviewee</strong></span>: David Harris,
5078 editor-in-chief
5079       </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}
5080     \textit{
5081         Profile written by Paul Stacey
5082       }
5083     \end{flushright}</td></tr></table></div><p>
5084       OpenStax is an extension of a program called Connexions, which was started
5085 in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of
5086 Electrical and Computer Engineering at Rice University in Houston,
5087 Texas. Frustrated by the limitations of traditional textbooks and courses,
5088 Dr. Baraniuk wanted to provide authors and learners a way to share and
5089 freely adapt educational materials such as courses, books, and
5090 reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
5091 best libraries of customizable educational materials, all licensed with
5092 Creative Commons and available to anyone, anywhere, anytime—for free.
5093     </p><p>
5094       In 2008, while in a senior leadership role at WebAssign and looking at ways
5095 to reduce the risk that came with relying on publishers, David Harris began
5096 investigating open educational resources (OER) and discovered Connexions. A
5097 year and a half later, Connexions received a grant to help grow the use of
5098 OER so that it could meet the needs of students who couldn’t afford
5099 textbooks. David came on board to spearhead this effort.  Connexions became
5100 OpenStax CNX; the program to create open textbooks became OpenStax College,
5101 now simply called OpenStax.
5102     </p><p>
5103       David brought with him a deep understanding of the best practices of
5104 publishing along with where publishers have inefficiencies. In David’s view,
5105 peer review and high standards for quality are critically important if you
5106 want to scale easily. Books have to have logical scope and sequence, they
5107 have to exist as a whole and not in pieces, and they have to be easy to
5108 find. The working hypothesis for the launch of OpenStax was to
5109 professionally produce a turnkey textbook by investing effort up front, with
5110 the expectation that this would lead to rapid growth through easy downstream
5111 adoptions by faculty and students.
5112     </p><p>
5113       In 2012, OpenStax College launched as a nonprofit with the aim of producing
5114 high-quality, peer-reviewed full-color textbooks that would be available for
5115 free for the twenty-five most heavily attended college courses in the
5116 nation. Today they are fast approaching that number. There is data that
5117 proves the success of their original hypothesis on how many students they
5118 could help and how much money they could help save.<a href="#ftn.idm1665" class="footnote" name="idm1665"><sup class="footnote">[138]</sup></a> Professionally produced content scales rapidly. All
5119 with no sales force!
5120     </p><p>
5121       OpenStax textbooks are all Attribution (CC BY) licensed, and each textbook
5122 is available as a PDF, an e-book, or web pages. Those who want a physical
5123 copy can buy one for an affordable price. Given the cost of education and
5124 student debt in North America, free or very low-cost textbooks are very
5125 appealing. OpenStax encourages students to talk to their professor and
5126 librarians about these textbooks and to advocate for their use.
5127     </p><p>
5128       Teachers are invited to try out a single chapter from one of the textbooks
5129 with students. If that goes well, they’re encouraged to adopt the entire
5130 book. They can simply paste a URL into their course syllabus, for free and
5131 unlimited access. And with the CC BY license, teachers are free to delete
5132 chapters, make changes, and customize any book to fit their needs.
5133     </p><p>
5134       Any teacher can post corrections, suggest examples for difficult concepts,
5135 or volunteer as an editor or author. As many teachers also want supplemental
5136 material to accompany a textbook, OpenStax also provides slide
5137 presentations, test banks, answer keys, and so on.
5138     </p><p>
5139       Institutions can stand out by offering students a lower-cost education
5140 through the use of OpenStax textbooks; there’s even a textbook-savings
5141 calculator they can use to see how much students would save. OpenStax keeps
5142 a running list of institutions that have adopted their
5143 textbooks.<a href="#ftn.idm1672" class="footnote" name="idm1672"><sup class="footnote">[139]</sup></a>
5144     </p><p>
5145       Unlike traditional publishers’ monolithic approach of controlling
5146 intellectual property, distribution, and so many other aspects, OpenStax has
5147 adopted a model that embraces open licensing and relies on an extensive
5148 network of partners.
5149     </p><p>
5150       Up-front funding of a professionally produced all-color turnkey textbook is
5151 expensive. For this part of their model, OpenStax relies on
5152 philanthropy. They have initially been funded by the William and Flora
5153 Hewlett Foundation, the Laura and John Arnold Foundation, the Bill and
5154 Melinda Gates Foundation, the 20 Million Minds Foundation, the Maxfield
5155 Foundation, the Calvin K. Kazanjian Foundation, and Rice University. To
5156 develop additional titles and supporting technology is probably still going
5157 to require philanthropic investment.
5158     </p><p>
5159       However, ongoing operations will not rely on foundation grants but instead
5160 on funds received through an ecosystem of over forty partners, whereby a
5161 partner takes core content from OpenStax and adds features that it can
5162 create revenue from. For example, WebAssign, an online homework and
5163 assessment tool, takes the physics book and adds algorithmically generated
5164 physics problems, with problem-specific feedback, detailed solutions, and
5165 tutorial support. WebAssign resources are available to students for a fee.
5166     </p><p>
5167       Another example is Odigia, who has turned OpenStax books into interactive
5168 learning experiences and created additional tools to measure and promote
5169 student engagement. Odigia licenses its learning platform to
5170 institutions. Partners like Odigia and WebAssign give a percentage of the
5171 revenue they earn back to OpenStax, as mission-support fees. OpenStax has
5172 already published revisions of their titles, such as Introduction to
5173 Sociology 2e, using these funds.
5174     </p><p>
5175       In David’s view, this approach lets the market operate at peak
5176 efficiency. OpenStax’s partners don’t have to worry about developing
5177 textbook content, freeing them up from those development costs and letting
5178 them focus on what they do best.  With OpenStax textbooks available at no
5179 cost, they can provide their services at a lower cost—not free, but still
5180 saving students money. OpenStax benefits not only by receiving
5181 mission-support fees but through free publicity and marketing. OpenStax
5182 doesn’t have a sales force; partners are out there showcasing their
5183 materials.
5184     </p><p>
5185       OpenStax’s cost of sales to acquire a single student is very, very low and
5186 is a fraction of what traditional players in the market face. This year,
5187 Tyton Partners is actually evaluating the costs of sales for an OER effort
5188 like OpenStax in comparison with incumbents. David looks forward to sharing
5189 these findings with the community.
5190     </p><p>
5191       While OpenStax books are available online for free, many students still want
5192 a print copy. Through a partnership with a print and courier company,
5193 OpenStax offers a complete solution that scales.  OpenStax sells tens of
5194 thousands of print books. The price of an OpenStax sociology textbook is
5195 about twenty-eight dollars, a fraction of what sociology textbooks usually
5196 cost. OpenStax keeps the prices low but does aim to earn a small margin on
5197 each book sold, which also contributes to ongoing operations.
5198     </p><p>
5199       Campus-based bookstores are part of the OpenStax solution.  OpenStax
5200 collaborates with NACSCORP (the National Association of College Stores
5201 Corporation) to provide print versions of their textbooks in the
5202 stores. While the overall cost of the textbook is significantly less than a
5203 traditional textbook, bookstores can still make a profit on sales. Sometimes
5204 students take the savings they have from the lower-priced book and use it to
5205 buy other things in the bookstore. And OpenStax is trying to break the
5206 expensive behavior of excessive returns by having a no-returns policy. This
5207 is working well, since the sell-through of their print titles is virtually a
5208 hundred percent.
5209     </p><p>
5210       David thinks of the OpenStax model as <span class="quote">„<span class="quote">OER 2.0.</span>”</span> So what is OER
5211 1.0? Historically in the OER field, many OER initiatives have been locally
5212 funded by institutions or government ministries. In David’s view, this
5213 results in content that has high local value but is infrequently adopted
5214 nationally. It’s therefore difficult to show payback over a time scale that
5215 is reasonable.
5216     </p><p>
5217       OER 2.0 is about OER intended to be used and adopted on a national level
5218 right from the start. This requires a bigger investment up front but pays
5219 off through wide geographic adoption. The OER 2.0 process for OpenStax
5220 involves two development models. The first is what David calls the
5221 acquisition model, where OpenStax purchases the rights from a publisher or
5222 author for an already published book and then extensively revises it. The
5223 OpenStax physics textbook, for example, was licensed from an author after
5224 the publisher released the rights back to the authors. The second model is
5225 to develop a book from scratch, a good example being their biology book.
5226     </p><p>
5227       The process is similar for both models. First they look at the scope and
5228 sequence of existing textbooks. They ask questions like what does the
5229 customer need? Where are students having challenges? Then they identify
5230 potential authors and put them through a rigorous evaluation—only one in ten
5231 authors make it through.  OpenStax selects a team of authors who come
5232 together to develop a template for a chapter and collectively write the
5233 first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
5234 books with just a single author as David says it risks the project going
5235 longer than scheduled.) The draft is peer-reviewed with no less than three
5236 reviewers per chapter. A second draft is generated, with artists producing
5237 illustrations and visuals to go along with the text. The book is then
5238 copyedited to ensure grammatical correctness and a singular voice. Finally,
5239 it goes into production and through a final proofread. The whole process is
5240 very time-consuming.
5241     </p><p>
5242       All the people involved in this process are paid. OpenStax does not rely on
5243 volunteers. Writers, reviewers, illustrators, and editors are all paid an
5244 up-front fee—OpenStax does not use a royalty model. A best-selling author
5245 might make more money under the traditional publishing model, but that is
5246 only maybe 5 percent of all authors. From David’s perspective, 95 percent of
5247 all authors do better under the OER 2.0 model, as there is no risk to them
5248 and they earn all the money up front.
5249     </p><p>
5250       David thinks of the Attribution license (CC BY) as the <span class="quote">„<span class="quote">innovation
5251 license.</span>”</span> It’s core to the mission of OpenStax, letting people use
5252 their textbooks in innovative ways without having to ask for permission. It
5253 frees up the whole market and has been central to OpenStax being able to
5254 bring on partners.  OpenStax sees a lot of customization of their
5255 materials. By enabling frictionless remixing, CC BY gives teachers control
5256 and academic freedom.
5257     </p><p>
5258       Using CC BY is also a good example of using strategies that traditional
5259 publishers can’t. Traditional publishers rely on copyright to prevent others
5260 from making copies and heavily invest in digital rights management to ensure
5261 their books aren’t shared.  By using CC BY, OpenStax avoids having to deal
5262 with digital rights management and its costs. OpenStax books can be copied
5263 and shared over and over again. CC BY changes the rules of engagement and
5264 takes advantage of traditional market inefficiencies.
5265     </p><p>
5266       As of September 16, 2016, OpenStax has achieved some impressive
5267 results. From the OpenStax at a Glance fact sheet from their recent press
5268 kit:
5269     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5270           Books published: 23
5271         </p></li><li class="listitem"><p>
5272           Students who have used OpenStax: 1.6 million
5273         </p></li><li class="listitem"><p>
5274           Money saved for students: $155 million
5275         </p></li><li class="listitem"><p>
5276           Money saved for students in the 2016/17 academic year: $77 million
5277         </p></li><li class="listitem"><p>
5278           Schools that have used OpenStax: 2,668 (This number reflects all
5279 institutions using at least one OpenStax textbook. Out of 2,668 schools, 517
5280 are two-year colleges, 835 four-year colleges and universities, and 344
5281 colleges and universities outside the U.S.)
5282         </p></li></ul></div><p>
5283       While OpenStax has to date been focused on the United States, there is
5284 overseas adoption especially in the science, technology, engineering, and
5285 math (STEM) fields. Large scale adoption in the United States is seen as a
5286 necessary precursor to international interest.
5287     </p><p>
5288       OpenStax has primarily focused on introductory-level college courses where
5289 there is high enrollment, but they are starting to think about verticals—a
5290 broad offering for a specific group or need. David thinks it would be
5291 terrific if OpenStax could provide access to free textbooks through the
5292 entire curriculum of a nursing degree, for example.
5293     </p><p>
5294       Finally, for OpenStax success is not just about the adoption of their
5295 textbooks and student savings. There is a human aspect to the work that is
5296 hard to quantify but incredibly important. They get emails from students
5297 saying how OpenStax saved them from making difficult choices like buying
5298 food or a textbook. OpenStax would also like to assess the impact their
5299 books have on learning efficiency, persistence, and completion. By building
5300 an open business model based on Creative Commons, OpenStax is making it
5301 possible for every student who wants access to education to get it.
5302     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1665" class="footnote"><p><a href="#idm1665" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1672" class="footnote"><p><a href="#idm1672" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>Rozdział 19. Amanda Palmer</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
5303         Amanda Palmer is a musician, artist, and writer. Based in the U.S.
5304       </p><p>
5305           <a class="ulink" href="http://amandapalmer.net" target="_top">http://amandapalmer.net</a>
5306         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
5307 (subscription-based), pay-what-you-want, charging for physical copies (book
5308 and album sales), charg-ing for in-person version (performances), selling
5309 merchandise
5310       </p><p><span class="strong"><strong>Interview date</strong></span>: December 15, 2015
5311       </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}
5312     \textit{
5313         Profile written by Sarah Hinchliff Pearson
5314       }
5315     \end{flushright}</td></tr></table></div><p>
5316       Since the beginning of her career, Amanda Palmer has been on what she calls
5317 a <span class="quote">„<span class="quote">journey with no roadmap,</span>”</span> continually experimenting to find
5318 new ways to sustain her creative work.<a href="#ftn.idm1719" class="footnote" name="idm1719"><sup class="footnote">[140]</sup></a>
5319     </p><p>
5320       In her best-selling book, The Art of Asking, Amanda articulates exactly what
5321 she has been and continues to strive for—<span class="quote">„<span class="quote">the ideal sweet spot
5322 . . . in which the artist can share freely and directly feel the
5323 reverberations of their artistic gifts to the community, and make a living
5324 doing that.</span>”</span>
5325     </p><p>
5326       While she seems to have successfully found that sweet spot for herself,
5327 Amanda is the first to acknowledge there is no silver bullet. She thinks the
5328 digital age is both an exciting and frustrating time for creators. <span class="quote">„<span class="quote">On
5329 the one hand, we have this beautiful shareability,</span>”</span> Amanda
5330 said. <span class="quote">„<span class="quote">On the other, you’ve got a bunch of confused artists wondering
5331 how to make money to buy food so we can make more art.</span>”</span>
5332     </p><p>
5333       Amanda began her artistic career as a street performer. She would dress up
5334 in an antique wedding gown, paint her face white, stand on a stack of milk
5335 crates, and hand out flowers to strangers as part of a silent dramatic
5336 performance. She collected money in a hat. Most people walked by her without
5337 stopping, but an essential few stopped to watch and drop some money into her
5338 hat to show their appreciation. Rather than dwelling on the majority of
5339 people who ignored her, she felt thankful for those who stopped.  <span class="quote">„<span class="quote">All
5340 I needed was . . . some people,</span>”</span> she wrote in her book. <span class="quote">„<span class="quote">Enough
5341 people. Enough to make it worth coming back the next day, enough people to
5342 help me make rent and put food on the table. Enough so I could keep making
5343 art.</span>”</span>
5344     </p><p>
5345       Amanda has come a long way from her street-performing days, but her career
5346 remains dominated by that same sentiment—finding ways to reach <span class="quote">„<span class="quote">her
5347 crowd</span>”</span> and feeling gratitude when she does. With her band the Dresden
5348 Dolls, Amanda tried the traditional path of signing with a record label. It
5349 didn’t take for a variety of reasons, but one of them was that the label had
5350 absolutely no interest in Amanda’s view of success. They wanted hits, but
5351 making music for the masses was never what Amanda and the Dresden Dolls set
5352 out to do.
5353     </p><p>
5354       After leaving the record label in 2008, she began experimenting with
5355 different ways to make a living. She released music directly to the public
5356 without involving a middle man, releasing digital files on a <span class="quote">„<span class="quote">pay what
5357 you want</span>”</span> basis and selling CDs and vinyl. She also made money from
5358 live performances and merchandise sales. Eventually, in 2012 she decided to
5359 try her hand at the sort of crowdfunding we know so well today. Her
5360 Kickstarter project started with a goal of $100,000, and she made $1.2
5361 million. It remains one of the most successful Kickstarter projects of all
5362 time.
5363     </p><p>
5364       Today, Amanda has switched gears away from crowdfunding for specific
5365 projects to instead getting consistent financial support from her fan base
5366 on Patreon, a crowdfunding site that allows artists to get recurring
5367 donations from fans. More than eight thousand people have signed up to
5368 support her so she can create music, art, and any other creative
5369 <span class="quote">„<span class="quote">thing</span>”</span> that she is inspired to make. The recurring pledges are
5370 made on a <span class="quote">„<span class="quote">per thing</span>”</span> basis. All of the content she makes is
5371 made freely available under an Attribution-NonCommercial-ShareAlike license
5372 (CC BY-NC-SA).
5373     </p><p>
5374       Making her music and art available under Creative Commons licensing
5375 undoubtedly limits her options for how she makes a living. But sharing her
5376 work has been part of her model since the beginning of her career, even
5377 before she discovered Creative Commons. Amanda says the Dresden Dolls used
5378 to get ten emails per week from fans asking if they could use their music
5379 for different projects. They said yes to all of the requests, as long as it
5380 wasn’t for a completely for-profit venture. At the time, they used a
5381 short-form agreement written by Amanda herself. <span class="quote">„<span class="quote">I made everyone sign
5382 that contract so at least I wouldn’t be leaving the band vulnerable to
5383 someone later going on and putting our music in a Camel cigarette
5384 ad,</span>”</span> Amanda said. Once she discovered Creative Commons, adopting the
5385 licenses was an easy decision because it gave them a more formal,
5386 standardized way of doing what they had been doing all along. The
5387 NonCommercial licenses were a natural fit.
5388     </p><p>
5389       Amanda embraces the way her fans share and build upon her music.  In The Art
5390 of Asking, she wrote that some of her fans’ unofficial videos using her
5391 music surpass the official videos in number of views on YouTube. Rather than
5392 seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">„<span class="quote">We
5393 got into this because we wanted to share the joy of music,</span>”</span> she said.
5394     </p><p>
5395       This is symbolic of how nearly everything she does in her career is
5396 motivated by a desire to connect with her fans. At the start of her career,
5397 she and the band would throw concerts at house parties. As the gatherings
5398 grew, the line between fans and friends was completely blurred. <span class="quote">„<span class="quote">Not
5399 only did most our early fans know where I lived and where we practiced, but
5400 most of them had also been in my kitchen,</span>”</span> Amanda wrote in The Art of
5401 Asking.
5402     </p><p>
5403       Even though her fan base is now huge and global, she continues to seek this
5404 sort of human connection with her fans. She seeks out face-to-face contact
5405 with her fans every chance she can get. Her hugely successful Kickstarter
5406 featured fifty concerts at house parties for backers. She spends hours in
5407 the signing line after shows. It helps that Amanda has the kind of dynamic,
5408 engaging personality that instantly draws people to her, but a big component
5409 of her ability to connect with people is her willingness to
5410 listen. <span class="quote">„<span class="quote">Listening fast and caring immediately is a skill unto
5411 itself,</span>”</span> Amanda wrote.
5412     </p><p>
5413       Another part of the connection fans feel with Amanda is how much they know
5414 about her life. Rather than trying to craft a public persona or image, she
5415 essentially lives her life as an open book.  She has written openly about
5416 incredibly personal events in her life, and she isn’t afraid to be
5417 vulnerable. Having that kind of trust in her fans—the trust it takes to be
5418 truly honest—begets trust from her fans in return. When she meets fans for
5419 the first time after a show, they can legitimately feel like they know her.
5420     </p><p><span class="quote">„<span class="quote">With social media, we’re so concerned with the picture looking
5421 palatable and consumable that we forget that being human and showing the
5422 flaws and exposing the vulnerability actually create a deeper connection
5423 than just looking fantastic,</span>”</span> Amanda said. <span class="quote">„<span class="quote">Everything in our
5424 culture is telling us otherwise. But my experience has shown me that the
5425 risk of making yourself vulnerable is almost always worth it.</span>”</span>
5426     </p><p>
5427       Not only does she disclose intimate details of her life to them, she sleeps
5428 on their couches, listens to their stories, cries with them. In short, she
5429 treats her fans like friends in nearly every possible way, even when they
5430 are complete strangers. This mentality—that fans are friends—is completely
5431 intertwined with Amanda’s success as an artist. It is also intertwined with
5432 her use of Creative Commons licenses. Because that is what you do with your
5433 friends—you share.
5434     </p><p>
5435       After years of investing time and energy into building trust with her fans,
5436 she has a strong enough relationship with them to ask for support—through
5437 pay-what-you-want donations, Kickstarter, Patreon, or even asking them to
5438 lend a hand at a concert. As Amanda explains it, crowdfunding (which is
5439 really what all of these different things are) is about asking for support
5440 from people who know and trust you. People who feel personally invested in
5441 your success.
5442     </p><p><span class="quote">„<span class="quote">When you openly, radically trust people, they not only take care of
5443 you, they become your allies, your family,</span>”</span> she wrote. There really
5444 is a feeling of solidarity within her core fan base. From the beginning,
5445 Amanda and her band encouraged people to dress up for their shows. They
5446 consciously cultivated a feeling of belonging to their <span class="quote">„<span class="quote">weird little
5447 family.</span>”</span>
5448     </p><p>
5449       This sort of intimacy with fans is not possible or even desirable for every
5450 creator. <span class="quote">„<span class="quote">I don’t take for granted that I happen to be the type of
5451 person who loves cavorting with strangers,</span>”</span> Amanda said. <span class="quote">„<span class="quote">I
5452 recognize that it’s not necessarily everyone’s idea of a good time. Everyone
5453 does it differently. Replicating what I have done won’t work for others if
5454 it isn’t joyful to them. It’s about finding a way to channel energy in a way
5455 that is joyful to you.</span>”</span>
5456     </p><p>
5457       Yet while Amanda joyfully interacts with her fans and involves them in her
5458 work as much as possible, she does keep one job primarily to herself—writing
5459 the music. She loves the creativity with which her fans use and adapt her
5460 work, but she intentionally does not involve them at the first stage of
5461 creating her artistic work. And, of course, the songs and music are what
5462 initially draw people to Amanda Palmer. It is only once she has connected to
5463 people through her music that she can then begin to build ties with them on
5464 a more personal level, both in person and online. In her book, Amanda
5465 describes it as casting a net. It starts with the art and then the bond
5466 strengthens with human connection.
5467     </p><p>
5468       For Amanda, the entire point of being an artist is to establish and maintain
5469 this connection. <span class="quote">„<span class="quote">It sounds so corny,</span>”</span> she said, <span class="quote">„<span class="quote">but my
5470 experience in forty years on this planet has pointed me to an obvious
5471 truth—that connection with human beings feels so much better and more
5472 fulfilling than approaching art through a capitalist lens. There is no more
5473 satisfying end goal than having someone tell you that what you do is
5474 genuinely of value to them.</span>”</span>
5475     </p><p>
5476       As she explains it, when a fan gives her a ten-dollar bill, usually what
5477 they are saying is that the money symbolizes some deeper value the music
5478 provided them. For Amanda, art is not just a product; it’s a
5479 relationship. Viewed from this lens, what Amanda does today is not that
5480 different from what she did as a young street performer. She shares her
5481 music and other artistic gifts.  She shares herself. And then rather than
5482 forcing people to help her, she lets them.
5483     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1719" class="footnote"><p><a href="#idm1719" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>Rozdział 20. PLOS (Public Library of Science)</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
5484         PLOS (Public Library of Science) is a nonprofit that publishes a library of
5485 academic journals and other scientific literature.  Founded in 2000 in the
5486 U.S.
5487       </p><p>
5488           <a class="ulink" href="http://plos.org" target="_top">http://plos.org</a>
5489         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
5490 an author processing charge to be featured in the journal
5491       </p><p><span class="strong"><strong>Interview date</strong></span>: March 7, 2016
5492       </p><p><span class="strong"><strong>Interviewee</strong></span>: Louise Page, publisher
5493       </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}
5494     \textit{
5495         Profile written by Paul Stacey
5496       }
5497     \end{flushright}</td></tr></table></div><p>
5498       The Public Library of Science (PLOS) began in 2000 when three leading
5499 scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
5500 online petition. They were calling for scientists to stop submitting papers
5501 to journals that didn’t make the full text of their papers freely available
5502 immediately or within six months. Although tens of thousands signed the
5503 petition, most did not follow through. In August 2001, Patrick and Michael
5504 announced that they would start their own nonprofit publishing operation to
5505 do just what the petition promised. With start-up grant support from the
5506 Gordon and Betty Moore Foundation, PLOS was launched to provide new
5507 open-access journals for biomedicine, with research articles being released
5508 under Attribution (CC BY) licenses.
5509     </p><p>
5510       Traditionally, academic publishing begins with an author submitting a
5511 manuscript to a publisher. After in-house technical and ethical
5512 considerations, the article is then peer-reviewed to determine if the
5513 quality of the work is acceptable for publishing.  Once accepted, the
5514 publisher takes the article through the process of copyediting, typesetting,
5515 and eventual publishing in a print or online publication. Traditional
5516 journal publishers recover costs and earn profit by charging a subscription
5517 fee to libraries or an access fee to users wanting to read the journal or
5518 article.
5519     </p><p>
5520       For Louise Page, the current publisher of PLOS, this traditional model
5521 results in inequity. Access is restricted to those who can pay. Most
5522 research is funded through government-appointed agencies, that is, with
5523 public funds. It’s unjust that the public who funded the research would be
5524 required to pay again to access the results. Not everyone can afford the
5525 ever-escalating subscription fees publishers charge, especially when library
5526 budgets are being reduced. Restricting access to the results of scientific
5527 research slows the dissemination of this research and advancement of the
5528 field. It was time for a new model.
5529     </p><p>
5530       That new model became known as open access. That is, free and open
5531 availability on the Internet. Open-access research articles are not behind a
5532 paywall and do not require a login. A key benefit of open access is that it
5533 allows people to freely use, copy, and distribute the articles, as they are
5534 primarily published under an Attribution (CC BY) license (which only
5535 requires the user to provide appropriate attribution). And more importantly,
5536 policy makers, clinicians, entrepreneurs, educators, and students around the
5537 world have free and timely access to the latest research immediately on
5538 publication.
5539     </p><p>
5540       However, open access requires rethinking the business model of research
5541 publication. Rather than charge a subscription fee to access the journal,
5542 PLOS decided to turn the model on its head and charge a publication fee,
5543 known as an article-processing charge.  This up-front fee, generally paid by
5544 the funder of the research or the author’s institution, covers the expenses
5545 such as editorial oversight, peer-review management, journal production,
5546 online hosting, and support for discovery. Fees are per article and are
5547 billed upon acceptance for publishing. There are no additional charges based
5548 on word length, figures, or other elements.
5549     </p><p>
5550       Calculating the article-processing charge involves taking all the costs
5551 associated with publishing the journal and determining a cost per article
5552 that collectively recovers costs. For PLOS’s journals in biology, medicine,
5553 genetics, computational biology, neglected tropical diseases, and pathogens,
5554 the article-processing charge ranges from $2,250 to
5555 $2,900. Article-publication charges for PLOS ONE, a journal started in 2006,
5556 are just under $1,500.
5557     </p><p>
5558       PLOS believes that lack of funds should not be a barrier to
5559 publication. Since its inception, PLOS has provided fee support for
5560 individuals and institutions to help authors who can’t afford the
5561 article-processing charges.
5562     </p><p>
5563       Louise identifies marketing as one area of big difference between PLOS and
5564 traditional journal publishers. Traditional journals have to invest heavily
5565 in staff, buildings, and infrastructure to market their journal and convince
5566 customers to subscribe.  Restricting access to subscribers means that tools
5567 for managing access control are necessary. They spend millions of dollars on
5568 access-control systems, staff to manage them, and sales staff.  With PLOS’s
5569 open-access publishing, there’s no need for these massive expenses; the
5570 articles are free, open, and accessible to all upon
5571 publication. Additionally, traditional publishers tend to spend more on
5572 marketing to libraries, who ultimately pay the subscription fees. PLOS
5573 provides a better service for authors by promoting their research directly
5574 to the research community and giving the authors exposure. And this
5575 encourages other authors to submit their work for publication.
5576     </p><p>
5577       For Louise, PLOS would not exist without the Attribution license (CC
5578 BY). This makes it very clear what rights are associated with the content
5579 and provides a safe way for researchers to make their work available while
5580 ensuring they get recognition (appropriate attribution). For PLOS, all of
5581 this aligns with how they think research content should be published and
5582 disseminated.
5583     </p><p>
5584       PLOS also has a broad open-data policy. To get their research paper
5585 published, PLOS authors must also make their data available in a public
5586 repository and provide a data-availability statement.
5587     </p><p>
5588       Business-operation costs associated with the open-access model still largely
5589 follow the existing publishing model. PLOS journals are online only, but the
5590 editorial, peer-review, production, typesetting, and publishing stages are
5591 all the same as for a traditional publisher. The editorial teams must be top
5592 notch. PLOS has to function as well as or better than other premier
5593 journals, as researchers have a choice about where to publish.
5594     </p><p>
5595       Researchers are influenced by journal rankings, which reflect the place of a
5596 journal within its field, the relative difficulty of being published in that
5597 journal, and the prestige associated with it. PLOS journals rank high, even
5598 though they are relatively new.
5599     </p><p>
5600       The promotion and tenure of researchers are partially based how many times
5601 other researchers cite their articles. Louise says when researchers want to
5602 discover and read the work of others in their field, they go to an online
5603 aggregator or search engine, and not typically to a particular journal. The
5604 CC BY licensing of PLOS research articles ensures easy access for readers
5605 and generates more discovery and citations for authors.
5606     </p><p>
5607       Louise believes that open access has been a huge success, progressing from a
5608 movement led by a small cadre of researchers to something that is now
5609 widespread and used in some form by every journal publisher. PLOS has had a
5610 big impact. In 2012 to 2014, they published more open-access articles than
5611 BioMed Central, the original open-access publisher, or anyone else.
5612     </p><p>
5613       PLOS further disrupted the traditional journal-publishing model by
5614 pioneering the concept of a megajournal. The PLOS ONE megajournal, launched
5615 in 2006, is an open-access peer-reviewed academic journal that is much
5616 larger than a traditional journal, publishing thousands of articles per year
5617 and benefiting from economies of scale. PLOS ONE has a broad scope, covering
5618 science and medicine as well as social sciences and the humanities. The
5619 review and editorial process is less subjective. Articles are accepted for
5620 publication based on whether they are technically sound rather than
5621 perceived importance or relevance. This is very important in the current
5622 debate about the integrity and reproducibility of research because negative
5623 or null results can then be published as well, which are generally rejected
5624 by traditional journals. PLOS ONE, like all the PLOS journals, is online
5625 only with no print version. PLOS passes on the financial savings accrued
5626 through economies of scale to researchers and the public by lowering the
5627 article-processing charges, which are below that of other journals. PLOS ONE
5628 is the biggest journal in the world and has really set the bar for
5629 publishing academic journal articles on a large scale. Other publishers see
5630 the value of the PLOS ONE model and are now offering their own
5631 multidisciplinary forums for publishing all sound science.
5632     </p><p>
5633       Louise outlined some other aspects of the research-journal business model
5634 PLOS is experimenting with, describing each as a kind of slider that could
5635 be adjusted to change current practice.
5636     </p><p>
5637       One slider is time to publication. Time to publication may shorten as
5638 journals get better at providing quicker decisions to authors.  However,
5639 there is always a trade-off with scale, as the bigger the volume of
5640 articles, the more time the approval process inevitably takes.
5641     </p><p>
5642       Peer review is another part of the process that could change. It’s possible
5643 to redefine what peer review actually is, when to review, and what
5644 constitutes the final article for publication. Louise talked about the
5645 potential to shift to an open-review process, placing the emphasis on
5646 transparency rather than double-blind reviews. Louise thinks we’re moving
5647 into a direction where it’s actually beneficial for an author to know who is
5648 reviewing their paper and for the reviewer to know their review will be
5649 public. An open-review process can also ensure everyone gets credit; right
5650 now, credit is limited to the publisher and author.
5651     </p><p>
5652       Louise says research with negative outcomes is almost as important as
5653 positive results. If journals published more research with negative
5654 outcomes, we’d learn from what didn’t work. It could also reduce how much
5655 the research wheel gets reinvented around the world.
5656     </p><p>
5657       Another adjustable practice is the sharing of articles at early preprint
5658 stages. Publication of research in a peer-reviewed journal can take a long
5659 time because articles must undergo extensive peer review. The need to
5660 quickly circulate current results within a scientific community has led to a
5661 practice of distributing pre-print documents that have not yet undergone
5662 peer review. Preprints broaden the peer-review process, allowing authors to
5663 receive early feedback from a wide group of peers, which can help revise and
5664 prepare the article for submission.  Offsetting the advantages of preprints
5665 are author concerns over ensuring their primacy of being first to come up
5666 with findings based on their research. Other researches may see findings the
5667 preprint author has not yet thought of. However, preprints help researchers
5668 get their discoveries out early and establish precedence. A big challenge is
5669 that researchers don’t have a lot of time to comment on preprints.
5670     </p><p>
5671       What constitutes a journal article could also change. The idea of a research
5672 article as printed, bound, and in a library stack is outdated. Digital and
5673 online open up new possibilities, such as a living document evolving over
5674 time, inclusion of audio and video, and interactivity, like discussion and
5675 recommendations. Even the size of what gets published could change. With
5676 these changes the current form factor for what constitutes a research
5677 article would undergo transformation.
5678     </p><p>
5679       As journals scale up, and new journals are introduced, more and more
5680 information is being pushed out to readers, making the experience feel like
5681 drinking from a fire hose. To help mitigate this, PLOS aggregates and
5682 curates content from PLOS journals and their network of blogs.<a href="#ftn.idm1797" class="footnote" name="idm1797"><sup class="footnote">[141]</sup></a> It also offers something called Article-Level
5683 Metrics, which helps users assess research most relevant to the field
5684 itself, based on indicators like usage, citations, social bookmarking and
5685 dissemination activity, media and blog coverage, discussions, and
5686 ratings.<a href="#ftn.idm1800" class="footnote" name="idm1800"><sup class="footnote">[142]</sup></a> Louise believes that the
5687 journal model could evolve to provide a more friendly and interactive user
5688 experience, including a way for readers to communicate with authors.
5689     </p><p>
5690       The big picture for PLOS going forward is to combine and adjust these
5691 experimental practices in ways that continue to improve accessibility and
5692 dissemination of research, while ensuring its integrity and reliability. The
5693 ways they interlink are complex.  The process of change and adjustment is
5694 not linear. PLOS sees itself as a very flexible publisher interested in
5695 exploring all the permutations research-publishing can take, with authors
5696 and readers who are open to experimentation.
5697     </p><p>
5698       For PLOS, success is not about revenue. Success is about proving that
5699 scientific research can be communicated rapidly and economically at scale,
5700 for the benefit of researchers and society.  The CC BY license makes it
5701 possible for PLOS to publish in a way that is unfettered, open, and fast,
5702 while ensuring that the authors get credit for their work. More than two
5703 million scientists, scholars, and clinicians visit PLOS every month, with
5704 more than 135,000 quality articles to peruse for free.
5705     </p><p>
5706       Ultimately, for PLOS, its authors, and its readers, success is about making
5707 research discoverable, available, and reproducible for the advancement of
5708 science.
5709     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1797" class="footnote"><p><a href="#idm1797" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1800" class="footnote"><p><a href="#idm1800" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>Rozdział 21. Rijksmuseum</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
5710         The Rijksmuseum is a Dutch national museum dedicated to art and
5711 history. Founded in 1800 in the Netherlands
5712       </p><p>
5713           <a class="ulink" href="http://www.rijksmuseum.nl" target="_top">http://www.rijksmuseum.nl</a>
5714         </p><p><span class="strong"><strong>Revenue model</strong></span>: grants and government
5715 funding, charging for in-person version (museum admission), selling
5716 merchandise
5717       </p><p><span class="strong"><strong>Interview date</strong></span>: December 11, 2015
5718       </p><p><span class="strong"><strong>Interviewee</strong></span>: Lizzy Jongma, the data
5719 manager of the collections information department
5720       </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}
5721     \textit{
5722         Profile written by Paul Stacey
5723       }
5724     \end{flushright}</td></tr></table></div><p>
5725       The Rijksmuseum, a national museum in the Netherlands dedicated to art and
5726 history, has been housed in its current building since 1885. The monumental
5727 building enjoyed more than 125 years of intensive use before needing a
5728 thorough overhaul. In 2003, the museum was closed for renovations. Asbestos
5729 was found in the roof, and although the museum was scheduled to be closed
5730 for only three to four years, renovations ended up taking ten years. During
5731 this time, the collection was moved to a different part of Amsterdam, which
5732 created a physical distance with the curators. Out of necessity, they
5733 started digitally photographing the collection and creating metadata
5734 (information about each object to put into a database). With the renovations
5735 going on for so long, the museum became largely forgotten by the public. Out
5736 of these circumstances emerged a new and more open model for the museum.
5737     </p><p>
5738       By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager,
5739 staff were fed up with the situation the museum was in.  They also realized
5740 that even with the new and larger space, it still wouldn’t be able to show
5741 very much of the whole collection—eight thousand of over one million works
5742 representing just 1 percent. Staff began exploring ways to express
5743 themselves, to have something to show for all of the work they had been
5744 doing.  The Rijksmuseum is primarily funded by Dutch taxpayers, so was there
5745 a way for the museum provide benefit to the public while it was closed? They
5746 began thinking about sharing Rijksmuseum’s collection using information
5747 technology. And they put up a card-catalog like database of the entire
5748 collection online.
5749     </p><p>
5750       It was effective but a bit boring. It was just data. A hackathon they were
5751 invited to got them to start talking about events like that as having
5752 potential. They liked the idea of inviting people to do cool stuff with
5753 their collection. What about giving online access to digital representations
5754 of the one hundred most important pieces in the Rijksmuseum collection? That
5755 eventually led to why not put the whole collection online?
5756     </p><p>
5757       Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
5758 library, museum, and archive for cultural heritage.<a href="#ftn.idm1823" class="footnote" name="idm1823"><sup class="footnote">[143]</sup></a> As an online portal to museum collections all
5759 across Europe, Europeana had become an important online platform. In October
5760 2010 Creative Commons released CC0 and its public-domain mark as tools
5761 people could use to identify works as free of known copyright. Europeana was
5762 the first major adopter, using CC0 to release metadata about their
5763 collection and the public domain mark for millions of digital works in their
5764 collection. Lizzy says the Rijksmuseum initially found this change in
5765 business practice a bit scary, but at the same time it stimulated even more
5766 discussion on whether the Rijksmuseum should follow suit.
5767     </p><p>
5768       They realized that they don’t <span class="quote">„<span class="quote">own</span>”</span> the collection and couldn’t
5769 realistically monitor and enforce compliance with the restrictive licensing
5770 terms they currently had in place. For example, many copies and versions of
5771 Vermeer’s Milkmaid (part of their collection) were already online, many of
5772 them of very poor quality. They could spend time and money policing its use,
5773 but it would probably be futile and wouldn’t make people stop using their
5774 images online. They ended up thinking it’s an utter waste of time to hunt
5775 down people who use the Rijksmuseum collection. And anyway, restricting
5776 access meant the people they were frustrating the most were schoolkids.
5777     </p><p>
5778       In 2011 the Rijksmuseum began making their digital photos of works known to
5779 be free of copyright available online, using Creative Commons CC0 to place
5780 works in the public domain. A medium-resolution image was offered for free,
5781 but a high-resolution version cost forty euros. People started paying, but
5782 Lizzy says getting the money was frequently a nightmare, especially from
5783 overseas customers. The administrative costs often offset revenue, and
5784 income above costs was relatively low. In addition, having to pay for an
5785 image of a work in the public domain from a collection owned by the Dutch
5786 government (i.e., paid for by the public) was contentious and frustrating
5787 for some. Lizzy says they had lots of fierce debates about what to do.
5788     </p><p>
5789       In 2013 the Rijksmuseum changed its business model. They Creative Commons
5790 licensed their highest-quality images and released them online for
5791 free. Digitization still cost money, however; they decided to define
5792 discrete digitization projects and find sponsors willing to fund each
5793 project. This turned out to be a successful strategy, generating high
5794 interest from sponsors and lower administrative effort for the
5795 Rijksmuseum. They started out making 150,000 high-quality images of their
5796 collection available, with the goal to eventually have the entire collection
5797 online.
5798     </p><p>
5799       Releasing these high-quality images for free reduced the number of
5800 poor-quality images that were proliferating. The high-quality image of
5801 Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
5802 month. On the Internet, images from a source like the Rijksmuseum are more
5803 trusted, and releasing them with a Creative Commons CC0 means they can
5804 easily be found in other platforms. For example, Rijksmuseum images are now
5805 used in thousands of Wikipedia articles, receiving ten to eleven million
5806 views per month. This extends Rijksmuseum’s reach far beyond the scope of
5807 its website. Sharing these images online creates what Lizzy calls the
5808 <span class="quote">„<span class="quote">Mona Lisa effect,</span>”</span> where a work of art becomes so famous that
5809 people want to see it in real life by visiting the actual museum.
5810     </p><p>
5811       Every museum tends to be driven by the number of physical visitors. The
5812 Rijksmuseum is primarily publicly funded, receiving roughly 70 percent of
5813 its operating budget from the government.  But like many museums, it must
5814 generate the rest of the funding through other means. The admission fee has
5815 long been a way to generate revenue generation, including for the
5816 Rijksmuseum.
5817     </p><p>
5818       As museums create a digital presence for themselves and put up digital
5819 representations of their collection online, there’s frequently a worry that
5820 it will lead to a drop in actual physical visits. For the Rijksmuseum, this
5821 has not turned out to be the case. Lizzy told us the Rijksmuseum used to get
5822 about one million visitors a year before closing and now gets more than two
5823 million a year. Making the collection available online has generated
5824 publicity and acts as a form of marketing. The Creative Commons mark
5825 encourages reuse as well. When the image is found on protest leaflets, milk
5826 cartons, and children’s toys, people also see what museum the image comes
5827 from and this increases the museum’s visibility.
5828     </p><p>
5829       In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
5830 a new web presence that would be different from any other museum’s. In
5831 addition to redesigning their main website to be mobile friendly and
5832 responsive to devices like the iPad, the Rijksmuseum also created the
5833 Rijksstudio, where users and artists could use and do various things with
5834 the Rijksmuseum collection.<a href="#ftn.idm1835" class="footnote" name="idm1835"><sup class="footnote">[144]</sup></a>
5835     </p><p>
5836       The Rijksstudio gives users access to over two hundred thousand high-quality
5837 digital representations of masterworks from the collection. Users can zoom
5838 in to any work and even clip small parts of images they like. Rijksstudio is
5839 a bit like Pinterest.  You can <span class="quote">„<span class="quote">like</span>”</span> works and compile your
5840 personal favorites, and you can share them with friends or download them
5841 free of charge. All the images in the Rijksstudio are copyright and royalty
5842 free, and users are encouraged to use them as they like, for private or even
5843 commercial purposes.
5844     </p><p>
5845       Users have created over 276,000 Rijksstudios, generating their own themed
5846 virtual exhibitions on a wide variety of topics ranging from tapestries to
5847 ugly babies and birds. Sets of images have also been created for educational
5848 purposes including use for school exams.
5849     </p><p>
5850       Some contemporary artists who have works in the Rijksmuseum collection
5851 contacted them to ask why their works were not included in the
5852 Rijksstudio. The answer was that contemporary artists’ works are still bound
5853 by copyright. The Rijksmuseum does encourage contemporary artists to use a
5854 Creative Commons license for their works, usually a CC BY-SA license
5855 (Attribution-ShareAlike), or a CC BY-NC (Attribution-NonCommercial) if they
5856 want to preclude commercial use. That way, their works can be made available
5857 to the public, but within limits the artists have specified.
5858     </p><p>
5859       The Rijksmuseum believes that art stimulates entrepreneurial activity. The
5860 line between creative and commercial can be blurry.  As Lizzy says, even
5861 Rembrandt was commercial, making his livelihood from selling his
5862 paintings. The Rijksmuseum encourages entrepreneurial commercial use of the
5863 images in Rijksstudio.  They’ve even partnered with the DIY marketplace Etsy
5864 to inspire people to sell their creations. One great example you can find on
5865 Etsy is a kimono designed by Angie Johnson, who used an image of an
5866 elaborate cabinet along with an oil painting by Jan Asselijn called The
5867 Threatened Swan.<a href="#ftn.idm1843" class="footnote" name="idm1843"><sup class="footnote">[145]</sup></a>
5868     </p><p>
5869       In 2013 the Rijksmuseum organized their first high-profile design
5870 competition, known as the Rijksstudio Award.<a href="#ftn.idm1847" class="footnote" name="idm1847"><sup class="footnote">[146]</sup></a> With the call to action Make Your Own Masterpiece, the competition
5871 invites the public to use Rijksstudio images to make new creative designs. A
5872 jury of renowned designers and curators selects ten finalists and three
5873 winners. The final award comes with a prize of €10,000. The second edition
5874 in 2015 attracted a staggering 892 top-class entries. Some award winners end
5875 up with their work sold through the Rijksmuseum store, such as the 2014
5876 entry featuring makeup based on a specific color scheme of a work of
5877 art.<a href="#ftn.idm1852" class="footnote" name="idm1852"><sup class="footnote">[147]</sup></a> The Rijksmuseum has been thrilled
5878 with the results.  Entries range from the fun to the weird to the
5879 inspirational. The third international edition of the Rijksstudio Award
5880 started in September 2016.
5881     </p><p>
5882       For the next iteration of the Rijksstudio, the Rijksmuseum is considering an
5883 upload tool, for people to upload their own works of art, and enhanced
5884 social elements so users can interact with each other more.
5885     </p><p>
5886       Going with a more open business model generated lots of publicity for the
5887 Rijksmuseum. They were one of the first museums to open up their collection
5888 (that is, give free access) with high-quality images. This strategy, along
5889 with the many improvements to the Rijksmuseum’s website, dramatically
5890 increased visits to their website from thirty-five thousand visits per month
5891 to three hundred thousand.
5892     </p><p>
5893       The Rijksmuseum has been experimenting with other ways to invite the public
5894 to look at and interact with their collection. On an international day
5895 celebrating animals, they ran a successful bird-themed event. The museum put
5896 together a showing of two thousand works that featured birds and invited
5897 bird-watchers to identify the birds depicted. Lizzy notes that while museum
5898 curators know a lot about the works in their collections, they may not know
5899 about certain details in the paintings such as bird species. Over eight
5900 hundred different birds were identified, including a specific species of
5901 crane bird that was unknown to the scientific community at the time of the
5902 painting.
5903     </p><p>
5904       For the Rijksmuseum, adopting an open business model was scary.  They came
5905 up with many worst-case scenarios, imagining all kinds of awful things
5906 people might do with the museum’s works. But Lizzy says those fears did not
5907 come true because <span class="quote">„<span class="quote">ninety-nine percent of people have respect for
5908 great art.</span>”</span> Many museums think they can make a lot of money by
5909 selling things related to their collection. But in Lizzy’s experience,
5910 museums are usually bad at selling things, and sometimes efforts to generate
5911 a small amount of money block something much bigger—the real value that the
5912 collection has. For Lizzy, clinging to small amounts of revenue is being
5913 penny-wise but pound-foolish. For the Rijksmuseum, a key lesson has been to
5914 never lose sight of its vision for the collection. Allowing access to and
5915 use of their collection has generated great promotional value—far more than
5916 the previous practice of charging fees for access and use. Lizzy sums up
5917 their experience: <span class="quote">„<span class="quote">Give away; get something in return.  Generosity
5918 makes people happy to join you and help out.</span>”</span>
5919     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1823" class="footnote"><p><a href="#idm1823" class="para"><sup class="para">[143] </sup></a><a class="ulink" href="http://www.europeana.eu/portal/en" target="_top">http://www.europeana.eu/portal/en</a></p></div><div id="ftn.idm1835" class="footnote"><p><a href="#idm1835" class="para"><sup class="para">[144] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio" target="_top">http://www.rijksmuseum.nl/en/rijksstudio</a></p></div><div id="ftn.idm1843" class="footnote"><p><a href="#idm1843" class="para"><sup class="para">[145] </sup></a><a class="ulink" href="http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe" target="_top">http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe</a></p></div><div id="ftn.idm1847" class="footnote"><p><a href="#idm1847" class="para"><sup class="para">[146] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award</a>; the 2014
5920 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2014" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2014</a>;
5921 the 2015 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1852" class="footnote"><p><a href="#idm1852" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>Rozdział 22. Shareable</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
5922         Shareable is an online magazine about sharing. Founded in 2009 in the U.S.
5923       </p><p>
5924           <a class="ulink" href="http://www.shareable.net" target="_top">http://www.shareable.net</a>
5925         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding,
5926 crowdfunding (project-based), donations, sponsorships
5927       </p><p><span class="strong"><strong>Interview date</strong></span>: February 24, 2016
5928       </p><p><span class="strong"><strong>Interviewee</strong></span>: Neal Gorenflo, cofounder and
5929 executive editor
5930       </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}
5931     \textit{
5932         Profile written by Sarah Hinchliff Pearson
5933       }
5934     \end{flushright}</td></tr></table></div><p>
5935       In 2013, Shareable faced an impasse. The nonprofit online publication had
5936 helped start a sharing movement four years prior, but over time, they
5937 watched one part of the movement stray from its ideals. As giants like Uber
5938 and Airbnb gained ground, attention began to center on the <span class="quote">„<span class="quote">sharing
5939 economy</span>”</span> we know now—profit-driven, transactional, and loaded with
5940 venture-capital money. Leaders of corporate start-ups in this domain invited
5941 Shareable to advocate for them. The magazine faced a choice: ride the wave
5942 or stand on principle.
5943     </p><p>
5944       As an organization, Shareable decided to draw a line in the sand.  In 2013,
5945 the cofounder and executive editor Neal Gorenflo wrote an opinion piece in
5946 the PandoDaily that charted Shareable’s new critical stance on the Silicon
5947 Valley version of the sharing economy, while contrasting it with aspects of
5948 the real sharing economy like open-source software, participatory budgeting
5949 (where citizens decide how a public budget is spent), cooperatives, and
5950 more. He wrote, <span class="quote">„<span class="quote">It’s not so much that collaborative consumption is
5951 dead, it’s more that it risks dying as it gets absorbed by the
5952 <span class="quote">«<span class="quote">Borg.</span>»</span></span>”</span>
5953     </p><p>
5954       Neal said their public critique of the corporate sharing economy defined
5955 what Shareable was and is. He does not think the magazine would still be
5956 around had they chosen differently. <span class="quote">„<span class="quote">We would have gotten another type
5957 of audience, but it would have spelled the end of us,</span>”</span> he
5958 said. <span class="quote">„<span class="quote">We are a small, mission-driven organization. We would never
5959 have been able to weather the criticism that Airbnb and Uber are getting
5960 now.</span>”</span>
5961     </p><p>
5962       Interestingly, impassioned supporters are only a small sliver of Shareable’s
5963 total audience. Most are casual readers who come across a Shareable story
5964 because it happens to align with a project or interest they have. But
5965 choosing principles over the possibility of riding the coattails of the
5966 major corporate players in the sharing space saved Shareable’s
5967 credibility. Although they became detached from the corporate sharing
5968 economy, the online magazine became the voice of the <span class="quote">„<span class="quote">real sharing
5969 economy</span>”</span> and continued to grow their audience.
5970     </p><p>
5971       Shareable is a magazine, but the content they publish is a means to
5972 furthering their role as a leader and catalyst of a movement.  Shareable
5973 became a leader in the movement in 2009. <span class="quote">„<span class="quote">At that time, there was a
5974 sharing movement bubbling beneath the surface, but no one was connecting the
5975 dots,</span>”</span> Neal said. <span class="quote">„<span class="quote">We decided to step into that space and take
5976 on that role.</span>”</span> The small team behind the nonprofit publication truly
5977 believed sharing could be central to solving some of the major problems
5978 human beings face—resource inequality, social isolation, and global warming.
5979     </p><p>
5980       They have worked hard to find ways to tell stories that show different
5981 metrics for success. <span class="quote">„<span class="quote">We wanted to change the notion of what
5982 constitutes the good life,</span>”</span> Neal said. While they started out with a
5983 very broad focus on sharing generally, today they emphasize stories about
5984 the physical commons like <span class="quote">„<span class="quote">sharing cities</span>”</span> (i.e., urban areas
5985 managed in a sustainable, cooperative way), as well as digital platforms
5986 that are run democratically. They particularly focus on how-to content that
5987 help their readers make changes in their own lives and communities.
5988     </p><p>
5989       More than half of Shareable’s stories are written by paid journalists that
5990 are contracted by the magazine.  <span class="quote">„<span class="quote">Particularly in content areas that
5991 are a priority for us, we really want to go deep and control the
5992 quality,</span>”</span> Neal said. The rest of the content is either contributed by
5993 guest writers, often for free, or written by other publications from their
5994 network of content publishers. Shareable is a member of the Post Growth
5995 Alliance, which facilitates the sharing of content and audiences among a
5996 large and growing group of mostly nonprofits.  Each organization gets a
5997 chance to present stories to the group, and the organizations can use and
5998 promote each other’s stories.  Much of the content created by the network is
5999 licensed with Creative Commons.
6000     </p><p>
6001       All of Shareable’s original content is published under the Attribution
6002 license (CC BY), meaning it can be used for any purpose as long as credit is
6003 given to Shareable. Creative Commons licensing is aligned with Shareable’s
6004 vision, mission, and identity. That alone explains the organization’s
6005 embrace of the licenses for their content, but Neal also believes CC
6006 licensing helps them increase their reach. <span class="quote">„<span class="quote">By using CC
6007 licensing,</span>”</span> he said, <span class="quote">„<span class="quote">we realized we could reach far more
6008 people through a formal and informal network of republishers or
6009 affiliates. That has definitely been the case. It’s hard for us to measure
6010 the reach of other media properties, but most of the outlets who republish
6011 our work have much bigger audiences than we do.</span>”</span>
6012     </p><p>
6013       In addition to their regular news and commentary online, Shareable has also
6014 experimented with book publishing. In 2012, they worked with a traditional
6015 publisher to release Share or Die: Voices of the Get Lost Generation in an
6016 Age of Crisis. The CC-licensed book was available in print form for purchase
6017 or online for free. To this day, the book—along with their CC-licensed guide
6018 Policies for Shareable Cities—are two of the biggest generators of traffic
6019 on their website.
6020     </p><p>
6021       In 2016, Shareable self-published a book of curated Shareable stories called
6022 How to: Share, Save Money and Have Fun. The book was available for sale, but
6023 a PDF version of the book was available for free. Shareable plans to offer
6024 the book in upcoming fund-raising campaigns.
6025     </p><p>
6026       This recent book is one of many fund-raising experiments Shareable has
6027 conducted in recent years. Currently, Shareable is primarily funded by
6028 grants from foundations, but they are actively moving toward a more
6029 diversified model. They have organizational sponsors and are working to
6030 expand their base of individual donors.  Ideally, they will eventually be a
6031 hundred percent funded by their audience. Neal believes being fully
6032 community-supported will better represent their vision of the world.
6033     </p><p>
6034       For Shareable, success is very much about their impact on the world. This is
6035 true for Neal, but also for everyone who works for Shareable. <span class="quote">„<span class="quote">We
6036 attract passionate people,</span>”</span> Neal said.  At times, that means
6037 employees work so hard they burn out. Neal tries to stress to the Shareable
6038 team that another part of success is having fun and taking care of yourself
6039 while you do something you love. <span class="quote">„<span class="quote">A central part of human beings is
6040 that we long to be on a great adventure with people we love,</span>”</span> he
6041 said.  <span class="quote">„<span class="quote">We are a species who look over the horizon and imagine and
6042 create new worlds, but we also seek the comfort of hearth and home.</span>”</span>
6043     </p><p>
6044       In 2013, Shareable ran its first crowdfunding campaign to launch their
6045 Sharing Cities Network. Neal said at first they were on pace to fail
6046 spectacularly. They called in their advisers in a panic and asked for
6047 help. The advice they received was simple—<span class="quote">„<span class="quote">Sit your ass in a chair and
6048 start making calls.</span>”</span> That’s exactly what they did, and they ended up
6049 reaching their $50,000 goal. Neal said the campaign helped them reach new
6050 people, but the vast majority of backers were people in their existing base.
6051     </p><p>
6052       For Neal, this symbolized how so much of success comes down to
6053 relationships. Over time, Shareable has invested time and energy into the
6054 relationships they have forged with their readers and supporters. They have
6055 also invested resources into building relationships between their readers
6056 and supporters.
6057     </p><p>
6058       Shareable began hosting events in 2010. These events were designed to bring
6059 the sharing community together. But over time they realized they could reach
6060 far more people if they helped their readers to host their own
6061 events. <span class="quote">„<span class="quote">If we wanted to go big on a conference, there was a huge risk
6062 and huge staffing needs, plus only a fraction of our community could travel
6063 to the event,</span>”</span> Neal said. Enabling others to create their own events
6064 around the globe allowed them to scale up their work more effectively and
6065 reach far more people. Shareable has catalyzed three hundred different
6066 events reaching over twenty thousand people since implementing this strategy
6067 three years ago. Going forward, Shareable is focusing the network on
6068 creating and distributing content meant to spur local action. For instance,
6069 Shareable will publish a new CC-licensed book in 2017 filled with ideas for
6070 their network to implement.
6071     </p><p>
6072       Neal says Shareable stumbled upon this strategy, but it seems to perfectly
6073 encapsulate just how the commons is supposed to work.  Rather than a
6074 one-size-fits-all approach, Shareable puts the tools out there for people
6075 take the ideas and adapt them to their own communities.
6076     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Rozdział 23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
6077         Siyavula is a for-profit educational-technology company that creates
6078 textbooks and integrated learning experiences. Founded in 2012 in South
6079 Africa.
6080       </p><p>
6081           <a class="ulink" href="http://www.siyavula.com" target="_top">http://www.siyavula.com</a>
6082         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
6083 services, sponsorships
6084       </p><p><span class="strong"><strong>Interview date</strong></span>: April 5, 2016
6085       </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Horner, CEO
6086       </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}
6087     \textit{
6088         Profile written by Paul Stacey
6089       }
6090     \end{flushright}</td></tr></table></div><p>
6091       Openness is a key principle for Siyavula. They believe that every learner
6092 and teacher should have access to high-quality educational resources, as
6093 this forms the basis for long-term growth and development. Siyavula has been
6094 a pioneer in creating high-quality open textbooks on mathematics and science
6095 subjects for grades 4 to 12 in South Africa.
6096     </p><p>
6097       In terms of creating an open business model that involves Creative Commons,
6098 Siyavula—and its founder, Mark Horner—have been around the block a few
6099 times. Siyavula has significantly shifted directions and strategies to
6100 survive and prosper. Mark says it’s been very organic.
6101     </p><p>
6102       It all started in 2002, when Mark and several other colleagues at the
6103 University of Cape Town in South Africa founded the Free High School Science
6104 Texts project. Most students in South Africa high schools didn’t have access
6105 to high-quality, comprehensive science and math textbooks, so Mark and his
6106 colleagues set out to write them and make them freely available.
6107     </p><p>
6108       As physicists, Mark and his colleagues were advocates of open-source
6109 software. To make the books open and free, they adopted the Free Software
6110 Foundation’s GNU Free Documentation License.<a href="#ftn.idm1925" class="footnote" name="idm1925"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
6111 documents, to author the books. Over a period of five years, the Free High
6112 School Science Texts project produced math and physical-science textbooks
6113 for grades 10 to 12.
6114     </p><p>
6115       In 2007, the Shuttleworth Foundation offered funding support to make the
6116 textbooks available for trial use at more schools.  Surveys before and after
6117 the textbooks were adopted showed there were no substantial criticisms of
6118 the textbooks’ pedagogical content. This pleased both the authors and
6119 Shuttleworth; Mark remains incredibly proud of this accomplishment.
6120     </p><p>
6121       But the development of new textbooks froze at this stage. Mark shifted his
6122 focus to rural schools, which didn’t have textbooks at all, and looked into
6123 the printing and distribution options. A few sponsors came on board but not
6124 enough to meet the need.
6125     </p><p>
6126       In 2007, Shuttleworth and the Open Society Institute convened a group of
6127 open-education activists for a small but lively meeting in Cape Town. One
6128 result was the Cape Town Open Education Declaration, a statement of
6129 principles, strategies, and commitment to help the open-education movement
6130 grow.<a href="#ftn.idm1931" class="footnote" name="idm1931"><sup class="footnote">[149]</sup></a> Shuttleworth also invited Mark to
6131 run a project writing open content for all subjects for K–12 in
6132 English. That project became Siyavula.
6133     </p><p>
6134       They wrote six original textbooks. A small publishing company offered
6135 Shuttleworth the option to buy out the publisher’s existing K–9 content for
6136 every subject in South African schools in both English and Afrikaans. A deal
6137 was struck, and all the acquired content was licensed with Creative Commons,
6138 significantly expanding the collection beyond the six original books.
6139     </p><p>
6140       Mark wanted to build out the remaining curricula collaboratively through
6141 communities of practice—that is, with fellow educators and writers. Although
6142 sharing is fundamental to teaching, there can be a few challenges when you
6143 create educational resources collectively. One concern is legal. It is
6144 standard practice in education to copy diagrams and snippets of text, but of
6145 course this doesn’t always comply with copyright law. Another concern is
6146 transparency. Sharing what you’ve authored means everyone can see it and
6147 opens you up to criticism. To alleviate these concerns, Mark adopted a
6148 team-based approach to authoring and insisted the curricula be based
6149 entirely on resources with Creative Commons licenses, thereby ensuring they
6150 were safe to share and free from legal repercussions.
6151     </p><p>
6152       Not only did Mark want the resources to be shareable, he wanted all teachers
6153 to be able to remix and edit the content. Mark and his team had to come up
6154 with an open editable format and provide tools for editing. They ended up
6155 putting all the books they’d acquired and authored on a platform called
6156 Connexions.<a href="#ftn.idm1937" class="footnote" name="idm1937"><sup class="footnote">[150]</sup></a> Siyavula trained many
6157 teachers to use Connexions, but it proved to be too complex and the
6158 textbooks were rarely edited.
6159     </p><p>
6160       Then the Shuttleworth Foundation decided to completely restructure its work
6161 as a foundation into a fellowship model (for reasons completely unrelated to
6162 Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
6163 an independent entity and took ownership over it as a Shuttleworth fellow.
6164     </p><p>
6165       Mark and his team experimented with several different strategies.  They
6166 tried creating an authoring and hosting platform called Full Marks so that
6167 teachers could share assessment items. They tried creating a service called
6168 Open Press, where teachers could ask for open educational resources to be
6169 aggregated into a package and printed for them. These services never really
6170 panned out.
6171     </p><p>
6172       Then the South African government approached Siyavula with an interest in
6173 printing out the original six Free High School Science Texts (math and
6174 physical-science textbooks for grades 10 to 12)  for all high school
6175 students in South Africa. Although at this point Siyavula was a bit
6176 discouraged by open educational resources, they saw this as a big
6177 opportunity.
6178     </p><p>
6179       They began to conceive of the six books as having massive marketing
6180 potential for Siyavula. Printing Siyavula books for every kid in South
6181 Africa would give their brand huge exposure and could drive vast amounts of
6182 traffic to their website. In addition to print books, Siyavula could also
6183 make the books available on their website, making it possible for learners
6184 to access them using any device—computer, tablet, or mobile phone.
6185     </p><p>
6186       Mark and his team began imagining what they could develop beyond what was in
6187 the textbooks as a service they charge for. One key thing you can’t do well
6188 in a printed textbook is demonstrate solutions. Typically, a one-line answer
6189 is given at the end of the book but nothing on the process for arriving at
6190 that solution.  Mark and his team developed practice items and detailed
6191 solutions, giving learners plenty of opportunity to test out what they’ve
6192 learned. Furthermore, an algorithm could adapt these practice items to the
6193 individual needs of each learner. They called this service Intelligent
6194 Practice and embedded links to it in the open textbooks.
6195     </p><p>
6196       The costs for using Intelligent Practice were set very low, making it
6197 accessible even to those with limited financial means. Siyavula was going
6198 for large volumes and wide-scale use rather than an expensive product
6199 targeting only the high end of the market.
6200     </p><p>
6201       The government distributed the books to 1.5 million students, but there was
6202 an unexpected wrinkle: the books were delivered late.  Rather than wait,
6203 schools who could afford it provided students with a different textbook. The
6204 Siyavula books were eventually distributed, but with well-off schools mainly
6205 using a different book, the primary market for Siyavula’s Intelligent
6206 Practice service inadvertently became low-income learners.
6207     </p><p>
6208       Siyavula’s site did see a dramatic increase in traffic. They got five
6209 hundred thousand visitors per month to their math site and the same number
6210 to their science site. Two-fifths of the traffic was reading on a
6211 <span class="quote">„<span class="quote">feature phone</span>”</span> (a nonsmartphone with no apps). People on basic
6212 phones were reading math and science on a two-inch screen at all hours of
6213 the day. To Mark, it was quite amazing and spoke to a need they were
6214 servicing.
6215     </p><p>
6216       At first, the Intelligent Practice services could only be paid using a
6217 credit card. This proved problematic, especially for those in the low-income
6218 demographic, as credit cards were not prevalent.  Mark says Siyavula got a
6219 harsh business-model lesson early on. As he describes it, it’s not just
6220 about product, but how you sell it, who the market is, what the price is,
6221 and what the barriers to entry are.
6222     </p><p>
6223       Mark describes this as the first version of Siyavula’s business model: open
6224 textbooks serving as marketing material and driving traffic to your site,
6225 where you can offer a related service and convert some people into a paid
6226 customer.
6227     </p><p>
6228       For Mark a key decision for Siyavula’s business was to focus on how they can
6229 add value on top of their basic service. They’ll charge only if they are
6230 adding unique value. The actual content of the textbook isn’t unique at all,
6231 so Siyavula sees no value in locking it down and charging for it. Mark
6232 contrasts this with traditional publishers who charge over and over again
6233 for the same content without adding value.
6234     </p><p>
6235       Version two of Siyavula’s business model was a big, ambitious idea—scale
6236 up. They also decided to sell the Intelligent Practice service to schools
6237 directly. Schools can subscribe on a per-student, per-subject basis. A
6238 single subscription gives a learner access to a single subject, including
6239 practice content from every grade available for that subject. Lower
6240 subscription rates are provided when there are over two hundred students,
6241 and big schools have a price cap. A 40 percent discount is offered to
6242 schools where both the science and math departments subscribe.
6243     </p><p>
6244       Teachers get a dashboard that allows them to monitor the progress of an
6245 entire class or view an individual learner’s results. They can see the
6246 questions that learners are working on, identify areas of difficulty, and be
6247 more strategic in their teaching. Students also have their own personalized
6248 dashboard, where they can view the sections they’ve practiced, how many
6249 points they’ve earned, and how their performance is improving.
6250     </p><p>
6251       Based on the success of this effort, Siyavula decided to substantially
6252 increase the production of open educational resources so they could provide
6253 the Intelligent Practice service for a wider range of books. Grades 10 to 12
6254 math and science books were reworked each year, and new books created for
6255 grades 4 to 6 and later grades 7 to 9.
6256     </p><p>
6257       In partnership with, and sponsored by, the Sasol Inzalo Foundation, Siyavula
6258 produced a series of natural sciences and technology workbooks for grades 4
6259 to 6 called Thunderbolt Kids that uses a fun comic-book style.<a href="#ftn.idm1956" class="footnote" name="idm1956"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
6260 teacher’s guides and other resources.
6261     </p><p>
6262       Through this experience, Siyavula learned they could get sponsors to help
6263 fund openly licensed textbooks. It helped that Siyavula had by this time
6264 nailed the production model. It cost roughly $150,000 to produce a book in
6265 two languages. Sponsors liked the social-benefit aspect of textbooks
6266 unlocked via a Creative Commons license. They also liked the exposure their
6267 brand got. For roughly $150,000, their logo would be visible on books
6268 distributed to over one million students.
6269     </p><p>
6270       The Siyavula books that are reviewed, approved, and branded by the
6271 government are freely and openly available on Siyavula’s website under an
6272 Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
6273 cannot be modified. Non-government-branded books are available under an
6274 Attribution license (CC BY), allowing others to modify and redistribute the
6275 books.
6276     </p><p>
6277       Although the South African government paid to print and distribute hard
6278 copies of the books to schoolkids, Siyavula itself received no funding from
6279 the government. Siyavula initially tried to convince the government to
6280 provide them with five rand per book (about US35¢). With those funds, Mark
6281 says that Siyavula could have run its entire operation, built a
6282 community-based model for producing more books, and provide Intelligent
6283 Practice for free to every child in the country. But after a lengthy
6284 negotiation, the government said no.
6285     </p><p>
6286       Using Siyavula books generated huge savings for the government.  Providing
6287 students with a traditionally published grade 12 science or math textbook
6288 costs around 250 rand per book (about US$18).  Providing the Siyavula
6289 version cost around 36 rand (about $2.60), a savings of over 200 rand per
6290 book. But none of those savings were passed on to Siyavula. In retrospect,
6291 Mark thinks this may have turned out in their favor as it allowed them to
6292 remain independent from the government.
6293     </p><p>
6294       Just as Siyavula was planning to scale up the production of open textbooks
6295 even more, the South African government changed its textbook policy. To save
6296 costs, the government declared there would be only one authorized textbook
6297 for each grade and each subject. There was no guarantee that Siyavula’s
6298 would be chosen.  This scared away potential sponsors.
6299     </p><p>
6300       Rather than producing more textbooks, Siyavula focused on improving its
6301 Intelligent Practice technology for its existing books. Mark calls this
6302 version three of Siyavula’s business model—focusing on the technology that
6303 provides the revenue-generating service and generating more users of this
6304 service. Version three got a significant boost in 2014 with an investment by
6305 the Omidyar Network (the philanthropic venture started by eBay founder
6306 Pierre Omidyar and his spouse), and continues to be the model Siyavula uses
6307 today.
6308     </p><p>
6309       Mark says sales are way up, and they are really nailing Intelligent
6310 Practice. Schools continue to use their open textbooks. The
6311 government-announced policy that there would be only one textbook per
6312 subject turned out to be highly contentious and is in limbo.
6313     </p><p>
6314       Siyavula is exploring a range of enhancements to their business model. These
6315 include charging a small amount for assessment services provided over the
6316 phone, diversifying their market to all English-speaking countries in
6317 Africa, and setting up a consortium that makes Intelligent Practice free to
6318 all kids by selling the nonpersonal data Intelligent Practice collects.
6319     </p><p>
6320       Siyavula is a for-profit business but one with a social mission.  Their
6321 shareholders’ agreement lists lots of requirements around openness for
6322 Siyavula, including stipulations that content always be put under an open
6323 license and that they can’t charge for something that people volunteered to
6324 do for them. They believe each individual should have access to the
6325 resources and support they need to achieve the education they
6326 deserve. Having educational resources openly licensed with Creative Commons
6327 means they can fulfill their social mission, on top of which they can build
6328 revenue-generating services to sustain the ongoing operation of Siyavula. In
6329 terms of open business models, Mark and Siyavula may have been around the
6330 block a few times, but both he and the company are stronger for it.
6331     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1925" class="footnote"><p><a href="#idm1925" class="para"><sup class="para">[148] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1931" class="footnote"><p><a href="#idm1931" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm1937" class="footnote"><p><a href="#idm1937" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm1956" class="footnote"><p><a href="#idm1956" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>Rozdział 24. SparkFun</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
6332         SparkFun is an online electronics retailer specializing in open
6333 hardware. Founded in 2003 in the U.S.
6334       </p><p>
6335           <a class="ulink" href="http://www.sparkfun.com" target="_top">http://www.sparkfun.com</a>
6336         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
6337 copies (electronics sales)
6338       </p><p><span class="strong"><strong>Interview date</strong></span>: February 29, 2016
6339       </p><p><span class="strong"><strong>Interviewee</strong></span>: Nathan Seidle, founder
6340       </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}
6341     \textit{
6342         Profile written by Sarah Hinchliff Pearson
6343       }
6344     \end{flushright}</td></tr></table></div><p>
6345       SparkFun founder and former CEO Nathan Seidle has a picture of himself
6346 holding up a clone of a SparkFun product in an electronics market in China,
6347 with a huge grin on his face. He was traveling in China when he came across
6348 their LilyPad wearable technology being made by someone else. His reaction
6349 was glee.
6350     </p><p><span class="quote">„<span class="quote">Being copied is the greatest earmark of flattery and success,</span>”</span>
6351 Nathan said. <span class="quote">„<span class="quote">I thought it was so cool that they were selling to a
6352 market we were never going to get access to otherwise. It was evidence of
6353 our impact on the world.</span>”</span>
6354     </p><p>
6355       This worldview runs through everything SparkFun does. SparkFun is an
6356 electronics manufacturer. The company sells its products directly to the
6357 public online, and it bundles them with educational tools to sell to schools
6358 and teachers. SparkFun applies Creative Commons licenses to all of its
6359 schematics, images, tutorial content, and curricula, so anyone can make
6360 their products on their own. Being copied is part of the design.
6361     </p><p>
6362       Nathan believes open licensing is good for the world. <span class="quote">„<span class="quote">It touches on
6363 our natural human instinct to share,</span>”</span> he said.  But he also strongly
6364 believes it makes SparkFun better at what they do. They encourage copying,
6365 and their products are copied at a very fast rate, often within ten to
6366 twelve weeks of release.  This forces the company to compete on something
6367 other than product design, or what most commonly consider their intellectual
6368 property.
6369     </p><p><span class="quote">„<span class="quote">We compete on business principles,</span>”</span> Nathan said.
6370 <span class="quote">„<span class="quote">Claiming your territory with intellectual property allows you to get
6371 comfy and rest on your laurels. It gives you a safety net. We took away that
6372 safety net.</span>”</span>
6373     </p><p>
6374       The result is an intense company-wide focus on product development and
6375 improvement. <span class="quote">„<span class="quote">Our products are so much better than they were five
6376 years ago,</span>”</span> Nathan said. <span class="quote">„<span class="quote">We used to just sell products. Now
6377 it’s a product plus a video, a seventeen-page hookup guide, and example
6378 firmware on three different platforms to get you up and running faster. We
6379 have gotten better because we had to in order to compete. As painful as it
6380 is for us, it’s better for the customers.</span>”</span>
6381     </p><p>
6382       SparkFun parts are available on eBay for lower prices. But people come
6383 directly to SparkFun because SparkFun makes their lives easier. The example
6384 code works; there is a service number to call; they ship replacement parts
6385 the day they get a service call. They invest heavily in service and
6386 support. <span class="quote">„<span class="quote">I don’t believe businesses should be competing with IP
6387 [intellectual property] barriers,</span>”</span> Nathan said. <span class="quote">„<span class="quote">This is the
6388 stuff they should be competing on.</span>”</span>
6389     </p><p>
6390       SparkFun’s company history began in Nathan’s college dorm room. He spent a
6391 lot of time experimenting with and building electronics, and he realized
6392 there was a void in the market. <span class="quote">„<span class="quote">If you wanted to place an order for
6393 something,</span>”</span> he said, <span class="quote">„<span class="quote">you first had to search far and wide to
6394 find it, and then you had to call or fax someone.</span>”</span> In 2003, during
6395 his third year of college, he registered <a class="ulink" href="http://sparkfun.com" target="_top">http://sparkfun.com</a>
6396 and started reselling products out of his bedroom. After he graduated, he
6397 started making and selling his own products.
6398     </p><p>
6399       Once he started designing his own products, he began putting the software
6400 and schematics online to help with technical support.  After doing some
6401 research on licensing options, he chose Creative Commons licenses because he
6402 was drawn to the <span class="quote">„<span class="quote">human-readable deeds</span>”</span> that explain the
6403 licensing terms in simple terms.  SparkFun still uses CC licenses for all of
6404 the schematics and firmware for the products they create.
6405     </p><p>
6406       The company has grown from a solo project to a corporation with 140
6407 employees. In 2015, SparkFun earned $33 million in revenue.  Selling
6408 components and widgets to hobbyists, professionals, and artists remains a
6409 major part of SparkFun’s business. They sell their own products, but they
6410 also partner with Arduino (also profiled in this book) by manufacturing
6411 boards for resale using Arduino’s brand.
6412     </p><p>
6413       SparkFun also has an educational department dedicated to creating a hands-on
6414 curriculum to teach students about electronics using prototyping
6415 parts. Because SparkFun has always been dedicated to enabling others to
6416 re-create and fix their products on their own, the more recent focus on
6417 introducing young people to technology is a natural extension of their core
6418 business.
6419     </p><p><span class="quote">„<span class="quote">We have the burden and opportunity to educate the next generation of
6420 technical citizens,</span>”</span> Nathan said. <span class="quote">„<span class="quote">Our goal is to affect the
6421 lives of three hundred and fifty thousand high school students by
6422 2020.</span>”</span>
6423     </p><p>
6424       The Creative Commons license underlying all of SparkFun’s products is
6425 central to this mission. The license not only signals a willingness to
6426 share, but it also expresses a desire for others to get in and tinker with
6427 their products, both to learn and to make their products better. SparkFun
6428 uses the Attribution-ShareAlike license (CC BY-SA), which is a
6429 <span class="quote">„<span class="quote">copyleft</span>”</span> license that allows people to do anything with the
6430 content as long as they provide credit and make any adaptations available
6431 under the same licensing terms.
6432     </p><p>
6433       From the beginning, Nathan has tried to create a work environment at
6434 SparkFun that he himself would want to work in. The result is what appears
6435 to be a pretty fun workplace. The U.S. company is based in Boulder,
6436 Colorado. They have an eighty-thousand-square-foot facility (approximately
6437 seventy-four-hundred square meters), where they design and manufacture their
6438 products. They offer public tours of the space several times a week, and
6439 they open their doors to the public for a competition once a year.
6440     </p><p>
6441       The public event, called the Autonomous Vehicle Competition, brings in a
6442 thousand to two thousand customers and other technology enthusiasts from
6443 around the area to race their own self-created bots against each other,
6444 participate in training workshops, and socialize. From a business
6445 perspective, Nathan says it’s a terrible idea. But they don’t hold the event
6446 for business reasons. <span class="quote">„<span class="quote">The reason we do it is because I get to travel
6447 and have interactions with our customers all the time, but most of our
6448 employees don’t,</span>”</span> he said. <span class="quote">„<span class="quote">This event gives our employees the
6449 opportunity to get face-to-face contact with our customers.</span>”</span> The
6450 event infuses their work with a human element, which makes it more
6451 meaningful.
6452     </p><p>
6453       Nathan has worked hard to imbue a deeper meaning into the work SparkFun
6454 does. The company is, of course, focused on being fiscally responsible, but
6455 they are ultimately driven by something other than money. <span class="quote">„<span class="quote">Profit is
6456 not the goal; it is the outcome of a well-executed plan,</span>”</span> Nathan
6457 said. <span class="quote">„<span class="quote">We focus on having a bigger impact on the world.</span>”</span> Nathan
6458 believes they get some of the brightest and most amazing employees because
6459 they aren’t singularly focused on the bottom line.
6460     </p><p>
6461       The company is committed to transparency and shares all of its financials
6462 with its employees. They also generally strive to avoid being another
6463 soulless corporation. They actively try to reveal the humans behind the
6464 company, and they work to ensure people coming to their site don’t find only
6465 unchanging content.
6466     </p><p>
6467       SparkFun’s customer base is largely made up of industrious electronics
6468 enthusiasts. They have customers who are regularly involved in the company’s
6469 customer support, independently responding to questions in forums and
6470 product-comment sections.  Customers also bring product ideas to the
6471 company. SparkFun regularly sifts through suggestions from customers and
6472 tries to build on them where they can. <span class="quote">„<span class="quote">From the beginning, we have
6473 been listening to the community,</span>”</span> Nathan said.  <span class="quote">„<span class="quote">Customers
6474 would identify a pain point, and we would design something to address
6475 it.</span>”</span>
6476     </p><p>
6477       However, this sort of customer engagement does not always translate to
6478 people actively contributing to SparkFun’s projects.  The company has a
6479 public repository of software code for each of its devices online. On a
6480 particularly active project, there will only be about two dozen people
6481 contributing significant improvements. The vast majority of projects are
6482 relatively untouched by the public. <span class="quote">„<span class="quote">There is a theory that if you
6483 open-source it, they will come,</span>”</span> Nathan said. <span class="quote">„<span class="quote">That’s not
6484 really true.</span>”</span>
6485     </p><p>
6486       Rather than focusing on cocreation with their customers, SparkFun instead
6487 focuses on enabling people to copy, tinker, and improve products on their
6488 own. They heavily invest in tutorials and other material designed to help
6489 people understand how the products work so they can fix and improve things
6490 independently. <span class="quote">„<span class="quote">What gives me joy is when people take open-source
6491 layouts and then build their own circuit boards from our designs,</span>”</span>
6492 Nathan said.
6493     </p><p>
6494       Obviously, opening up the design of their products is a necessary step if
6495 their goal is to empower the public. Nathan also firmly believes it makes
6496 them more money because it requires them to focus on how to provide maximum
6497 value. Rather than designing a new product and protecting it in order to
6498 extract as much money as possible from it, they release the keys necessary
6499 for others to build it themselves and then spend company time and resources
6500 on innovation and service. From a short-term perspective, SparkFun may lose
6501 a few dollars when others copy their products. But in the long run, it makes
6502 them a more nimble, innovative business. In other words, it makes them the
6503 kind of company they set out to be.
6504     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Rozdział 25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
6505         TeachAIDS is a nonprofit that creates educational materials designed to
6506 teach people around the world about HIV and AIDS.  Founded in 2005 in the
6507 U.S.
6508       </p><p>
6509           <a class="ulink" href="http://teachaids.org" target="_top">http://teachaids.org</a>
6510         </p><p><span class="strong"><strong>Revenue model</strong></span>: sponsorships
6511       </p><p><span class="strong"><strong>Interview date</strong></span>: March 24, 2016
6512       </p><p><span class="strong"><strong>Interviewees</strong></span>: Piya Sorcar, the CEO, and
6513 Shuman Ghosemajumder, the chair
6514       </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}
6515     \textit{
6516         Profile written by Sarah Hinchliff Pearson
6517       }
6518     \end{flushright}</td></tr></table></div><p>
6519       TeachAIDS is an unconventional media company with a conventional revenue
6520 model. Like most media companies, they are subsidized by
6521 advertising. Corporations pay to have their logos appear on the educational
6522 materials TeachAIDS distributes.
6523     </p><p>
6524       But unlike most media companies, Teach-AIDS is a nonprofit organization with
6525 a purely social mission. TeachAIDS is dedicated to educating the global
6526 population about HIV and AIDS, particularly in parts of the world where
6527 education efforts have been historically unsuccessful. Their educational
6528 content is conveyed through interactive software, using methods based on the
6529 latest research about how people learn. TeachAIDS serves content in more
6530 than eighty countries around the world. In each instance, the content is
6531 translated to the local language and adjusted to conform to local norms and
6532 customs. All content is free and made available under a Creative Commons
6533 license.
6534     </p><p>
6535       TeachAIDS is a labor of love for founder and CEO Piya Sorcar, who earns a
6536 salary of one dollar per year from the nonprofit. The project grew out of
6537 research she was doing while pursuing her doctorate at Stanford
6538 University. She was reading reports about India, noting it would be the next
6539 hot zone of people living with HIV. Despite international and national
6540 entities pouring in hundreds of millions of dollars on HIV-prevention
6541 efforts, the reports showed knowledge levels were still low. People were
6542 unaware of whether the virus could be transmitted through coughing and
6543 sneezing, for instance. Supported by an interdisciplinary team of experts at
6544 Stanford, Piya conducted similar studies, which corroborated the previous
6545 research. They found that the primary cause of the limited understanding was
6546 that HIV, and issues relating to it, were often considered too taboo to
6547 discuss comprehensively. The other major problem was that most of the
6548 education on this topic was being taught through television advertising,
6549 billboards, and other mass-media campaigns, which meant people were only
6550 receiving bits and pieces of information.
6551     </p><p>
6552       In late 2005, Piya and her team used research-based design to create new
6553 educational materials and worked with local partners in India to help
6554 distribute them. As soon as the animated software was posted online, Piya’s
6555 team started receiving requests from individuals and governments who were
6556 interested in bringing this model to more countries. <span class="quote">„<span class="quote">We realized
6557 fairly quickly that educating large populations about a topic that was
6558 considered taboo would be challenging. We began by identifying optimal local
6559 partners and worked toward creating an effective, culturally appropriate
6560 education,</span>”</span> Piya said.
6561     </p><p>
6562       Very shortly after the initial release, Piya’s team decided to spin the
6563 endeavor into an independent nonprofit out of Stanford University. They also
6564 decided to use Creative Commons licenses on the materials.
6565     </p><p>
6566       Given their educational mission, TeachAIDS had an obvious interest in seeing
6567 the materials as widely shared as possible. But they also needed to preserve
6568 the integrity of the medical information in the content. They chose the
6569 Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND), which essentially
6570 gives the public the right to distribute only verbatim copies of the
6571 content, and for noncommercial purposes. <span class="quote">„<span class="quote">We wanted attribution for
6572 TeachAIDS, and we couldn’t stand by derivatives without vetting
6573 them,</span>”</span> the cofounder and chair Shuman Ghosemajumder said.  <span class="quote">„<span class="quote">It
6574 was almost a no-brainer to go with a CC license because it was a
6575 plug-and-play solution to this exact problem. It has allowed us to scale our
6576 materials safely and quickly worldwide while preserving our content and
6577 protecting us at the same time.</span>”</span>
6578     </p><p>
6579       Choosing a license that does not allow adaptation of the content was an
6580 outgrowth of the careful precision with which TeachAIDS crafts their
6581 content. The organization invests heavily in research and testing to
6582 determine the best method of conveying the information. <span class="quote">„<span class="quote">Creating
6583 high-quality content is what matters most to us,</span>”</span> Piya
6584 said. <span class="quote">„<span class="quote">Research drives everything we do.</span>”</span>
6585     </p><p>
6586       One important finding was that people accept the message best when it comes
6587 from familiar voices they trust and admire. To achieve this, TeachAIDS
6588 researches cultural icons that would best resonate with their target
6589 audiences and recruits them to donate their likenesses and voices for use in
6590 the animated software. The celebrities involved vary for each localized
6591 version of the materials.
6592     </p><p>
6593       Localization is probably the single-most important aspect of the way
6594 TeachAIDS creates its content. While each regional version builds from the
6595 same core scientific materials, they pour a lot of resources into
6596 customizing the content for a particular population. Because they use a CC
6597 license that does not allow the public to adapt the content, TeachAIDS
6598 retains careful control over the localization process. The content is
6599 translated into the local language, but there are also changes in substance
6600 and format to reflect cultural differences. This process results in minor
6601 changes, like choosing different idioms based on the local language, and
6602 significant changes, like creating gendered versions for places where people
6603 are more likely to accept information from someone of the same gender.
6604     </p><p>
6605       The localization process relies heavily on volunteers. Their volunteer base
6606 is deeply committed to the cause, and the organization has had better luck
6607 controlling the quality of the materials when they tap volunteers instead of
6608 using paid translators. For quality control, TeachAIDS has three separate
6609 volunteer teams translate the materials from English to the local language
6610 and customize the content based on local customs and norms. Those three
6611 versions are then analyzed and combined into a single master
6612 translation. TeachAIDS has additional teams of volunteers then translate
6613 that version back into English to see how well it lines up with the original
6614 materials. They repeat this process until they reach a translated version
6615 that meets their standards. For the Tibetan version, they went through this
6616 cycle eleven times.
6617     </p><p>
6618       TeachAIDS employs full-time employees, contractors, and volunteers, all in
6619 different capacities and organizational configurations. They are careful to
6620 use people from diverse backgrounds to create the materials, including
6621 teachers, students, and doctors, as well as individuals experienced in
6622 working in the NGO space. This diversity and breadth of knowledge help
6623 ensure their materials resonate with people from all walks of life.
6624 Additionally, TeachAIDS works closely with film writers and directors to
6625 help keep the concepts entertaining and easy to understand. The inclusive,
6626 but highly controlled, creative process is undertaken entirely by people who
6627 are specifically brought on to help with a particular project, rather than
6628 ongoing staff. The final product they create is designed to require zero
6629 training for people to implement in practice. <span class="quote">„<span class="quote">In our research, we
6630 found we can’t depend on people passing on the information correctly, even
6631 if they have the best of intentions,</span>”</span> Piya said.  <span class="quote">„<span class="quote">We need
6632 materials where you can push play and they will work.</span>”</span>
6633     </p><p>
6634       Piya’s team was able to produce all of these versions over several years
6635 with a head count that never exceeded eight full-time employees. The
6636 organization is able to reduce costs by relying heavily on volunteers and
6637 in-kind donations. Nevertheless, the nonprofit needed a sustainable revenue
6638 model to subsidize content creation and physical distribution of the
6639 materials. Charging even a low price was simply not an
6640 option. <span class="quote">„<span class="quote">Educators from various nonprofits around the world were just
6641 creating their own materials using whatever they could find for free
6642 online,</span>”</span> Shuman said. <span class="quote">„<span class="quote">The only way to persuade them to use our
6643 highly effective model was to make it completely free.</span>”</span>
6644     </p><p>
6645       Like many content creators offering their work for free, they settled on
6646 advertising as a funding model. But they were extremely careful not to let
6647 the advertising compromise their credibility or undermine the heavy
6648 investment they put into creating quality content. Sponsors of the content
6649 have no ability to influence the substance of the content, and they cannot
6650 even create advertising content. Sponsors only get the right to have their
6651 logo appear before and after the educational content. All of the content
6652 remains branded as TeachAIDS.
6653     </p><p>
6654       TeachAIDS is careful not to seek funding to cover the costs of a specific
6655 project. Instead, sponsorships are structured as unrestricted donations to
6656 the nonprofit. This gives the nonprofit more stability, but even more
6657 importantly, it enables them to subsidize projects being localized for an
6658 area with no sponsors.  <span class="quote">„<span class="quote">If we just created versions based on where we
6659 could get sponsorships, we would only have materials for wealthier
6660 countries,</span>”</span> Shuman said.
6661     </p><p>
6662       As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">„<span class="quote">When we go into a new
6663 country, various companies hear about us and reach out to us,</span>”</span> Piya
6664 said. <span class="quote">„<span class="quote">We don’t have to do much to find or attract them.</span>”</span> They
6665 believe the sponsorships are easy to sell because they offer so much value
6666 to sponsors. TeachAIDS sponsorships give corporations the chance to reach
6667 new eyeballs with their brand, but at a much lower cost than other
6668 advertising channels. The audience for TeachAIDS content also tends to skew
6669 young, which is often a desirable demographic for brands. Unlike traditional
6670 advertising, the content is not time-sensitive, so an investment in a
6671 sponsorship can benefit a brand for many years to come.
6672     </p><p>
6673       Importantly, the value to corporate sponsors goes beyond commercial
6674 considerations. As a nonprofit with a clearly articulated social mission,
6675 corporate sponsorships are donations to a cause. <span class="quote">„<span class="quote">This is something
6676 companies can be proud of internally,</span>”</span> Shuman said. Some companies
6677 have even built publicity campaigns around the fact that they have sponsored
6678 these initiatives.
6679     </p><p>
6680       The core mission of TeachAIDS—ensuring global access to life-saving
6681 education—is at the root of everything the organization does. It underpins
6682 the work; it motivates the funders. The CC license on the materials they
6683 create furthers that mission, allowing them to safely and quickly scale
6684 their materials worldwide. <span class="quote">„<span class="quote">The Creative Commons license has been a
6685 game changer for TeachAIDS,</span>”</span> Piya said.
6686     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Rozdział 26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
6687         Tribe of Noise is a for-profit online music platform serving the film, TV,
6688 video, gaming, and in-store-media industries. Founded in 2008 in the
6689 Netherlands.
6690       </p><p>
6691           <a class="ulink" href="http://www.tribeofnoise.com" target="_top">http://www.tribeofnoise.com</a>
6692         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
6693       </p><p><span class="strong"><strong>Interview date</strong></span>: January 26, 2016
6694       </p><p><span class="strong"><strong>Interviewee</strong></span>: Hessel van Oorschot,
6695 cofounder
6696       </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}
6697     \textit{
6698         Profile written by Paul Stacey
6699       }
6700     \end{flushright}</td></tr></table></div><p>
6701       In the early 2000s, Hessel van Oorschot was an entrepreneur running a
6702 business where he coached other midsize entrepreneurs how to create an
6703 online business. He also coauthored a number of workbooks for small- to
6704 medium-size enterprises to use to optimize their business for the
6705 Web. Through this early work, Hessel became familiar with the principles of
6706 open licensing, including the use of open-source software and Creative
6707 Commons.
6708     </p><p>
6709       In 2005, Hessel and Sandra Brandenburg launched a niche video-production
6710 initiative. Almost immediately, they ran into issues around finding and
6711 licensing music tracks. All they could find was standard, cold
6712 stock-music. They thought of looking up websites where you could license
6713 music directly from the musician without going through record labels or
6714 agents. But in 2005, the ability to directly license music from a rights
6715 holder was not readily available.
6716     </p><p>
6717       They hired two lawyers to investigate further, and while they uncovered five
6718 or six examples, Hessel found the business models lacking. The lawyers
6719 expressed interest in being their legal team should they decide to pursue
6720 this as an entrepreneurial opportunity. Hessel says, <span class="quote">„<span class="quote">When lawyers are
6721 interested in a venture like this, you might have something special.</span>”</span>
6722 So after some more research, in early 2008, Hessel and Sandra decided to
6723 build a platform.
6724     </p><p>
6725       Building a platform posed a real chicken-and-egg problem. The platform had
6726 to build an online community of music-rights holders and, at the same time,
6727 provide the community with information and ideas about how the new economy
6728 works. Community willingness to try new music business models requires a
6729 trust relationship.
6730     </p><p>
6731       In July 2008, Tribe of Noise opened its virtual doors with a couple hundred
6732 musicians willing to use the CC BY-SA license (Attribution-ShareAlike) for a
6733 limited part of their repertoire.  The two entrepreneurs wanted to take the
6734 pain away for media makers who wanted to license music and solve the
6735 problems the two had personally experienced finding this music.
6736     </p><p>
6737       As they were growing the community, Hessel got a phone call from a company
6738 that made in-store music playlists asking if they had enough music licensed
6739 with Creative Commons that they could use.  Stores need quality,
6740 good-listening music but not necessarily hits, a bit like a radio show
6741 without the DJ. This opened a new opportunity for Tribe of Noise. They
6742 started their In-store Music Service, using music (licensed with CC BY-SA)
6743 uploaded by the Tribe of Noise community of musicians.<a href="#ftn.idm2091" class="footnote" name="idm2091"><sup class="footnote">[152]</sup></a>
6744     </p><p>
6745       In most countries, artists, authors, and musicians join a collecting society
6746 that manages the licensing and helps collect the royalties. Copyright
6747 collecting societies in the European Union usually hold monopolies in their
6748 respective national markets. In addition, they require their members to
6749 transfer exclusive administration rights to them of all of their works.
6750 This complicates the picture for Tribe of Noise, who wants to represent
6751 artists, or at least a portion of their repertoire.  Hessel and his legal
6752 team reached out to collecting societies, starting with those in the
6753 Netherlands. What would be the best legal way forward that would respect the
6754 wishes of composers and musicians who’d be interested in trying out new
6755 models like the In-store Music Service? Collecting societies at first were
6756 hesitant and said no, but Tribe of Noise persisted arguing that they
6757 primarily work with unknown artists and provide them exposure in parts of
6758 the world where they don’t get airtime normally and a source of revenue—and
6759 this convinced them that it was OK. However, Hessel says, <span class="quote">„<span class="quote">We are
6760 still fighting for a good cause every single day.</span>”</span>
6761     </p><p>
6762       Instead of building a large sales force, Tribe of Noise partnered with big
6763 organizations who have lots of clients and can act as a kind of Tribe of
6764 Noise reseller. The largest telecom network in the Netherlands, for example,
6765 sells Tribe’s In-store Music Service subscriptions to their business
6766 clients, which include fashion retailers and fitness centers. They have a
6767 similar deal with the leading trade association representing hotels and
6768 restaurants in the country. Hessel hopes to <span class="quote">„<span class="quote">copy and paste</span>”</span>
6769 this service into other countries where collecting societies understand what
6770 you can do with Creative Commons. Outside of the Netherlands, early
6771 adoptions have happened in Scandinavia, Belgium, and the U.S.
6772     </p><p>
6773       Tribe of Noise doesn’t pay the musicians up front; they get paid when their
6774 music ends up in Tribe of Noise’s in-store music channels. The musicians’
6775 share is 42.5 percent. It’s not uncommon in a traditional model for the
6776 artist to get only 5 to 10 percent, so a share of over 40 percent is a
6777 significantly better deal.  Here’s how they give an example on their
6778 website:
6779     </p><p>
6780       A few of your songs [licensed with CC BY-SA], for example five in total, are
6781 selected for a bespoke in-store music channel broadcasting at a large
6782 retailer with 1,000 stores nationwide. In this case the overall playlist
6783 contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
6784 agreed with this retailer is US$12 per month per play-out. So if 42.5% is
6785 shared with the Tribe musicians in this playlist and your share is 1.43%,
6786 you end up with US$12 * 1000 stores * 0.425 * 0.0143 = US$73 per
6787 month.<a href="#ftn.idm2100" class="footnote" name="idm2100"><sup class="footnote">[153]</sup></a>
6788     </p><p>
6789       Tribe of Noise has another model that does not involve Creative Commons. In
6790 a survey with members, most said they liked the exposure using Creative
6791 Commons gets them and the way it lets them reach out to others to share and
6792 remix. However, they had a bit of a mental struggle with Creative Commons
6793 licenses being perpetual.  A lot of musicians have the mind-set that one day
6794 one of their songs may become an overnight hit. If that happened the CC
6795 BY-SA license would preclude them getting rich off the sale of that song.
6796     </p><p>
6797       Hessel’s legal team took this feedback and created a second model and
6798 separate area of the platform called Tribe of Noise Pro. Songs uploaded to
6799 Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
6800 instead created a <span class="quote">„<span class="quote">nonexclusive exploitation</span>”</span> contract, similar
6801 to a Creative Commons license but allowing musicians to opt out whenever
6802 they want. When you opt out, Tribe of Noise agrees to take your music off
6803 the Tribe of Noise platform within one to two months. This lets the musician
6804 reuse their song for a better deal.
6805     </p><p>
6806       Tribe of Noise Pro is primarily geared toward media makers who are looking
6807 for music. If they buy a license from this catalog, they don’t have to state
6808 the name of the creator; they just license the song for a specific
6809 amount. This is a big plus for media makers.  And musicians can pull their
6810 repertoire at any time. Hessel sees this as a more direct and clean deal.
6811     </p><p>
6812       Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and
6813 the community area of Tribe of Noises. There aren’t that many artists who
6814 upload only to Tribe of Noise Pro, which has a smaller repertoire of music
6815 than the community area.
6816     </p><p>
6817       Hessel sees the two as complementary. Both are needed for the model to
6818 work. With a whole generation of musicians interested in the sharing
6819 economy, the community area of Tribe of Noise is where they can build trust,
6820 create exposure, and generate money. And after that, musicians may become
6821 more interested in exploring other models like Tribe of Noise Pro.
6822     </p><p>
6823       Every musician who joins Tribe of Noise gets their own home page and free
6824 unlimited Web space to upload as much of their own music as they like. Tribe
6825 of Noise is also a social network; fellow musicians and professionals can
6826 vote for, comment on, and like your music. Community managers interact with
6827 and support members, and music supervisors pick and choose from the uploaded
6828 songs for in-store play or to promote them to media producers. Members
6829 really like having people working for the platform who truly engage with
6830 them.
6831     </p><p>
6832       Another way Tribe of Noise creates community and interest is with contests,
6833 which are organized in partnership with Tribe of Noise clients. The client
6834 specifies what they want, and any member can submit a song. Contests usually
6835 involve prizes, exposure, and money. In addition to building member
6836 engagement, contests help members learn how to work with clients: listening
6837 to them, understanding what they want, and creating a song to meet that
6838 need.
6839     </p><p>
6840       Tribe of Noise now has twenty-seven thousand members from 192 countries, and
6841 many are exploring do-it-yourself models for generating revenue. Some came
6842 from music labels and publishers, having gone through the traditional way of
6843 music licensing and now seeing if this new model makes sense for
6844 them. Others are young musicians, who grew up with a DIY mentality and see
6845 little reason to sign with a third party or hand over some of the
6846 control. Still a small but growing group of Tribe members are pursuing a
6847 hybrid model by licensing some of their songs under CC BY-SA and opting in
6848 others with collecting societies like ASCAP or BMI.
6849     </p><p>
6850       It’s not uncommon for performance-rights organizations, record labels, or
6851 music publishers to sign contracts with musicians based on exclusivity. Such
6852 an arrangement prevents those musicians from uploading their music to Tribe
6853 of Noise. In the United States, you can have a collecting society handle
6854 only some of your tracks, whereas in many countries in Europe, a collecting
6855 society prefers to represent your entire repertoire (although the European
6856 Commission is making some changes). Tribe of Noise deals with this issue all
6857 the time and gives you a warning whenever you upload a song. If collecting
6858 societies are willing to be open and flexible and do the most they can for
6859 their members, then they can consider organizations like Tribe of Noise as a
6860 nice add-on, generating more exposure and revenue for the musicians they
6861 represent. So far, Tribe of Noise has been able to make all this work
6862 without litigation.
6863     </p><p>
6864       For Hessel the key to Tribe of Noise’s success is trust. The fact that
6865 Creative Commons licenses work the same way all over the world and have been
6866 translated into all languages really helps build that trust. Tribe of Noise
6867 believes in creating a model where they work together with musicians. They
6868 can only do that if they have a live and kicking community, with people who
6869 think that the Tribe of Noise team has their best interests in
6870 mind. Creative Commons makes it possible to create a new business model for
6871 music, a model that’s based on trust.
6872     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2091" class="footnote"><p><a href="#idm2091" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2100" class="footnote"><p><a href="#idm2100" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>Rozdział 27. Wikimedia Foundation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
6873         The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia
6874 and its sister projects. Founded in 2003 in the U.S.
6875       </p><p>
6876           <a class="ulink" href="http://wikimediafoundation.org" target="_top">http://wikimediafoundation.org</a>
6877         </p><p><span class="strong"><strong>Revenue model</strong></span>: donations
6878       </p><p><span class="strong"><strong>Interview date</strong></span>: December 18, 2015
6879       </p><p><span class="strong"><strong>Interviewees</strong></span>: Luis Villa, former Chief
6880 Officer of Community Engagement, and Stephen LaPorte, legal counsel
6881       </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}
6882     \textit{
6883         Profile written by Sarah Hinchliff Pearson
6884       }
6885     \end{flushright}</td></tr></table></div><p>
6886       Nearly every person with an online presence knows Wikipedia.
6887     </p><p>
6888       In many ways, it is the preeminent open project: The online encyclopedia is
6889 created entirely by volunteers. Anyone in the world can edit the
6890 articles. All of the content is available for free to anyone online. All of
6891 the content is released under a Creative Commons license that enables people
6892 to reuse and adapt it for any purpose.
6893     </p><p>
6894       As of December 2016, there were more than forty-two million articles in the
6895 295 language editions of the online encyclopedia, according to—what
6896 else?—the Wikipedia article about Wikipedia.
6897     </p><p>
6898       The Wikimedia Foundation is a U.S.-based nonprofit organization that owns
6899 the Wikipedia domain name and hosts the site, along with many other related
6900 sites like Wikidata and Wikimedia Commons. The foundation employs about two
6901 hundred and eighty people, who all work to support the projects it
6902 hosts. But the true heart of Wikipedia and its sister projects is its
6903 community. The numbers of people in the community are variable, but about
6904 seventy-five thousand volunteers edit and improve Wikipedia articles every
6905 month. Volunteers are organized in a variety of ways across the globe,
6906 including formal Wikimedia chapters (mostly national), groups focused on a
6907 particular theme, user groups, and many thousands who are not connected to a
6908 particular organization.
6909     </p><p>
6910       As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">„<span class="quote">There is a common
6911 saying that Wikipedia works in practice but not in theory.</span>”</span> While it
6912 undoubtedly has its challenges and flaws, Wikipedia and its sister projects
6913 are a striking testament to the power of human collaboration.
6914     </p><p>
6915       Because of its extraordinary breadth and scope, it does feel a bit like a
6916 unicorn. Indeed, there is nothing else like Wikipedia.  Still, much of what
6917 makes the projects successful—community, transparency, a strong mission,
6918 trust—are consistent with what it takes to be successfully Made with
6919 Creative Commons more generally. With Wikipedia, everything just happens at
6920 an unprecedented scale.
6921     </p><p>
6922       The story of Wikipedia has been told many times. For our purposes, it is
6923 enough to know the experiment started in 2001 at a small scale, inspired by
6924 the crazy notion that perhaps a truly open, collaborative project could
6925 create something meaningful. At this point, Wikipedia is so ubiquitous and
6926 ingrained in our digital lives that the fact of its existence seems less
6927 remarkable. But outside of software, Wikipedia is perhaps the single most
6928 stunning example of successful community cocreation. Every day, seven
6929 thousand new articles are created on Wikipedia, and nearly fifteen thousand
6930 edits are made every hour.
6931     </p><p>
6932       The nature of the content the community creates is ideal for asynchronous
6933 cocreation. <span class="quote">„<span class="quote">An encyclopedia is something where incremental community
6934 improvement really works,</span>”</span> Luis Villa, former Chief Officer of
6935 Community Engagement, told us. The rules and processes that govern
6936 cocreation on Wikipedia and its sister projects are all community-driven and
6937 vary by language edition. There are entire books written on the intricacies
6938 of their systems, but generally speaking, there are very few exceptions to
6939 the rule that anyone can edit any article, even without an account on their
6940 system. The extensive peer-review process includes elaborate systems to
6941 resolve disputes, methods for managing particularly controversial subject
6942 areas, talk pages explaining decisions, and much, much more. The Wikimedia
6943 Foundation’s decision to leave governance of the projects to the community
6944 is very deliberate. <span class="quote">„<span class="quote">We look at the things that the community can do
6945 well, and we want to let them do those things,</span>”</span> Stephen told
6946 us. Instead, the foundation focuses its time and resources on what the
6947 community cannot do as effectively, like the software engineering that
6948 supports the technical infrastructure of the sites. In 2015-16, about half
6949 of the foundation’s budget went to direct support for the Wikimedia sites.
6950     </p><p>
6951       Some of that is directed at servers and general IT support, but the
6952 foundation also invests a significant amount on architecture designed to
6953 help the site function as effectively as possible.  <span class="quote">„<span class="quote">There is a
6954 constantly evolving system to keep the balance in place to avoid Wikipedia
6955 becoming the world’s biggest graffiti wall,</span>”</span> Luis said. Depending on
6956 how you measure it, somewhere between 90 to 98 percent of edits to Wikipedia
6957 are positive. Some portion of that success is attributable to the tools
6958 Wikimedia has in place to try to incentivize good actors.  <span class="quote">„<span class="quote">The secret
6959 to having any healthy community is bringing back the right people,</span>”</span>
6960 Luis said. <span class="quote">„<span class="quote">Vandals tend to get bored and go away. That is partially
6961 our model working, and partially just human nature.</span>”</span> Most of the
6962 time, people want to do the right thing.
6963     </p><p>
6964       Wikipedia not only relies on good behavior within its community and on its
6965 sites, but also by everyone else once the content leaves Wikipedia. All of
6966 the text of Wikipedia is available under an Attribution-ShareAlike license
6967 (CC BY-SA), which means it can be used for any purpose and modified so long
6968 as credit is given and anything new is shared back with the public under the
6969 same license. In theory, that means anyone can copy the content and start a
6970 new Wikipedia. But as Stephen explained, <span class="quote">„<span class="quote">Being open has only made
6971 Wikipedia bigger and stronger. The desire to protect is not always what is
6972 best for everyone.</span>”</span>
6973     </p><p>
6974       Of course, the primary reason no one has successfully co-opted Wikipedia is
6975 that copycat efforts do not have the Wikipedia community to sustain what
6976 they do. Wikipedia is not simply a source of up-to-the-minute content on
6977 every given topic—it is also a global patchwork of humans working together
6978 in a million different ways, in a million different capacities, for a
6979 million different reasons. While many have tried to guess what makes
6980 Wikipedia work as well it does, the fact is there is no single
6981 explanation. <span class="quote">„<span class="quote">In a movement as large as ours, there is an incredible
6982 diversity of motivations,</span>”</span> Stephen said. For example, there is one
6983 editor of the English Wikipedia edition who has corrected a single
6984 grammatical error in articles more than forty-eight thousand
6985 times.<a href="#ftn.idm2146" class="footnote" name="idm2146"><sup class="footnote">[154]</sup></a> Only a fraction of Wikipedia
6986 users are also editors.  But editing is not the only way to contribute to
6987 Wikipedia.  <span class="quote">„<span class="quote">Some donate text, some donate images, some donate
6988 financially,</span>”</span> Stephen told us. <span class="quote">„<span class="quote">They are all
6989 contributors.</span>”</span>
6990     </p><p>
6991       But the vast majority of us who use Wikipedia are not contributors; we are
6992 passive readers. The Wikimedia Foundation survives primarily on individual
6993 donations, with about $15 as the average. Because Wikipedia is one of the
6994 ten most popular websites in terms of total page views, donations from a
6995 small portion of that audience can translate into a lot of money. In the
6996 2015-16 fiscal year, they received more than $77 million from more than five
6997 million donors.
6998     </p><p>
6999       The foundation has a fund-raising team that works year-round to raise money,
7000 but the bulk of their revenue comes in during the December campaign in
7001 Australia, Canada, Ireland, New Zealand, the United Kingdom, and the United
7002 States. They engage in extensive user testing and research to maximize the
7003 reach of their fund-raising campaigns. Their basic fund-raising message is
7004 simple: We provide our readers and the world immense value, so give
7005 back. Every little bit helps. With enough eyeballs, they are right.
7006     </p><p>
7007       The vision of the Wikimedia Foundation is a world in which every single
7008 human being can freely share in the sum of all knowledge.  They work to
7009 realize this vision by empowering people around the globe to create
7010 educational content made freely available under an open license or in the
7011 public domain. Stephen and Luis said the mission, which is rooted in the
7012 same philosophy behind Creative Commons, drives everything the foundation
7013 does.
7014     </p><p>
7015       The philosophy behind the endeavor also enables the foundation to be
7016 financially sustainable. It instills trust in their readership, which is
7017 critical for a revenue strategy that relies on reader donations. It also
7018 instills trust in their community.
7019     </p><p>
7020       Any given edit on Wikipedia could be motivated by nearly an infinite number
7021 of reasons. But the social mission of the project is what binds the global
7022 community together. <span class="quote">„<span class="quote">Wikipedia is an example of how a mission can
7023 motivate an entire movement,</span>”</span> Stephen told us.
7024     </p><p>
7025       Of course, what results from that movement is one of the Internet’s great
7026 public resources. <span class="quote">„<span class="quote">The Internet has a lot of businesses and stores,
7027 but it is missing the digital equivalent of parks and open public
7028 spaces,</span>”</span> Stephen said.  <span class="quote">„<span class="quote">Wikipedia has found a way to be that
7029 open public space.</span>”</span>
7030     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2146" class="footnote"><p><a href="#idm2146" class="para"><sup class="para">[154] </sup></a><a class="ulink" href="http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/" target="_top">http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/</a></p></div></div></div></div>\chapter*{<title>Bibliography</title>}\addcontentsline{toc}{chapter}{<title>Bibliography</title>}<p>
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7072 Collaborative Consumption. New York: Harper Business, 2010.
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7074     Boyle, James. The Public Domain: Enclosing the Commons of the Mind.  New
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7079     Capra, Fritjof, and Ugo Mattei. The Ecology of Law: Toward a Legal System in
7080 Tune with Nature and Community. Oakland, CA: Berrett-Koehler, 2015.
7081   </p><p>
7082     Chesbrough, Henry. Open Business Models: How to Thrive in the New Innovation
7083 Landscape. Boston: Harvard Business School Press, 2006.
7084   </p><p>
7085     ———. Open Innovation: The New Imperative for Creating and Profiting from
7086 Technology. Boston: Harvard Business Review Press, 2006.
7087   </p><p>
7088     City of Bologna. Regulation on Collaboration between Citizens and the City
7089 for the Care and Regeneration of Urban Commons. Translated by LabGov
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7097     Creative Commons. 2015 State of the Commons. Mountain View, CA: Creative
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7100     Doctorow, Cory. Information Doesn’t Want to Be Free: Laws for the Internet
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7105   </p><p>
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7107 Confronting the Commodification of Human Discovery.  Regina, SK: University
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7111     Eyal, Nir. Hooked: How to Build Habit-Forming Products. With Ryan
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7117   </p><p>
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7119 Nonprofit Funding Models.</span>”</span> Stanford Social Innovation Review, Spring
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7121   </p><p>
7122     Frischmann, Brett M. Infrastructure: The Social Value of Shared
7123 Resources. New York: Oxford University Press, 2012.
7124   </p><p>
7125     Frischmann, Brett M., Michael J. Madison, and Katherine J.  Strandburg,
7126 eds. Governing Knowledge Commons. New York: Oxford University Press, 2014.
7127   </p><p>
7128     Frischmann, Brett M., Michael J. Madison, and Katherine J.
7129 Strandburg. <span class="quote">„<span class="quote">Governing Knowledge Commons.</span>”</span> Chap. 1 in
7130 Frischmann, Madison, and Strandburg, Governing Knowledge Commons.
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7133 new epilogue. New York: Portfolio, 2012.
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7135     Grant, Adam. Give and Take: Why Helping Others Drives Our Success.  New
7136 York: Viking, 2013.
7137   </p><p>
7138     Haiven, Max. Crises of Imagination, Crises of Power: Capitalism, Creativity
7139 and the Commons. New York: Zed Books, 2014.
7140   </p><p>
7141     Harris, Malcom, ed. Share or Die: Voices of the Get Lost Generation in the
7142 Age of Crisis. With Neal Gorenflo. Gabriola Island, BC: New Society, 2012.
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7144     Hermida, Alfred. Tell Everyone: Why We Share and Why It Matters.  Toronto:
7145 Doubleday Canada, 2014.
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7148 Farrar, Straus and Giroux, 2010.
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7152   </p><p>
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7154 within Us All. New York: Crown, 2013.
7155   </p><p>
7156     Kelly, Marjorie. Owning Our Future: The Emerging Ownership Revolution;
7157 Journeys to a Generative Economy. San Francisco: Berrett-Koehler, 2012.
7158   </p><p>
7159     Kleon, Austin. Show Your Work: 10 Ways to Share Your Creativity and Get
7160 Discovered. New York: Workman, 2014.
7161   </p><p>
7162     ———. Steal Like an Artist: 10 Things Nobody Told You about Being
7163 Creative. New York: Workman, 2012.
7164   </p><p>
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7166 York: Morgan James, 2016.
7167   </p><p>
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7173   </p><p>
7174     Menzies, Heather. Reclaiming the Commons for the Common Good: A Memoir and
7175 Manifesto. Gabriola Island, BC: New Society, 2014.
7176   </p><p>
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7178 and Giroux, 2015.
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7181 People Share Online? New York: New York Times Customer Insight Group, 2011.
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7183   </p><p>
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7187     Osterwalder, Alex, Yves Pigneur, Greg Bernarda, and Adam Smith.  Value
7188 Proposition Design. Hoboken, NJ: John Wiley and Sons, 2014. A preview of the
7189 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>.
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7192 People Help. New York: Grand Central, 2014.
7193   </p><p>
7194     Pekel, Joris. Democratising the Rijksmuseum: Why Did the Rijksmuseum Make
7195 Available Their Highest Quality Material without Restrictions, and What Are
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7218 Enemy of Prosperity. New York: Portfolio, 2016.
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7232     Stepper, John. Working Out Loud: For a Better Career and Life. New York:
7233 Ikigai Press, 2015.
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7236 Complex World. Boston: Houghton Mifflin Harcourt, 2015.
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7248 Reiter. New York: Simon and Schuster, 2006.
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7251 University of Chicago Press, 2015.
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7259 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).
7260   </p><p>
7261     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
7262 BY-NC-ND).
7263   </p><p>
7264     Whitehurst, Jim. The Open Organization: Igniting Passion and
7265 Performance. Boston: Harvard Business Review Press, 2015.
7266   </p>\chapter*{<title>Acknowledgments</title>}\addcontentsline{toc}{chapter}{<title>Acknowledgments</title>}<p>
7267     We extend special thanks to Creative Commons CEO Ryan Merkley, the Creative
7268 Commons Board, and all of our Creative Commons colleagues for
7269 enthusiastically supporting our work. Special gratitude to the William and
7270 Flora Hewlett Foundation for the initial seed funding that got us started on
7271 this project.
7272   </p><p>
7273     Huge appreciation to all the Made with Creative Commons interviewees for
7274 sharing their stories with us. You make the commons come alive.  Thanks for
7275 the inspiration.
7276   </p><p>
7277     We interviewed more than the twenty-four organizations profiled in this
7278 book. We extend special thanks to Gooru, OERu, Sage Bionetworks, and Medium
7279 for sharing their stories with us. While not featured as case studies in
7280 this book, you all are equally interesting, and we encourage our readers to
7281 visit your sites and explore your work.
7282   </p><p>
7283     This book was made possible by the generous support of 1,687 Kickstarter
7284 backers listed below. We especially acknowledge our many Kickstarter
7285 co-editors who read early drafts of our work and provided invaluable
7286 feedback. Heartfelt thanks to all of you.
7287   </p><p>
7288     Co-editor Kickstarter backers (alphabetically by first name): Abraham
7289 Taherivand, Alan Graham, Alfredo Louro, Anatoly Volynets, Aurora Thornton,
7290 Austin Tolentino, Ben Sheridan, Benedikt Foit, Benjamin Costantini, Bernd
7291 Nurnberger, Bernhard Seefeld, Bethanye Blount, Bradford Benn, Bryan Mock,
7292 Carmen Garcia Wiedenhoeft, Carolyn Hinchliff, Casey Milford, Cat Cooper,
7293 Chip McIntosh, Chris Thorne, Chris Weber, Chutika Udomsinn, Claire Wardle,
7294 Claudia Cristiani, Cody Allard, Colleen Cressman, Craig Thomler, Creative
7295 Commons Uruguay, Curt McNamara, Dan Parson, Daniel Dominguez, Daniel Morado,
7296 Darius Irvin, Dave Taillefer, David Lewis, David Mikula, David Varnes, David
7297 Wiley, Deborah Nas, Diderik van Wingerden, Dirk Kiefer, Dom Lane, Domi
7298 Enders, Douglas Van Houweling, Dylan Field, Einar Joergensen, Elad Wieder,
7299 Elie Calhoun, Erika Reid, Evtim Papushev, Fauxton Software, Felix
7300 Maximiliano Obes, Ferdies Food Lab, Gatien de Broucker, Gaurav Kapil, Gavin
7301 Romig-Koch, George Baier IV, George De Bruin, Gianpaolo Rando, Glenn Otis
7302 Brown, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Hamish MacEwan,
7303 Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James Cloos, Jamie
7304 Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo, Jay M
7305 Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme
7306 Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
7307 Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
7308 Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos
7309 Belair, Justin Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie
7310 Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova, Kristoffer Steen,
7311 Kyle Simpson, Laurie Racine, Leonardo Bueno Postacchini, Leticia Britos
7312 Cavagnaro, Livia Leskovec, Louis-David Benyayer, Maik Schmalstich, Mairi
7313 Thomson, Marcia Hofmann, Maria Liberman, Marino Hernandez, Mario R. Hemsley,
7314 MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black,
7315 Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
7316 Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha Batic, Mike
7317 Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall
7318 McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman,
7319 Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
7320 Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny
7321 Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv
7322 Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones,
7323 Robert Thompson, Ronald van den Hoff, Rusi Popov, Ryan Merkley, S Searle,
7324 Salomon Riedo, Samuel A. Rebelsky, Samuel Tait, Sarah McGovern, Scott
7325 Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio,
7326 Simon Law, Solomon Simon, Stefano Guidotti, Subhendu Ghosh, Susan Chun,
7327 Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent,
7328 Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
7329 Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh,
7330 William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque,
7331 Yancey Strickler
7332   </p><p>
7333     All other Kickstarter backers (alphabetically by first name): A.  Lee, Aaron
7334 C. Rathbun, Aaron Stubbs, Aaron Suggs, Abdul Razak Manaf, Abraham
7335 Taherivand, Adam Croom, Adam Finer, Adam Hansen, Adam Morris, Adam Procter,
7336 Adam Quirk, Adam Rory Porter, Adam Simmons, Adam Tinworth, Adam Zimmerman,
7337 Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al Sweigart, Alain
7338 Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert
7339 O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
7340 Blood, Alex C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown,
7341 Alexander Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar,
7342 Alexander Neumann, Alexander Plaum, Alexander Wendland, Alexandre
7343 Rafalovitch, Alexey Volkow, Alexi Wheeler, Alexis Sevault, Alfredo Louro,
7344 Ali Sternburg, Alicia Gibb &amp; Lunchbox Electronics, Alison Link, Alison
7345 Pentecost, Alistair Boettiger, Alistair Walder, Alix Bernier, Allan
7346 Callaghan, Allen Riddell, Allison Breland Crotwell, Allison Jane Smith,
7347 Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
7348 Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
7349 Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen,
7350 Andre Wallace, Andrea Bagnacani, Andrea Pepe, Andrea Pigato, Andreas
7351 Jagelund, Andres Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew
7352 Hearse, Andrew Matangi, Andrew R McHugh, Andrew Tam, Andrew Turvey, Andrew
7353 Walsh, Andrew Wilson, Andrey Novoseltsev, Andy McGhee, Andy Reeve, Andy
7354 Woods, Angela Brett, Angeliki Kapoglou, Angus Keenan, Anne-Marie Scott,
7355 Antero Garcia, Antoine Authier, Antoine Michard, Anton Kurkin, Anton
7356 Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
7357 publishing, April Johnson, Aria F.  Chernik, Ariane Allan, Ariel Katz,
7358 Arithmomaniac, Arnaud Tessier, Arnim Sommer, Ashima Bawa, Ashley Elsdon,
7359 Athanassios Diacakis, Aurora Thornton, Aurore Chavet Henry, Austin
7360 Hartzheim, Austin Tolentino, Avner Shanan, Axel Pettersson, Axel
7361 Stieglbauer, Ay Okpokam, Barb Bartkowiak, Barbara Lindsey, Barry Dayton,
7362 Bastian Hougaard, Ben Chad, Ben Doherty, Ben Hansen, Ben Nuttall, Ben
7363 Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin Costantini,
7364 Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
7365 Bernardo Miguel Antunes, Bernd Nurnberger, Bernhard Seefeld, Beth Gis, Beth
7366 Tillinghast, Bethanye Blount, Bill Bonwitt, Bill Browne, Bill Keaggy, Bill
7367 Maiden, Bill Rafferty, Bill Scanlon, Bill Shields, Bill Slankard, BJ Becker,
7368 Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
7369 Sprotte Kofod, Bob Doran, Bob Recny, Bob Stuart, Bonnie Chiu, Boris Mindzak,
7370 Boriss Lariushin, Borjan Tchakaloff, Brad Kik, Braden Hassett, Bradford
7371 Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka
7372 Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel,
7373 Brett Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian
7374 S. Weis, Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke
7375 Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno Girin, Bryan
7376 Mock, Bryant Durrell, Bryce Barbato, Buzz Technology Limited, Byung-Geun
7377 Jeon, C. Glen Williams, C. L. Couch, Cable Green, Callum Gare, Cameron
7378 Callahan, Cameron Colby Thomson, Cameron Mulder, Camille Bissuel / Nylnook,
7379 Candace Robertson, Carl Morris, Carl Perry, Carl Rigney, Carles Mateu,
7380 Carlos Correa Loyola, Carlos Solis, Carmen Garcia Wiedenhoeft, Carol Long,
7381 Carol marquardsen, Caroline Calomme, Caroline Mailloux, Carolyn Hinchliff,
7382 Carolyn Rude, Carrie Cousins, Carrie Watkins, Casey Hunt, Casey Milford,
7383 Casey Powell Shorthouse, Cat Cooper, Cecilie Maria, Cedric Howe, Cefn Hoile,
7384 @ShrimpingIt, Celia Muller, Ces Keller, Chad Anderson, Charles Butler,
7385 Charles Carstensen, Charles Chi Thoi Le, Charles Kobbe, Charles S. Tritt,
7386 Charles Stanhope, Charlotte Ong-Wisener, Chealsye Bowley, Chelle Destefano,
7387 Chenpang Chou, Cheryl Corte, Cheryl Todd, Chip Dickerson, Chip McIntosh,
7388 Chris Bannister, Chris Betcher, Chris Coleman, Chris Conway, Chris Foote
7389 (Spike), Chris Hurst, Chris Mitchell, Chris Muscat Azzopardi, Chris
7390 Niewiarowski, Chris Opperwall, Chris Stieha, Chris Thorne, Chris Weber,
7391 Chris Woolfrey, Chris Zabriskie, Christi Reid, Christian Holzberger,
7392 Christian Schubert, Christian Sheehy, Christian Thibault, Christian Villum,
7393 Christian Wachter, Christina Bennett, Christine Henry, Christine Rico,
7394 Christopher Burrows, Christopher Chan, Christopher Clay, Christopher Harris,
7395 Christopher Opiah, Christopher Swenson, Christos Keramitsis, Chuck Roslof,
7396 Chutika Udomsinn, Claire Wardle, Clare Forrest, Claudia Cristiani, Claudio
7397 Gallo, Claudio Ruiz, Clayton Dewey, Clement Delort, Cliff Church, Clint
7398 Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
7399 Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie
7400 Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
7401 Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney,
7402 Craig Thomler, Creative Commons Uruguay, Crina Kienle, Cristiano Gozzini,
7403 Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei,
7404 Dagmar M. Meyer, Dan Mcalister, Dan Mohr, Dan Parson, Dana Freeman, Dana
7405 Ospina, Dani Leviss, Daniel Bustamante, Daniel Demmel, Daniel Dominguez,
7406 Daniel Dultz, Daniel Gallant, Daniel Kossmann, Daniel Kruse, Daniel Morado,
7407 Daniel Morgan, Daniel Pimley, Daniel Sabo, Daniel Sobey, Daniel Stein,
7408 Daniel Wildt, Daniele Prati, Danielle Moss, Danny Mendoza, Dario
7409 Taraborelli, Darius Irvin, Darius Whelan, Darla Anderson, Dasha Brezinova,
7410 Dave Ainscough, Dave Bull, Dave Crosby, Dave Eagle, Dave Moskovitz, Dave
7411 Neeteson, Dave Taillefer, Dave Witzel, David Bailey, David Cheung, David
7412 Eriksson, David Gallagher, David H. Bronke, David Hartley, David Hellam,
7413 David Hood, David Hunter, David jlaietta, David Lewis, David Mason, David
7414 Mcconville, David Mikula, David Nelson, David Orban, David Parry, David
7415 Spira, David T.  Kindler, David Varnes, David Wiley, David Wormley, Deborah
7416 Nas, Denis Jean, dennis straub, Dennis Whittle, Denver Gingerich, Derek
7417 Slater, Devon Cooke, Diana Pasek-Atkinson, Diane Johnston Graves, Diane
7418 K. Kovacs, Diane Trout, Diderik van Wingerden, Diego Cuevas, Diego De La
7419 Cruz, Dimitrie Grigorescu, Dina Marie Rodriguez, Dinah Fabela, Dirk Haun,
7420 Dirk Kiefer, Dirk Loop, DJ Fusion - FuseBox Radio Broadcast, Dom jurkewitz,
7421 Dom Lane, Domi Enders, Domingo Gallardo, Dominic de Haas, Dominique
7422 Karadjian, Dongpo Deng, Donnovan Knight, Door de Flines, Doug Fitzpatrick,
7423 Doug Hoover, Douglas Craver, Douglas Van Camp, Douglas Van Houweling,
7424 Dr. Braddlee, Drew Spencer, Duncan Sample, Durand D’souza, Dylan Field, E C
7425 Humphries, Eamon Caddigan, Earleen Smith, Eden Sarid, Eden Spodek, Eduardo
7426 Belinchon, Eduardo Castro, Edwin Vandam, Einar Joergensen, Ejnar Brendsdal,
7427 Elad Wieder, Elar Haljas, Elena Valhalla, Eli Doran, Elias Bouchi, Elie
7428 Calhoun, Elizabeth Holloway, Ellen Buecher, Ellen Kaye- Cheveldayoff, Elli
7429 Verhulst, Elroy Fernandes, Emery Hurst Mikel, Emily Catedral, Enrique
7430 Mandujano R., Eric Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric
7431 Hellman, Eric Steuer, Erica Fletcher, Erik Hedman, Erik Lindholm Bundgaard,
7432 Erika Reid, Erin Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan
7433 Bousse, Erwin Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan
7434 Tangman, Evonne Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton
7435 Software, Felix Deierlein, Felix Gebauer, Felix Maximiliano Obes, Felix
7436 Schmidt, Felix Zephyr Hsiao, Ferdies Food Lab, Fernand Deschambault, Filipe
7437 Rodrigues, Filippo Toso, Fiona MacAlister, fiona.mac.uk, Floor Scheffer,
7438 Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
7439 Games, Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois
7440 Grey, François Gros, François Pelletier, Fred Benenson, Frédéric Abella,
7441 Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
7442 Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath,
7443 Gary Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de
7444 Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George
7445 Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman,
7446 Geronimo de la Lama, Gianpaolo Rando, Gil Stendig, Gino Cingolani Trucco,
7447 Giovanna Sala, Glen Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives
7448 Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman,
7449 Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg
7450 Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
7451 Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho
7452 Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
7453 Sønderland, Hamid Larbi, Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de
7454 Raad, Hans Vd Horst, Harold van Ingen, Harold Watson, Harry Chapman, Harry
7455 Kaczka, Harry Torque, Hayden Glass, Hayley Rosenblum, Heather Leson, Helen
7456 Crisp, Helen Michaud, Helen Qubain, Helle Rekdal Schønemann, Henrique Flach
7457 Latorre Moreno, Henry Finn, Henry Kaiser, Henry Lahore, Henry Steingieser,
7458 Hermann Paar, Hillary Miller, Hironori Kuriaki, Holly Dykes, Holly Lyne,
7459 Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
7460 Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider,
7461 Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah
7462 Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek
7463 Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
7464 Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach,
7465 James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James
7466 Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol,
7467 Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park,
7468 Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason
7469 E. Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy
7470 Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne,
7471 Jean-Philippe Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff
7472 De Cagna, Jeff Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff
7473 Rasalla, Jeff Ski Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen
7474 Garcia, Jens Erat, Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell,
7475 Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret,
7476 Jessica Dickinson Goodman, Jessica Litman, Jessica Mackay, Jessy Kate
7477 Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
7478 O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
7479 Allum, Joachim Brandon LeBlanc, Joachim Pileborg, Joachim von Goetz, Joakim
7480 Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
7481 Sandfort, Joe Cardillo, Joe Carpita, Joe Moross, Joerg Fricke, Johan Adda,
7482 Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
7483 Bevan, John C Patterson, John Crumrine, John Dimatos, John Feyler, John
7484 Huntsman, John Manoogian III, John Muller, John Ober, John Paul Blodgett,
7485 John Pearce, John Shale, John Sharp, John Simpson, John Sumser, John Weeks,
7486 John Wilbanks, John Worland, Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon
7487 Andersen, Jon Cohrs, Jon Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith,
7488 Jonas Öberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan
7489 Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
7490 Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
7491 Sullivan, Joseph Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP
7492 Rangaswami, Juan Carlos Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo
7493 Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
7494 Julia Devonshire, Julian Fietkau, Julie Harboe, Julien Brossoit, Julien
7495 Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
7496 Grimes, Justin Jones, Justin Szlasa, Justin Walsh, JustinChung.com, K. J.
7497 Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant,
7498 Kara Monroe, Karen Pe, Karl Jahn, Karl Jonsson, Karl Nelson, Kasia
7499 Zygmuntowicz, Kat Lim, Kate Chapman, Kate Stewart, Kathleen Beck, Kathleen
7500 Hanrahan, Kathryn Abuzzahab, Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie
7501 Lynn Daniels, Katie Meek, Katie Teague, Katrina Hennessy, Katriona Main,
7502 Kavan Antani, Keith Adams, Keith Berndtson, MD, Keith Luebke, Kellie
7503 Higginbottom, Ken Friis Larsen, Ken Haase, Ken Torbeck, Kendel Ratley,
7504 Kendra Byrne, Kerry Hicks, Kevin Brown, Kevin Coates, Kevin Flynn, Kevin
7505 Rumon, Kevin Shannon, Kevin Taylor, Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane
7506 l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
7507 Rennert, Kris Kasianovitz, Kristian Lundquist, Kristin Buxton, Kristina
7508 Popova, Kristofer Bratt, Kristoffer Steen, Kumar McMillan, Kurt Whittemore,
7509 Kyle Pinches, Kyle Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry
7510 Garfield, Larry Singer, Lars Josephsen, Lars Klaeboe, Laura Anne Brown,
7511 Laura Billings, Laura Ferejohn, Lauren Pedersen, Laurence Gonsalves, Laurent
7512 Muchacho, Laurie Racine, Laurie Reynolds, Lawrence M. Schoen, Leandro
7513 Pangilinan, Leigh Verlandson, Lenka Gondolova, Leonardo Bueno Postacchini,
7514 leonardo menegola, Lesley Mitchell, Leslie Krumholz, Leticia Britos
7515 Cavagnaro, Levi Bostian, Leyla Acaroglu, Liisa Ummelas, Lilly Kashmir
7516 Marques, Lior Mazliah, Lisa Bjerke, Lisa Brewster, Lisa Canning, Lisa
7517 Cronin, Lisa Di Valentino, Lisandro Gaertner, Livia Leskovec, Liynn
7518 Worldlaw, Liz Berg, Liz White, Logan Cox, Loki Carbis, Lora Lynn, Lorna
7519 Prescott, Lou Yufan, Louie Amphlett, Louis-David Benyayer, Louise Denman,
7520 Luca Corsato, Luca Lesinigo, Luca Palli, Luca Pianigiani, Luca S.G. de
7521 Marinis, Lucas Lopez, Lukas Mathis, Luke Chamberlin, Luke Chesser, Luke
7522 Woodbury, Lulu Tang, Lydia Pintscher, M Alexander Jurkat, Maarten Sander,
7523 Macie J Klosowski, Magnus Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh,
7524 Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
7525 Wultsch, Manickkavasakam Rajasekar, Marc Bogonovich, Marc Harpster, Marc
7526 Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
7527 Leeuwe, Marcel Hill, Marcia Hofmann, Marcin Olender, Marco Massarotto, Marco
7528 Montanari, Marco Morales, Marcos Medionegro, Marcus Bitzl, Marcus Norrgren,
7529 Margaret Gary, Mari Moreshead, Maria Liberman, Marielle Hsu, Marino
7530 Hernandez, Mario Lurig, Mario R. Hemsley, MD, Marissa Demers, Mark Chandler,
7531 Mark Cohen, Mark De Solla Price, Mark Gabby, Mark Gray, Mark Koudritsky,
7532 Mark Kupfer, Mark Lednor, Mark McGuire, Mark Moleda, Mark Mullen, Mark
7533 Murphy, Mark Perot, Mark Reeder, Mark Spickett, Mark Vincent Adams, Mark
7534 Waks, Mark Zuccarell II, Markus Deimann, Markus Jaritz, Markus Luethi,
7535 Marshal Miller, Marshall Warner, Martijn Arets, Martin Beaudoin, Martin
7536 Decky, Martin DeMello, Martin Humpolec, Martin Mayr, Martin Peck, Martin
7537 Sanchez, Martino Loco, Martti Remmelgas, Martyn Eggleton, Martyn Lewis, Mary
7538 Ellen Davis, Mary Heacock, Mary Hess, Mary Mi, Masahiro Takagi, Mason Du,
7539 Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
7540 Kruk, Matija Nalis, Matt Alcock, Matt Black, Matt Broach, Matt Hall, Matt
7541 Haughey, Matt Lee, Matt Plec, Matt Skoss, Matt Thompson, Matt Vance, Matt
7542 Wagstaff, Matteo Cocco, Matthew Bendert, Matthew Bergholt, Matthew Darlison,
7543 Matthew Epler, Matthew Hawken, Matthew Heimbecker, Matthew Orstad, Matthew
7544 Peterworth, Matthew Sheehy, Matthew Tucker, Adaptive Handy Apps, LLC,
7545 Mattias Axell, Max Green, Max Kossatz, Max lupo, Max Temkin, Max van
7546 Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
7547 Finlayson, Melissa Aho, Melissa Sterry, Melle Funambuline, Menachem
7548 Goldstein, Micah Bridges, Michael Ailberto, Michael Anderson, Michael
7549 Andersson Skane, Michael C. Stewart, Michael Carroll, Michael Cavette,
7550 Michael Crees, Michael David Johas Teener, Michael Dennis Moore, Michael
7551 Freundt Karlsen, Michael Harries, Michael Hawel, Michael Lewis, Michael May,
7552 Michael Murphy, Michael Murvine, Michael Perkins, Michael Sauers, Michael
7553 St.Onge, Michael Stanford, Michael Stanley, Michael Underwood, Michael
7554 Weiss, Michael Wright, Michael-Andreas Kuttner, Michaela Voigt, Michal
7555 Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
7556 You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike Chelen, Mike Habicher,
7557 Mike Maloney, Mike Masnick, Mike McDaniel, Mike Pouraryan, Mike Sheldon,
7558 Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
7559 Podlaszewski, Millie Gonzalez, Mindi Lovell, Mindy Lin, Mirko
7560 <span class="quote">„<span class="quote">Macro</span>”</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
7561 Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis, Moritz
7562 Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
7563 Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC, Nah Wee Yang,
7564 Natalie Brown, Natalie Freed, Nathan D Howell, Nathan Massey, Nathan Miller,
7565 Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson, Nele Wollert,
7566 Neuchee Chang, Niall McDonagh, Niall Twohig, Nic McPhee, Nicholas Bentley,
7567 Nicholas Koran, Nicholas Norfolk, Nicholas Potter, Nick Bell, Nick Coghlan,
7568 Nick Isaacs, Nick M. Daly, Nick Vance, Nickolay Vedernikov, Nicky
7569 Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole Hickman, Niek
7570 Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, Nikola Chernev,
7571 Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah Kardos-Fein, Noah
7572 Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
7573 Olivia Wilson, Olivier De Doncker, Olivier Schulbaum, Olle Ahnve, Omar
7574 Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
7575 Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
7576 Paris Marx, Parker Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat
7577 Ludwig, Pat Sticks, Patricia Brennan, Patricia Rosnel, Patricia Wolf,
7578 Patrick Berry, Patrick Beseda, Patrick Hurley, Patrick M. Lozeau, Patrick
7579 McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff, Patrik
7580 Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest, Paul Bailey,
7581 Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts, Paul Jacobson, Paul
7582 Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
7583 Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
7584 Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
7585 Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, Peter
7586 O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
7587 Viktorin, Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip
7588 Pangrac, Philip R. Skaggs Jr., Philip Young, Philippa Lorne Channer,
7589 Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan Pauwels,
7590 Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy Kirill,
7591 Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel Mercer,
7592 Rafael Scapin, Rafaela Kunz, Rain Doggerel, Raine Lourie, Rajiv Jhangiani,
7593 Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
7594 Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
7595 Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich
7596 McCue, Richard <span class="quote">„<span class="quote">TalkToMeGuy</span>”</span> Olson, Richard Best, Richard
7597 Blumberg, Richard Fannon, Richard Heying, Richard Karnesky, Richard Kelly,
7598 Richard Littauer, Richard Sobey, Richard White, Richard Winchell, Rik
7599 ToeWater, Rita Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley,
7600 Rob Bertholf, Rob Emanuele, Rob McAuliffe, Rob McKaughan, Rob Tillie, Rob
7601 Utter, Rob Vincent, Robert Gaffney, Robert Jones, Robert Kelly, Robert
7602 Lawlis, Robert McDonald, Robert Orzanna, Robert Paterson Hunter, Robert
7603 R. Daniel Jr., Robert Ryan-Silva, Robert Thompson, Robert Wagoner, Roberto
7604 Selvaggio, Robin DeRosa, Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon,
7605 Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
7606 Mari von Walthausen, Rolf Egstad, Rolf Schaller, Ron Zuijlen, Ronald
7607 Bissell, Ronald van den Hoff, Ronda Snow, Rory Landon Aronson, Ross Findlay,
7608 Ross Pruden, Ross Williams, Rowan Skewes, Roy Ivy III, Ruben Flores, Rupert
7609 Hitzenberger, Rusi Popov, Russ Antonucci, Russ Spollin, Russell Brand, Rute
7610 Correia, Ruth Ann Carpenter, Ruth White, Ryan Mentock, Ryan Merkley, Ryan
7611 Price, Ryan Sasaki, Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin
7612 Kenaid, Salomon Riedo, Sam Hokin, Sam Twidale, Samantha Levin,
7613 Samantha-Jayne Chapman, Samarth Agarwal, Sami Al-AbdRabbuh, Samuel
7614 A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
7615 Cersosimo, Samuel Tait, Sandra Fauconnier, Sandra Markus, Sandy Bjar, Sandy
7616 ONeil, Sang-Phil Ju, Sanjay Basu, Santiago Garcia, Sara Armstrong, Sara
7617 Lucca, Sara Rodriguez Marin, Sarah Brand, Sarah Cove, Sarah Curran, Sarah
7618 Gold, Sarah McGovern, Sarah Smith, Sarinee Achavanuntakul, Sasha Moss, Sasha
7619 VanHoven, Saul Gasca, Scott Abbott, Scott Akerman, Scott Beattie, Scott
7620 Bruinooge, Scott Conroy, Scott Gillespie, Scott Williams, Sean Anderson,
7621 Sean Johnson, Sean Lim, Sean Wickett, Seb Schmoller, Sebastiaan Bekker,
7622 Sebastiaan ter Burg, Sebastian Makowiecki, Sebastian Meyer, Sebastian
7623 Schweizer, Sebastian Sigloch, Sebastien Huchet, Seokwon Yang, Sergey
7624 Chernyshev, Sergey Storchay, Sergio Cardoso, Seth Drebitko, Seth Gover, Seth
7625 Lepore, Shannon Turner, Sharon Clapp, Shauna Redmond, Shawn Gaston, Shawn
7626 Martin, Shay Knohl, Shelby Hatfield, Sheldon (Vila) Widuch, Sheona Thomson,
7627 Si Jie, Sicco van Sas, Siena Oristaglio, Simon Glover, Simon John King,
7628 Simon Klose, Simon Law, Simon Linder, Simon Moffitt, Solomon Kahn, Solomon
7629 Simon, Soujanna Sarkar, Stanislav Trifonov, Stefan Dumont, Stefan Jansson,
7630 Stefan Langer, Stefan Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan
7631 Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
7632 Stephen Pearce, Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson,
7633 Steve Battle, Steve Fisches, Steve Fitzhugh, Steve Guen-gerich, Steve
7634 Ingram, Steve Kroy, Steve Midgley, Steve Rhine, Steven Kasprzyk, Steven
7635 Knudsen, Steven Melvin, Stig-Jørund B. Ö.  Arnesen, Stuart Drewer, Stuart
7636 Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
7637 Susan R Grossman, Suzie Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle,
7638 Sylvain Chery, Sylvia Green, Sylvia van Bruggen, Szabolcs Berecz,
7639 T. L. Mason, Tanbir Baeg, Tanya Hart, Tara Tiger Brown, Tara Westover, Tarmo
7640 Toikkanen, Tasha Turner Lennhoff, Tathagat Varma, Ted Timmons, Tej Dhawan,
7641 Teresa Gonczy, Terry Hook, Theis Madsen, Theo M. Scholl, Theresa Bernardo,
7642 Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
7643 Chang, Thomas Hartman, Thomas Kent, Thomas Morgan, Thomas Philipp-Edmonds,
7644 Thomas Thrush, Thomas Werkmeister, Tieg Zaharia, Tieu Thuy Nguyen, Tim
7645 Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
7646 Timothy Arfsten, Timothy Hinchliff, Timothy Vollmer, Tina Coffman, Tisza
7647 Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
7648 Bamford, Tom Caswell, Tom Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom
7649 Merkli, Tom Merritt, Tom Myers, Tom Olijhoek, Tom Rubin, Tommaso De Benetti,
7650 Tommy Dahlen, Tony Ciak, Tony Nwachukwu, Torsten Skomp, Tracey Depellegrin,
7651 Tracey Henton, Tracey James, Traci Long DeForge, Trent Yarwood, Trevor
7652 Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
7653 Tyler Occhiogrosso, Udo Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum,
7654 Vaughan jenkins, Veethika Mishra, Vic King, Vickie Goode, Victor DePina,
7655 Victor Grigas, Victoria Klassen, Victorien Elvinger, VIGA Manufacture, Vikas
7656 Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
7657 Gentilini, Virginia Kopelman, Vitor Menezes, Vivian Marthell, Wayne
7658 Mackintosh, Wendy Keenan, Werner Wiethege, Wesley Derbyshire, Widar Hellwig,
7659 Willa Köerner, William Bettridge-Radford, William Jefferson, William
7660 Marshall, William Peter Nash, William Ray, William Robins, Willow Rosenberg,
7661 Winie Evers, Wolfgang Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier
7662 Moisant, Xueqi Li, Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian
7663 Sun, Yves Deruisseau, Zach Chandler, Zak Zebrowski, Zane Amiralis and Joshua
7664 de Haan, ZeMarmot Open Movie
7665   </p></div></body></html>